
Commemorating Mummy: Reflections On Mother's Day
Commercial gimmicks are sometimes impossible to beat off. Their stench and pull follows, even as you look the other way. One occasion is most prominent in this regard. Nostrils get clogged and eyes get fogged, and the message is this: Remember Mommy.
Mothers' Day is rarely more than the draw and pull of extracted business and mined guilt. This is the worshipped and leveraged, the human breeder elevated and remembered, if only for one day. It resembles, in some ways, the link between poverty and the church box of charity. Give a few coins and save the child. Your conscience can rest easy.
The day itself denigrates the mother in false respect and guilts the family for ignorance to that fact. It sanctifies a family relation for reasons of commercial worth. Suddenly, Mummy escapes her metaphorical sarcophagus, the nursing home, the flat, and finds herself seated at the end of a table with regrets. The hideous spectacle follows. The grumbling, the sneers. Mummy wonders what she is doing there. Monument? Reminder? A disgusting reminder to die off? Thoughts turn to the will.
It was not necessarily intended that way. In the aftermath of the American Civil War (1861-65), Julia Ward Howe, author of the Battle Hymn of the Republic, proposed that women unite in common cause and promote peace. In time, it would become the Mother's Day Proclamation. In 1908, the idea became more concrete with West Virginian Anna Marie Jarvis's church memorial in honour of her mother, Ann Reeves Jarvis. Ann Jarvis had been a committed peace activist aiding wounded soldiers during the Civil War.
On May 9, 1914, US President Woodrow Wilson officially announced the establishment of Mother's Day as an occasion of national observance to be annually held on the second Sunday of May. Such observance was to involve the display of the American flag on government buildings and private residences 'as a public expression of our love and reverence for the mothers of our country.'
Mother's Day in Australia only took off with Sydney's Janet Heyden, who insisted in 1924 on remembering the aging mothers at Newington State Hospital, many of whom had been widowed by the calamitous slaughter of the First World War. As an activist, she encouraged local schools and businesses to furnish the ladies with donated gifts. In its more modern iteration, it has evolved into a family affair. As Australian historian Richard Waterhouse benignly describes it, 'It's not just about recognising the role of mothers, though that's still there, but it's really recognising Mother's Day as a day in which families can get together.'
As with other days of elected memory, Mother's Day draws in the retail and restaurant dollars. Guilty emotions are easy fodder for the capitalist impulse. Unremarkably, it was the United States that propelled its commercialisation, beginning with card companies like Hallmark and enterprising florists keen to make a profit. Jarvis, so instrumental in establishing the tradition, took to loathing it, attacking such marketing gimmicks as 'Mother's Day Salad'. For years, she harangued politicians, organised protests and sought audiences with presidents to arrest the trend towards commodification. Such efforts eventually exhausted her, leading to a lonely, poor death in a sanatorium.
Even as the Second World War raged, the scope of merchandise in anticipation of the day burgeoned. An April 1941 issue of New York's Women's Wear Daily notes how 'Mother's Day as a gift event has continued to grow in importance, and is now second only to Christmas'. In Dallas, one Margaret Evans, promotion manager of A. Harris & Co., enthused at the growing number of departments offering gift choices for the occasion. These included bags, gloves, hosiery, handkerchiefs, toiletries, and jewellery.
Eventually, women's libbers cottoned on to the idea that a commemorative occasion supposedly emphasising the importance of mothers had been hijacked and shamelessly exploited. In 1971, a pamphlet issued by the Adelaide women's liberationists suggested that the woman remained invisible, a chained martyr to the home, a slave to domestic chores and the cult of domesticity. Mother's Day was that one occasion of the year that a woman's invaluable role in the home was acknowledged, and even then, only imperfectly. Such a mother's 'basic needs', including a degree of independence from their children, remained unmet. But the pamphlet went further, arguing that women 'renounce [their] martyrdom' and reenvisage themselves as human beings and 'not just 'mum'.'
The nexus with children was also a point of comment in that decade. Radical feminist Shulamith Firestone's The Dialectic of Sex: The Case for Feminist Revolution, took solid aim at the distorting role played by parenting, and mothering, in the formation of children. Implicit in her argument was that both the mother and the child needed emancipation. It remains a pertinent point, even as the swamp of commercialisation looks deeper than ever.
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NZ Herald
15-05-2025
- NZ Herald
Art workshop inspires young talents in Gisborne-Tairāwhiti
Art tutor and workshop facilitator Jo Cringle said she was impressed by how motivated the students were and how quickly they worked. They ended up with extra time for drawing after completing their canvases, which was the main task of the day. Children from 17 schools took part in the full-day workshop. Cringle spoke to the students about the fundamentals of colour, including the importance of the colour wheel. They discussed which colours complemented each other before being tasked with creating an acrylic painting that incorporated the environment. Aurora Education Foundation executive director Sunny Bush said the workshop was designed to provide 'arty' students in Years 5 to 8 with an engaging, experimental and immersive experience. 'The programme aims to enhance their creative expression through the vibrant medium of acrylic paints,' she said. The foundation and Cringle have already facilitated three other workshops on the East Coast and in Wairoa this year. 'The tyranny of geographical isolation should not hinder our bright and talented children from missing out on first-class opportunities to develop their skills to a far higher level of performance,' Bush said. 'Aurora is the catalyst to make great things happen for our most promising children.' Sunsets and sunrises, night skies and bold colours featured prominently in the students' work. Some used Māori imagery. Paringatai Liddicoat, from Riverdale School, painted a marae that he had been studying at school. Another student did a special painting to give to her mum for Mother's Day. They were encouraged to find their own styles while developing skills in brushwork and various painting techniques. Annwyn Jia Rose, from Makauri School, said she had a great day and enjoyed meeting other students from different schools who shared her passion for art. Cringle said the children were enthusiastic and it was great that Aurora could provide opportunities that promoted creativity. 'This was our biggest Aurora art programme ever,' Bush said. 'The children produced vibrant and colourful work to an excellent standard, well beyond their wildest expectations.'


Scoop
13-05-2025
- Scoop
Commemorating Mummy: Reflections On Mother's Day
Commercial gimmicks are sometimes impossible to beat off. Their stench and pull follows, even as you look the other way. One occasion is most prominent in this regard. Nostrils get clogged and eyes get fogged, and the message is this: Remember Mommy. Mothers' Day is rarely more than the draw and pull of extracted business and mined guilt. This is the worshipped and leveraged, the human breeder elevated and remembered, if only for one day. It resembles, in some ways, the link between poverty and the church box of charity. Give a few coins and save the child. Your conscience can rest easy. The day itself denigrates the mother in false respect and guilts the family for ignorance to that fact. It sanctifies a family relation for reasons of commercial worth. Suddenly, Mummy escapes her metaphorical sarcophagus, the nursing home, the flat, and finds herself seated at the end of a table with regrets. The hideous spectacle follows. The grumbling, the sneers. Mummy wonders what she is doing there. Monument? Reminder? A disgusting reminder to die off? Thoughts turn to the will. It was not necessarily intended that way. In the aftermath of the American Civil War (1861-65), Julia Ward Howe, author of the Battle Hymn of the Republic, proposed that women unite in common cause and promote peace. In time, it would become the Mother's Day Proclamation. In 1908, the idea became more concrete with West Virginian Anna Marie Jarvis's church memorial in honour of her mother, Ann Reeves Jarvis. Ann Jarvis had been a committed peace activist aiding wounded soldiers during the Civil War. On May 9, 1914, US President Woodrow Wilson officially announced the establishment of Mother's Day as an occasion of national observance to be annually held on the second Sunday of May. Such observance was to involve the display of the American flag on government buildings and private residences 'as a public expression of our love and reverence for the mothers of our country.' Mother's Day in Australia only took off with Sydney's Janet Heyden, who insisted in 1924 on remembering the aging mothers at Newington State Hospital, many of whom had been widowed by the calamitous slaughter of the First World War. As an activist, she encouraged local schools and businesses to furnish the ladies with donated gifts. In its more modern iteration, it has evolved into a family affair. As Australian historian Richard Waterhouse benignly describes it, 'It's not just about recognising the role of mothers, though that's still there, but it's really recognising Mother's Day as a day in which families can get together.' As with other days of elected memory, Mother's Day draws in the retail and restaurant dollars. Guilty emotions are easy fodder for the capitalist impulse. Unremarkably, it was the United States that propelled its commercialisation, beginning with card companies like Hallmark and enterprising florists keen to make a profit. Jarvis, so instrumental in establishing the tradition, took to loathing it, attacking such marketing gimmicks as 'Mother's Day Salad'. For years, she harangued politicians, organised protests and sought audiences with presidents to arrest the trend towards commodification. Such efforts eventually exhausted her, leading to a lonely, poor death in a sanatorium. Even as the Second World War raged, the scope of merchandise in anticipation of the day burgeoned. An April 1941 issue of New York's Women's Wear Daily notes how 'Mother's Day as a gift event has continued to grow in importance, and is now second only to Christmas'. In Dallas, one Margaret Evans, promotion manager of A. Harris & Co., enthused at the growing number of departments offering gift choices for the occasion. These included bags, gloves, hosiery, handkerchiefs, toiletries, and jewellery. Eventually, women's libbers cottoned on to the idea that a commemorative occasion supposedly emphasising the importance of mothers had been hijacked and shamelessly exploited. In 1971, a pamphlet issued by the Adelaide women's liberationists suggested that the woman remained invisible, a chained martyr to the home, a slave to domestic chores and the cult of domesticity. Mother's Day was that one occasion of the year that a woman's invaluable role in the home was acknowledged, and even then, only imperfectly. Such a mother's 'basic needs', including a degree of independence from their children, remained unmet. But the pamphlet went further, arguing that women 'renounce [their] martyrdom' and reenvisage themselves as human beings and 'not just 'mum'.' The nexus with children was also a point of comment in that decade. Radical feminist Shulamith Firestone's The Dialectic of Sex: The Case for Feminist Revolution, took solid aim at the distorting role played by parenting, and mothering, in the formation of children. Implicit in her argument was that both the mother and the child needed emancipation. It remains a pertinent point, even as the swamp of commercialisation looks deeper than ever.

RNZ News
10-05-2025
- RNZ News
Hymns on Sunday, 11 May 2025
Hymns for the Fourth Sunday of Easter - Good Shepherd Sunday - feature in this week's programme, and there are some hymns to Mary to mark Mother's Day. Detail from a stained glass window by Christopher Webb, in St Alban's Cathedral, UK. Photo: Lawrence OP / Flickr Artist: New Zealand Youth Choir 1996, Karen Grylls (dir) Words/Music: Richard Puanaki Recording: Trust MMT 2016 Maria Ka waiata ki a Maria Hine i whakaae Whakameatia mai Te whare tangata. Hine pūrotu Hine ngākau Hine rangimārie Ko te whaea Ko te whaea O te ao Artist: Festival Singers Words/Music: Shirley Murray/David Dell Recording: Private CD 807 Loving spirit, loving spirit, you have chosen me to be you have drawn me to your wonder, you have set your sign on me. Like a mother you enfold me, hold my life within your own, feed me with your very body, form me of your flesh and bone. Like a father you protect me, teach me the discerning eye, hoist me up upon your shoulder, let me see the world from high. Friend and lover, in your closeness I am known and held and blessed: in your promise is my comfort, in your presence I may rest. Loving spirit, loving spirit, you have chosen me to be you have drawn me to your wonder, you have set your sign on me. Artist: Choirs of the Diocese of Leeds Words/Music: Father John Lingard/Trad Recording: Herald HAVPCD 397 Hail, Queen of Heav'n, the ocean Star, Guide of the wand'rer here below! Thrown on life's surge we claim thy care, Save us from peril and from woe. Mother of Christ, Star of the sea, Pray for the wanderer, pray for me O gentle, chaste, and spotless Maid, We sinners make our prayers through thee Remind thy Son that He has paid The price of our iniquity. Virgin most pure, Star of the sea, Pray for the sinner, pray for me. Sojourners in this vale of tears, O thee, blest Advocate, we cry, Pity our sorrows, calm our fears, And soothe with hope our misery. Refuge in grief, Star of the sea, Pray for the mourner, pray for me. And while to Him who reigns above, In Godhead One, in Persons Three, The source of life, of grace, of love, Homage we pay on bended knee; Do thou, bright Queen, Star of the sea. Pray for thy children, pray for me. Artist: Choir of Wells Cathedral, Malcolm Archer (dir), Rupert Gough (organ) Words/Music: Psalm 23 (Baker)/Dykes / Recording: Griffin GGCD 4010 The King of love my shepherd is, whose goodness faileth never. I nothing lack if I am his, and he is mine forever. Where streams of living water flow, my ransomed soul he leadeth; and where the verdant pastures grow, with food celestial feedeth. Perverse and foolish, oft I strayed, but yet in love he sought me; and on his shoulder gently laid, and home, rejoicing, brought me. In death's dark vale I fear no ill, with thee, dear Lord, beside me; thy rod and staff my comfort still, thy cross before to guide me. Thou spreadst a table in my sight; thy unction grace bestoweth; and oh, what transport of delight from thy pure chalice floweth! And so through all the length of days, thy goodness faileth never; Good Shepherd, may I sing thy praise within thy house forever. Artist: Auckland Anglican Maori Club Recording: RCA VRL2 0483 [Words not available] Artist: St Thomas' Music Group, Margaret Rizza (dir) Words/Music: Trad/Margaret Rizza Recording: Kevin Mayhew Kyrie, eleison Christe, eleison Kyrie, exaudi nos, Domine Kyrie, eleison Christe, eleison Kyrie, eleison Christe, exaudi nos, Domine. [Lord, have mercy Christ, have mercy Lord, hear us Lord, have mercy Christ, have mercy Lord, have mercy Christ, hear us.] Artist: Scottish Festival Singers Words/Music: Francis Ridley Havergal/James Mountain Recording: Whole World Media Group Like a river glorious is God's perfect peace, over all victorious in its bright increase: perfect, yet it floweth fuller every day; perfect, yet it groweth deeper all the way. Refrain: Stayed upon Jehovah Hearts are fully blessed Finding, as He promised, Perfect peace and rest. Hidden in the hollow of His blessed hand, Never foe can follow, never traitor stand; Not a surge of worry, not a shade of care, Not a blast of hurry touch the spirit there. Refrain: Every joy or trial falleth from above, Traced upon our dial by the Sun of Love; We may trust Him fully all for us to do; They who trust Him wholly find Him wholly true. Refrain: Artist: Sottish Festival Singers Words/Music: Horatius Bonar/Thomas Haweis Recording: Kingsway KMCD 2277 Fill thou my life, O Lord my God, In ev'ry part with praise, That my whole being may proclaim Thy being and thy ways. Not for the lip of praise alone, Nor e'en the praising heart, I ask, but for a life made up Of praise in ev'ry part; Praise in the common things of life, Its goings out and in, Praise in each duty and each deed, However small and mean. Fill ev'ry part of me with praise; Let all my being speak Of thee and of they love, O Lord, Poor though I be, and weak. So shalt thou, Lord, from me, e'en me, Receive the glory due, And so shall I begin on earth The song for ever new. So shall no part of day or night From sacredness be free: But all my life, in ev'ry step, Be fellowship with thee.