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Periodicals Covering Art in New Zealand

—Julia Bergin

Over one hundred years ago, the Irish, the Scots, the Scandinavians the Germans, the French and the English transplanted themselves into these alien and primitive Islands, bringing their various cultures, but thinking very much of the ancestral hearth as "home." Their children were the generation of a divided loyalty, some accepting the differences, others full of the urge to return and see the country of their parental background.

To the third generation the past was dim the present real, they were rooted, "at home" and beginning to let the rest of the world develop in its own way while they continued on their outdoor, healthy, welfare-cushioned lives. The beaches, the mountains, the gardens, sport and reading, of course . . . but what of the vital life of the spirit, the arts, theatre, music, painting . . . What of our own indigenous flowering born from a grafting of many nations? What have we brought forth?

What of my generation, with its awareness of the need for a greater "togetherness" with our Maori neighbour and his contribution to this end? Are perhaps the arts a meeting ground that can help achieve this? Can we be part of the flowering?

In the past, for some time, New Zealanders have felt there has been no central force for the fostering of the arts, that something beneficent, but not interfering is needed: something the artist can feel is hot the old private patronage of the Renaissance and earlier periods, where he was at the mercy of the Church or some wealthy family which was willing to commission in only a limited range of subject matter, thus almost reducing him to a craftsman.

The first signs of financial nourishment came into focus in 1946. when the New Zealand Literary Fund was set up at the instigation of Pen to help literature. The Department of Internal Affairs made grants to cultural organisations and later the Arts Advisory Council took over this function in a more orderly fashion. Individuals like Sarah Campion and Fred Turnovsky have helped theatre and music. Many recommended the setting up of an Arts Council.

In 1963 we had reached the stage where the Queen Elizabeth II Arts Council was established: a great step forward in a positive direction and we hope, assured of the independence that it requires to function effectively.

In the meantime, little groups all over the country, some of them temporary and fostered by Adult Education and sometimes by a local specialist, others clustered round the universities and colleges, or operating as local drama or fine arts clubs, have in their various ways stimulated and sustained the arts in the community.

But there are other media that are at work influencing our culture. In lining up some of the factors that can serve as a barometer to the state of our folk culture or its absence, we must not forget the magazines and periodicals, which voice a variety of opinions, expressions and criticisms.

The "New Zealand Listener" is the first which springs to mind. It is the weekly publication of the New Zealand Broadcasting Corporation and with a circulation figure approaching 90,000 has the widest circulation of any periodical. With all these readers, most, admittedly clamouring to devour only the television and radio programmes, and perhaps the sports section, there is still the opportunity to spur them on to an Interest in aspects of the arts. The editor. M. H. Hol-croft, is faced with the problem of maintaining an equitable balance between the lowest common denominator on one hand, and the highbrow on the other. His leaders are both provocative and Independent.

A wide range of articles covering the arts appears in each issue. Recently the "Listener" contained a review of "Petrouchka." which "cashed in" on the interest aroused by Alexander Grant's return visit to his homeland, and provided more than Just social gossip about his life. This is the sort of article which helps to widen the fields of the average reader. Music is always well covered, with a wealth of background information on coming programmes, and appraisals of them afterwards by erudite critics. Activities of the NZBC Symphony Orchestra figure largely, and visiting soloists receive advance publicity. It Is Interesting to hear of progress made by our own musicians, artists, writers, actors and actresses who are working and studying overseas. Regular articles on music and drama appear rather more frequently than those on the graphic arts, because newsprint naturally Imposes restrictions on the quality of illustrations. The guide to new records is a worthwhile section, and helps many to make wise additions to their collections.

New poems and short stories add Interest. A high standard is required, and this periodical does not offer much scope for very new experimental writing. Prices paid for contributions compare very favourably with those of other publications, and this is an Important factor.

An expansive selection of books is reviewed each week by competent reviewers (who usually sign their names). Some books Included are too specialised for the general reader, but the broadness and depth of those chosen is worth maintaining.

Correspondence columns have Improved in quality now that the letters must be signed, and some lively debates have ensued, thereby providing a sounding ground for current controversies and issues.

One may conclude that the Listener has the basic prerequisites of a successful publication: wide circulation, lack of financial problems, and most important good quality material which caters for a wide selection of readers. These factors in themselves can lead to complacency, and then on to the production of dull, stereotyped material which, by never diverging from the safe middle path, interests no one, but there is no sign of this happening yet. A fine, general coverage of the arts is given if people would only be Interested. The old adage still applies: "You can lead a horse to water, but you can't make him drink."

If it was now possible for me to go on and deal with groups of two or three periodicals, each devoted to one of the arts, and all approximating in quality to that or the New Zealand Listener, then a 1 would be well with the arts. Attempts are being made, but these are fraught with difficulties.

"Landfall." a literary periodical with a narrower, more intellectual appeal than "The New Zealand Listener." has been published for 17 years, under the editorship of Charles Brasch. It has a circulation figure of between 1200-1300, but it Is the best periodical of its type that exists here. Copies find their way overseas to Australia, Great Britain and the United States.

"Landfall" has had quite a hand in ushering into existence a large number of stories and poems written in New Zealand. For the New Zealand writer, especially the more established one this is the most satisfactory outlet. Space is generally available for writing of a reasonable standard. Contributors are paid too.

New Zealand books, especially novels, are reviewed by recognised experts. Any author subjected to this detailed serutiny may feel encouraged if a "pat on the back" ensues! Here. "Landfall" makes a valuable contribution towards the development of writing in this country.

Not only literature receives attention. Good quality reproductions of paintings, sculpture and photographs are presented frequently. Exhibitions and festivals lever occur without some comments and evaluations being recorded in "Landfall." Public affairs, especially principles and policies relevant to the arts are examined and evaluated. Most New Zealanders need somebody to draw their attention to developments and problems, and it is good to see a publication with this self-appointed task. The more vehicles for the expression of public dissatisfaction, and homage, the better.

"Numbers" was a literary periodical too with rather a different function than that of "Landfall." It aimed to stimulate creative writing in New Zealand, and adopted the forward and enlightened policy of Inviting raw and inexperienced would-be writers to bring forward their offerings. This enabled new writers to achieve print fairly early on in their development' marvellous for self-confidence! Contributors were not paid, but under the circumstances, this could not be expected. Its importance was recognised by the State Literary Fund, which made a small contribution towards cost of publication. But "Numbers" lasted only five years (10 issues). Difficulties arose over the inclusion of certain poems and short stories which upset some people. Complete freedom, even with regard to subject matter only, can result in no standards at all. And there must be some, in an ordered society. M. H. Holcroft has wisely said, that on the question of choice of material which is published with the aid of State money, the limits of propriety are reached a little sooner than when books are published unaided.

Experimental, indeed it was, poems, short stories, plays and literary articles, reviews and criticisms, were not always of a consistently high standard, but a need was fulfilled . . . new writing had an "airing."

Now that "Numbers" has left the scene, the new writer is not completely bereft. There still remain a few other publications which have similar objects.

"Arena" is New Zealand's oldest "little magazine." It has been published for some 20 years. Produced from handset type it appears irregularly. No payment can be made for poems, stories and critical articles submitted. The editor, N. F. Hoggard. has said, that as a "one-man band." the path has not been smooth, but the reward has been in the discovery of new writers, some of whom have climbed the ladder of literary success in New Zealand and abroad.

"Mate," published at irregular intervals, prints poems, short stories, reviews, and sometimes extracts from longer novels, as well as occasional notes on painting which are often illustrated. It seems to cater for the younger generation of writers, who are paid or contributions out of a grant from the Literary Fund.

"Image," like "Mate," appeared in 1958, and receives a grant from the Literary Fund. Its survival has been a struggle, as is usually the case, where local products of this type are concerned. Both "Mate" and "Image" are published in Auckland. Robert Thompson, the editor of "Image," says his alms are "to encourage the unknown writer of promise, and to support the established." Short stories and poems are published mainly, and are not always by New Zealand writers. One very detailed book review usually appears with each issue: this may be a current New Zealand publication, or perhaps a well-known novel, like "Lolita." The scope of "Image" is not quite as comprehensive as that of "Mate."

"Fernfire" alms to build up new talent and foster new writing. The great majority of "Fernfire" writers, have been working people, many of whom have never before put pen to paper. However, the policy of "Fernfire." which is published by Unity Writers, is "to affirm a faith in the future of the ordinary people, and a belief in their democratic traditions." and this really excludes it as a periodical covering the arts, for selection of contributions tends to be dictated by subject matter. Still, it is creative writing. A number of pen and ink drawings add variety, and book reviews are included as well as short stories and verse, though again, the political outlook prevails.

The role played by these smaller literary magazines is more fundamental than it may first appear, but is it they, who though they cannot sustain, beckon and en-hearten the would-be writer. Struggling writers, like drowning men, feel the urge to clutch at as many passing straws as possible, and so till they achieve recognition or publication in the "Listener." or "Landfall." they try some of these smaller magazines. This transfers to the editors of such publications the heavy responsibility of helping these writers, but not at the expense of loss of variety, vitality or quality. The "little magazines" must not be allowed to degenerate into a collection of inferior writing which can obtain publication nowhere else.

Tse Maoris, when they first came to New Zealand, did a much better job of transplanting and ' disentangling" their culture than we have done so far. The Maoris have much more to offer on these lines—there have not been many signs of our developing an accepted folk lore, songs, dances or in fact any cultural traditions of our own. Now when one looks around to see if there are any signs at all of progress, or of a movement between the two races towards a closer sharing of this culture, there are one or two odd glimmerings of light. Various organisations exist, which hope to bridge the gap.

The printed word, too has a role to play. Not a great deal of specific information about the Maori is treated in periodicals already mentioned. "The New Zealand Listener" does feature talks and articles concerning such things as Maori Education Foundation, or the role of the Maori in society. "Landfall" doesn't feature very much, although there are some stories written by, and about. Maoris.

But there is one periodical which deals specifically with the Maori "Te Ao Hou," which is published quarterly by the Department of Maori Affairs, and sponsored by the Maori Purposes Fund Board. It is a "folksy" magazine, well illustrated and attractively set out chatty and friendly, but giving a fair coverage of events of interest to Maoris. Short stories, poetry, drawings and news about people are included. Opportunities are provided for readers to extend their knowledge, for instance instructive articles cover poi dancing, basket weaving, action songs and other aspects of Maori culture. Parts of the text are in Maori, which gives those Maoris who can read their own language, the chance of doing so.

This periodical does not make the mistake of appearing too intellectual or too "above" its readers, but by attracting them at a relatively light level it then goes on to instruct them at a more serious level. More Pakehas could well subscribe to this magazine, for it is worthy of a greater reading public.

At present, there is no periodical devoted entirely to music in New Zealand. Two have come, and gone, owing to lack of financial support. ("Music Ho." edited by Owen Jensen 1942-1948, and "Music in New Zealand" directed by H, H. Tombs, with T. V. Griffiths as musical advisor. 1931-1937). If there were no newspapers to review last night's concert, and no "Listener" to provide general intelligence about music, then perhaps a few enthusiasts would band together and attempt to produce a magazine, but so far no one has dared, as the need is not absolute. But we are missing out in the meantime.

The world of the stage is better catered for than that of the concert platform, for "Theatre 60" is a magazine devoted entirely to drama. Theatrical activities throughout the country are recorded and reviewed, and credit given for notable achievements. On question of state aid, the editor keeps a watchful eye. Actors, actresses and playwrights receive varying amounts of instruction and guidance. Attention is drawn to recent books on the theatre, which should not be missed, and there are notes on new collections of plays which are published. Although this kind of publication has great value, there is room here for a raising of standards.

In recent years, quite a keen market has developed for New Zealand made pottery. The arrival of a locally made product is to be welcomed, even if as yet no distinctive style has emerged. Every developing art in this country needs some vocal outlet to ensure a measure of continuity and coordination, as well as to publicise and evaluate current trends. "The New Zealand Potter," produced in Wellington by an editorial committee does this for pottery.

If only our artists were served as well as our potters, with a publication of such good quality. Art has been served in the past, by two periodicals. "Art In New Zealand," and its successor. "Arts Yearbook," but in spite of changes in formal and enthusiasm on the part of the publishers, poor circulation resulted in the publication being discontinued.

People do write about art in New Zealand, but articles are scattered far and wide, in many different publications though "Landfall" and "The New Zealand Listener" are fairly consistent in bringing information before the public eye. Still, the cause of art certainly suffers through lack of a suitable means of communication with "the outside world."

There are other periodicals which contain information about the arts. ("Comment," "New Zealand Monthly Review." "New Zealand Home and Building"), but such features are sporadic in appearance, and as a result tend to miss out on the attention they deserve. Our needs are quite plain. We require more, and better periodicals covering all aspects of the arts with breadth and depth. But in the meantime, let's not forget or thrust aside our "little magazines," for without them we would be the poorer. Regarding the state of our culture . . . well, there's a long way to go yet, but the foundations are being laid.