The somewhat loosely knit structure of the cultural group was intentional, for this very purpose. The role of leadership must be dispersed within the community. The problems of Maoridom, e.g. the urban shift, the birth rate, the land question, etc., are becoming far too complex and overwhelming to await the blossoming of any one great Maori leader as in the past. Each Maori must become his own leader, and his bastion in this respect must come, in part, through some of the ideals that this cultural group has been endeavouring to achieve. The many and varied problems of Maoridom must be discussed, diagnosed and treated at the level of the Maori community, if any success is to be effected. The more fortunate and higher educated Maori must get back to the people to achieve this. Dr B. S. Gregory

Uhengaparaoa Maori Art Forms Co-operative Society Ltd. carving are being produced and selling well. All goods produced by the Co-operative are Uhengaparaoa, a very beautiful, high-ranking Maori maiden of the Whakatohea people, who in her time brought about a resurgence of Maori arts and crafts, was the name chosen for the Maori Art Forms Co-operative—a significant name for a significant development of the Maori people. In May 1967 Alex Upham, a post primary teacher of Opotiki, heard the following words from a speech given by Dr W. B. Sutch, ‘There is a very definite need for high quality art forms for the souvenir trade, and immediate steps should be taken to ensure that these should be available. Many so-called ‘Maori’ souvenirs sold to the tourist in this country at the present time are of poor quality and certainly they can lay no claim to authenticity. In June, Alex Upham passed to his wife Betty, and a friend Betty Te Maipi, the aims and objectives for a co-operative to produce authentic Maori art forms, and said, ‘I think you should do this. It will ensure that the Maori people keep their arts and crafts alive, and that they shall reap the benefit.’ This was the beginning. Government Departments were informed of what was being done and their encouragement and moral support was received. By October the prospectus was ready, and sent out to 1,500 people. Premises in Church Street, Opotiki, were rented, and so on 1 November, 1967, the Uhengaparaoa Maori Art Forms Co-operative Society Limited began operations, Betty Upham being Chairman, and Betty Te Maipi Secretary to the Board of twelve Directors, two thirds of whom are Maori. Three people were working on the premises, others working in their homes, and supplying their products to the Co-operative. Shares were coming in—now shareholders number nearly 80, and there are ten people working on the premises. Shares are one dollar, the minimum holding being five, the maximum six hundred, but whatever the holding each member has only one vote. This ensures that the Co-operative cannot be taken over by any person or group of people. The Co-operative approached a New Zealand wine producing company, to see if they would be interested in a flax bottle-holder for their wine, if one could be produced. Their immediate answer was ‘Yes please!’ A holder was produced, the very first in New Zealand, thanks to Mrs Taiaro Emery of Omaramutu. These holders have proved very popular, and are helping the promotion of New Zealand wines. Supplying the demand for these bottle holders keeps four people busy weaving them. Some very fine ketes, taniko weaving and Busy making the flax bottle-holders.