It is interesting to compare these accounts of two newly-formed groups, each making a contribution to its community. The Thames Maori Culture Group A display of handicrafts executed by members of the Thames Maori Culture Group and also other outstanding Maori artists in the Coromandel Peninsula area was seen at the residence of Mr and Mrs Gregory on Friday 8 December, 1967. The purpose of the display was to give group members the opportunity to exhibit the fruits of their labour, to compare and constructively criticize their works with those of others, and to give further incentive to members, as well as to demonstrate the activities of the group. The culmination of all the activity following this display was to put the collection of work on show to the public—our grateful thanks to the Waikato Savings Bank for allowing the group to use their front window for this purpose. People interested in the activities of the group, but unable to attend because of distance, had given of their own works, and our thanks for this goes out to Mr Ben Te Haara and Mr Boy Mangu, both of Coromandel. These men differ widely in their style of Maori carving, and though the background of their forefathers permeates their differing works, it reveals again that Maori carving is not a static art but one which is progressive and finding expression in a modern idiom. Mr Mangu has specialised in the carving of gourds and has adapted his art admirably to this media. This indeed is Maori pottery' of the finest order. Mr Ben Te Haara, on the other hand, has shown a remarkably sensitive talent for form, and one sees here a progression of his work from the traditional classical Maori style to a more vibrant plastic form which has as yet to find full expression. To Mr Howard Savage of Te Mata the group was also indebted for much of his work which he displayed. Here we have a Pakeha who has shown a great interest in Maori carving and a respect for the art which many others abuse for monetary gain at the expense of quality. Carved panel work and traditional Maori figure, along with several small carved patus. were the work predominantly displayed by group members. For most of them this is a first attempt in the ‘Art of Rua’ and the standard of some of these works is high indeed. Their patience and increasing skill is ample reward for work of which they can be justly proud. It was unfortunate that more flax work was not available for display as most of this had been sold earlier in the year. This work was mainly the forte of the women-folk, and some had progressed from making headbands and kits to the patient art of piupiu-making. In conclusion, a critical analysis and review needs to be made as to the meaning and function of the Maori Culture group, its wider effect on the community, its successes and failures. The group evolved at the beginning of the year as the result of a meeting of many interested people who wished to bring about a more communal spirit of Maoris in and about the Thames area, by encouraging as much as