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demonstration (presumably covering her weavings in wood shavings); ceasing

               communication with offending exhibitors; harassing other craft show organisers and
                                                              24
               exhibitors or pre-empting opposition shows.

               The Dunkleys through a letter to the CCNZ from their solicitors denied all the

               accusations and threatened defamation action unless an apology was printed in the
                           25
               next issue.  The apology they prepared was not published but after negotiations a
               letter from Toby Dunkley explaining the NZCS’s position was published. The matter

               was also taken up with Greig but the CCNZ’s solicitors believed the absence of a
               settlement by late-1989 was not a matter for concern, although there was a slight risk

               that the publication of the letter from NZCS would be followed by a complaint or

               threatened action by Beverley Greig. The actions of the CCNZ to ensure it did not get
               dragged into litigation had shown, in certain circumstances, craftspeople would need

               to look to their own resources as Cape had predicted.



               The Fight for Survival

               In the late-1980s and early-1990s the CCNZ, like the BCC, was about to be placed

               under the financial spotlight. In many respects the causes were similar – an attempt

               by neo-liberal governments in both countries to reduce public spending. Furthermore,
               although both the CCNZ and the BCC had become the national organisations

               supposedly representing professional artist craftspeople, both faced criticism for not

               representing the majority of craftspeople. The BCC, in one form or another, had been
               in existence for over forty years. It had been managed by salaried staff from the

               beginning and although it did not have paying members as such, it had built up
               sufficient support within the craft community and within sections of the political

               establishment, to survive. The CCNZ on the other hand, now managed by a salaried
               staff rather than volunteers, was barely a decade old. With a membership of slightly

               more than one thousand and declining, almost no political patronage and with debts

               mounting, it collapsed.










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