"I love this country with a passion, but I cannot live here anymore. I can no longer live slung about with panic buttons and gear locks. I am tired of driving with car windows closed and the doors locked, tired of being afraid of stopping at red lights. I am tired of being constantly alert, having that sudden frisson of fear at the sight of a shadow by the gate, of a group of youths approaching - although nine times out of ten they are innocent of harmful intent. Such is the suspicion that dogs us all." (Paton, A. London Sunday Times, November 29 1998) This credence and conviction was echoed repeatedly during personal interviews in South Africa and New Zealand. The added pressure South African Indian respondent's felt emanated from being Indian. This study argues that although the shift to post-apartheid epoch has dawned, the providence of the Indian in South Africa remains relatively unaltered. The consequence is that South African Indians are voyaging for security elsewhere. New Zealand has offered them an alternative home. This area of exploration has not been investigated before, since South African Indian migration to New Zealand is a relatively new exodus. This research explores and investigates why South African Indians are migrating to New Zealand, on a micro and macro level. This dissertation focuses on three main aspects: the reasons for migration to New Zealand, the effects on the respective countries and the formation of new 'identities and home.' I developed my main arguments based on the data retrieved from the personal interviews - the greatest source of information for this work. / Thesis (M.Soc.Sc.)-University of Natal, Pietermaritzburg, 2002

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.