Page 33 - Constructing Craft

Once survival of traditional Māori arts and crafts techniques seemed to be assured

the question of progress was raised. It was expected that Māori would have to
locate their work within a Pākehā craft (Modernist) framework if they were to truly be

part of the studio craft movement as it moved towards its new position in the art
world. However, the historian, Anne Salmond was not convinced that Māori needed

to be guided by Pākehā: ‘Today conservatism is not entrenched, and marae in
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particular display quite startling innovations in form and materials.’

Defending Māori ways of pursuing their crafts required people such as Cliff Whiting
(Te Whānau-a-Apanui) to patiently explain that different cultures understood and

practised craft in different ways for a variety of reasons. He was able to successfully

amalgamate traditional Māori art and craft and studio craft practices after the
Second World War and was, as a result of his bicultural training as a primary school

arts and crafts advisor and his cultural background, fully aware of the different ways
in which the two ethnic groups approached craft: ‘Fundamental to Māori art is the

bringing together of people and materials. It is not just one person doing their thing.
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It has to do with the way Māori people structure themselves in the community.’ But
when a resurgence of interest did take place individual examples of good

craftsmanship were needed and people like Whiting looked to the work of individual
craftspeople, as well as past traditions, to promote the new Māori arts and crafts.

The emergence in urban society of a new generation of Māori craftspeople in the

1980s, in conjunction with the Māori political renaissance and a growing desire
amongst younger Māori to rediscover traditional craft skills, demonstrated that Māori

arts and crafts had an important role to play as a vital part of the studio craft

movement. Furthermore, when the studio craft movement did recognise the
importance of Māori art and craft and began to nurture Māori craftsmen and women

the movement gained a great deal of stored knowledge and became a

comprehensive movement. Many young Māori craftspeople in the 1980s would
prove that Māori would not be labelled by outdated perceptions. The new

craftspeople adapted Māori arts and crafts to new forms using non-traditional
materials, such as clay and metal, and achieved recognition as full members of the

studio craft movement.

Constructing Craft