Creative New Zealand this week published a return salvo to its critics over the recently launched Mäori Made Mark, a registered trade mark designed to distinguish genuine artworks created by the islands’ indigenous population from cheap imported fakes. Local media have criticised the mark's development as over-budgeted, showing favouritism towards the Mäori community and – as part of an NZ$86 million package to strengthen the nation’s cultural economy – an appropriation of tax-payer funds to a ‘minority’ of the community. One article, in the New Zealand Herald, even went so far as to question the whole notion of public funding of the arts: ‘These days, few private individuals or organisations would be willing to support some of what passes as art, so the government has stepped in... There can be no justification for the state and state agencies financing the arts on the grounds of defending or purveying the public good because no such unified notion exists.’ A second, pro-mark piece – by design management consultant Michael Smythe – also from the New Zealand Herald and posted this week on Creative's website, has been equally as aggressive in its response: ‘How can a far-sighted, well-conceived, collectively creative, thoroughly developed, innovative investment in adding value to a unique New Zealand resource get any coverage in the news media? It’s far too good a story to be told on its merits – it would look like a PR piece published free by the fearless fourth estate.’ Launched last month, the ‘Toi Iho’ mark cost $831,000 to develop over a two-year time-frame, including policy development, research, design and legal fees, consultation processes, and initial marketing and implementation. The Smythe article defends the costs as ‘reasonable’ – a valid investment in improving standards, in making creative careers more viable, and in enhancing market value of Mäori art, thereby potentially retaining more overseas funds inside the small nation. Indeed, as to the question of whether the money might be better spent on education or health services, Smythe affirms the long-term value of the mark: ‘Our tiny economy can make a living by becoming a low-priced sweatshop for multi-national brands, or we can distinguish ourselves in a way that is valued... It is a paradox of globalisation that niche markets place a higher value on unique expressions of minority cultures... [and demand] a way of distinguishing the dusky dolls and dubious jade from the genuine article.’ The mark is one of three priority projects identified by Creative’s Mäori Arts Board, Te Waka Toi, for a slice of the $86 million Cultural Recovery Package allocated last year by New Zealand Prime Minister and Minister for the Arts, Helen Clark ($20 million of which went to Creative NZ). ‘It is a testament to all those involved in such an emotionally charged, nationwide... quest that any outcome was delivered at all,’ wrote Smythe, ‘let alone the elegant, engergetic/gentle, robust/delicate, traditional/contemporary, uplifting/functional logo and strategy that has emerged with strong stakeholder approval and ownership.’ Relevant articles: 'Mäori Made Mark: a sensible and positive investment', New Zealand Herald (14 February; reproduced with permission by Creative New Zealand) CLICK HERE ‘Clark had no mandate to spend our taxes on arts’, New Zealand Herald (14 February) CLICK HERE ‘Mäori Made Mark launched’, Dramatic Online/ACORNS (14 February) CLICK HERE ‘Maori trade mark causes ructions in NZ’, The Age (24 January) CLICK HERE ‘Creative New Zealand to launch Mäori Made Mark’, Dramatic Online/ACORNS (25 January) CLICK HERE