Carroll, Charles Maitai and Canon Wi Huata, placed emphasis on Maoritanga. The presence of Moni Taumaunu, Bub Wehi, Charlotte Solomon, Tamati Reedy, Sonny Waru and other exponents of the traditional arts—carving, weaving, whaikorero, waiata, action song and so on—created a kind of tidal force which pulled at the blood and revealed an urge in most of the manuhiri to learn of the roots of their culture. Bill Parker was probably the first to discern the changing tide. It was a tide which swept the manuhiri with it. On reflection, it probably could not have been otherwise: the number of actual practising artists was extremely small, reflecting perhaps the failure of this country to encourage Maori creativity. Outnumbered by students, people simply interested in things Maori, the contemporary artists could only stand by and watch. Some revelled at the new direction in which the tide was sweeping, others were unsure about it. But no-one, surely, could have remained Mrs Whetu Tirikatene-Sullivan, Minister of Tourism, who spoke at the conference.