Craft Matters in the UK

One of my favourite magazines is Crafts: The Magazine for Contemporary Craft. Published bi-monthly in the UK by the Crafts Council, I always look forward to reading their thought-provoking articles and find the photos engaging as well.

Rummaging through older copies is like opening a treasure trove. Out pops the Craft Matters brochure inside one magazine which states that 'the Crafts Council's goal is to make the UK the best place to make, see, collect and learn about contemporary craft.' Thousands pledged their support for craft during the Craft Matters campaign. I've picked some out some of the comments for your interest: 

'It draws on one of our earliest and most important instincts - forming material by hand in order to enrich and change our immediate environment.' Andrew, Edinburgh.  

'I am convinced that in this era of globalization, craft is the most visible and concrete way to discover, understand and appreciate the diversity of cultures.' Indrasen Vencatachellum, ex Director of UNESCO's programme for craft development.

'Helping professional makers to do what they do is as important to me as supporting new music, film and visual art. The skill and processes that a finished object represents is far more tangible than most give it credit for...and objects can still be functional as they ever were, going back hundreds of years, or they can blur the boundaries of what is possible in the 21st century with digital tools and contemporary thinking.' Nick, Edinburgh.

'One of the great empowering things about learning craft is that it is almost a physical manifestation of 'I can change the world.' ' Grayson Perry. 

I wonder how New Zealander's would respond if they were asked why craft matters to them? One of my other favourite quotes from the Craft Matters brochure is that of Jeanette Winterson OBE who says that 'the most satisfying thing a human being can do - and the sexiest - is to make something. Life is about relationship - to each other - and to the material world. Making something is a relationship. The thing about craft, about the making of everyday objects that we can have around us, about the making of objects that are beautiful and/or useful, is that our everyday life is enriched.'

So, craft enriches our lives and it seems, there is recognition and significant support for craft practice in the UK. Food for thought really......especially when considering the New Zealand context of how one first learns craft, or more specifically, the methods of learning within formal and informal settings, the quality and accessibility of craft training, and range of levels. Craft Aotearoa is interested in researching how craft skills are acquired (among other things) and will soon launch a national research project. If you would like to find out more about this, become a key partner or share your views then do send me an email with your contact details so that you are on our database: jenna-lea.philpott@craftaotearoa.org.nz

Finally, when reading through Rosy Greenlees' (Crafts Council Executive Director) article in the July/August issue of Crafts, it is interesting to note the recent political shift towards craft education in the UK. Rosy reports that John Hayes, the Coalition Minister for further education, skills and lifelong learning has recently spoken about 'the role hand-crafted beauty plans in our lives, and how as a nation, we need to recalibrate our priorities, to reconsider how we value higher education, and to re-assert the importance of learning through doing.' Going forwards, I wonder what the strategic priorities will be for craft education and learning here in New Zealand? Are we arming our craft artists and makers with the best possible skills and opportunities to push the creative boundaries of innovation, ensuring New Zealand remains not only relevant, but at the forefront of the global world of craft?

PS. Don't forget to fill in our poll on whether you believe there is a craft revival in New Zealand at present.

NZ Craft Revival Captured in "Hearts in Crafts" TV Series

Craft Aotearoa is back in action after taking an extended sabbatical following the earthquakes of 23rd December, and we have been busy working on a range of initiatives including upcoming blogs featuring craft news and interviews. Later in this blog, we catch up with Adrienne Anderson, Producer with Whitebait TV,  but first, an introduction to their ground-breaking upcoming craft television series.

As daylight savings loom and the weather cools, you will be excited to learn that spending a night in front of the telly is about to become a whole lot more interesting. A new show that celebrates New Zealander's passion for craft is being launched on the 7th April at 6:30pm. Commissioned by TVNZ 7, Hearts in Crafts is a 13 part series and the first of its kind that celebrates New Zealand's rich and diverse crafting culture, including traditional and contemporary crafts.

Presented by Tamsin Cooper (well known designer of delicate handmade fashion accessories and coats) and Justin Newcombe (guru of landscape designs big and small), the show features DIY projects that anyone can make at home, and also profiles people who are internationally renowned craft masters, exuberant hobbyists, environmental saviours turning trash to treasure as well as the meeting places where like minded crafters gather to share and learn.

Tamsin Cooper & Justin Newcombe

Over the past decade, the popularity of hand crafting in New Zealand has been on the comeback with a noticeable rise in the number of craft markets, blog sites and Facebook pages. Producer Adrienne Anderson has been “hugely inspired by the depth of talent and diversity of craft we have uncovered in the making of the series. New Zealanders have always been into making things and what we are seeing now is a return to our roots, reigniting the skills we learnt as children and putting them to creative use. In our grandparents day these skills were borne out of necessity but in today's context, the motivation of craft takes many forms.” 

Adrienne adds that “the craft revival is being driven by more than purely the desire to be creative. The economic downturn has had an impact with many people turning to making, rather than buying, and for those with the creative talents to take it that step further, it provides a wonderful opportunity to turn it into a business. There is also a rapidly growing movement that is driven by environmental concerns - the need to eliminate waste - upcycle, re purpose and re use. For others, it's about the sense of belonging that comes from getting together to knit or sew and have a chat.”  

Craft Aotearoa caught up with Adrienne and asked some questions about the ground-breaking television series itself:

Why did Whitebait TV want to make a TV series about craft? 

The idea had been floating around for a couple of years. It was really about acknowledging the resurgence of hand crafting in recent years and that there was no vehicle for showcasing our wealth of crafting talent on screen.

Tell us about the name Hearts in Crafts… 

It speaks for itself really – it’s a show for people whose heart and passion is in crafting.

What was the best thing about making this series?
The extraordinary talent, creativity and diversity of the many crafters we were privileged to work with in making the show.

What did you learn?
That when it comes to crafting, your only limitation is your imagination! And that there is no end to the creative uses for old blankets!

Will there be another series?
With TVNZ 7 going at the end of June, the show is only guaranteed for one season, however we are hopeful that is popularity will be such that other options will be considered for a second series.

How would you describe the NZ craft scene?
Alive and thriving!

When do we tune in?
Saturday 7th April, 6:30pm on TVNZ 7. 

Until our next blog, check out the work of glass artists at the New Zealand Society of Glass Artists. 

NZ Craft Destinations & Craft Town Scotland

Happy New Year everyone! As the holiday season continues, we know many of you will take the opportunity to visit, see, and buy craft and object art in various holiday destinations around New Zealand. Maybe you have a favourite craft destination? Maybe there is a particular town or city, gallery, retail outlet, or market that you would recommend to your friends and family and to Craft Aotearoa?

We would like to feature some of these favourite craft destinations in a future blog. You can either post a comment at the bottom of this blog or send an email to jenna-lea.philpott@craftaotearoa.org.nz   Let us know the object you liked and why, where you saw it, and why you would recommend this New Zealand craft destination to others.

Hand built forms using stoneware clay by Maggie M. Broadley

Craft destinations are an interesting concept and in West Kilbride, Scotland, the whole town is being developed and marketed as 'a vibrant community of makers and an ongoing programme of activity and support for makers, residents and visitors alike.'

In 2006, Craft Town Scotland, a community-led initiative, was the national winner of the Enterprising Britain competition (a search for the most enterprising place in the UK).



Craft Town Scotland aims to have West Kilbride recognised for supporting quality and distinctiveness in craft and desig; stimulate wider interest in the arts, crafts and design and provide a basis for community learning and participation; provide studio space and gallery outlets for graduate and professional makers; develop a major regional facility that provides craft exhibitions, education and event; support other artistic and cultural initiatives into the town to complement the established craft businesses.

Three years ago, Craft Aotearoa founding trustee Jenna-Lea Philpott visited West Kilbride whilst undertaking research for the UK Craft Blueprint. Ceramicist and Creative Director of Craft Town Scotland Maggie M. Broadley outlined a vision for attracting tourists to the area and revitalising the town. Today, Craft Town Scotland includes an award winning silversmith, a spinner skilled in the craft of handpainted and hand spun yarn, a glass maker and environmental artist, a textiles maker, a printmaker's boutique, a textiles designer, a ceramicist, basketmaker, woodcarver and sculptor.

In New Zealand, the relationship between craft and tourism has been integral to the economic development of many towns. Is there a place in New Zealand that stands out as a craft destination?

Our Charitable Purposes and Activities

A New Zealand Craft Symposium on 2 May, 2009 at Christchurch Art Gallery found that although New Zealand craft practice was in a moment of ascendancy and demonstrating a developing maturity, greater market promotion, curatorial and audience development was needed to engage the public of New Zealand. There was a call for a more formal craft network to be established across New Zealand (reducing geographical segmentation) and that a Crafts Council or a national organisation focused on supporting both makers and their audiences (the public of New Zealand) be formed to foster a range of initiatives, in order to ensure the advancement of New Zealand craft practice and engagement of the wider public. The symposium also confirmed that craft was important to our national identity, history and the national economy (particularly tourism).

• a closer association between  the North and South Islands through curated, touring exhibitions and publications
• a website that showcases and profiles New Zealand craft to not only the public here but also the rest of the world
• a public art gallery for craft should be opened in the South Island housing permanent collections and showing international and national exhibitions of craft, as well as selling local works
• annual craft exhibitions and accompanying symposiums, as well as touring shows, both national and international should be more actively curated and administered
• touring exhibitions that will expose and educate audiences to current craft practice
• touring exhibitions of New Zealand craft should focus on the specialist nature of such practice and encourage curated exhibitions of furniture, jewellery, ceramics, etc rather than encompass all aesthetics
• an opportunity should be developed for New Zealand craft artists to participate in an international event similar to the Venice Biennale
• the business sector should be encouraged to work in conjunction with craftspeople, to have events and selling opportunities that benefit both the craft and business sector and wider public
• a concise guide to craft studios and galleries in the South Island could be published 

Later in 2009, Jenna-Lea Philpott (recently returned to New Zealand after working in the UK craft sector) and Dr. Warren Feeney first started to discuss the idea of setting up a national craft organisation. At the start of 2011, and together with Penny Eames, they began to draft a trust deed for Craft Aotearoa.

The advancement of arts and culture is not considered to be a charitable objective in New Zealand and some existing arts organisations have struggled to remain registered with the Charities Commission. Craft Aotearoa was informed that:

'The law surrounding charitable purposes is 400 years old. In order for a purpose to be   charitable, it must fall within one of the four charitable purposes set out in section 5 (1) of the Charities Act, provide a public benefit, and not be aimed at creating private financial profit. The four purposes are: relief of poverty, advancement of education, advancement of religion, or another matter beneficial to the community. There must be an identifiable public benefit and the benefit must be available to the general public, or to a wide section of the general public.' 

After much consideration, five revisions, advice from the Charities Commission, national and international research and further advice from Chapman Tripp (who generously offered to sponsor Craft Aotearoa as part of their pro bono programme) the board of Craft Aotearoa decided to establish a Charitable Trust and proposed the following purposes:

(a) To advance and encourage the exercise/practice of craftsmanship and the continued creation of craft work of a high standard in New Zealand;
(b) To preserve and improve craftsmanship in New Zealand;
(c) To foster, promote and increase the understanding, knowledge and interest of the New Zealand public about craft and craftsmanship ;
(d) To advance the education and development of children and young people in schools and tertiary institutes in craft and craftsmanship;
(e) To advance education and learning opportunities for the New Zealand public in craft and craftsmanship;
(f) To undertake research into the craft sector and its profile in New Zealand and make the results available to inform business planning, education programs and employment services;
(g) To encourage employment into the craft sector including through facilitating careers advice to potential candidates and facilitating apprenticeships;
(h) For any other purposes within New Zealand (whether relating to the relief of poverty, the advancement of education or religion or any other matter beneficial to the community) which are charitable according to the laws of New Zealand.

In order to achieve the charitable purposes, it is proposed that the Trust undertakes the following activities:

(a) To facilitate craft artist residences, scholarships and awards and other learning opportunities relating to craft and craftmanship in schools and tertiary institutes;
(b) To facilitate craft master-classes, workshops, lectures and seminars;
(c) To develop a craft research library and collection of craft resources and craft objects open to the public;
(d) To develop craft exhibition and touring opportunities throughout New Zealand and internationally;
(e) To develop a regular program of craft events in New Zealand;
(f) To encourage community craft projects; and
(g) To develop a national network and contact point of reference for craftmakers and those interested in craft.

The application to establish Craft Aotearoa Charitable Trust was submitted this week. We look forward to being registered in due course, building partnerships and developing projects that deliver our charitable objectives in 2012. We welcome your suggestions and ideas for projects and partnerships - and will collate these and share with you in a future blog update. We will keep you posted on our progress!

Special Christchurch Meeting - Wednesday 7 December

CALLING ALL THOSE ENGAGED IN CRAFT PRACTICE

Do you need studio/business space? Do you need somewhere to exhibit and to sell what you make? Do you miss sharing a space with other craft makers?

Recently, Craft Aotearoa has been exploring potential options in response to concerns raised by craft makers. We have identified some potential options and we would like to know what you think - will they work for you? What advantages and disadvantages can you see? What else is needed to help you 'get back on your feet'? We are considering developing a funding proposal but we'd like a steer from you about your preferred option so we can be sure we make a good business case.

If you can, please come to a craft sector special meeting to hear brief presenatations regarding some of these options and to share your thoughts on whether any of these options would benefit you.

WEDNESDAY 7th DECEMBER,4:30pm - 6pm
Imagic Theatre at CPIT campus in Madras Street
Please RSVP to jenna-lea.philpott@craftaotearoa.org.nz

This is an 'open invite meeting' - it would be enormously helpful if you could circulate to other craft makers as a good turnout will give us confidence to move forward. We're also hopeful that as a result of this meeting, those in the Christchurch craft sector with similar needs will be more aware of how, and who they can partner with in the coming weeks and months ahead.

Thank you for your support.

Wellington Craft

I remember Wellington over a decade ago when it became known for being that little bit quirky, individual, and creative. There were plenty of  policy analysts, press secretaries, IT people and other government staff milling around but there were also plenty of creative people looking to collaborate, come up with new ideas, push creative boundaries, think up new shows and events, and put on different kinds of exhibitions. Living in Wellington was like living in a creative bubble - and 15 years on it appears that is still the case with lots of creative networks, events and groups populating the city.

Little wonder then, that craft is flourishing in Wellington and that it will host two new major craft events in 2012: Jemposium from 10-13 February (with support from Creative New Zealand), and HANDMADE 2012 from 2-3 June. Add to this the highly anticipated Craft 2.0 events throughout the year, a range of high quality craft exhibitions held by various galleries and museums, a hungry public that likes to dress individually and buy original gifts and the captial may just be a craft practitioner's dream city.

Craft Aotearoa is visiting Wellington on December 9th and 10th and will be meeting with a range of craft organisations and practitioners. We'd love to uncover all the craft activities, groups, events and practitioners in Wellington, Hutt and Porirua. We're keen to expand our database, to uncover any burning issues, to find out your views on New Zealand craft, and to tell your stories. Feel free to email jenna-lea.philpott@craftaotearoa.org.nz or post a comment to this blog. We would also love to know your preference when it comes to showing and selling your craft. Every vote counts in our online poll!

Watch this space for future Wellington craft stories and in the meantime, check out new retailer Made.it at 103 Victoria Street, who stock high quality handmade goods, predominantly made in and around Wellington.

Craft Aotearoa also recommends visiting Pataka to view Folk Tales I'll Never Write: Woodcuts by Grant Tilly  and the Dowse to view Gordon Crook's tapestries, and Bedazzled, an exhibition featuring beautifully crafted Royal New Zealand Ballet costumes designed by Kristian Fredrikson.

How Craft Aotearoa began

Usually one sets up an organisation, secures funding and employs staff before starting projects, developing partnerships, or starting campaigns. Craft Aotearoa did not have the luxury of waiting that long, as the need to support Christchurch craft practitioners took precedence. Founding Trustee Jenna-Lea Philpott shares her personal journey in setting up Craft Aotearoa - and how it almost didn't happen. 

June 2009
Since 2007, I have been employed as a craft sector Industry Engagement Advisor in the UK at Creative & Cultural Skills. Working in partnership with a craft employer's group, I develop a major UK-wide public consultation exercise to identify major craft skills issues in the UK craft sector, and work in partnership with a range of government agencies, public and private training and education institutes, and many arts and craft organisations, in particular:

Pioneering research: The Craft Blueprint

Crafts Council
Craft Northern Ireland
Craft Scotland
Fforwm Crefft Cymru
Cockpit Arts
The Goldsmiths Company
Holts Academy
Craft Study Centre
Shetland Arts
The Basketmakers Association
Craftspace
The Devon Guild of Craftsmen
The Bluecoat Display Centre
The Embroiderers Guild
The Calligraphy & Lettering Arts Society
Heritage Crafts Association
Council for Higher Education in Art and Design
Institute of Musical Instrument Technology
National Glass Centre

Prior to the launch of The Craft Blueprint: A Workforce Development Plan for Craft in the UK at the House of Lords (photo above) I assist colleagues with developing new methodological approaches to craft sector research. The results show that in the UK, craft contributes nearly £3 billion GVA to the UK economy each year which is greater than the Visual Arts, Cultural Heritage or Literature sectors. Government research also shows that employment grew by 11% in the craft sector between 1997 and 2006 - one of the highest growth rates of the creative and cultural industries. I wonder how New Zealand compares....

Another key project I am excited to assist is the development of National Occupational Standards for craft. These standards form the basis of craft qualifications including craft apprenticeships, where the UK government provides funding to employers to encourage the teaching of skills from one generation to the next, and to encourage vocational learning as a career entry route, alongside academic entry routes. Sadly, I am unable to progress other project recommendations in The Craft Blueprint as the economic crunch worsens in the UK and my employer restructures due to reduced funding and along with others, my role is disestablished and I return home to New Zealand.

2010
I begin to look at the craft sector in New Zealand and notice gaps, such as the accessibility of the wider public to craft education and learning opportunties. I only work part-time so I have the capacity to  undertake a national craft research project and I apply to Creative New Zealand for funding in September. The day after I submit my application, I am woken at 4:30am by the house swinging from side to side as if a flying carpet. My partner Ray and I experience a 7.1 magnitude earthquake in the dark, lose power, and I've never felt so scared in my life. We live near the beach and we have no idea where the epicentre is and are scared a tsunami might be on its way. We believe that if it is this bad in Christchurch (not known for its earthquakes) it must be really bad further inland where the Alpine Fault lies, and we worry for our families and friends.

In the weeks leading up to Christmas, we realise how miraculous it is that no one died. Hundreds of buildings are damaged and businesses affected. The daily aftershocks and warning of at least a 6.2 aftershock still to come offer little comfort over Christmas. I hear back from Creative New Zealand and are adivised it was a high quality application however the proposed research is something that Creative New Zealand either commissions or undertakes itself.

Craft Bluepint Launch: Joe (Craft NI), Victoria (Walford Mill), Jenna & Ray

2011
January - Penny Eames (Kapiti Coast) and Dr. Warren Feeney (Christchurch) confirm interest in joining myself in setting up a new charitable trust to support craft practice across New Zealand, foster greater public appreciation for craft,and undertake craft sector research. Warren and I travel to Auckland and meetings are held with Creative New Zealand and Objectspace. It is a quiet month in terms of aftershocks and summer is in full swing.

February -  Penny develops the first draft of the trust deed. It is sitting on my desk at home, and I am in the central city of Christchurch when a devastating earthquake strikes on 22 February. I am just below The Arts Centre as masonry starts falling around me and I lose my balance in the violent shaking and injure my back as I fall on the edge of the gutter. While the ground is still shaking, I manage to get to my car which has somehow escaped the flying masonry and I drive home through liquefaction that is so deep in some streets that I make sure my electronic windows are open just in case I need to swim out. Three hours later (usually a 20 minute drive) I arrive home to my partner, cat, and neighbours who are all safe and sound. Our oven has been shunted out a metre from the wall and everything in the house is strewn onto the floors. We have no power, water, or toilet facilities.

March - still no power, water, or toilet during March and we register with the Red Cross as earthquake refugees! We live day to day from the camping gear we own, the veggies in our garden (until they die from lack of water), the food bank deliveries (thanks NZ and the world for your donations!), visit ancient artesian wells that have appeared since the earthquake to collect deep underground water in containers and lug it home, and dig holes in the garden for our 'nature deposits.' Someone posts a message onto my facebook page to say that I am alive and have no power or phone hence the reason why no one has heard from me. I finally manage to connect with fellow trustee Warren on the other side of town and we agree to regroup in April. Fortunately, his side of town is much less affected and he has all services. The whole of the central city has been locked down and there is a curfew in place.

April - intermittent power returns! Enough to fire up the laptop, television and mobile phone. For the first time, I see footage of the days back in February and learn that my doctor and medical records perished in the CTV building and that 181 people died and hundreds more were injured. We still have no running water as the water main outside our house is broken, however I can fill up at the neighbour's houses. I'm not surprised when I am made redundant from my part-time job, but I do worry about the likelihood of finding other paid work when the city barely seems capable of functioning. My partner and I grieve the loss of life as we knew it, and begin to feel forced to leave Christchurch. I travel to Auckland for my friend's wedding. The sense of normality is overwhelming. A few too many but well-intentioned questions at the reception and I find I can't breathe. Later, I discover that I had a 'panic attack.' When I return to Christchurch, I start physio treatment on my lower back which is really painful all the time as a direct result of how I fell in the earthquake. I hear more and more stories from artists and craft makers about the impact on their livelihoods. So I organise and facilitate a meeting to identify their key concerns and ideas- and then pass that feedback on to Creative New Zealand, Christchurch City Council, and the Ministry for Culture and Heritage, all of whom are scrambling to comprehend the scale of the tragedy.

May - I'm grateful to secure some temping work and like a lot of people I dig deep to muster energy I do not feel. It is strange to be working in the central city again, across the road from The Arts Centre, being reminded of the life I used to have.  Fresh running water returns at home which is undrinkable, and makes my hair go straw-like, but the joy of turning on the tap and having something coming out of a shower head is incredible. I start to wear a back brace every day so my bruised back muscles have a chance to recover and  Penny sends me the second draft of Craft Aotearoa's trust deed. I attend lots of art sector consultation meetings in Christchurch including the newly formed Arts Voice Christchurch gatherings. The loss of so much arts infrastructure is hard to comprehend.

June - my confidence has grown and I feel like I am starting to getting my zing back. I may only be temping, living week to week but I feel privileged to be in a position to help with the rebuild of the city, and grateful to have a job as many around me start to lose theirs. At home, our toilet has come back online, and power is consistently available too. I draft a Craft Aotearoa Concept Plan, meet with Creative New Zealand, catch up with some craft makers over coffee meetings, attend more arts sector consultation meetings and realise that I am actually quite busy. My back has improved and I no longer need to wear a brace or have physio and it is another step towards normality. Some friends have left town permanently, but it is winter and my partner and I make the most of Queens Birthday Weekend and head to Mt Cook to take stock. On the way, he proposes to me. It is so unexpected and we bask in happiness for a while. After stopping in Timaru where Dad gives a hearty handshake and congratulations to my fiancee (and a wink for me), we return to Christchurch just in time for another big earthquake on another different fault line. I'm in a cafe at the bottom of a tower office block. I don't budge. I keep reading the paper and drinking my hot chocolate. I refuse to be scared any more. As I walk back to work and see people around me crying and upset I feel my steely resolve start to crumble and a familiar face gives me a hug. The unspoken question is will it ever end? The beautiful rose window at the already badly damaged Christchurch Cathedral falls to the ground. It is the end of an era and the beginning of another.

Rose Window Design from the Christchurch Cathedral

July - our landlord has been red zoned and we are asked to leave as soon as possible so they can move in. It is the middle of winter and the rental market has become highly competitive. I'm scared to live in a 'foreign' house not knowing how it will react in an earthquake. Scared to give up the familiar for the unfamiliar. The thought of moving suburbs, away from friends and neighbours and into the unknown really tests my resolve. Dedicating time to progressing Craft Aotearoa is impacted once again. I book a trip to Wellington to celebrate my birthday away from earthquakes, but the South American volcano eruption means no flights leave Christchurch for a week, so I'm grounded in Christchurch and I feel rather disheartened. I move on to plan B - hiring a holiday house at Tekapo for the weekend where my father and I can celebrate our birthdays together. It is a wonderful time. We return to Christchurch and secure a new place to live and a week later I take time off work to start packing boxes to get ready to move. Then I get a phonecall. Dad died suddenly in his sleep in the night, and instead of planning a wedding, I find myself helping to plan a funeral.

August - came and went. Thanks to the love and support of friends and neighbours we moved out in freak snow storms not seen in over 100 years four days after Dad's funeral service. I consider giving up or at least deferring setting up Craft Aotearoa. There have been so many disruptions this year and I wonder if I have the energy any more.

September - also came and went. I returned to temping part-time, grateful for the support of some very understanding work colleagues. I dust off Craft Aotearoa's trust deed and concept plan, organise our first Trust meeting, and draft a submission to the draft Christchurch Central City Plan. I also visit property owners to see if their space would be suitable for craft studios, where member of the public can come and buy craft.

October - Dad used to say 'you never know when your time is up and you just have to do the best you can and do things that make you happy.' So working on that theory, I resolve to do the best that I can too. I start to believe that I can make use of previous career experience. I prepare a power point presentation and speaking notes and Warren and I attend the Central City Plan hearings, to talk to our submission on behalf of the Christchurch craft sector and wider public. We argue that the draft Central City Plan lacks long term vision for the craft sector and that providing a dedicated craft gallery space will act as a catalyst for tourism and provide vibrant inner city living for the residents of Christchurch. Supporting people to make objects is one half of the equation- we must also support them to show and to sell. We point out the public good in supporting a sector that historically has never required public funding, and that rather than just rebuild the city, there is the opportunity to redevelop it better than ever. Councillors congratulate us on our presentation and ask lots of questions. Their positive response is encouraging, and The Press mention our presentation the next day. 

Working voluntarily on Craft Aotearoa builds to around 20 hours per week on average. I show various people including Creative New Zealand around a building space on Barbados Street and I continue conversations with the building owners. I learn about resource consents, building consents, insurance, leases, and find myself coming up with concept drawings. We have our second Trust meeting and the Charities Commission give us good advice about our purposes and powers in the trust deed. I contact Chapman Tripp and they come back and offer us a place on their pro bono programme. Suddenly, life just got a little bit easier, and this early vote of confidence after everything else this year, restores my confidence. My fellow trustees suggest I start a blog. I've never done that before but I give it a go. It's quite exciting seeing the page views jump from 5 to 213. I meet with Gap Filler and help promote some of their exciting community craft events too.

November - I start a new part-time temp job. Week day evenings, Fridays and weekends are spent progressing Craft Aotearoa. People start enquiring about where to buy Christmas craft, and craft practitioners tell me they are really struggling - as in, struggling more now, than earlier in the year. No one seems to know their stories, so I ask them five simple questions and post their answers to our blog. I also post a blog about where to buy Christmas craft. Then I go slightly haywire, posting the link to our blog on social media pages, emailing people, and I pop a listing on The Big Idea website too. In less than 24 hours we jump up 300 page views to 865, and our online poll jumps up 20 votes, and we gather 13 online followers. Yay! That makes sitting up to midnight writing content and surfing websites and social media pages worth it.

Craft enthusiast aka Phillippa, our lawyer, forwards the first draft of the trust deed, maintaining some of the content of our original deed. It looks good. She is based in Auckland and while we chat on the phone, a 4.0 aftershock happens and the epicentre is 3kms from my house. I also phone the Wanganui Glass Group, contact Objectspace, investigate funding opportunities for Christchurch craft, purchase domain names, set up a Craft Aotearoa email account, research more blog content, plan the next trust meeting, draft the minutes of the last meeting, start to build a craft database, meet with Warren, and meet with another building and land owner who wants to build a community arts centre on Fitzgerald Avenue. Warren also investigates the possibility of space on Moorhouse Avenue. Then, just when I begin to wonder when it is holiday time and when we can stop and do nothing for a while, I realise the time is ripe for calling a Christchurch craft sector meeting, to galvanise the interest and support we have received so far, to get all the various 'space' options out in the open to be discussed, and to remind craft makers that they are not forgotten and we are still listening. So planning is underway for a meeting on 7th December, 4:30pm- 6pm at CPIT. It would be great to have a good turn out - that way we can be sure we're reaching people and that we're moving in a direction that the majority want.

December - a trip to Wellington is on the cards in response to enquiries from various craft organisations and a meeting with a network of representatives with various craft guilds in Christchurch, plus our own consultation meeting on 7th December, a third Trust meeting, and the launch of our first e-newsletter so it is looking busy too.

In summary - I am grateful to have two fabulous and hard working founding trustees, Penny and Warren, who helped me get through all the disruptions and encouraged me to keep going. I'm also grateful to my fiancee Ray, who has been a tower of strength (I might just have to start researching crafty weddings as a blog topic in future!) Ultimately, I'm looking forward to Craft Aotearoa growing its support for NZ craft practice through a range of initiatives in 2012 and establishing new and exciting partnerships. In the new year, we will tell you more about our aims and objectives and introduce all our trustees. In the meantime, thank you all for your support thus far. Have a very good crafty Christmas!