Eyewitness

Rugby legend Sir Bryan Williams made All Blacks rugby history as the first player of Pasifika blood to play in Apartheid-era South Africa in the early 1970s. He talks to Sonia Yee about the cultural obstacles and challenges heading into the three-month tour, what it meant for Black South Africans and why he's advocating for Pasifika players today through Moana Pasifika.Today, Pasifika players are commonplace in the All Blacks, and rugby in general. But that hasn't always been the case. During Sir Bryan Williams' time there were cultural barriers. ​Listen to the podcast to find out what it took for Sir Bryan Williams to alter rugby historyThe year was 1970 when a shy, 19-year-old Bryan Williams was selected to play for The All Blacks. It was an exciting and daunting time."I was selected alongside many of my heroes - Colin Meads, Brian Lochore, Malcolm Dick, and a whole array of top players who I'd spent the 1960s absolutely idolising, and then suddenly I was selected alongside them, so I was terrified," Williams recalls."Coming into the All Blacks, you're always under pressure. There's the expectation that you live up to what the jersey stands for."Williams was only just getting used to the spotlight in his rookie year, when he was selected for a three-month tour to play against the Springboks in apartheid-era South Africa.While Williams was not the first Pasifika player to join the All Blacks - Walter Batty, and brothers Frank and Dave Solomon came well before him - Williams would be the first to travel there, but not without some anxiety leading up to the tour.The system of apartheid, which translates as 'apartness' in Afrikaans was built on a legislation of separatism and racial segregation under a white-led National Government.Formally coming into law in 1950, apartheid kept those of black and coloured skin completely separate from whites in the public domain. Designated areas were set up on the basis of skin colour.'Whites Only' signs would be seen hanging in shop windows, on park benches, at entrance ways to cafes and restaurants, and even access ways to beaches.Interracial marriages were banned and all South Africans were classified into four groups - black, coloured (mixed race), white, and later, Asian (for Pakistanis and Indians).Previously, in 1960 Māori All Blacks were banned from touring to South Africa and New Zealanders were signing petitions opposing the exclusion and the tour.Ten years later, Williams and the three Māori players - Sid Going, Buff Milner and Blair Furlong - would be admitted under a special pass, giving them what was referred to as 'honorary white status.'…Go to this episode on rnz.co.nz for more details

Not much is known of the suburban zoo that was once situated in Christchurch's North Beach. But those who visited recall eyeing up a mysterious crocodile in a small glass enclosure. In this episode of Eyewitness, Sonia Yee uncovers some myths, and finds out why it has left many with a mix of wonder and bewilderment.Roaring sounds of Suzy the lion would wake up local residents in an otherwise quiet suburb in Christchurch. The mini zoo known as North Beach Zoo was situated at 153 Beach Road. A former aquarium it was re-imagined by Bill Grey who bought it in the late 50s. ​Listen to the podcast to hear more of Miles Dalton's adventures with the animals and why the zoo leaves behind mixed emotions. "It had a very special place in my heart," says Wellington-based Aaron Alexander. Alexander visited the mini zoo many times with his grandmother who lived in the area. And to this day, the crocodile in a glass case near the entrance, remains firmly in his memory. "As a little kid I wouldn't want to get any closer...it was a beautiful mix of terror and excitement," he says. The zoo was established before Orana Wildlife Park, which didn't open its doors until the mid-seventies. So for many visitors, the mini zoo provided an opportunity to see large, wild animals up close and personal. But what also made this zoo peculiar is that it was small - a stone's throw from the beach and across the road from a golf course, it was also surrounded by residential properties. "It wasn't really aimed as a big money making venture," says Miles Dalton who worked there part-time as a student. Dalton says the entrance fee for visitors was around $3 dollars for adults, and half that again, for kids. During the summer months it was bustling with families and tourists, and visitors could buy cups of food to feed to the smaller animals. Although it seemed like an odd location for a zoo, it was established before the area became residential. "There was a point where Bill used to take the lion for walks on the beach," says Dalton. "But then it got too populated, so he couldn't do that." Dalton refers to owner Bill Grey as a 'hard worker and a lovely man who really cared for the animals,' some of which, had been acquired not by choice, but because previous owners had mistreated them, and the animals had shown signs of neglect. …Go to this episode on rnz.co.nz for more details

At a time when women were embracing their femininity after the war years, Barbara Herrick wanted to change the way women felt about themselves through fashion. She speaks to Sonia Yee about Dior's New Look that took the world by storm, carving a path in Auckland's high-end fashion scene with her label, Babs Radon. And shares what it was like to meet Her Majesty Queen Elizabeth II at The New Zealand Wool Awards. "We risked everything for fashion," says Auckland designer Barbara Herrick of the celebration of femininity seen on the streets of central Auckland after the war years. ​Listen to the podcast to find out more about Barbara Herrick and Babs Radon During the Second World War, women had entered the workforce in large numbers to help with the labour shortage. It was then that utilitarianism became the order of the day. But the launch of Christian Dior's debut collection would reinvigorate the fashion industry.Launched in 1947, just two years after the end of the war, Carmel Snow, former Editor in Chief for America's Harper's BAZAAR coined Dior's collection 'The New Look'. It was an exciting expression of the female form, taking women's curves - and imaginations - to new heights. Full skirts, curved collars, padded hip-lines and cinched in waists took a global hold of women's wardrobes, and New Zealand was no exception. "Women suddenly looked so feminine after the bleak years of the war," recalls Herrick. "You tried your best even if you might have a little cardigan on, which was the thing about New Zealand girls - always in their little cardigans." Herrick wasn't one to don a cardigan herself. In fact, she loathed them.Like many women, she was mesmerised by Dior's 'New Look' which signalled a social shift for women. There was no longer any need to conserve fabric and leisure time was being brought back into everyday vocabulary. But these new garments weren't always practical. "The only problem was getting on and off trams because the skirts were quite long, and your heel would often catch in one of these layers. Very dangerous!" Herrick recalls. Herrick, the daughter of a knitwear designer, was also studying fashion at Auckland's Druleigh College. She was determined to pick up the tools of the trade and had her sights set on starting a high-end fashion label. After completing her course at Druleigh, she picked up odd jobs and also worked part-time for womenswear designer, Emma Knuckey, which would later set her up to go out on her own. …Go to this episode on rnz.co.nz for more details

Little is known about The Wizard of New Zealand who took centre stage in Christchurch's Cathedral Square from the 70s until the Christchurch earthquakes in 2011, which saw the city in a state of disrepair. A man who challenged political, social and cultural ideology, The Wizard posed provocative questions in this public space, much to the delight, and sometimes dismay, of passersby. But the background to why The Wizard was there in the first place has been something of a mystery... until now. Sonia Yee finds out more in this episode of Eyewitness.Anyone who visited Christchurch's Cathedral Square before the 2011 earthquakes will know of The Wizard of New Zealand - an iconic figure and mainstay of the city centre.Often dressed in a velvet kaftan and pointy black hat, the Wizard carried a wooden staff and performed on a step ladder that acted as his portable podium. Listen below to find out more about The Wizard and the mark he made on the history of Christchurch: These days, you'll find The Wizard, who refers to himself simply as 'Jack', living a much quieter life, spending his time between Christchurch and Oamaru.But what many won't know is that the man formerly known as Ian Brackenbury Channell, was also part of a larger project that would see him become a living work of art. "That means everything about you is created by yourself as an artwork," says The Wizard. "Your identity is only one thing, but you need to have a whole lifestyle - your family and friends, the universe you live in and the way you see the world - has to all be turned into something aesthetic, rather than moral or rational."The Wizard's transition to becoming a living work of art began to take shape while he was living in Melbourne.It was 1969, and he was starting a new position in the Department of Social Science and Sociology at the University of New South Wales, where he specialised in religion and revitalisation movements. During this period, he was looking into new ways to challenge social and political ideology. But he wanted to activate this by steering clear of violence, and instead, confronting people with what he refers to as 'unusually creative responses.'For The Wizard, that was very much like street theatre. But he was keen to push the envelope further by creating a fully formed aesthetic. To make this official, he and his partner, Alice, visited the National Gallery of Victoria. It was there they met with the director, Eric Westbrook, who was excited by The Wizard's proposal.Becoming a fully-fledged living work of art was edgy and provocative. No one had ever conceived of something like this before…Go to this episode on rnz.co.nz for more details