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performers from a dying culture, in grass skirts, with moko on their faces, but a rich culture with issues and problems, and also a desire for a future. In her photograph, Pentecostal March, (1972), a middle-aged women stands before a large banner which reads “ SEX WITHIN MARRIAGE”, she stares at us, about to remove her sunglasses and give us a glimpse into her eyes, daring us to confront her - yet somehow she seems slightly panicked at what she might reveal of herself if she does so. New Zealand society was changing - in this case, the introduction of the contraceptive pill, lead to increased sexual freedom for women - and many New Zealander’s did not want it to change. The notion of New Zealand being God’s Own Country, untouched and uncaring about the wicked ways of the world, was rapidly being shouted down by the chants of our own Cultural Revolution. In the preface to Larks in a Paradise, James McNeish wrote that Friedlander’s photographs “imply a human condition,” and that this “is something we have cared to disguise from ourselves and the outside world for so long that we must be a little surprised to find that it is really there” (p. 1). This surprising comment highlights to me the massive change that has occurred in New Zealand since 1974 - it never even occurs to me that New Zealand has a ‘human condition’, it just does. McNeish praises Friedlander’s photographs as being the first to “correct the fallacy that we are a nation of stereotypes” (p. 2). Her photographs never feigned to ‘show us’ the ‘Real’ New Zealand - there is no Real New Zealand. Friedlander sought to explore the “sadness-beneath-the paradise” (p. 1). She ended up revealing a vision of New Zealand outside generalisation, devoid of caricature - and she leaves us with images of people and the land we live in, of human beings watching, working, loving, changing, celebrating, protesting, and above all else, living.

First Son: Memory and Myth, an adjustment of faith  

First Son is an exploration of cultural change in New Zealand from the 1940s till the 1980susing textiles as medium for communication. It ai...