Life + Style 5 January 2018

life+style The Weekend Sun 1

Lisa-Maree Mannington (Manager)

21 August, 2015

Go for goals Page 2

THE WEEKEND

Penguins and plastics

Rare manuscript

Sandcastle spectacular

Sassy summer salad

French fries and history

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life+style The Weekend Sun 21 August, 2015 5 January, 2018

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5 January, 2018

life+style The Weekend Sun 3

Pilot Bay, penguins and plastic Saving whales one beach at a time It was October 2011, and oil was washing ashore from the Rena. Leigh Pettigrew heard the call for help, and attended a meeting for volunteers.

“There were only a few of us there,” says Leigh.

“Pim de Monchy from the Bay of Plenty Regional Council asked for team leaders and we all looked at our feet. We didn’t want to be team leaders – we just wanted to help.

“But each of us became a team leader. I had about a dozen in my team and we continued for a couple of months until all the oil was gone.”

Gary Meltzer took charge of the Tay Street group, Jan Willoughby the Omanu group and Leigh focused on Pilot Bay. Other groups also formed.

After the oil had been removed, Pim invited the volunteers to adopt a beach and form coastal care groups.

“I felt we’d done our bit, and I was ready to have a break,” says Leigh. “But I sent an email to the rest and found they wanted to carry on. So we did.

“They’d all been picking up litter as well as oil on their daily turn in Pilot Bay, and to my knowledge, not a day has gone by since where the beach has not been cleaned.”

Although members of his group also cover other areas, Leigh’s focus has remained on Pilot Bay, with approximately 20 members on a daily roster system.

“My philosophy is to keep it simple, and do a small job well,” says Leigh. “People comment on

how beautiful the bay is. It is beautiful, but few visitors realise the degree of pollution which washes ashore and the daily effort to keep it clean.”

Logs and large branches that land in Pilot Bay are cut up and taken to the dump on Leigh’s ute.

They also pick up plastic, glass, cans, dead animals, soiled clothing, nappies and condoms.

“We’ve rescued penguins, seagulls, an oyster catcher, three shags and saved two seals.”

Some six years on, Leigh decided it was about time to have ‘a bit of a celebration’. He invited everyone over.

“It’s an extremely easy group to lead,” says Leigh, “as everyone does their own thing, in their own time.”

He takes pride in watching local community members take responsibility for their environment.

The importance of what they do came home to him when he was in Antarctica recently.

“One of the scientists had carried out an autopsy on a dead humpback whale, and counted 40 plastic bags inside it,” says Leigh.

“Residents like Leigh who would like to help look after one of our beaches can get advice and material support through Coast Care,” says Pim. “It’s a programme funded by local councils and DOC to support community efforts to look after our dunes and beaches.”

For more information, call: 0800 884 880 and ask for Chris Ward or Paul Greenshields, or email: coastcare.west@boprc.govt.nz

Leigh Pettigrew The group reunion 2017

Rosalie Liddle Crawford

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5 January, 2018 life+style The Weekend Sun 21 August, 2015

A rare manuscript surfaces Hallelujah it’s the Messiah I went to hear a light ‘parlour’ version of Handel’s Messiah performed in a church in Katikati. There was something very unique about this edition, but first I chatted with Marjorie Partington, a member of St Paul’s Presbyterian Church who reminisced about her childhood.

“I was brought up in the north of England,” says Marjorie, “where the Messiah was big at Christmas.”

It’s always enjoyable hearing someone else’s connection to a piece of music. George Frederick Handel was born in Germany and moved to London.

He was a celebrated opera oratorio composer of his day and composed the Messiah in 1742.

Stephanie and Colin Smith

ily’ s BEAUTIFUL THINGS

begin here

“Even now I get a shiver when I hear some of the choruses because it’s so evocative of growing up,” she says. “This performance today is very special because it was written for a parlour, not a big church. Handel approved of this because it made money. There were benefit concerts, and he would use the money to help the poor and the oppressed.”

It was decided in 1784, on the 25th anniversary of Handel’s death, to stage a series of his concerts. Some of his best-loved works were republished in new editions.

The Messiah was one of these, despite it being performed continuously since Handel had composed it. Amateur music-making in the home had risen in popularity, so an arrangement for a ‘parlour performance’ of this work was made and published in 1784.

Somehow a copy of this edition made its way to New Zealand. One of only four known copies world-wide, this manuscript has now surfaced in Katikati.

How did this happen?

Firstly, one of Katikati’s early pioneering families, the Killens, had a silk gown which one of the descendants, Dr Barbara Smith, gifted to the Western Bay Museum.

The Killen Gown was mounted and is still on display there.

Barbara’s cousin Colin Smith is a grandson of Mary Elizabeth Killen, and came to the museum when Te Papa National Services Te Paerangi Conservator of Textile and Costume, Sam Gatley, was there in August 2016 to mount the gown for safe display. Colin watched the process and remembered his grandmother wearing the garment.

5 January, 20182015 21 August,

“Even though this had a hard life and the title page has detached, the text blocks are still in really good condition and can be read, played and copied”

He decided to gift three violins to the museum.

“The violins were headed to Te Papa,” says Western Bay Museum manager Paula Gaelic. “They could see we were looking after their family treasures properly, and doing it by Te Papa standards.”

Colin’s wife Stephanie Smith recalls what else had come into their possession.

“Colin bought a violin from an auction and this manuscript came with it,” says Stephanie. “We didn’t realise it was there, we just thought it was an old piece of music. We thought a version of the Messiah for parlour performance was quite funny – to have a performance in your front room.

“I’m slightly embarrassed to say it was sculling around in our piano stool up in Auckland for several years in a paper bag. It was in poor condition when we acquired it.

“Through a long series of circumstances, Rachel Griffiths-Hughes at the University heard about it and decided to do some research on this particular version of the Messiah.

“It was found to be an 18th Century manuscript on rag-based paper rather than wood-pulp based paper,” says Stephanie. “They used linen rags with the result that it’s not acidic and lasts, and they also used high quality inks in the 18th Century.

“Even though this had a hard life and the title page has detached, the text blocks are still in really good condition and can be read, played and copied. If that had been made 100 years later with the acidic papers that they used in the late 19th Century, it would probably be crumbling to bits.”

“I didn’t notice this manuscript at the bottom of the

pile until ten years after I bought it,” says Colin. That was around 20 years ago.

“I tried to find out who originally owned it but haven’t been able to ascertain that. Rachel Griffiths-Hughes from Waikato University has spent quite a bit of time on it for which we are all very grateful.”

Colin understands there are three other known copies of the manuscript - one in New York, one in the British Library system and one in the Handel Collection.

“And then there’s this one. I suspect it came with the violin and the ship’s piano when it came up for auction.

It probably came in the 1840s or 50s.”

Colin asked Paula if she’d like to have a concert for the museum.

“I can’t believe we’ve got the manuscript here in our small town of Katikati,” says Paula. “It’s never been on display in the Southern Hemisphere before and very few people in the world would have seen it.”

Colin was able to hear it for the first time with performers from Waikato University.

“This amazing piece of music, which was a big hit in London, was transported we think along with a piano, a violin and a cello to New Zealand on that treacherous five-month voyage for people setting up a new life here,” says Rachel.

“For people who know the work well it’s different and refreshing. For people who don’t know the work well, they’ll hear this piece of music done for parlour performance as it could have been done in New Zealand as early as 1860.”

“To have the performance of the Messiah here in a church would be very familiar to Handel and I think Rosalie Liddle Crawford he’d approve,” says Marjorie.

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January,2015 2018 life+style The Weekend Sun 215 August,

Sandcastle spectacular Temporary beach art Four hours of concentration is etched on Brett Muir’s face as he applies the finishing touches.

Brett Muir

While most people go to the beach to soak up the sun, the surf, and the sand, Brett goes for the possibility.

Where some children spend half an hour building a sand castle before they want to kick it over, Brett spends four hours crafting his.

“For a while, every time the family went to the beach I’d do that and after a while they’d go: ‘Oh yeah well we’re going home, we’ll leave you to it’,” says Brett.

So now Brett heads to the beach two hours ahead of the rest of the tribe, so he can lay his foundations and get the start of his sand creation ready.

“It’s something to do on the beach, and people enjoy it. It’s a very temporary type of art form – the tide will take it if a kid, a dog, a beach ball or a flying umbrella doesn’t.

“It’s a performance art – it’s like drawing pictures on the footpaths. If you’re not there to see it, you’re not part of it.”

Reigning national sandcastle champion Brett says he’s looking forward to the next competition – whenever that is.

“In 2015 I went to the New Zealand Sandsculpting nationals, which are held in Christchurch, and I won first place in the individual category. Brett says the national competition is typically held at New Brighton Beach in Christchurch, but the pier is under earthquake renovations deeming it unsafe for potential sandcastle masters. The organisers have cancelled the last two annual competitions.”

“They’re waiting for the pier strengthening to be finished before they hold it again, so I‘ve ended up being the New Zealand champion for the past two years, uncontested,” says Brett.

Winning comes with its perks – Brett says his family started to take his hobby seriously when he began winning tangible prizes that everybody could benefit from.

“About three years ago I won a summer competition run by Hyundai where I won a Hyundai Santa-Fe for a year, and that was the turning point. Because that was when all the people who thought you were a bit crazy sort of went: ‘Oh, okay, that works’.”

Not all sand is created equal, says Brett, and he’s always on the hunt for the very best.

“I usually make them [sandcastles] around Omanu,

5 January, 2018 21 August, 2015

“It’s something to do on the beach, and people enjoy it.

It’s a very temporary type of art form – the tide will take it if a kid, a dog, a beach ball or a flying umbrella doesn’t”

because funnily enough all sand is not the same, and the sand at Mount Main Beach is too coarse. There are too many shells and little bits of volcanic glass so it doesn’t want to bind together, and the sand down by Papamoa Domain is quite coarse too.

“But the sand between Tay St and Omanu beach is probably the best on the beach.”

And – whether you want to believe it or not – you don’t need fancy tools to create something that looks like it belongs in a Disney movie.

A bucket with the bottom cut off, a butter knife, some sand and water, and a good amount of sunscreen.

“The main thing,” advises Brett, “is to spend time on the foundation. Use lots and lots of water. Get a bucket and cut the bottom out of it so that gives you a form that you can pack full of sand. The more time you spend packing the hard wet sand, the more you can make the castle defy gravity and the longer it will stay up”.

As you can imagine, it’s heart-breaking seeing someone storm through his sandcastle, and Brett says it happens on occasion.

“The hardest one is when it’s a 15-yearold running through it for a $10 dare, and Whangamata is the worst place for that.

“I was up there one New Year and there were some police doing the beat along the beach and I actually got them to guard the sandcastle while I went for a swim.

“And even the policewoman who was guarding it when I got back up said: ‘Oh it’s so tempting

Skin Dermatology Institute 752 Cameron Road, Tauranga Phone: 07 571 5548 Email: skindermatologyinfo@gmail.com www.skindermatology.co.nz

jut to push it over’.”

Understandably, Brett unwittingly ropes in a lot of passers-by – curious to see what the man covered in sand is crafting.

“People love watching, and I’m good enough now that people stand around and watch and sort of get a feel for how they’re made. Because when you see the finished product it’s very, very hard to visualise how on earth someone did that.”

And Brett appreciates it when spectators come up and offer to help – even if it’s offering him a cold drink.

“It’s just a pain there’s a liquor ban on the beach! I have built them on other beaches where people come up and go: ‘Oh look, I can see that you need a beer while you’re doing that so here’s a beer’.”

And of all the spectators that Brett sees watching his creations come to life, he says the little ones are the most interesting.

“The funny ones are the toddlers – you’ll get a three-year-old sitting there fascinated for two hours watching intently and then they say: ‘How did you do that?’

“For a kid it’s like watching a chrysalis transforming into a butterfly; you saw both parts of the process but you don’t know how it works.

“But most people, they sit on the beach and watch me shovelling the best part of threequarters of a tonne of sand and think: ‘I’m glad I’m not that guy’, while still wondering what Cayla-Fay Saunders the hell you’re doing.

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January,2015 2018 life+style The Weekend Sun 215August,

Sassy Summer Salad Ingredients: ¾ cup green Puy lentils, boiled until just tender ¾ cup farro, boiled until just tender 1 small red onion, finely chopped 1/3 cup finely chopped parsley ¼ cup finely chopped mint ¼ cup finely chopped coriander (optional) ¼ cup pumpkin seeds ½ cup chopped raw almonds 2 Tbsp. pine nuts 2 Tbsp. capers 1/3 cup of either currants, chopped dried sour cherries or soaked barberries (or use a combination of any of them for that sweet/sour tart flavor) Dressing: Put all the ingredients into a lidded jar and shake well.

2 Tbsp. lemon juice 1/4 cup extra virgin olive oil 1 Tbsp. pomegranate molasses Good pinch of salt flakes (Maldon flakes are fabulous for this).

Topping: ¾ cup Greek yoghurt 1 tsp. cumin seeds 2 tsp. barberries Using a mortar and pestle, crush the cumin into a coarse powder.

Finely chop the barberries and mix both through the yoghurt.

To prepare: In separate pans, boil the lentils and farro until just tender – do not over boil.

These should be just softened. The farro will take about 15 minutes and the lentils about 20 minutes. Drain well and leave to cool. Finely chop the herbs and onion.

Using a dry frypan, gently toast the chopped almonds until slightly toasted, then add in the pumpkin seeds and pine nuts, tossing to keep an even heat. Remove from heat as soon as the pine nuts start to brown a little. In large bowl, combine the grains, nuts, seeds, herbs, onion and fruit – toss gently to mix. Pour over dressing and mix again.

Just before serving, top with the yoghurt, sprinkle some dried barberries and, if available, some pomegranate seeds on top for an extra flavor boost and decoration.

This salad will keep well for a couple of days in the refrigerator.

Recipe from

5 January, 2018

New artisan market Whakamarama’s bubbling art community ARTbop and The Black Sheep Bar & Grill have joined forces to create the Affordable Art & Artisan Fair, which will take place on the last Sunday of every month excluding December.

Located at The Black Sheep Bar & Grill on the corner of Plummers Point Road and State Highway 2 in Whakamarama, the next event will be held on the last Sundays of January, February and March from 11am-3pm.

The idyllic coastal country location is ideal for a market such as this, with ample parking and stall space available. While some stall holders are able to make use of the covered pagodas, a further area caters to stall holders with their own shade covers.

Rosemary Balu, Birgitt Shannon and Marcus Hobson are the creative powerhouses behind establishing this new, and already popular market.

“It was Rosemary’s idea,” says Birgitt. “This was such a fabulous venue and there was nothing between Katikati and downtown Tauranga, so we thought this would be a wonderful place for an artist and artisan fair. That’s what we’re up to.”

The Black Sheep Bar & Grill has been converted from horse stables, with large indoor and outdoor dining areas, a performance space for bands and musicians, and is enjoyed by locals looking for a relaxed Sunday lunch.

The market fits perfectly into this setting, and is full of metal work, sculpture, locally-designed fashion, plants, paintings, photographs of native birds and scenery,

jewellery, prints, laser-made bracelets, wall hangings and succulents growing from painted cups and saucers.

“It’s been wonderful today, with lots of people through” says Birgitt on the market’s opening day. “We have 26 stall holders at the moment, and that number is growing. I’ve got another five coming next year in January and they’re all local. Everything here is original and handmade by the people here.”

The hand-crafted jewellery is by Barb Hudson, upcycled wool blanket clothing is by Liza Munro, sand carved and etched glass by Rex Linder, hand-printed women’s clothes by Maria Gillgren, upcycled jewellery and trinkets by Sharnie Riley and scented candles by Trish Hutchinson.

Elsewhere, turned wood pieces are by Glenn Poultney, handmade jewellery by Deb Bowden, drums restored

by Grant Sutherland, timber tables and mirrors by Garry Weir, artwork by Omokoroa artists, photography

by John Fitzgerland, handmade chocolates by Dreamy Chocs, paintings by Birgitt Shannon and creations by local students from Toi Ohomai Institute of Technology.

“There’s been a steady stream of people through, eating, drinking and buying things,” says Birgitt. “It’s a magic day out.”

Live musicians will be performing each market day with Katikati performers at the inaugural fair.

“They were really cool - fabulous.” says Birgitt.

Nearby, a large group relax in Black Sheep’s outdoor seating area, with horses grazing in the paddocks down the hill. It’s a wonderful addition to the growing arts heart of the Pahoia, Omokoroa and Whakamarama community.

Rosalie Liddle Crawford

Rosemary Balu and Birgitt Shannon

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January,2015 2018 life+style The Weekend Sun 215 August,

French fries and family ties Why potatoes and museums are important When I accompanied my sister Andrea to London, I managed to talk her into breaking up the flights by stopping off in Paris.

Antoine-Augustine Parmentier

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We jumped on the hop-on hop-off bus and whisked around the city. On our second day, she went shopping and I went to the cemetery.

As a child, I’d loved visiting museums in Auckland and anywhere else I could find one. Someone asked me what I thought about Tauranga having a museum, to which I pointed out that we do, in fact, already have them to some extent – Classic Flyers, The Elms Te Papa, Hauraki Army Museum, Brain Watkin House and Tauranga Historic Village.

It wasn’t until I got to Paris, though, that I realised what having a museum means.

We’d gone to see the Palace of Versailles, with its magnificent rooms filled with 60,000 artworks and collections illustrating five centuries of French history. The palace is one of the greatest achievements in French 17th century art and a succession of kings continued to embellish it up until the French Revolution.

Today, it contains 2300 rooms spread over 63,154 m2. I walked through the Queen’s Apartments where Marie-Antoinette had stood and overlooked the courtyard below. Every room was richly ornamented with tapestries, marble panelling and painted ceilings. Despite being awed by the masterpieces and grandeur, I felt no personal connection to any of it.

My uncle in Katikati had suggested we track

down one of our ancestors, Antoine-Augustine Parmentier, a Frenchman who lived from 1737 to 1813. Apparently my great-grandmother Mabel Partmentier was descended from his branch of the family.

I thought how hopeless it feels to find my roots when I’m probably a mix of Welsh, English, Scottish and Maori, and now a splash of French too.

I had noticed on the subway a Parmentier Station, so I jumped off to go and check it out. That’s when everything changed.

Embedded into the wall of the station was a statue of Parmentier giving potatoes to a hungry man.

Studying as a pharmacist, he gained a remarkable scientific knowledge and enlisted in the army in 1757, spending several years as a prisoner of war in Germany.

The prison diet mainstay was potatoes, and it made Parmentier realise the nutritional value of a crop seen as only fit for pigs – and prisoners.

After his return to France in 1763, Parmentier worked hard to promote the potato in the face of opposition from scientists (who said it caused leprosy), the clerics (who claimed it provoked lust and labelled them a Protestant vegetable), and the gourmands (who said it was tasteless, indelicate, and flatulent).

In the end he succeeded by making it appear covetable, and arranging celebrity endorsement.

He had trial plantings in the Palace of the Tuileries garden appear valuable by having them guarded heavily by day only, thus ensuring the theft of plants at night.

5 21 January, 2018 August, 2015

“My uncle had suggested we track down one of our ancestors, Antoine-Augustine Parmentier, a Frenchman who lived from 1737 to 1813”

He also managed to persuade Marie Antoinette to wear a posy of potato flowers, meeting the royal couple as they walked through the gardens of Versailles. And he hosted grand dinners with the likes of Benjamin Franklin in attendance, at which all courses were based on potatoes.

In addition to his agricultural work, Parmentier perhaps in remembrance of his own childhood as an orphan - had a highly-developed social conscience for the time, opening up soup kitchens to feed the poor of Paris.

King Louis XVI allowed him to cultivate a small plot on the royal estate which encouraged courtiers to begin growing them, and, consequently, the potato became popular.

Parmentier saw potatoes as the answer to famine during years when wheat crops were poor.

Awarded Royal Society of Medicine prizes for the chemical study of milk and analysing blood, Parmentier lost everything when the Revolution broke out. Potatoes were later declared to be the food of the French Revolution. For this, Parmentier was honoured by Napoleon, who made him one of the first members of his Legion d’Honneur.

He did research on wine and flour preservation, cold-storage, meat refrigeration and on the use of dairy products. He also took part in the development of cans boiled in water.

He was a forerunner in all the food sectors.

From 1805 to 1813, he actively contributed to the vaccination drive against smallpox in 1799 with Bonaparte’s support. He fought for the access to vaccine for the poorest, and his memoirs on the

healthiness of hospitals, on soldier’s bread and on water being the troops’ drink, led him to become a member of the French Institute, in the Department of Physical Sciences and Mathematics.

Grateful for his work and devotion, French society gave his name to streets and schools and put up statues and other tributes.

I discovered he was buried in Paris’s Père Lachaise Cemetery, just a short tube ride away. Arriving an hour before closing time, I had no idea this cemetery was the largest in Paris. Oscar Wilde, Frederic Chopin, Jim Morrison and others are also buried here.

I finally found his tomb, where visitors have left potatoes on the ledges and fans all over the world have planted potato flowers. I felt awestruck by this humble man. The cemetery guards pulled up in their car growling because it would take me 20 minutes to walk out and the gates were closing in five. I explained. Their faces lit up.

“Parmentier est votre ancêtre?”

“Oui,” I replied.

They chauffeured me all the way back to the entrance. The gates shut behind me. I finally know what it means to have a museum, artifacts and something that connects us with our past.

Rosalie Liddle Crawford

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