The Arts

While New Zealand may not be developing as rapidly or purposefully as say, Israel or Singapore, there is a larger proportion of our community than a decade ago which feels that art and design—aesthetics—are indispensable to a full life. This change is seen in an upsurge of interest in all aspects of the arts.

Good straightforward architecture is accepted and sometimes demanded. There is an interest in the arts even in the universities. Particularly is this so in music and drama. Among the Teachers Colleges Wellington has expanded its good traditions. Town planning has become the concern of many more citizens. Studio potters cannot satisfy the demand for their wares. Poetry and other writing is being published and sold. A wealth and variety of music is provided, not only in the larger cities but also in the smaller towns. The coffee bar has almost added a new dimension to community life. And there are several restaurants serving good food.

Every small town has at least one active drama group, and city groups are now feeling the need for a more professional outlook in the production of their work. Painting and sculpture are attracting more buyers. Opera and ballet have made rapid progress. People are becoming more discerning about the design of the equipment, appliances and everyday articles they buy. And there is an interest in extending Maori art and skill. So far, so good. But there is little development in depth.

No society of our type can afford to neglect what is going on in other countries, but because of our highly specialised colonial existence, a very high proportion of what we say, do, hear, feel and see is derived from abroad. Films and television are obvious examples. Music is performed largely by imported groups; potters are heavily influenced by Japan, town planning is subject to the recommendations of consultants from countries abroad with quite different planning requirements from our own; much of our architecture is produced more with an eye to the current overseas trends than to its suitability for New Zealand conditions and materials; in food we may have contributed pavlova cake; and in design for manufactured products the New Zealand contribution is also small.

Our means of production for quality in the arts are not keeping pace with demand. New Zealand has a tradition of originality, ingenuity and initiative bred of day-to-day necessity, and we now need the mean and the will to compact and build upon this tradition. We need more indigenously oriented schools of art, science, archi lecture, engineering, design catering; film and television production; drama, dancing ballet, music and education to satisfy the increasing demand, for excellence as a contributory factor towards quality in daily life and economic survival In this world.

Distinctive New Zealand styles will evolve if the teaching, the opportunity and the encouragement are there.

Many who are in the positior to provide this opportunity still lack the discrimination of emotional training which corresponds to today's and tomorrow's needs. Our background is toe much our foreground. Unthinking conservatism or "being, different" at any cost are the usual alternative outcomes to this lack of training or discrimination Conservatism is represented aptly by the store buyer who acts as a censor of taste, and, in order not to jeopardise sales, Judges the public taste a good deal lower than its average is.

Difference for its own sake occurs, for example, in otherwise useless products conceived solely to stimulate sales, or in buildings designed for their visual excitement without regard for the requirements of use.

Education is the answer to each of these phenomena.

If the arts are to play a real part in society the artist and designer too, must not be tied to inappropriate methods. He needs wide education and long training.

The designer, for example, must know about ergonomics, the science of ensuring that products, equipment and machinery fit human use and operation, reduce fatigue and do not overtax the nervous system. A designer must know how' to use his materials appropriately and economically, and that they will work efficiently. This requires a knowledge of materials and engineering design.

And so it is with other kinds of artists—the architect, the town planner, the film or television producer. The potter must know low to get the most art out of his craft, must be fully conversant with clay chemistry and firing techniques; and the musician (including composers and conductors of whom there are few in New Zealand) must completely master his techniques before he can produce good music.

New Zealanders, because of their humanity, are capable of producing great music, great, architecture, or the best pottery, When it is fully realised that aesthetics are not on the periphery of life but are the heart of it then we are laying the foundations for this greatness.

When they are accepted as full contributing members of society, artists can act as pathfinders to industry and can help instill some of the human attributes of their work into other aspects of the nation's economy. New Zealand designers, architects, town planners, artists and craftsmen will then be the new pioneers in New Zealand's drive for quality in all its aspects.