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30 Dorothy Pascoe to Keith Blight, 13 October 1978, CCNZ Records, 92-278, 02/02.
31
Margaret Borwick to Jenny Pattrick, received 1 June 1979, CCNZ Records, 92-278, 02/02.
32 The Hawke's Bay Herald-Tribune, 11 December 1979.
33
ibid.
34
Gerard McGreevy and et. al., Town Planning and the Arts: A Guide to Assist Community Arts
Councils, Artists and Craftworkers in the Town and Country Planning Process, 2nd edn, Artlaw Series,
Wellington, 1981. Preface. The CCNZ was acknowledged, but this was predominantly an Arts Council
initiative.
35
Graham Linwood, 'Potters and Town Planning or Town Planning and Potters ', Craft Council News,
1982, pp.16 - 7.
36
ibid., p.16. The four councils were: the Hastings City Council, the Hawke’s Bay County Council, the
Napier City Council and the Havelock North Council.
37
ibid., p.17.

9. Turn on, Tune in, Drop out

1
Leary explained his statement in the following way: 'Turn on' meant go within to activate your neural
and genetic equipment. Become sensitive to the many and various levels of consciousness and the
specific triggers that engage them. ... 'Tune in' meant interact harmoniously with the world around you
‒ externalize, materialize, express your new internal perspectives. 'Drop out' suggested an elective,
selective, graceful process of detachment from involuntary or unconscious commitments. 'Drop Out'
meant self-reliance, a discovery of one's singularity, a commitment to mobility, choice, and change.’
Leary believed that the phrase was ‘misinterpreted to mean “get stoned and abandon all constructive
activity.”’ See Timothy Leary, Flashbacks: A Personal and Cultural History of an Era: An
Autobiography, Los Angeles, 1990, p.253.
2 Peter Gibbs, 'Craft Art Crossroads', Listener, 145, 2835 August 13, 1994, p.42.
3
David Grant, The Mighty Totara: The Life and Times of Norman Kirk, Auckland, 2014, p.340. The
‘ohus’, as the communes were called, were encouraged by Kirk following a visit to Israel in 1971
where he observed kibbutzim in action.
4
There appears to be no standard form for the capitalisation or hyphenating of ‘counter-culture’. See
Theodore Roszak, The Making of a Counter Culture; Reflections on the Technocratic Society and Its
Youthful Opposition, Berkeley, 1995. and Tim Heath, 'Sam and Susana', Master of Creative Writing
thesis, Auckland University of Technology, 2009, p.12.
5 Timothy Miller, The Hippies and American Values, Knoxville, 1991, p.91.
6
ibid., p.93.
7 ibid.
8
Roszak.
9
Richard Wasson, 'Review of the Making of a Counter Culture by Theodore Roszak', College English,
Vol. 31, 6, March, 1970, p.625.
10
John Robert Howard, 'The Flowering of the Hippie Movement', Annals of the American Academy of
Political and Social Science, 382, 1969.
11 Mark Kurlansky, 1968: The Year That Rocked the World, New York, 2004, p.183.
12
ibid.
13 Howard, p.50.
14
Glenn D. Adamson, 'Craft Paradigms: The Studio Craft Movement and the Avant-Garde, 1966 -
1972', Ph.D. thesis, Yale University, 2001, p.90.
15
A metaphor referring to urban sprawl
16 Douglas Lloyd-Jenkins, At Home: A Century of New Zealand Design, Auckland, 2004, p.197.
17
Jenny Carlyon and Diana Morrow, Changing Times: New Zealand since 1945, Auckland, 2013,
p.159.
18
L. D. Oakes, Inside Centrepoint: The Story of a New Zealand Community, Auckland, 1986, p.26.
See also Stephen Stratford, The Dirty Decade: New Zealand in the 80s, Auckland, 2002, pp.93-6.
19
Oakes, p.54.
20
The publicity featured Centrepoint’s unconventional attitudes to sex and nudity. The local council
permitted the sale of ‘seconds’ (faulty pots) on-site. All other work was sold through retail outlets off-
site. See John Sweden, 'Feeling Free / Cottage Industry', New Zealand Potter, 24, 2 1982, p.28.
21
Pottery 1.8%, hats 12.5%, scarves 4.2%, puzzles 1.6%.
22
Sweden, p.28.
Constructing Craft