Visual art and the world

Press, 30 April 1981, Page 15

Visual art and the world

"The Adze and the Chainsaw,” the' “Contact” documentary screening on One tonight is a new production from the National Film Unit which examines a theme common to the African, the Eskimo, the American Indian and other cultures invaded by the influences of European settlers — should indigenous art promote an understanding of traditional forms at a time when traditions are being forgotten and values discarded; or should . changing experiences and new influences be reflected so that true art remains a living thing, changing and progressing with the times. “The Adze and the Chain*, saw,” displays the diversity of Maori visual art. The director, Pat McGuire, says that the film puts into perspective the unique carving which is famous throughout the world. The film draws a distinction between the Western concept of art as a vehicle for personal expression and the Maori concept of art as an expression of group identity. Many Maori artists today consider their main goal j as the involvement of ordin•.ary people in community T projects. (4 Traditional Maori art is i highlighted by an interview • with the only man who can £ claim that his skills ha ve j been handed down from one to the next ' Kaka Niao, master, carver of I the Ngati Tarawhai. For the r. first time he has agreed not ? only to appear on film but (: also to talk on camera. / But the film also looks ,'tbeyond the marae to artists ' who have found acceptance

for their work within a western context. ;■ It touches briefly, on the successes and dilemmas of the Arts and Crafts Institute at Rotorua. The development of Maori art, as with any living culture, brings conflict and con-

troversy. With a striking selection of images covering .the new and the old, the film suggests that some of the most exciting visual material being produced in this country has Maori inspiration. “The Adze and the Chainsaw,” narrated by Dougal Stevenson, includes interviews with the artists Arnold Wilson, Fred Graham and Cliff Whiting, and shows the hew style of Maori art through the works of Para Matchitt, Buck Nin, Sandy Adsett and Ralph Hotere. According to Maori custom he is introduced by reference to his ancestors

and the place where they lived. Care has been taken to separate Kaka Niao from images of the present day that might conflict with the past. Kaka Niao sees himself as a representative of a less materialistic time. The film looks at the development of meeting house art and why some artists are trying to promote change. It looks at the success of art work being encouraged in schools to promote an understanding of Maori culture. It also looks at the work being carried out on marae and some of the innovations that have been achieved.