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Are these the same skis? Robert Falcon Scott (L) in Antartica, Boris Daniel (R) in Canterbury (Images: Getty Images, ‘People Politics and Power Stations’, edited by John Martin, BWB, 1991).
Are these the same skis? Robert Falcon Scott (L) in Antartica, Boris Daniel (R) in Canterbury (Images: Getty Images, ‘People Politics and Power Stations’, edited by John Martin, BWB, 1991).

PartnersNovember 14, 2018

The Single Object: a quest for a set of heroic skis

Are these the same skis? Robert Falcon Scott (L) in Antartica, Boris Daniel (R) in Canterbury (Images: Getty Images, ‘People Politics and Power Stations’, edited by John Martin, BWB, 1991).
Are these the same skis? Robert Falcon Scott (L) in Antartica, Boris Daniel (R) in Canterbury (Images: Getty Images, ‘People Politics and Power Stations’, edited by John Martin, BWB, 1991).

The Single Object is a series exploring our material culture, examining the meaning and influence of the objects that surround us in everyday life. In the fifth part of the series James Dann explores Christchurch’s ties to the heroic age of Antarctic exploration, and embarks on his own journey of discovery in pursuit of a pair of skis.

After shivering through another winter in a poorly insulated house, many Cantabrians won’t want to be reminded of Christchurch’s proximity to the Antarctic. The city’s location, its port, and later its airport, have made it an ideal base for many of the expeditions that have set off to explore the southern continent, and Christchurch has built a strong connection to the frozen south.

Christchurch Airport is an important base for the US “Operation Deep Freeze”, and close to these hangars is the International Antarctic Centre, a tourist attraction for those who enjoy being needlessly cold. The Antarctic Heritage Trust is based in Christchurch, working to preserve some of the early huts of the likes of Robert Falcon Scott, Ernest Shackleton and Carstens Borchgrevink, while the Canterbury Museum boasts “the largest and most diverse collection of Antarctic memorabilia and photographic images in the world”, including a cache associated with Captain Scott’s final, fatal expedition in 1910-1912.

There are many reminders of the Scott expedition around Christchurch. A marble statue of the explorer, carved by his wife Kathleen, was unveiled in 1917. It was toppled in the earthquakes, snapping off at the ankles, but has now been restored and sits back on its plinth. He’s got a pole, but no skis.

The statue of Robert Falcon Scott along the Avon River in Christchurch (Image: Getty Images)

While the early 20th century was the age of exploration, it was also a time of discovery and innovation. After the lights were first switched on in Reefton in 1888, New Zealanders began to flock to electricity like moths to a flame. By 1910 it was clear electricity was here to stay – and the state would play a significant role in its development.

At the time power was supplied to Christchurch from a generator attached to an incinerator, fuelled by garbage (this was on the corner of Armagh and Manchester Streets, where the Margaret Mahy Playground now is). As demand continued to outstrip supply, the government began work on the Lake Coleridge hydro-electric scheme in 1912, which was completed in 1914. Four years later is where the skis come in.

At the end of June 1918, there was a massive snowstorm in Canterbury. Early in the morning of 1 July, as still happens during snowstorms (and earthquakes), power was cut off to the city. Both the north and south transmission lines to Lake Coleridge, the city’s main source of electricity, had failed.

The Lake Coleridge Hydropower plant (Image Shellie Evans/Flickr.com)

Coleridge is around 100km inland from Christchurch, in the shadow of Mt Hutt. With snow as thick as a metre deep on the plains, and getting deeper in the foothills around the lake, there was no way for the electricity department to get to the power station and attempt to restart the connection to the city. As one of the engineers, Edward Hitchcock, recalled many years later in Mark Alexander’s Christchurch, a City of Light, the long delay in restoring power was not “due so much to the damage to the wires, poles, and transformers, but to the fact that telephone communications between Christchurch and Lake Coleridge were completely disrupted”.

The team at the power station might have been able to get it up and running again – but they couldn’t risk putting power into the lines in case there were people still working on them, who would have been electrocuted. It was easy enough to get through to Hororata, which was still 40km away, but travel beyond that was nigh on impossible. None of the cars or trucks that were available (this was 1918, remember) could travel through snow that deep. As they headed into the third day without power, it was clear that the snow wasn’t going anywhere – and neither was anyone from the electricity department.

Lawrence Birks, the chief government electrical engineer in the city, was desperate to get through to the station. He had sent cars and motorbikes with no success. Men on horses hadn’t been able to get through. Birks tried to get in touch with some farmers in the South Canterbury town of Fairlie, who were in possession of a couple of early motorised sleds that Scott had taken with him on the Terra Nova expedition. They even entertained the idea of attaching an aeroplane engine to a sled, hoping it might glide across the snow, but nothing came of it.

A report on the storm from The Sun, Volume V, Issue 1370, 4 July 1918 (Image:Papers Past)

Then a young employee of the Public Works Department, Boris Daniel, suggested that he could ski to the power station. Daniel had learnt to cross-country ski when he was a child. He was born near Minsk, in what was then the Russian Empire but is now Belarus, in 1889. After a stint in Siberia, then in Queensland (which he found too hot), he had made his way to Christchurch.

His offer to ski cross-country to Coleridge was an interesting one, but there was a problem: no one had any skis. While the Ruapehu Ski Club had formed in 1913, the first club in the South Island was still more than a decade away. Indeed, skiing was such a novel activity that newspaper reports from around this time gave guidance on how to pronounce the word (‘she’, apparently).

As all of Birks’ other attempts had failed, he put the call out for a pair of skis for Daniel, and eventually some were sourced from a rather special owner. Because of Christchurch’s role in Antarctic exploration, there were a few souvenirs from the expeditions kept in the city’s museum. So on 3 July, Daniel made his way up to Hororata with a pair of Captain Robert Falcon Scott’s skis.

It had been seven years since Daniel had last been on a pair of skis, so his first day was reasonably gentle. He was also under very strict instructions to be careful with the skis, given their historic provenance. To avoid clipping the skis with the poles, he had to hold his arms wide apart as he propelled himself along.

He made his way to a farmstead, where he slept the night on a pile of horse covers. The next morning he set off early, catching up to a pair who had been dispatched by horse days previously, but weren’t making much progress. When Daniel caught up to them, they gave him their message for the powerhouse, and a flask of whisky, before turning around and heading back towards Hororata.

The Russian continued on and the terrain started getting steeper. Eventually he spotted three black figures in the snow ahead. As he got closer, he found that it was a Mr Blackwood, the manager of the power station, and two of his colleagues, who were coming in the other direction from the lake. Daniel gave them the two messages he was carrying, which instructed them when it would be safe to reconnect the power lines. The group all then headed back towards Hororata, staying the night at a farm station along the way. When they woke the next morning to finish their journey, they could hear the buzz of the power lines above them. Their message had got through.

When Daniel reached Hororata on 5 July, the whole town came out to welcome him. Birks had driven up from Christchurch, along with a newspaper reporter. Despite being exhausted, and having done some damage to his ankle, Daniel was happy to pose for a photograph. In it, he stands proudly on the skis, wearing a tie and a waistcoat, with his arms still outstretched so his poles didn’t hit the precious artefacts.

The caption states that the skis were from the Canterbury Museum, so I got in touch with them to ask if they would permit me to come in and see them, and maybe take a photograph. They seemed a bit confused. I gave them an overview of the story, and they checked their records: nope, they don’t have any of Scott’s skis, and even if they did, they doubt that they would have lent out such a precious item.

I began to question the whole story – ‘man borrows Captain Scott’s skis to restore power to the city’ sounds too good to be true, so maybe it was? The Canterbury Museum has an excellent collection of important objects from these expeditions, including from Scott’s. They have multiple pairs of skis, but all are from other members of the Terra Nova party, rather than Scott himself. Another pair of skis from the Scott party is in the collection of the Lyttelton Museum, which is still awaiting a post-quake rebuild. The other large collection in Christchurch is the Antarctic Heritage Trust, but again, no skis. I’ve also checked with Te Papa, Otago and Auckland, with no luck.

Boris Daniel on his famous skis, which despite claims are not in Canterbury museum… (Image: People Politics and Power Stations edited by John Martin, BWB, 1991).

I dove into PapersPast – a remarkable resource for historical information – and to my relief, there were a number of contemporary news reports about Daniel’s brave journey. He definitely was the hero who skied up to the lake and back. So my next question was whether he did it on Scott’s skis. This was also supported by the newspapers. Apart from incorrectly stating that the skis had come from the Canterbury Museum, the rest of the story could be verified. The owner of the skis wasn’t the Museum, but instead a man named JJ Kinsey.

Joseph James Kinsey was born in Kent, and moved to New Zealand in 1880, setting up a shipping company that played a key role in providing supplies for the early Antarctic expeditions. He provisioned Shackleton’s two expeditions – the Nimrod that left Lyttelton in 1908 and the disastrous Endurance expedition that left in 1914. He became acquainted with both Scott and Shackleton, and entertained them at his houses in Christchurch. He was knighted for his services to Antarctic exploration, but his real reward was the acquisition of artefacts from these expeditions. It was Kinsey who supplied Scott’s skis to Daniel in 1918, and on his death, bequeathed his archives to the Alexander Turnbull Library. But they were not a part of that library’s collection – and my search for the lost skis was again thwarted.

Finally, when I was digging through Papers Past for more information about Boris Daniel, looking for another hint as to where the skis might be, I came across an interesting nugget. Two people left Hororata by ski on 3 July, 1918: Daniel in the morning, and then around noon, a Finn named Mr W Sandelin, who took a more northerly route, following along a second power line to the station.

Sandelin was also an electrical engineer from the Department of Public Works, and so as he went along, he repaired any faults he could find in the line. He also set off on a pair of historic skis, previously owned and used by Ernest Shackleton.

These skis were acquired by a Mr J.H. Blackwell, the mayor of the small town of Kaiapoi, about 15 minutes north of Christchurch. Blackwell had seen the request for skis, and knew there was a pair in his town. The set of Shackleton’s skis was at the Kaiapoi Working Men’s Club, which was happy to lend them for this endeavour.

The Kaiapoi Working Men’s Club still exists, though, like many clubs of this type, has dropped the “working men’s” bit from its name. I rang them in the hope they might know something about this pair of skis from 100 years ago. When I heard the receptionist call out “do we still have those old skis?” to someone across the room, I knew I was on to something. She didn’t know much about them, only that they were old, and that they were on the wall above the door in one of the bars. The next day my expedition took me to Kaiapoi, the skis, albeit a different set, within my grasp.

On a sunny spring day, on the mouth of the Waimakariri River, the little town of Kaiapoi looks a picture. It was hit badly by the quakes, but has seen a bit of a boom since, with many people from the city moving to the town and then commuting back into Christchurch for work. Historically, one of the biggest employers in the town was the Kaiapoi Woollen Mills, which, apart from making distinctive blankets that are now very collectable, also produced high-quality warm garments that were used on the Antarctic expeditions. Many of the workers from the mill would have been members of the Working Men’s Club, which holds a prime position in the centre of town, overlooking the river.

I head for the Robert Falcon Scott Bar in the now abbreviated Kaiapoi Club and there they are. Arranged in a cross above one of the fire exits are a set of skis, with a plaque and a portrait next to them. But as I get closer, I realise they aren’t from Shackleton’s expedition – they’re from Scott’s! The plaque mentions they were used on the Discovery expedition, while the portrait is of Scott on the Terra Nova voyage. It certainly explains why the club has a bar named after Scott, but these skis raise as many questions as they answer.

Are these the skis? (Image: James Dann).

I still don’t think they’re the skis I am looking for. By comparing them with the picture I have of Daniel on Scott’s skis, I’m pretty confident these are different – they’re sharper and skinnier than the skis Daniel borrowed. The newspaper clipping said the Kaiapoi Working Men’s Club had a pair of Shackleton’s skis, and yet I found a pair from one of Scott’s expeditions. I think it’s more likely the newspaper report confused Scott and Shackleton than there being two pairs of historic skis in the one working men’s club.

So how did the skis end up here? The plaque states that they were presented to the club by the officers and crew of the Discovery, though it doesn’t state when. The town does have a connection to Scott – a man named Charles Lammas, a Brit who was part of the Terra Nova voyage. He went down to the Antarctic in 1910, but wasn’t part of the party who stayed on the ice. After the ship returned to Lyttelton, he moved to Kaiapoi, and the records show that he joined the Working Men’s Club in December of 1913.

When I started off on my expedition, I wanted to reveal the extraordinary story of Boris Daniel and the skis that he had travelled on to restore power to Christchurch 100 years ago. While I wasn’t able to find the object at the centre of this tale, I did find plenty of other pieces of Christchurch’s rich Antarctic history. Like the great explorer Captain Scott, I too have set a course into unexplored territories, been faced with unexpected challenges, and not fulfilled the ultimate goals I set for myself – but unlike Scott, I managed to stay nice and warm while doing it.

Keep going!
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LightboxNovember 14, 2018

The best cult TV classics to stream on Lightbox right now

sam (33)

Inarguably the best sports drama of all time, Friday Night Lights, dropped in its entirety on Lightbox last week. Sam Brooks on why you should watch it – and the other cult classics you might not know are on the service.

Friday Night Lights (S1-5)

Tim Riggins, my past, present and future fictional husband.

I’m surprised this show didn’t incorporate some sort of partnership with Kleenex, because I don’t think I’ve cried more watching a single television show in my life.

It would be easy (and highly incorrect) to write Friday Night Lights off as just being about sports. While the initial pitch might be “it’s about a high school football team”, the more accurate pitch would be “it’s about a small town that has an unhealthy focus on high school sport, it’s about family, it’s about high school, it’s about marriage, it’s about humanity, it’s about managing expectations, it’s about you, it’s about me, and it makes me cry.” Also it might be about Connie Britton’s hair?

That hair!

There’s a lot to love about Friday Night Lights. The big thing it gets right – and this is very easy to underrate – is its understanding of how families interact with each other. The Taylors are one of the more delicately drawn families I’ve seen on TV, and the Taylor marriage especially so; Friday Night Lights understands the ways that families listen to each other, the ways that they fail each other, and the ways that families pull together in the many faces of adversity. There’s a lot to love and recommend about the show, but I keep coming back to that. It’s goddamned inspirational, aspirational television.

Pushing Daisies (S1-2)

Is this not the handsomest couple you’ve ever seen?

It’s amazing that the show that brought Bryan Fuller (Hannibal, American Gods, Star Trek: Discovery) to prominence seems to be an odd footnote at the bottom of his illustrious career. After the short-lived curios that were Dead Like Me and WonderfallsPushing Daisies was Fuller’s first step into the high-concept and high-design television that has defined his career since.

The concept? Ned, played by the consistently adorable and even more consistently tall Lee Pace, has the ability to bring people back to life with a touch. The catch? If that person is alive for longer than one minute, another living thing in the vicinity must fall dead. The other catch? If he touches that person again, they die again.

Of course, this concept ends up with Ned helping a friend solve murders, but that’s just the overarching excuse for a plot that every show needs. What Pushing Daisies is actually about is the relationship between Ned and his childhood sweetheart, Chuck, played by Anna Friel, who is at her most fragile and winsome in this role. When Ned finds out that Chuck has been murdered, he brings her back to life but can’t bring himself to let her go. Tragic, tortured love ensues.

Pushing Daisies is one of those shows that garnered huge enthusiasm with critics and a devoted following of fans, but it just missed the boat on becoming the true sensation it should have been. It’s a beautiful watch now – the production design is sweet enough to give you diabetes 1 through 25, because also Ned is a pie maker – but what really grabs you is the quiet, sad intensity between Ned and Chuck, who are doomed to a touchless love before they even realise they’re doomed to it.

Also, it gave us a (rightly Emmy Award winning) Kristin Chenoweth belting out ‘Hopelessly Devoted To You’, provided below for your viewing delight:

Veronica Mars (S1-3)

A pre-fame Kristen Bell in Veronica Mars.

Veronica Mars was one of those shows that was in the wrong place at the wrong time. When it first aired it was on UPN, a channel which no longer exists, and in a time when audiences still needed their television in cleanly defined genres. If you weren’t a show about six 20 year olds hanging out in an apartment, or about solving sex crimes, you weren’t being watched!

If you missed out on watching Veronica Mars, you missed out on not only one of the first examples of ‘teen noir‘, but some of the most astutely written and performed high school characters I’ve ever seen on television. It’s amazing to think of this as Kristen Bell’s first big role, because she slam-dunks the role of the popular girl turned outcast (and private detective). The same bruised flintiness that Bell brought to House of Lies and currently The Good Place is present here, and she has the dramatic chops to carry the heavier scenes.

The first season is especially brilliant, focusing on Veronica figuring out who murdered her best friend Lily, while also coming to terms with what happened to her on the night of Lily’s disappearance. The resolution of that storyline isn’t what sticks out for me, though. It’s the beautiful interplay between Veronica and the sunny LA town of Neptune, a town which she no longer considers home. It’s a great, underrated show which holds up a lot better than much of the drama from this era.

bro’Town (S1-5)

Remember these friendly faces?

“Not even, ow.” was the quote of the day, if you happened to be in my high school circa 2004.

An adult animated show in the vein of Family Guy (potentially not the most favourable comparison, unless you’re a fan of that show), bro’town was a Naked Samoans creation that encapsulates what New Zealand was talking about in 2004. So: Keisha Castle-Hughes, Lucy Lawless and Michael Jones.

What elevates bro’town these days is that time capsule feeling. In a way that was unique to New Zealand television – which tends to try to capture a specific milieu (hello, the 80s! Also hello, the fictional town of Brokenwood) or tries very much to be set somewhere unspecific in Auckland (hello, nearly every other television show made in the country!) –  bro’town was a clear response to New Zealand popular culture of the time. It was irreverent, it was an inside joke to anybody who lived anywhere else, and it never tried to be anything other than set in New Zealand.

Parks and Recreation (S1-7)

Parks and Recreation is one of those shows that sits in the strange place between cult classic and legitimate classic. If you were on the internet at any point after its first season (which practically everybody involved with the show has disowned as an unfortunate teething period), then chances are you’ve engaged with Parks and Recreation whether you like it or not.

And why the hell wouldn’t you like it? Parks and Recreation is the most relentlessly positive show on television. It’s the show that told you to treat yo’ self, as well you should. There’s no character in fiction who demonstrates the unshakeable potential goodness of humanity quite like Leslie Knope. If Tami Taylor is my hair goals, Leslie Knope is my soul goals. But even outside of Leslie Knope, it’s got one of the strongest ensemble casts in a mid-to-late-aughts sitcom (Nick Offerman, Aziz Ansari, Retta, Aubrey Plaza, Adam Scott, and a killer guest rotation) and every episode leaves you feeling a little bit better about yourself, and humanity.

Mulholland Drive (movie)

It’s David Lynch. He might not be the guy who coined the term ‘cult classic’, because I assume both cults and classics preceded him, but he’s the guy who falls mostly conveniently into the categorisation. He’s the director the guy you went to film school pretended to understand and love, and you went along with it, but then a few years after film school, you watched Lynch’s movies again and you understood them on a deeper, primal level – so much so that they made you cry. This is me talking about a fictional person, obviously, and not projecting my own highly specific experience onto yours.

My point is, Mulholland Drive is David Lynch’s best film, it’s a cult classic, and you should see it and enrich your life. There’s also this haunting song from it:

The Tribe (S1-5)

Look at these wacky costumes!

Actually, scratch what I said earlier. This is the real cult classic – a New Zealand show that was so, so huge overseas, I mean huge, like ‘online communities still obsessed with it’ huge. For some reason, The Tribe was dumped on a Sunday afternoon here, which is the place for either the best television shows in the world or fishing shows, and absolutely nothing in between.

But what is The Tribe, I hear you ask, as though you never lived in New Zealand in the early aughts. It was a show set in post-apocalyptic Not!Wellington (having watched it a few times this year, I could not tell you where anybody is meant to be from). It follows groups, you might even call them ‘tribes’, of teenagers as they try to survive after whatever destroyed most of the country/world.

It’s wild, it’s wacky, and it’s very much of its time – which is what makes it perfect for your weekend hangover binge.

Cruel Intentions (movie)

Not visible: Saliva.

Look, cult classics come in all shapes and sizes. And one of those shapes and/or sizes is a remake of Dangerous Liaisons starring a practically fetal Reese Witherspoon, Ryan Philippe, Sarah Michelle Gellar and Selma Blair.

This film is wild, you guys! The soundtrack is stacked (that Placebo song!), there’s a scene where Christine Baranski is racist, there’s another scene where Selma Blair and Sarah Michelle Gellar share saliva, and also Sarah Michelle Gellar has a lot of coke in a crucifix. Is it the best movie? God no. Is it the best version of Dangerous Liaisons? Also no, but jesus, it’s a lot of fun, and the haze of watching famous people do naughty things and be incredibly attractive while doing so settles very comfortably over this film.