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With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls’ Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
‘Maori Symbolism’ is a story of a great race as told in their own Sacred Legends. And it is even more than this. It is an accurate record of the inner meaning of Life Symbolism on which the civilization of the Dark-Whites all over the world is founded. That symbolism stands for Cultivation – of the race, of the body and of the land. The numerous illustrations are to be regarded as documents supporting the evidence reported in the text. Some of this is of startling interest, as for insurance that concerning the casting of ancient statues and megaliths from molten lava. The Sacred Legends concerning the origin and migration of the New Zealand Maori are reported at some length, and the evidence given throws fresh light on the important ‘Diffusion’ controversy. Maori land cultivation is shown to have been far in advance of European. Maori cultivation of the body, expressed in native dances, is demonstrated to be an ordered system of physical education, designed to improve and preserve the fittest. Maori race culture is exhibited as based on a lofty code of social and sexual ethics. Maori religion and philosophy, as expressed in symbolic decoration and writing, are for the first time truthfully explained and interpreted.
This richly illustrated book presents a comprehensive assessment of the display of Maori culture from the nineteenth century to today. In doing so, Exhibiting Maori traces the long journey from curio to specimen, artefact, art and taonga (treasure). Drawing on extensive and groundbreaking research, Exhibiting Maori reveals for the first time the remarkable story of Maori resistance to, involvement in, and eventual capture of the display of their culture.Ranging across museums, world fairs, fine art and tourism, Exhibiting Maori fuses museum studies, anthropology, and visual and material culture to uncover a history of active Maori engagement with the colonial culture of display.
This comprehensive guide examines the personal histories, roles, and personalities that played into the traditional cultural art of carving. It also traces the influence of European patronage and the ensuing tourist trade upon this art form, as many Maori carvers began styling and catering their product to meet their clients’ aesthetic desires. Included is a discussion of the establishment of the government-sponsored Rotorua School of Maori Art in 1928, which appointed as the main tutor Eramiha Kapua, a Ngati Tarawhai carver, thus helping his own traditional tribal art to make the transition into a modern “national” art.
Vols. for 1892-1941 contain the transactions and proceedings of the society.
How and why do works make their way into a public art collection? Who decides what will be hung on the walls, placed on plinths, displayed in cases? These important, but seldom discussed, questions lie at the heart of this ‘cultural biography’ of the 70 years during which the Robert McDougall Art Gallery was Christchurch’s civic art gallery. The book explains how the collection came together, how it developed, and how the public, and artists and critics, reacted to it. The book is presented in three parts, each of which has its own introduction. It provides an analytical framework in detail and in context by defining terms and explaining particular, recurrent concepts. These include, and indeed highlight, selection and presentation cultures derived from the core museological functions of collection and display. These, together with the framework’s other concepts, are related to mainstream methodology in the social sciences, particularly political science. The latter is especially relevant to the study of a public art gallery – owned and funded by the public and its elected representatives, and controlled by these representatives and their appointed agents. Furthermore, the framework explores the concept of post-colonial tensions between heritages – specifically indigenous, transplanted and autochthonous ones. The significance of this becomes more apparent when the concepts used in relevant previous studies of specific public art galleries in New Zealand are reviewed. There is also a strong emphasis on the development of a public Maori art collection. It is a story, too, of vivid and influential personalities – the directors and curators who fought for the gallery and the artists represented in it. But the book is more than just the story of a single gallery’s collection: it shines a light on concerns and patterns that will be familiar to galleries everywhere, and provides a unique perspective on New Zealand’s cultural development over much of the twentieth century.
A comprehensive study of the Maori in New Zealand, this book covers Maori history and culture, language and art and includes chapters on the following: · Basic concepts in Maori culture · Land · Kinship · Education · Association · Leadership & social control · The Marae · Hui · Maori and Pakeha · Maori spelling and pronunciation There is an extensive glossary, bibliography and index. First published in 1967. This edition reprints the revised edition of 1976.
Includes reports of the government departments.