Crafting Aotearoa


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Table of Contents

8 Introduction
18 Chapter 1 Craft and island nations
23 The Ancestors of the Arts, Tevita 'O Ka'ili
30 No Tangaroa ke tena Marae: Connecting with Oceania, Julie Paama-Pengelly
39 The Exchange of Kula Feathers, Tarisi Vunidilo
43 Pulotu, Hawaiki and Lapita, Hufanga `Okusitino Mahina
48 Chapter 2 Craft on board
57 Cook Samplers, Vivien Caughley
61 Blacksmithing on Guam, Michael Bevacqua
64 The Ancestry of Te Aute, Nikau Gabrielle Hindin
67 An Iconic Collectible, Donald Kerr
78 Chapter 3 Craft and belief
85 Craft and `Civilisation' at the LMS Museum, Chris Wingfield
89 Identifying Early Colonial-made Furniture, William Cottrell
96 The Art of Tuvalu Crochet: Kolose, Marama T-Pole
99 A Victorian Gothic Masterpiece, Ann Calhoun
102 `God in their luggage', Julie Adams
108 Chapter 4 Craft and the authentic
120 Needlework in the New Zealand Education System, Stella Lange
127 St Barnabas' Chapel, Norfolk Island, Ann Calhoun
141 Polynesian Corpuscles: Tracing Cultural Stratification Through Craft, Ioana Gordon-Smith
144 From Furniture Restoration to Faking Taonga, Elizabeth Cotton
148 Makea: Queen of Rarotonga, Preserver of Women's Weaving Traditions, Joanna Cobley
151 The Havelock Work: Craft and the Occult, Georgina White
158 Liberty and Co. in New Zealand, Walter Cook
161 Mary Eleanor Joachim, Bookbinder, Margery Blackman
166 The Women's Section, Moira White
168 Chapter 5 Craft and tourism
177 Souvenirs of the `Eighth Wonder of the World', Richard Wolfe
180 Crafting Kapa Haka, Tryphena Cracknell
190 A Novelty Barometer, Marguerite Hill
198 The Coral Route, Lynette Townsend
200 The Coconut Shell As Art Object, John Perry
207 Maori Culture and the Contemporary Scene, Taarati Taiaroa
211 Fashioning Souvenirs, Elizabeth Wratislav
215 The Geyser Room Experience, Michael Smythe
217 The World Came Knocking, Kevin Murray
220 Chapter 6 Craft and the modern
225 Making Do in Hard Times, Rosemary McLeod
229 `Something to See': Women's Institutes, Claire Regnault
237 Guilds and Societies in Craft Practice, Helen Schamroth
241 Theo Schoon: Bauhaus to Our House, Andrew Paul Wood
245 Joseph Churchward's Handcrafted Typefaces, Safua Akeli Amaama
256 Studio Craft and the Everyday, Moyra Elliott
262 A New Vision for New Zealand Craft, Lucy Hammonds
267 Indigenous Pacific Museums and Cultural Centres, Tarisi Vunidilo
272 Craft and the Hippie Myth, Vic Evans
278 Peter Stichbury and Abuja, Justine Olsen
288 Chapter 7 Craft and belonging
293 The Craft of Punk, Simon Swale
295 The Permanent Crucible, Benjamin Lignel
299 Craft and Conceptual Art, Warren Feeney
301 Bone Stone Shell across the Ditch, Julie Ewington
316 What Planet Do You Come From?, Rosanna Raymond
322 New Zealand Wearable Art and the Craft Conundrum, Natalie Smith
325 Words Were Loaded, Siliga David Setoga
330 Tatau as Craft, Sean Mallon
331 Crafting a Continuum, Ane Tonga
335 Mau Mahara, Philip Clarke
337 The 1983 Tokomaru Bay Weaving Hui, Christina Hurihia Wirihana
344 Pacific Men's Craft in New Zealand, Sean Mallon
346 Chapter 8 Craft in the contemporary
351 Street Craft in a Cracked City, Reuben Woods
355 From Craft Practitioners to Designer-makers, Michael Smythe
358 Crafting Make Believe, Claire Regnault
363 Contemporary Quilting Communities, Jane Groufsky
367 Slow Fashion and Craft Activism, Natalie Smith
369 More Than Just a Cup of Tea, Johnny Hui
373 The Social and Sustainably Crafted Object, Andrea Bell
381 Masi: Wedding Ceremonial Dress Practices in Fiji, Joana Monolagi
386 Performing Measina: Craft in Contemporary Pacific Performance, Lana Lopesi
389 Kowhaiwhai Ceramics, Tharron Bloomfield
394 Our Mothers Were Not Marked, Julia Mage'au Gray
400 He Rauemi Tuturu: Muka in Contemporary New Zealand Jewellery Practice, Tryphena Cracknell
409 Meliors Simms: Agent of Change, Bronwyn Lloyd
416 Casting Shadow, Chasing Light, Lydia Baxendell
422 Notes
Further reading
More about craft
About the editors
Image credits

Promotional Information

* A groundbreaking book that is unique and broad in its reach, magisterial without being worthy, visually rich, backed by the expertise of the three editors and their guest writers.
* Studded with contributions from expert writers and curators working in the field.
* A wealth of historical images as well as new photography by Studio La Gonda.
* Will appeal to a general audience with an interest in Aotearoa New Zealand and wider Moana Oceania arts and cultures, and to students, makers, writers, curators, collectors and auction houses involved with craft.

About the Author

Kolokesa U Mahina-Tuai has a background in art history, social anthropology and museum and her-itage studies and was curator of Moana Oceania cultures at the Museum of New Zealand Te Papa Tongarewa from 2004 to 2008 and Auckland War Memorial Museum Tamaki Paenga Hira from 2013 to 2017. She has been a guest curator and consultant for Auckland Art Gallery Toi o Tamaki, and a consultant for Alt Group and the Government of Tonga's Culture Division, Ministry of Tourism. She is co-author of Nimamea`a: The fine arts of Tongan embroidery and crochet (Objectspace 2011), Tangata o le Moana: New Zealand and the people of the Pacific (Te Papa Press, 2012) and Kolose: The Art of Tuvalu Crochet (Mangere Arts Centre - Nga Tohu o Uenuku, 2014).

Damian Skinner is a Pakeha art historian and curator who lives in Gisborne. He received his PhD in art history from Victoria University of Wellington in 2006, for a thesis exploring the dynamic rela-tionship between customary and modern Maori art in the twentieth century. He has written a number of books about Maori and Pakeha art, and Pakeha craft. His most recent book is Theo Schoon: A biography (Massey University Press, 2018).

Karl Chitham (Nga Puhi) is Director of the Dowse Art Museum and was formerly the Director and Curator of Tauranga Art Gallery. He has been involved in the arts in Aotearoa in a variety of roles for over fifteen years. His projects have included a series of exhibitions and accompanying publica-tions highlighting contemporary toi Maori such as Whatu Manawa: Celebrating the weaving of Matekino Lawless, Toi Mauri: Contemporary Maori art by Todd Couper and Whenua Hou: New Maori ceramics.


'Crafting Aotearoa is ambitious, to say the least. Across 460-plus pages it surveys three centuries of craft in New Zealand and the broader Pacific, examining its role in defining cultural identity, and the tensions and transformations that occur as it engages with outside knowledge and practices ... a delight to dip into. For a significant work, it carries its load lightly' - New Zealand Geographic; 'Crafting Aotearoa charts it all, providing an important overview of all things cut and carved, stitched and sewn, hammered and hewn to build a uniquely New Zealand story of cultural change' - Sally Blundell, New Zealand Listener; '... first and foremost an acknowledgement of history as it should be acknowledged: a kind of retelling that is resolved to start a 'dynamic conversation' between Maori, Pakeha and wider Moana Oceania (Pacific) craftspeople and their work ... it's a wellspring of knowledge on what has constituted three centuries of making in New Zealand' - Urbis; 'An indispensable, encyclopaedic and comprehensive reference to three centuries of craft in New Zealand, Crafting Aotearoa manages the difficult task of marshalling the contentious categories of craft, art, folk art, design and indigenous practices in a way that will surely set the standard for future scholarship ... Although there have been sporadic books on craft in Aotearoa before, this is the first of its scope, and for a reference work it is surprisingly readable and not at all bogged down in its scholarship or the ever-volatile politics of craft' - Paul Wood.

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