The Wanganui Chronicle TUESDAY, JUNE 30, 1925. ART IN NEW ZEALAND

Wanganui Chronicle, Volume LXXXII, Issue 19347, 30 June 1925, Page 4

The Wanganui Chronicle TUESDAY, JUNE 30, 1925. ART IN NEW ZEALAND

Artistic talent, principally musical, has been invading this country in such numbers and of such superior quality in recent years that one is impelled to wonder what is going to become of native amateur effort. Recitals by New Zealand artists are becoming noticeably fewer. In the metropolitan centres, which are peculiarly subject to imported counter-attractions, amateur musical and operatic societies are finding it increasingly difficult to maintain their numbers and popularity. In Wellington it is becoming a Very open question whether the local amateur operatic society, which for years used to fill the Opera House for a week, will survive another year. The fact is that we are going through a process of evolution. AV e are, without realising what is actually happening, gradually shifting our point of view, and incidentally abandoning our community obligation to native-born talent. Part of this is in-

evitable, but in recognising the fact it is clearly up to us to reflect upon the best means of conserving our native supply of musical talent in the face of what at first sight would appear to be overwhelming competition. After a season of Kreisler, GalliCurci, and in the midst of a constant supply of excellent gramophone reproductions of the best talent the world possesses, it is not easy to face what by contrast are the obvious shortcomings of amateur talent. The danger is that, this spirit of intolerance may easily lead to neglect. Amateur talent, which has its origin in the personal aspirations and enthusiasm of the individual, thrives and is stimulated by popular encouragement and applause. If the question were put: “Does this country desire to have an artistic culture of its own, a culture of corresponding quality and attractiveness to the best that other nations may have to offer?’’—the answer would be a unanimous affirmative. New Zealand art, to obtain recognition, has perforce to go abroad. In the nature of the case, it has at present no option. But must this condition of advancement necessarily continue for all time? Surely not.

The competitions societies in the various districts arc doing good work in the direction of bringing native talent to the light, but it is seldom that it gets very much further. What is wanted is a new attitude towards musical culture in this country—a new importance attached to it in the schools and universities. There are indications that the Education Department has been aroused to the necessity for devoting more time and attention to the study of musical appreciation in the schools. It is a good beginning, and a beginning in the right quarter, but more than that is needed. We require a new attitude on the part of the adult population towards the encouragement of local talent, otherwise we shall eventually find ourselves in the position of a country without an art of its own—a country returning huge dividends to visiting artists, but none to its own genius.