Page 112 - Constructing Craft

Inside the exhibition area where Te Maori is displayed. The New Zealand group from left.
Mr. Ruka Broughton (behind glass) Mr Sonny Waru, Mr Kara Puketapu, Archbishop Paul
Reeves, Archdeacon Kingi Ihaka, Mr Henare Tuwhangai (partly obscured) Mr Bruce
Gregory, Hon. Mr Koro Wetere, Minister of Maori Affairs, and Dr Peter Sharples. Photo:
Art News.

The exhibition was also criticised because it did not contain weaving or tukutuku

(woven panels), considered women’s craft, or contemporary Māori art and craft
because it did not meet the criteria set down by the American art museums. Two

distinct groups appeared to be operating different agendas. The art, museum and

academic world were trying to bridge the art/artefact divide – moving artefacts from
museums into art galleries. Māori, on the other hand, considered artefacts as

taonga (treasures) and were more interested in re-establishing the link between
people and their ancestors and their land through these taonga. It was an example

of why Māori craftspeople were reluctant to become too deeply immersed in the

art/craft debate.

The craft/art debate was one of the most important issues in determining the
longevity of the craft movement or how it would be perceived by the wider

community. Some craftspeople believed there was no need to adapt to changing

trends and most were unaware of the sociological factors that drove craftspeople
and artists to seek validation of their work, but change was inevitable and simply

remaining a craftsperson in the traditional sense became less sustainable. In
addition, changes were occurring in other areas relating to the craft movement and

Constructing Craft