Page 283 - Constructing Craft

Index but equally a reaction to the increasing emphasis on the corporate image the

CCNZ was projecting. In New Zealand the concept of an Index was not opposed per
se, but disagreements about the structures and procedures employed were common.

Furthermore, the criticism could be expressed through the CCNZ’s own magazine,
Craft New Zealand, which had started publication in 1982. Although it was rare for

craftspeople to state that their work had been rejected, the tone of many of the letters
suggests that had happened. The Index failed to gain momentum and the split within

the membership of the CCNZ may have contributed to its demise in 1992.

Meanwhile, in Britain the Index and a ‘Register of Makers’ were supported by a large
group of prominent craftspeople, new art graduates and craftspeople whose main

focus was earning a living.

Advising and Influencing

The CCNZ was never in a position to dispense government grants and build a
collection of craft for historical purposes and for displaying in museums as the British

Crafts Council (BCC) was. Graduates from the new polytechnic craft design courses
were largely on their own unless they could obtain Arts Council funding and their

small numbers and late arrival on the scene prevented them from becoming the

influential support group. The CCNZ could not build up a sufficient level of loyalty
from younger craftspeople who could not call on it for financial support. In addition, it

was never able to afford a collection and therefore could not establish itself as the

guardian of New Zealand’s craft heritage. Throughout its existence the CCNZ played
a purely advisory role – offering for example, assistance to government departments

and corporations with their gift or display purchases.

Education: The Future of Craft

Many crafts councils overseas were aware of the importance of education and
actively advised their governments on matters concerning craft in schools. However,

the CCNZ in the late 1970s was devoting little time to curriculum development of

craft within schools. This was partly because there was less conflict between formal
design training and craft making in the less industrialised New Zealand, but also

because the CCNZ was spending more time on issues that impacted directly on its
members. On the surface this appeared to be a sensible use of limited resources but

Constructing Craft