Page 318 - Constructing Craft

7
Rozsika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine, London, 1984,
p.5. Parker’s italics.
8 Pierre Bourdieu, Outline of a Theory of Practice, trans. R. Nice, Cambridge, 1977, p.167.
9
Pen Dalton, The Gendering of Art Education : Modernism, Identity and Critical Feminism,
Buckingham, 2001, p.92.
10
P. Willis, Learning to Labour: How Working Class Children Get Working Class Jobs, London, 1977,
pp. 92-3, quoted in Dalton, ibid.
11
Pen Dalton, 'Housewives, Leisure Crafts and Ideology' in Gillian Elinor, et al., eds, Women and
Craft, London, 1987, p.33.
12
Helen Mason, '10 Years of Pottery in New Zealand', New Zealand Potter, Special Issue 1967.
13
Moyra Elliott and Damian Skinner, Cone Ten Down: Studio Pottery in New Zealand, 1945 - 1980,
Auckland, 2009, pp.28 - 9. Earthenware was often considered inferior to stoneware, the type of clay
and firing method preferred by the followers of Bernard Leach.
14
Helen Mason, ' Untitled', New Zealand Potter, 1, 1 1958, p.1.
15
Dorothy Pascoe, 'Letter to the Editor: History of Nz Crafts Council', New Zealand Crafts, June/July
1984, p.2.
16 Janya McCalman, 'Golden Bay Work Centre', Broadsheet, April 1982, p.18.
17
ibid., p.19.
18 ibid.
19
ibid., p.20.
20 April Hersey, Women in Australian Craft, Sydney, 1975. Unpaginated.
21
Quoted in Glenn Adamson, ed., The Craft Reader, English edn, Oxford, 2010.
22
Thalia Gouma-Peterson and Patricia Mathews, 'The Feminist Critique of Art History', The Art
Bulletin, 69, 3, 1987, p.332.
23
Philip Clarke, 'Juliet Batten', New Zealand Crafts, 9, March / April Vol. 9, 1984, p.18. Batten was
surprised but gratified to be identified with craftspeople.
24
The first convention was held in Auckland in 1973, followed by the 1975 convention in Wellington,
the 1977 convention in Christchurch and the 1979 convention in Hamilton. Two central aims of the
conventions were the raising of the status and confidence of women and getting more women working
on women’s issues.
25
The case mentioned was an exhibition in Wellington by Louise Lewis in 1974. See Christine Dann,
Up from Under: Women and Liberation in New Zealand, 1970 ‒ 1985, Wellington, 1985, p.112.
26
Peter Shaw, 'Malcolm Harrison: Quiltmaker', New Zealand Crafts, July 1983, p.25.
27
Juilet Batten and et al., 'Letter to the Editor', New Zealand Crafts, December/January 1983/1984,
p.5.
28
Sue Rowley, 'Warping the Loom: Theoretical Frameworks for Craft Writing' in Noris Ioannou, ed.,
Craft in Society: An Anthology of Perspectives, South Freemantle, 1992, p.173.

14. Māori Craft

1
Authority, power and/or prestige.
2 Sacred and/or forbidden.
3
Neil Scotts and Peter Mounsey, Craft New Zealand. A Study of the Craft Industry, Craftspeople and
Their Training Needs, Wellington, 1983, p.4. p.5. Part 1, 2.5.
4
In 1951 29% of Māori lived in urban areas. By 1961 that had increased to 46% and by 1971 the total
was 71%.See David C. Thorns and Charles P. Sedgwick, Understanding Aotearoa/New Zealand:
Historical Statistics, Palmerston North, 1997, p.54.
5 The marae is a central meeting place used for religious or social purposes.
6
Glenys Christian, 'Keeping Alive Korowai Weaving', New Zealand Crafts, December 1982, p.2.
7
Myrtle Walker quoted in Sandi Searancke, 'Nga Puawaitanga O Nga Wahine', Broadsheet, June
1984, p.23.
8
Māori culture or Māori way of life.
9
Non-Māori New Zealanders.
10
Treasures.
11
Peter Beatson and Dianne Beatson, The Arts in Aotearoa New Zealand. Themes and Issues,
Palmerston North, 1994, p.61.
12
People of the land.
13
Athol McCredie, 'Going Public: New Zealand Art Museums in the 1970s', MA thesis, Massey
University, 1999, p.147.
Constructing Craft