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New Zealand adopted the current flag in 1902, after Australia went through a process and approved theirs the year before.
The current flag is derived from the maritime British Blue Ensign. The stars of the Southern Cross were added and, similar to other Commonwealth countries, the Union Jack remains in the first quarter to recognise that New Zealand started as a British colony.
The current flag wasn’t our first flag, though. It’s changed before.
For a rundown of the history, please view the video to the right from the flag.govt.nz website.
Every territory needs a flag to differentiate its civilian and navy vessels, its diplomatic missions, and other representatives from other territories. The origin of our first flag was an urgent response when a ship built in the north of the country appeared in Sydney, Australia without a flag – meaning that it could be seized under international law.
The emblems of this land evolved on two tangents – the geometrical versus the cultural.
Take for example the Union Jack, which appears on the Canton of the current New Zealand flag. It is the culmination and evolution of several flags:
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the Cross of Saint Andrew
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counter-changed with the Cross of Saint Patrick,
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over all the Cross of Saint George.
(The English Crown was absorbed into the Scottish after Elizabeth I didn’t produce an heir.)
These symbols date back to ancient times at a time of the crusades where different crosses were distinguishable from other religious symbols. Evolved from this philosophy has evolved the flags of many European countries whose crosses range from the Greek Cross (Greece, Switzerland) to the Scandinavian Cross (Norway, Sweden, Denmark, Iceland, Finland.)
On every New Zealand flag has appeared a cross, based on the British ensign. The United Tribes flag is no different.
Elsewhere, flags have discarded the strictly geometrical approach to vexillilogy and kept with ancient symbols that represent their faith or identity. These symbols have evolved to modern, stylised emblems that appear on national flags today.
From ancient Polynesian times, Maori differentiated themselves using ta moko (Maori tattoo), wood carving ("Whakairo") on waka (war canoes) and buildings, and patterns on clothing and buildings. Maori carving and patterns differ from that of tropical Polynesia. This can be drawn largely due to:
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the availability of materials for tools (New Zealand Pounamu/jade is stronger than Polynesian volcanic basalt);
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the materials to use in art (flax and totara are more malleable compared to coconut palms);
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the length of isolation from the rest of Polynesian; and
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the significant population of Maori where sharing of knowledge has led to the evolution of the art.
As noted in McLintock’s 1966 “An Encyclopaedia of New Zealand”:
Maori carving evolved greatly since the first Polynesians came to New Zealand. The earliest settlers probably brought with them a fairly simple set of basic designs and a small range of largely geometrical surface patterns with straight lines rather than the curvilinear patterns almost universally used when the Europeans first arrived. Archaeologists, particularly in the South Island, have recovered a number of archaic objects decorated with rectilinear patterns or simple notching similar to those found in many parts of tropical Polynesia.
At the same time, the Maoris were not the only Polynesians to use spirals and other curvilinear patterns. The supposed absence of the spiral from the rest of Polynesia has been one of the arguments for tracing Maori carving to other areas, such as South America. The spiral, however, occurs in other Polynesian cultures, especially in the Marquesas, where it is used as a conventionalised ear on human figures, as the antennae of insects, and sometimes as a decoration on the knees of human figures, just as in Maori carving. Multiple spirals of the Maori type are also found in old tapa designs in Niue.
The great development of carving in New Zealand was probably due to three factors.
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First, there was an abundance of straight-grained, easily worked totara timber, quite unlike the dense, cross-grained timbers of tropical Polynesia.
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Secondly, there was nephrite (greenstone), which could be fashioned into adzes and chisels far superior to the basalt, shell, or limestone adzes of the Pacific Islands.
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Thirdly, the population of New Zealand was far greater than that of most individual islands in Polynesia and probably contained elements from different parts of Polynesia. This would naturally lead to a faster development than would be expected in a small insular community.
Early patterns drawn from Polynesia included fauna such as humans (“Tiki”), sea creatures (“Manaia”, “Marakihau”, fish and whales), lizards, and birds and later flora. It is the flora of Aotearoa that provided the most significant inspiration in the patterns of wood carving and ta moko.
(Left) Portrait of a New Zealand man, Sydney Parkinson, 1784, probably from a sketch made in 1769.
(Right) a typical stern post of a waka.
Please click on image to view an enlarged version.
In addition to their many forms used in surface decorations, spirals are an important element in relief carving. Maori spirals are almost always double, though single spirals are occasionally seen carved on stone objects. As the elements in relief carving consist almost entirely of human figures, apart from the spiral, Archey has put forward a theory that the spiral itself has evolved from interlocking manaia, or the interlocking mouths of manaia. It is true that there are numerous examples of openwork spirals which do consist of two interlocked manaia or interlocked manaia mouths, but whether the spiral gave rise to these forms or evolved from them is not known. It is proposed therefore to deal with the spiral as one of the elements of relief carving in its own right.
The openwork spiral is known as pitau or takarangi. Such spirals do not stand alone, but are placed between human figures or between the heads of human figures. The finest spiral designs are those on the bow and stern ornaments of war canoes and on door lintels. Spirals are also used between full-faced figures or manaia on door posts, window frames, and on the lower edges of maihi or bargeboards on the front of carved houses. On war canoes and in some house carvings spaces between the two volutes of a spiral are cut right through the timber producing, in superior work, a lacelike effect. An admirable study of all the various types of spiral, including those used in surface decoration, was published by Phillipps (JPS, Vol. 57, p. 30, et seq). A glance at the various types will show that almost every one starts in the centre with a pointed elliptical space, or with a letter S.
Whilst many traditional Polynesian patterns incorporated elements from the feather, fish bones, and insects, in New Zealand patterns evolved from elements unique to the natural environment. Most notably, the fern became a major source of inspiration.
The Koru.
The Rauponga.
Two examples of adaptations of fern elements in Maori patterns.
Origins
To Maori, the silver fern represents many core elements of their culture. When Maori first arrived in Aotearoa around the time of Magna Carta (1215), they brought with them food sources that could endure the long voyage, such as kumara, and relied on the sea for other essential items. When they arrived, they needed to adapt and found fern root as an essential source of food and other parts of the fern for clothing and shelter. The under leaf of the silver fern reflected the moonlight to provide a guiding light.
The silver fern's unique colour and shape provided inspiration for many cultural art and ceremonies. In ceremonies, the fern waved during a waiata welcomed visitors onto a marae (meeting house). The Koru (curling frond shape) represents the unfolding of new life, that everything is reborn and continues. It represents renewal, hope for the future, life, growth, strength and peace. [Source]
There is no definitive date for when the silver fern was first used as a symbol. Many archaeological discoveries note that Maori used elements of the fern, such as the koru, as early as the Classic Period of 1500. Abel Tasman in 1642 noted such patterns on ta moko and waka. [Source]
Since European contact, the recorded history of the silver fern's role in Maori culture has been more precise. Captain Cook's botanist, Joseph Banks, made many sketches of Maori art, flora, and fauna. [Source]
The adoption of the silver fern as a national symbol, however, may have been an inadverted misinterpretation of Maori symbols or an adaptation of European symbols to include more relevant New Zealand symbols.
Maori adopted many European symbols and vice versa. One such symbol that Maori were not necessarily acquainted with was the laurel leaf, which adorned the braiding and emblems of Royal Naval officers, including Captain William Hobson RN - New Zealand's first Governor and signatory of the Treaty of Waitangi on behalf of the Crown. Over time, the laurels have been replaced with the silver fern.
A traditional waiata (song) performed to welcome a dignatory onto a marae (meeting house) or pa (village). Note the use of fern fronds and the colour of performer's clothing.
(Courtesy of gg.govt.nz: the Governor-General, Lt Gen The Rt Hon Sir Jerry Mateparae, being welcomed at Rātana Pā, 25 January 2012.)
(Left) The current Royal Navy's officer's cap badge.
(Right) The Royal New Zealand Army's cap badge used in World War II.
The silver fern has been the symbol of the New Zealand Army and it's militia predecessors.
Based on recorded history, the mutual recognition and adaptation by European and Maori of the silver fern generated the first truly New Zealand emblem.
In the early days of New Zealand's colonial history, there were many instances of uses of the silver fern in militia emblems. In Taranaki, the silver fern was a symbol of local militia. The formalisation of the silver fern into The New Zealand Army's emblems started with the 1899 deloyment of the First Contingent to combat the Second Boer War. By the time that they returned in 1902, however, the government had approved what is currently the New Zealand flag without consultation.
Every New Zealand Defence Force emblem since 1899 has contained the silver fern, including on war graves of the fallen.
One such example is the New Zealand Cross, which started as the highest New Zealand award for military bravery from 1869. Many believed that the laurels on the medal and bar were Silver Ferns rather than laurels. This confusion was remedied when, in 1999, the award was reintroduced as New Zealand's highest award for civilian bravery with silver ferns replacing the laurels.
(Left) The 1869 New Zealand Cross - New Zealand's highest award for militia bravery during the New Zealand Wars. The Victoria Cross was awarded to British troops.
(Right) The 1999 New Zealand Cross - New Zealand's highest award for civilian bravery.
(Top Left) 1865 war grave of a Taranaki militiaman.
(Top right and bottom) Pre deployment portraits of New Zealand Army soldiers who fought in the Second Boer War 1899-1902.
The silver fern's formalisation as an icon in New Zealand culture originated in places where representative symbols were required. Military, government, and sport are the typical avenues where emblems evolve from the adaptation of cultural symbols.
In sport, a 1888-89 tour of Britain by the New Zealand Native Football Representative team was the first to wear the silver fern abroad. From this initial show of national identity, the silver fern as an icon was cemented as New Zealand's national emblem.
A cap from the 1888-89 Britain tour by the New Zealand Native Football Representative team.
Organized international sporting events where teams represented nations were rare until the early 20th Century. Due to physical isolation and the evolution of the Olympic movement, New Zealand didn't formally enter a team in the Olympics until the VII Olympiad in 1920 at Antwerp. That first team, comprising two runners, a rower, and a 15-year-old girl swimmer all wore the silver fern on a black background.
In the meantime, Rugby Football was the sport that literally 'picked up the ball and ran with it.' Whilst international games in cricket and football were held in New Zealand in 1904, it was the touring Originals All Black tour (a media typo that originally described them as 'All Backs') where the silver fern on black became an intimidating combination.
While New Zealand sport and military had already adopted the silver fern as a national emblem, the government dragged its heels. In fact, the government was completely out of step with the feelings of the public and, to a great extent, with reality.
The first European settlers that arrived in New Zealand after the signing of The Treaty of Waitangi sought a life away from the class system of industrializing Victorian society. The New Zealand Company, however, sought to reproduce that system in the South Pacific. From day one in the organized settlements of Otago, Canterbury and the New Zealand Company settlements of Nelson and Wellington did the settlers reject such entrenched systems and sought their own sense of identity.
Unfortunately, when Sir George Grey introduced representative government in 1854 (and later became a representative) a system of entrenched disaffection resulted. Due to the strict rules over the right to vote (only allowing land owners to vote) and the ability for candidates to run in multiple electorates, the same self-entitled politicians returned to office. Worse than that, when the same politicians became tired of debate and election campaigns, they became life members of the upper Legislative Assembly, much like the House of Lords.
It is not surprising that, with such an archaic system, the politicians developed delusions of granduer that was oblivious of the national identity emerging 'beneath it'. While Imperialism was at its height, Britannia 'ruled the waves', Marianne provided liberty and reason to France, and Mother Russia and Uncle Sam unified their nations, Zealandia appeared as a national personification of New Zealand. Almost Aryan in apprearance, the blonde female in white Roman stola was in stark contrast to the demographic of white Anglo-Saxon Protestant settler New Zealand.
While New Zealand troops in South Africa during the Second Boer War wore the silver fern cap badge and were nicknamed 'Kiwis' (due to the shine of their Kiwi branded black boot polish), the government back at home adopted a flag in response to Australia's adoption of a flag the previous year.
The delusion continued when the government decided to develop a coat of arms. When New Zealand became a Dominion in 1907, it was decided that a new coat of arms was required, and a design competition was held. The winning entry (decided in 1911) was a design by James McDonald, a draughtsman in the Department of Tourist and Health Resorts.
The coat of arms displayed Zealandia in prudish Edwardian garb and a Maori chief looking away from each other flanking a shield. The three qudrants separared by a central pale displayed three ships in the Cook Strait, the three main industries and an out of place Southern Cross. Above the shield was a lion holding a Union Jack and below was non-descript fauna around the New Zealand Army motto "Onward.'
Debate surrounding the flag emerged during World War II, when Prime Minister Peter Fraser received suggestions to include a Maori emblem on the flag. He deferred the matter until after the war, but never brought it up again.
During the aftermath of the Suez Crisis, Egypt took exception to the Union Jack on peacekeeper's flags. Canada adopted a Maple Leaf (a symbol from the 1700s which had appeared on their coat of arms in 1921) while New Zealand adopted the silver fern and later a Kiwi emblem on a black background.
This moment led to debate in Canada which culminated in to the adoption of a new modern flag in 1965. In New Zealand, however, after considerable debate in 1957, the silver fern was incorporated into the coat of arms - at the expense of the army's motto. Zealandia and the Maori chief then faced each other.
The New Zealand Olympic team en route to Antwerp in 1920. Rower Darcy Hadfield sits at bottom right. Violet Walrond, our first female Olympian, stands between her father Tui (in the white pants) and George Davidson, with Harry Wilson at bottom left.
"Zealandia" first appeared on a 1901 one penny postage stamp. She has since appeared on the 1911 (bottom left) Coat of Arms of New Zealand and the 1957-present (bottom right) Coat of Arms.
SInce the United Kingdom joined the European Union in 1973, New Zealand's economic ties with the United Kingdom faded. Trade policy converged towards more market-based strategies. The "New Zealand Brand" became the focus of differentiating our goods and services from other countries through accentuating our clean and green image. The silver fern started to appear on many of our exported goods and became a popular choice for company logos.
During the economic upheaval of the 1980s and 90s several politicians raised suggestions to change the flag, without much support. Not supporting an idea based on the person who proposed it rather than the merits of its case (often referred to as "The Tall Poppy Syndrome") has been a consistent theme in New Zealand politics since its inception. The flag debate has not been immune.
Sporting bodies and government agencies, however, adapted the silver fern into their emblems.
The decision of Prime Minister John Key in 2014, using his 'considerable political capital', to introduce a process to consider alternative options to the flag is the first genuine attempt in New Zealand's history by a politician to discuss national identity and symbols that should represent the country. Following a process similar to that which led to the introduction of a Mixed Member Proportional electoral system, New Zealand's have the first opportunity to debate and decide on a flag of their choice.
The Silver Fern
Reconstruction of the signing of the Treaty of Waitangi by Marcus King (1891-1977.)
The emergence of black as a national colour is the result of the convergence of two cultures who had similar attitudes and applications of the colour. It is a dichoctomy of similar values of status that has evolved into a culture of equality, equity, opportunity, and ambition.
In Maori culture, the following colours predominated:
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Mangu/Pango (Black) - represents Te Korekore (the realm of potential being).
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Mā (White) - represents Te Ao Marama (the realm of Being and light).
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Whero (Red) - the colour of tapu (nobility, divinity, and power).
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Kākāriki (Green) - used in pounanu (greenstone/jade), ta moko (tattoos), Kakahu (feathers used in cloaks) and occasionally in artwork.
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Parauri (Brown) - used in weaving, clothing, and artwork in substitution for red.
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Karaka (Orange)
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Kōwhai (Yellow)
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Kikorangi (Blue)
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Waiporoporo (Purple)
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Kiwikiwi (Grey)
These colours emerged due to their availability in nature. Other colours, such as gold, weren't in common use. While Kai/Ngai Tahu were aware of the presence of gold deposits, the metal was of little use or value due to its malleability.
Black and white was available from the feathers of seagulls, Huia and Tui. Many birds were seen as chiefly. The feathers of certain birds were used as adornment for high-born people – particularly plumes worn in the hair. Chiefs wore the kahu huruhuru (feather cloak), made from the feathers of the most beautiful birds.
The Huia, extinct since the early 20th century, had black tail feathers with white tips, which high-ranking people wore in their hair. The group of 12 feathers from a Huia’s tail, usually still joined at the base, was called a mareko, and was worn by high chiefs going into battle. Huia feathers were kept in a carved wooden chest called a waka huia [Source].
The Kākā, a cheeky parrot, had red feathers under its wings. Māori associated the colour red with high rank, and only high-status people wore cloaks made with Kākā feathers.
The Kiwi was known as ‘te manu huna a Tāne’, the hidden bird of Tāne (god of the forest), because it came out mostly at night and was seldom seen. Kiwi meat was considered fit for chiefs. Their feathers were woven into rare, beautiful cloaks called kahu kiwi, which were considered taonga (treasures). The cloaks are used on special ceremonial occasions, such as the tangi (funeral) in August 2006 of the Māori queen, Te Arikinui Dame Ātairangikaahu.
The regal-looking Kōtuku (White Heron) appears in a well-known whakataukī (saying), ‘He kōtuku rerenga tahi’ (a white heron of a single flight). This can refer to a distinguished visitor who visits only rarely. Long plumes from the kōtuku’s broad wings, called piki kōtuku, were prized as head ornaments by people of high rank.
Tākapu (gannet) were valued for their white down and plumes. The plumes were used as hair adornments, and the soft belly feathers were made into pōhoi – feather balls worn in the ear by men and women of rank.
Tui was highly prized by the Maori for food, its feathers and its companionship. In mythology, the bird had a semi-divine origin, one of three guardians appointed in times remote to preserve the welfare and fertility of the forest, as also of its occupants, the children of Punaweko, birds.
Tūī are unique in New Zealand as they imitate the songs of other birds, and can also imitate people. The birds were sometimes tamed and taught to speak. They were taught mihi (greetings) which they would recite when visitors arrived, as well as prayers and proverbs. They were often trained to sound like the loud and deep voice of a chief. A tūī that spoke like this was called a manurangatira – a chiefly bird. Sometimes a tūī was named after a tribe’s famous ancestor, and kept by the chief [Source].
The predominant colours of rank in Maori were black and white. The first Europeans of rank to settle in New Zealand were missionaries. Their choice of clothing was black with a white cravat. Many rangatira (chiefs) noticed the similarity of their choice of dress with the Tui and took missionaries under their wing. Many early settlers also noticed the similarities and named the Tui the 'Parsons Bird'.
Such similarities between the European and Maori cultures became a common bond. As more officials arrived in New Zealand, such as Bishop Selwyn, James Busby, and William Hobson, black and white became the mutual symbols of rank.
Red was considered as a colour of mana and tapu to Maori and royalty and divinity to Europeans. The presence of British 'red coats' (enlisted ranks) in many ways diminished the red as a colour of rank.
When the Treaty of Waitangi of signed, it wasn't lost on many observers that the British officials wore predominantly black and so did the Maori chiefs that signed. Lieutenant Governor William Hobson wore black with silver braid - the colours of Kawanatanga (Governorship). To be equal and of rank, the partnership was cemented by signatories adorned in a mutually recognized colour of respect - black.
(Top Left) The now extinct Huia, hunted for its feathers.
(Top Right) A Maori chief of high rank wearing Huia feathers in his hair to indicate his rank and wearing a black and white feather cloak, 1860s.
(2nd Row Left) A Tui (Parsons Bird).
(2nd Row Right) Thomas Kendall, one of the first missionaries in New Zealand, 1814. Here he is wearing traditional black with white cravat.
(3rd Row Left) Bishop Selwyn, the first Anglican bishop of New Zealand.
(3rd Row Right) Lietuenant Governor William Hobson RN, first Governor of New Zealand.
(3rd Row Left) Warrior in full dress, by Sydney Parkinson, 1784.
(3rd Row Right) James Busby, the first British Resident and drafter of the 1835 Declaration of Independence and the Treaty of Waitangi.
The first time that the silver fern on black was worn in an overseas representative rugby match was by the New Zealand Native Football Rugby team to tour Britain in 1888-89.
Nationhood was slow to emerge until organized international events developed. The first organized sporting tour by a New Zealand team was the 1888-89 tour of England by the New Zealand Native Football Rigby team. They chose to wear the Silver Fern on the left breast of an all black uniform.
The choice of black by the team continued the tradition of black as the bicultural colour of status. Also, black provided a contrast to England's choice of colour for their uniforms - white.
The first 'all New Zealand' international tour by any sport was the "All Blacks", also known as "The Originals" in 1905.
Other New Zealand sporting bodies, starting with the Olympic movement, adopted the colour as New Zealand's national colour.
The only other colour that emerged in the evolution of international sport was the anomoly of motor sport. For a time, while British racing green and Italian Red dominated the Formula One circuit, New Zealand's Bruce McLaren experimented with three colour combinations:
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Green and silver was briefly used on the 1963 Cooper-Zerex. The choice of green was due to the car being completed during the weekend and the only colour available was green from a gardening store. The legend of the 'Jolly Green Giant' was born.
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Black and silver were the colours made famous when Bruce McLaren drove the Ford GT40 Mk2 across the Le Mans finish line in first place in 1966. Ford voluntarily adopted the colour scheme in an effort to welcome the Kiwi duo of Bruce McLaren and Chris Amon into the team. For good measure, a silver fern was added to each side of the car. The colour scheme was very popular for its sleek, elegant look, but it was eventually abandoned due to safety (a black car could be difficult to see screaming up in the rear-view mirror of a slower car) and attention-seeking reasons.
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"McLaren Orange" adorned the Can Am, Formula One and Indy cars and served the purpose as a high visibility option to attract sponsors. To this day, whenever the McLaren team unveil their new car, they revert to the original orange until sponsorship is announced.
The 1966 Monaco Grand Prix was to be the very first Formula One race for a McLaren car. Bruce McLaren asked top motor racing artist Michael Turner to create a colour scheme based on the New Zealand racing colours, with a green top decking and silver lower sides divided by a band of yellow. But upon arrival at the track, Turner was disappointed to discover the new McLaren car decked out in white with a green stripe.[Source]
The reintroduction of representative motor racing with the A1GP circuit in 2005 saw the change of New Zealand's racing colours to the black and silver combination used in the 1966 Le Mans race.
Another such example of the choice of black was Sir Peter Blake's decision to paint NZL32 in the 1995 America's Cup. When he asked his team what colour they wanted, the unanimous response was "Black!" The legend of "Black Magic" was born, with a large Silver Fern on both sides of its hull.
The tradition of black as a national colour continues today as a colour of status, excellence, achievement, warmth, and a fashionable national brand.
The All Black "Originals" during their England tour of 1905. The legend is that a London newspaper reported that the New Zealanders played as if they were "all backs."
The "Black and Silver" Ford GT40 Mk2 driven by Bruce McLaren crossing the finish line in first place of the 1966 24 Hours of Le Mans Race.
(Top) The "Black and Silver" Ford GT40 Mk2, winner of the 1966 24 Hours of Le Mans Race.
(Middle) The New Zealand A1GP racer.
(Bottom) Team Kiwi Racing V8 Super Car racing car.
Black & White
The Southern Cross - or 'Crux Australis constellation' as known in astronomy - as a symbol should be assessed in the context of its era. Whilst Captain Cook journeyed to the Pacific to view the Transit of Venus, the Southern Cross had litle relevance to his course or New Zealand's path.
The symbol that most people recognize as the Southern Cross on the New Zealand flag is a rotation of four stars to deliberaltely fit the four points of the Roman Cross - the symbol of Christianity and Freemasonry.
New Zealand European settlement before 1840 was a counterbalancing act of Christian missionaries trying to guide Maori towards their path in the wake of the less desirable turmoil of sealers, whalers, and traders - who Charles Darwin described as generating "The Hellhole of the Pacific." [Source]
During Charles Darwin's world tour aboard the HMS Beagle (captained by Robert FitzRoy - later the second Governor of New Zealand), he visited New Zealand and believed that what he saw reinforced his theories of natural selection and evolution. Upon reading those theories after their return to England, Fitzroy was dismayed about how Darwin's theories clashed with his own Christian evolutionary beliefs.
What many Christians did accept about Darwin's theories was that Caucasians - or rather British - were an enduring and dominant race. Woven into the philosophical fabric of the early planned settlements of Otago, Canterbury, and the New Zealand Company was a real belief that the Maori would eventually die out within a generation. Dr Logan Campbell - the founder of Auckland - went so far as ensuring that a monument was erected near his tomb on One Tree Hill to commemorate the Maori race.[Source]
Many early planners of the settlement of New Zealand believed that, during the social, political, and economic upheaval of the 'Dark Satanic Mills' of the Industrial Revolution, a new 'Jerusalem' could be built with all the finer elements of British class culture in their 'Green and Pleasant' 'Chosen Land.'
The settlers, however, desired an egalitarian and secular society with a more progressive government. New Zealand led the world with universal franchise for Maori men (1867 - but only 4 electoral seats), men (1881), and women (1896). [Source]
National symbols and national identity emerged that bypassed a delusional government who branded themselves "God's Own Country" [Source]
Many other movements throughout the world held similar beliefs for their new land. Whilst in New Zealand disease and assimilation was the Christian way of accepting the Maori fate, in the New World of North America and Australia there were more deliberate attempts to subjogate native peoples and accelerate the process of natural selection. In Tasmania, the "Black Line" tried to erradicate aborigines. In the American South, slavery and white supremacy subjogated African-Americans.
So how did a Southern Cross manage to appear on our national flag? The origins of the Romanised cross first emerged in 1869, four years following the Colonial Navy Defence Act 1865, which required all ships owned by colonial governments fly the defaced Royal Navy blue ensign with a Colonial badge. New Zealand did not have a Colonial badge, or indeed a Coat of Arms of its own at this stage, and so the letters "NZ" were simply added to the blue ensign between 1867-69.
In 1869 the First Lieutenant of the Royal Navy vessel HMS Blanche, Albert Hastings Markham, submitted a design to Sir George Bowen, the Governor of New Zealand, for a national ensign for New Zealand. His proposal, incorporating the Southern Cross, was approved without any consultation - with even Parliament.
Some argue that Markham based his design for the flag on the Australasian Anti-Transportation League Flag, designed in 1849 by Reverend John West. The movement was against transporting prisoners to Australia. The British never transported prisoners to New Zealand. [Source]
Markham - the grandson of the Archbishop of York - spent his early years inspired by Robert FitzRoy and novelist William Thackeray, who were his neighbours. Navy life didn't suit him (he got seasickness) but he saw the travel as a means of maintaining his interest in writing on the topics of biography, ornithology, and exploring. Whilst posted at Australia Station in Queensland, he submitted his design to Bowen without having visited New Zealand. [Source]
Sir George Bowen had a similar affection for the Southern Cross. An author, lawyer, historian of classics, life in the navy didn't suit him either so he obtained administrative positions as the first Governor of Queensland (when it separated from New South Wales in 1859) and then Governor of New Zealand in 1867. Bowen introduced the New Zealand Cross in 1869, which included the four stars of the Southern Cross on the medal's cross. [Source]
Ambitious, Bowen was promoted to Governor of Victoria in 1873, whose flag (formalised in 1870) also contained the Southern Cross on a Blue Ensign.
The symbols on the New Zealand flag may have been irrelevant to many but they were important symbols to the Freemasons. The Union Jack contains points of several masonic symbols, including the divider, mitre, pyramid, and pentagram. The Southern Cross includes the same points.
The role of the Freemasons in the settlement of the New World has been well recorded. The street layouts of Washington DC, Melbourne, Sydney, Dunedin, Christchurch, Nelson, Wellington, and Kumara all contained masonic symbols. Dunedin went further to contain the Celtic Cross (with top Freemason Robert Burns's statue at its centre), while Christchurch and Nelson chose a Quadrate/Crusaders Cross.
Albert Markham, Thomas Bracken, Richard Seddon, and Robert FitzRoy were all Freemasons (as well as many in the echelons of power). Many have suspected that Thomas Bracken's God Defend New Zealand is riddled with masonic phrases. [Source]
Australia (Latin for 'Southern Land') already had a long association with Crux Australis and the decision by Bowen to adopt a Romanized constellation on the New Zealand flag was the result of romanticised beliefs of two outsiders with little physical or practical association with the Land of the Long White Cloud. Essentially, it was a pet project with little outside involvment.
When Australia held a competition shortly after the 1900 Confederation to find a flag, they chose seven pointed stars (the "Commonwealth Star" - one point for each state and territory) for the Southern Cross in 1901. New Zealand, led by Richard Seddon, continued on their God's Own tangent to pass the Ensign and Code Signals Bill, which was approved by King Edward VII on 24 March 1902. There was one subtle difference to Markham's design, however. The stars weren't aligned to the Roman Cross but slightly moved to be more in line with the constellation's configuration.
Returning soldiers of the Boer War wore the silver fern on their uniforms, the United Tribes flag inscribed on the back of their medals, and were greeted with an 'official' flag of little relevance.
The military rarely showed support for the New Zealand flag. Whilst thousands of lemon squeezer hats with the silver fern cap badge crossed the beaches of Gallipoli in 1915, only one New Zealand flag did. It was until 1939 during the Battle of the River Plate that the flag was first flown in battle by HMNZS Achilles, a flag required to be flown under maritime laws and the rules of war.
Please feel free to discuss the content of this page on the discussion board below. Please click on any of the links to view our sources, which we have also shared with and had verified by the Wikipedia community.
Prime Minister Richard Seddon wheeling a barrow of clay at the turning of the first sod of the Lawrence-Roxburgh Railway Works.
The Crux Australis as it appears in New Zealand's sky.
“Southern Crosses”
Australasian Anti-Transportation League Flag, 1849. This is the flag that many argue influenced Markham's design.
The Australian Colonial flag, 1823.
The Eureka Flag, 1854.
The Confederation Flag, 1861.
Flag of Victoria, 1870.
New Zealand Code Signals Flag, 1899.
The United Tribes of New Zealand flag, 1835.
Flag of Australia, 1901.
Flag of New Zealand, 1902.
(Left) Sir George Ferguson Bowen, GCMG.
(Right) Admiral Sir Albert Hastings Markham, KCB.
(Left) In 1898, Richard Seddon, then premier, became the Most Worshipful Grand Master of the Masonic Lodge of New Zealand (30 years after he had first joined the Masons).
(Right) Thomas Bracken, author of God Defend New Zealand.
This New Zealand national Blue Ensign flag was flown at Quinn's Post, Gallipoli, in 1915. The flag was brought back to New Zealand by Private John Taylor, Canterbury Battalion.
The Southern Cross
The best way to describe New Zealand's history of its icons is to compare it to a railway map. While most of New Zealand's representative bodies have kept on the main trunk line, the government has gone off on a tangent - "Off the beaten track" as many could say. Here is a timeline of the events that influenced our national icons.
1200s – Maori arrive in Aotearoa.
1500s - Archaeologists discover the use of organic representations of the Silver Fern in Maori artwork.
1642 - Abel Tasman visits Aotearoa and names it New Zealand. He observes Maori art, which includes the koru and huia feathers in the hair of Maori.
1823 - The Australian Colony adopts a new flag.
1835 - The United Tribes of New Zealand adopts a new flag, using designs proposed by British Resident, James Busby.
1840 - At the signing of the Treaty of Waitangi, Maori, missionaries, and British representatives wear black as a sign of equal status and mutual respect.
1854 - Governor Sir George Grey introduces representative government. Most of the members of Parliament are settlement leaders/developers.
1860s - The Silver Fern is adopted by several militia as their emblem during the New Zealand Wars.
1869 - Governor Sir George Bowen asks Australia-based Albert Hastings Markham to design a flag. Markham’s design includes a Southern Cross made from red five pointed stars with white outlines with a Union Jack Canton. At the same time, he introduces the New Zealand Cross, a military medal with the Southern Cross on the four points of the cross. Bowen adopts the flag and medal with no consultation.
1870 - Victoria adopts a flag that includes a white starred Southern Cross with a Union Jack Canton.
1876 - Thomas Bracken wins a competition for a national anthem. It is called “God Defend New Zealand” and includes many cryptic Freemason terms. Fellow Freemason and Member of Parliament, Richard Seddon, lauds it.
1888 - The NZ Native Football Rugby team tours England. They wear the Silver Fern on a black uniform.
1899 - New Zealand troops depart for South Africa for the Second Boer War. Their insignia is the Silver Fern. While abroad, they earned the nickname "Kiwis" due to their shiny black Kiwi-branded boot polish.
1900 - Confederation of the Commonwealth of Australia.
1901 - After a competition, Australia adopts its current flag.
- Zealandia makes her first appearance as the personification of New Zealand.
1902 - Premier Richard Seddon supports making Markham’s flag law, which passes.
1905 - The New Zealand Rugby team tours England. “The Originals” are given the nickname “The All Blacks.”
1907 - The New Zealand Government adopts a coat of arms, which features the Southern Cross and Zealandia.
1914 - The NZ Expeditionary Force paints the Silver Fern on all mechanised transport and armour.
1920 - New Zealand sends its first team to the XII Olympiad at Antwerp. They all wear the Silver Fern on black.
1939 -The Silver Fern on black is used by the NZ Expeditionary Force rugby team, as well as the Maori Battalion and all military insignia. The flag is first flown in battle on the HMS Achilles at the Battle of the River Plate.
1940 - Zealandia is the symbol of the government’s centenary celebrations of the Treaty of Waitangi.
1956 - Following the Suez Crisis, Egypt protests peacekeepers flying flags with the Union Jack. Canada uses the Maple Leaf, New Zealand uses the Silver Fern on black (later the Kiwi on black.)
1957 - The New Zealand Government changes the coat of arms to include the Silver Fern (in the place of ivy.)
1966 - Chris Amon and Bruce McLaren drive their black and silver Ford GT40 to victory in the Le Mans 24 Hour race. The cars feature a Silver Fern along the sides.
1972 - The United Kingdom joins the European Economic Community (later known as the European Union).
- New Zealand Rail (a government-owned company) launches the “Silver Fern” service between Wellington and Auckland.
1990s - During the 1980s, 1990s, and 2000s, many government departments change their logos to include an adapted Silver Fern as part of the “New Zealand Brand.” Many companies follow suit.
1995 - “Black Magic”, which has a large Silver Fern along its sides, wins the America’s Cup.
Most New Zealand sporting bodies adapt the Silver Fern into their logos and wear black uniforms by the end of the millennium.
1999 - By Royal Warrant, the New Zealand Cross becomes the country’s highest award for civilian bravery, replacing the previous New Zealand Cross which was only awarded for military bravery. The medal’s only differences from its 1869 predecessor is the blue ribbon, the St Edward’s Crown, and the substitution of laurel leafs with Silver Ferns.
2015 - Prime Minister John Key announces a two referenda flag consideration process to consult, discuss options, and then decide on a flag. It is the first time in New Zealand’s history that a politician has asked voters to choose a national symbol.