from many positions did not allow a good view of the stage. I think that in future the college should think seriously of hiring one of the better halls in Marton, for this production has truly become one of the best-known and most appreciated annual events in that area.

Old Story Made New The story of the operetta is an old one, but this interpretation made it seem brand new. A canoe under the leadership of a tohunga leaves Hawaiiki to seek the new land of Kupe's in the south. They are beset by the gods of the deep, who cause bad seas and furious storms because they are angry at the presence of an intruder in the canoe, and because the tapu has been broken. The sea-fairies come to the aid of the canoe and after transactions with the sea-gods the canoe is left to go its way in peace. In the new land the explorers have many adventures, and come in contact with the earliest inhabitants of the land, the forest fairies (patu paiarehe). There are some quite humorous encounters here as the new arrivals are mystified by the supernatural qualities of the forest people. They survive, though, and the population increases. The tribe is divided into two and war nearly breaks out between them; this is caused by the old tohunga, who finds that his powers are waning in this new land. But affairs are righted in the finish and the production ends on a high note with joyous chanting and dancing. I thought that the idea of the contacts between the fairy peoples (the sea-gods and the forest fairies) with the mortals, a theme running right through the production, was an excellent one. It also seemed to me that the interpretation of the storms, high winds, lightning and thunder, rough seas and moving forest was most effective. I would like to mention particularly one performer, Christine Anderson, whose entertainment abilities are obvious. I personally hope that she continues in this field and that in due course we will be hearing and seeing a lot more of her.

Utilization of our Vast Resources For me the most encouraging aspect of the performance was the utilisation of some of the vast resources of ancient Maori myths and legends. For a long time it grieved me to see New Zealiand producers poring over books on European culture when all this wealth of material already lay here beneath their noses, just begging to be used. It has been encouraging, though, to see that over the last few years more and more people are beginning to realize the potential of these old Maori legends and myths, and are starting to exploit them in modern adaptations. For example, some time back a Wellington ballet group used an old Maori myth for its theme and in recent years a number of other productions—some attracting public notice, others not—have made good use of Maori materials.

Something That Belongs Here This blending of the two cultures, Maori and Pakeha, is, in my opinion, how it ought to be. Only in this manner, I feel, will we be able eventually to develop a culture that we can immediately identify as our own — a culture unique to New Zealand, something that really belongs within these shores. ? With the appointment of Mr Taiki Parata as its manager, the Te Kaha Butter Factory, 44 miles east of Opotiki, is now staffed almost entirely by Maoris. The only Pakeha associated with the company is Mr Norman Perry, the secretary and advisory director. All the other directors of the company, and also all the suppliers, are Maori. Mr John H. Waititi is the chairman of directors; the trading department is managed by Mr Hakaria Pahewa. As well as the dairy factory, the company owns two camping grounds in Te Kaha. These provide holiday housing, camp and caravan sites, and the company plans to develop the grounds further in the near future. ? Members of the Arawa Trust Board for the next three years have now been appointed. They are: Messers A. Te A. Bennett, R. Te T. Kingi, H. Rogers (Whakaue sub-tribe); A. Keepa, P. Wihapi (Tuhourangi); M. Makiha (Wahiao); P. H. Leonard (Rangiwewehi); H. Te R. Te Kiri (Rangiteaorere-Uenukukopako); H. Awhio (Parua); R. Hunuhunu (Te Takinga); W. Emery (Te Rangiunuora); Te M. Morehu (Hinekura); T. Wharehuia (Rongomai); M. Tukuru (Tamateatutahi and Kawiti); H. Horne (Makino); H. A. Mohimoke (Tumatawera); K. Te Ua (Tarawhai); H. Semmens (Rangitihi); and K. Waaka, who represents the Returned Soldiers.