WELLINGTON, NEW ZEALAND – NOVEMBER 14:  Mannequins in Cotton On clothing store lie on the ground after an earthquake on November 14, 2016 in Wellington, New Zealand. The 7.5 magnitude earthquake struck 20km south-east of Hanmer Springs at 12.02am and triggered tsunami warnings for many coastal areas.  (Photo by Hagen Hopkins/Getty Images)
WELLINGTON, NEW ZEALAND – NOVEMBER 14: Mannequins in Cotton On clothing store lie on the ground after an earthquake on November 14, 2016 in Wellington, New Zealand. The 7.5 magnitude earthquake struck 20km south-east of Hanmer Springs at 12.02am and triggered tsunami warnings for many coastal areas. (Photo by Hagen Hopkins/Getty Images)

SocietyNovember 14, 2016

‘I was scared as hell. I thought that was it, as the quake’s death rattle built and built and wouldn’t stop’

WELLINGTON, NEW ZEALAND – NOVEMBER 14:  Mannequins in Cotton On clothing store lie on the ground after an earthquake on November 14, 2016 in Wellington, New Zealand. The 7.5 magnitude earthquake struck 20km south-east of Hanmer Springs at 12.02am and triggered tsunami warnings for many coastal areas.  (Photo by Hagen Hopkins/Getty Images)
WELLINGTON, NEW ZEALAND – NOVEMBER 14: Mannequins in Cotton On clothing store lie on the ground after an earthquake on November 14, 2016 in Wellington, New Zealand. The 7.5 magnitude earthquake struck 20km south-east of Hanmer Springs at 12.02am and triggered tsunami warnings for many coastal areas. (Photo by Hagen Hopkins/Getty Images)

Naomi Arnold describes a terrifying night in Wellington, a phone alarm that warns ‘delicate land could sink under the sea’ and the solace of both Chilean tourists and RNZ’s Susie Ferguson.

You take RNZ for granted most of the time. It’s always there – in the kitchen, in the car, snippets at a workshop in the country, on a radio hanging in the orchard – but I was so grateful for those alert and confident voices last night.

I shrieked like a little boy when that first quake rumbled up to room 216 of the CQ Hotel on Cuba St, and I scrambled out of bed for shelter, but could find only a flimsy doorway. I was scared as hell. I thought that was it, as the quake’s death rattle built and built and wouldn’t stop.

Wellington has always made me nervous, because my father just would not quit with the vivid childhood geology lessons, pointing out distant, smoking White Island from my grandparents’ Papamoa balcony, the roadside steam vents in Rotorua, the blue cauldron of Taupo, the broke-backed South Island, rocks from down south shunted way up north. Wellington scares the shit out of me, but fortunately I live within cooee of the Alpine Fault in Nelson.

WELLINGTON, NEW ZEALAND - NOVEMBER 14: Mannequins in Cotton On clothing store lie on the ground after an earthquake on November 14, 2016 in Wellington, New Zealand. The 7.5 magnitude earthquake struck 20km south-east of Hanmer Springs at 12.02am and triggered tsunami warnings for many coastal areas. (Photo by Hagen Hopkins/Getty Images)
A clattered window display in Wellington. Photo by Hagen Hopkins/Getty Images

I thought it had gone. When the shaking stopped I grabbed everything I could and scrambled around to find my jeans and jacket, shoved bare feet into boots and clomped out down the stairs and out into Marion St, needing the open sky, cleverly forgoing a modern seismically-strengthened hotel for the streets shrieking with car alarms and nervous hordes in dressing gowns. After an hour, I thought “Oh, right,” and went back inside, to where the hotel staff were handing out blankets, pillows, bottled water, going upstairs to retrieve us items, asking us constantly if they could help.

One lobby man was from Chile, and brushed off the quakes with a shrug. His confidence was catching.

“This happens all the time,” he said. “There’s no danger.” Another, whose name I am ashamed I can’t remember from his badge, because he was very kind, showed me the walls: no cracks. Very strong. Mostly.

“We have Nintendo,” he said, smiling. “Wii,” he added, miming a tennis swing. Four girls from across the road screeched and rushed at the TV.

The TV was on to Sky News, and was it the Alpine Fault? Was it Christchurch? I sat down on a couch next to an older couple and the woman leaped up as though I’d dropped boiling water in her lap.

“I’m a bit jumpy,” she said and told me they were from Christchurch, and she was grateful for this hotel’s old wide, solid wooden staircase.

“I like a good solid staircase,” she said. “Some of them collapse.” I didn’t know this, and added it to my list of general background worries, which includes dying by fire, drowning, strangulation, choking on food, and the Alpine Fault.

2am. A woman in the lobby snapped at a reporter checking in from the middle of Christchurch. “Stupid! Nothing is earthquake-proof! That’s the wrong information!”

Two older women were huddled on another couch, one concerned about the other, who had heart medication retrieved from her room.

“She’s not well,” her companion confided. “She’s very famous,” she said, revealing a 1980s political win; but it would be rude to reveal her name as she sat there half-undressed, her eyes darting a little, every now and then asking what was happening, when it would stop.

The aftershocks rolled through, sharp, gentle. The RNZ web feed on my phne wouldn’t work, and the TV news was interrupted by rugby. The staff brought out coffee, to general perkiness, but some old blokes on the couch grumbled  “No milk!”

I fiddled with the coffee dispenser.

“No! Like this! On top! On top! No! On top! No! There!” the men said, both half-standing to help me with this disaster, and one came over to take my hand and pushed it down on top.  “Careful! It’s hot! And there’s no milk!”

3am. Everyone was a little tense. I went over to a woman who was wearing nothing but a T shirt, that did not quite cover her bare bottom, and a quilt, which also did not.

“So! Where are you from?” I said.

“I’m done talking,” she said. “I’m sorry. I only have limited space for conversation.”

Right! Finally, I got hold of RNZ’s web feed on my phone, and I sank into its calm, energetic authority, interspersed with refreshing the Stuff page updated by trooper Henry Cooke. All of them trying to find us more information. All up at night to help us out. I listened to All Night Programme host Vicki McKay, with no producer, no sound engineer, alone in her own studio, energetic, on fire, compassionate. I listened to the comforting, familiar lilt of Susie Ferguson, astonished at the tale of the man whose parked car had shot into its garage door. If she was there, it was morning and things were normal in New Zealand.

Except they weren’t, as they talked to more people and more came to hand and the morning light unravelled the country. The ships pulled out from the harbour and the Picton ferry lurked near its dock. The roads were cracked, or gone. People were dead. Thousands drove to higher land and shared food and drink and shoulders for sleeping children. Throughout the night RNZ got hold of people on ferries, on top of hills, people in Hanmer, experts who knew stuff, Gerry Brownlee.

7am. The older famous woman said to her companion “Well. I’d better put on my pearls, hadn’t I?”, and she did.

My alarm to catch my flight home to Nelson rang out – which is, ridiculously, and I don’t expect you to believe me, Jess Chambers’ gentle ballad Island, which has, ridiculously, the lyrics:

We live on an island.

Made from the same dust we walk over

We live on this mountain.

Forget ourselves, think we are greater

Sometimes the earth moves

This delicate land could sink under the sea

Away underneath me

Away underneath me

I recommend it as an alarm; it’s normally a gentle awakening. But it wasn’t one today. God, I hope the ground stops shaking. I’m about to get on a flight to Nelson and soar above the Alpine Fault. It’s going to go one day. But at least RNZ will be there when it does.

Keep going!
Marti Friedlander by Lottie Hedley
Marti Friedlander by Lottie Hedley

SocietyNovember 14, 2016

Marti Friedlander: Painting with light

Marti Friedlander by Lottie Hedley
Marti Friedlander by Lottie Hedley

To mark the death of Marti Friedlander we’re republishing a profile of the legendary photographer, first published in the November 2011 issue of New Zealand Geographic.

Travelling through the Eglinton Valley, en route to Milford Sound, Marti Friedlander suddenly asked her husband to pull over. Stepping out into the road, she raised her camera, focused, and released the shutter. A moment was peeled from the endless spool of time and fixed in black and white.

“I knew right away that I had got an iconic image,” says Friedlander.

marti-friedlander-book

In Eglinton Valley, 1970, sheep loom out of a curtain of dust thrown up minutes earlier by a tourist bus. Bathed in a delicate light, they stare back unsettlingly, seeming to interrogate the viewer. It is a trademark image—spare, uncluttered, direct, determinedly unsentimental. New, and at the same time deeply familiar.

“Whenever I took photographs, it was always with a tremendous excitement. I remember every one I have ever taken,” says Friedlander, reflecting on a career spanning 50 years. “It is all about engagement. I never allowed myself to be on the sidelines, snap-shooting.”

Now in her 80s, she still radiates the zest for life that, as a young woman, lifted her from a Jewish orphanage in London to a job as an assistant in the Kensington portrait and fashion studio of Gordon Crocker and Douglas Glass. During her time working at the studio, she met her future husband, Gerrard Friedlander, and the couple spent nine months exploring eastern Europe on his Lambretta scooter before sailing for New Zealand.

Landfall in her husband’s homeland was a shock for Friedlander. The scenery was spectacular, but achingly empty and, compared with cosmopolitan London, New Zealand in 1958 felt buttoned down and provincial.

“No one who hasn’t been a migrant could understand the depth of my loneliness then.”

She sought out like-minded people—painters, writers, the winemakers of West Auckland—men and women who felt anything was possible and who were beginning to stretch the boundaries of what New Zealand could become. Against a backdrop of increasingly frequent street protests, she joined Amnesty International and co-founded the Auckland branch of the Council for Civil Liberties. To help make sense of her new home, she began using a camera to record everyday life, developing her negatives in the small x-ray room of her husband’s dental practice. Tellingly, her first New Zealand photograph was of a meeting opposed to sending the All Blacks to South Africa without any Maori players. Featuring the banner “I’m all white Jack”, it was bought by the BBC for a series on rugby.

Friedlander had found a new vocation. Instinctively, she knew that her lens was beginning to capture raw change. The shedding of a national skin. In 1964, after a year in Israel and Europe, she settled to work in her adopted country as a freelance photographer.

“No matter how much we travelled, this was Gerrard’s country. I stayed through sheer willpower.”

A turning point came when she was invited to photograph surviving Maori kuia (female elders) for a book by Michael King. Friedlander describes the assignment—which involved journeying through rural New Zealand to document the fast-disappearing art form of chin moko—as being “like a gift”. She was deeply touched by the women she photographed. The result, Moko: Maori Tattooing in the 20th Century was published in 1972. Two years later came Larks in Paradise: New Zealand Portraits, with text by James McNeish—a record of her travels and the first significant photographic book about the country and its people.

Marti Friedlander photographed at home by Lottie Hedley
Marti Friedlander photographed at home by Lottie Hedley

The catalogue Friedlander built up is eclectic, ranging from anti-nuclear protesters, artists and art dealers to old couples, children, shearers and campers – New Zealanders, in other words, going about their lives. At the outset of her career, the very idea of applying a seriousness of purpose to the act of taking a photograph was novel. She points to one of her most familiar images – two black-singleted shearers taking a break out in the yard. Sheep are at their backs. They look up at something, amused. One holds a cigarette in his lips.

“They thought I was an American tourist. Other people I photographed asked me if they were going to be on television. To a lot of people it was all quite new.”

There were images, too, from further afield. Church-goers in the Tokelau Islands. Armed women soldiers in Israel. But always a connection with the human spirit, with “this great mystery called life”.

Forthright and feisty, Friedlander was, by her own admission, better known for her opinions than her work in the 1970s and ’80s, but the tide began to turn with a major 2001 survey exhibition in Auckland, curated by Ron Brownson. Young people, in particular, were won over to her new way of seeing.

Her gift, said Michael King, is the uncompromised vision of an outsider. “This gave her an ability to recognise contours and textures that eluded the rest of us until we saw them in her photographs. And then we said, ‘Yes, of course, that’s how it is. Why didn’t we notice those things before?’”

In June 2011, Marti Friedlander received an Arts Foundation Icon Award. The honour, limited to a living circle of 20 recipients, celebrates the country’s most accomplished artists. Her medallion had earlier been awarded to carver Pakariki Harrison—in a nice touch, this passing from the dead to the living is said to imbue each medallion with the mana of many artists and its mauri, or life force, to strengthen with each passing.

Much as the photographs themselves.

 

This story first appeared in the November-December 2011 issue of New Zealand Geographic. Portrait by Lottie Hedley.