Over the last forty years, surfing has emerged from its Pacific islands origins to become a global industry. Since its beginnings more than a thousand years ago, surfing’s icon has been the surfboard—its essential instrument, the point of physical connection between human and nature, body and wave. To a surfer, a board is more than a piece of equipment; it is a symbol, a physical emblem of cultural, social, and emotional meanings. Based on research in three important surfing locations—Hawai‘i, southern California, and southeastern Australia—this is the first book to trace the surfboard from regional craft tradition to its key role in the billion-dollar surfing business. The surfboard workshops of Hawai‘i, California, and Australia are much more than sites of surfboard manufacturing. They are hives of creativity where legacies of rich cultural heritage and the local environment combine to produce unique, bold board designs customized to suit prevailing waves. The globalization and corporatization of surfing have presented small, independent board makers with many challenges stemming from the wide availability of cheap, mass-produced boards and the influx of new surfers. The authors follow the story of board makers who have survived these challenges and stayed true to their calling by keeping the mythology and creativity of board making alive. In addition, they explore the heritage of the craft, the secrets of custom board production, the role of local geography in shaping board styles, and the survival of hand-crafting skills. From the olo boards of ancient Hawaiian kahuna to the high-tech designs that represent the current state of the industry, Surfing Places, Surfboard Makers offers an entrée into the world of surfboard making that will find an eager audience among researchers and students of Pacific culture, history, geography, and economics, as well as surfing enthusiasts.

The evolution of surfing—from the first forms of wave-riding in Oceania, Africa, and the Americas to the inauguration of surfing as a competitive sport at the 2020 Tokyo Olympics—traverses the age of empire, the rise of globalization, and the onset of the digital age, taking on new meanings at each juncture. As corporations have sought to promote surfing as a lifestyle and leisure enterprise, the sport has also narrated its own epic myths that place North America at the center of surf culture and relegate Hawai‘i and other indigenous surfing cultures to the margins. The Critical Surf Studies Reader brings together eighteen interdisciplinary essays that explore surfing's history and development as a practice embedded in complex and sometimes oppositional social, political, economic, and cultural relations. Refocusing the history and culture of surfing, this volume pays particular attention to reclaiming the roles that women, indigenous peoples, and people of color have played in surfing. Contributors. Douglas Booth, Peter Brosius, Robin Canniford, Krista Comer, Kevin Dawson, Clifton Evers, Chris Gibson, Dina Gilio-Whitaker, Dexter Zavalza Hough-Snee, Scott Laderman, Kristin Lawler, lisahunter, Colleen McGloin, Patrick Moser, Tara Ruttenberg, Cori Schumacher, Alexander Sotelo Eastman, Glen Thompson, Isaiah Helekunihi Walker, Andrew Warren, Belinda Wheaton

One of the greatest surfers of all time, Greg Noll has built a considerable reputation as master of surfboard making, or "shaping." Today, collectors and surfers alike prize his unique brand of board. Recently featured in the award-winning documentary feature, Riding Giants, "Da Bull," in his iconic black-and-white striped trunks, was emblematic of big surf and fearless commitment. In addition to being a pioneer of big-wave surfing, surf movies, and surf magazines, by the mid-1960s, Noll was one of the largest surfboard manufacturers in the world. Now living in Crescent City, California, Noll still shapes twelve boards a year out of old-growth salvage woods-replicas of Duke Kahanamoku's olo and other exotica for collectors. The Art of the Surfboard combines the art of building extraordinary surfboards with fascinating surfing history and photography. It's a must-have for surfers and surfing history buffs of any age. The Art of the Surfboard includes: A biographical introduction to Greg Noll A concise history of the evolution of surfboards and construction techniques from ancient Hawaii to the modern era Descriptive step-by-step photo sequences with explanatory text on building balsa, foam, and classic wooden surfboards A chronological gallery of Greg Noll surfboards, vintage 1950 to 2005, featuring photographs, action shots, commentary from surfers and shapers, and from Greg himself on the boards and their eras Portraits of several important Greg Noll surfboard collectors and their collections, with accompanying bios and information on the boards A guide to the various Greg Noll surfboard labels and the years each was used Illustrated throughout with action surf shots taken by some of surfing's master photographers

Whilst being an ambiguous and contested concept, sustainability has become one of the twenty-first century’s most pervasive ideas, as humanity’s increasing impact on the environment, as well as increasing social and economic inequalities, have local and global consequences. Surfing is a globally recognised cultural phenomenon whose unique connection with nature and rapid expansion into a multibillion pound industry offers exciting synergies for exploring various dimensions of sustainability. This book is the first to bring together the world’s foremost experts on the themes of sustainability and surfing. Drawing upon cutting edge theory and research, this book offers multidisciplinary perspectives and methodological approaches on the social, environmental and economic components of sustainable surfing. Contributions provide unique discussions that bridge the gap between theory and practice, exploring topics such as sustainable surf tourism, surf-econometrics, surf activism, surfing governance, the surfing industry, and technological advancements. Each chapter produces in-depth insights to provide foundational insights of the relationship between sustainability and surfing. This book will appeal to multiple audiences in different disciplines and sectors. Practitioners will benefit from the insights presented in this volume, while both undergraduate and postgraduate students will find this volume an invaluable companion, including those working in geography, environmental studies, sport sciences, and leisure and tourism studies.

Surf culture in the Texas Coastal Bend began in the early 1960s when a few young men set up surfboard rental stands on the beach. By 1970, thousands of people had caught the surfing bug. In the decades that followed, dozens of surf shops and surfboard makers established themselves in Corpus Christi, Port Aransas, and nearby communities. Coastal Bend surfers won national championships for their wave-riding prowess, beating out counterparts from the East Coast, California, and Hawaii. By the 21st century, Coastal Bend wave riders had become a force to be reckoned with, playing strong roles in local political movements that influenced public policy.

The act of surfing involves highly-skilled humans gliding, sliding, or otherwise riding waves of energy as they pass through water. As this book argues, however, this act of surfing does not exist in isolation. It is defined by the cultures and geographies that synergize with it – by the places, ideas, images, and other representations which at once reflect, create, and commodify this spatial practice. This book innovatively explores the spaces of surf and surf-riding, informed specifically by the perspective of human geography. Based on a range of critical turns within the social sciences, the book explores the locations, relational sensibilities, and transformative nature of surfing spaces, and examines how the spatial practice has been scripted by dominant surfing cultures. The book details how prescriptive (b)orders of access, entitlement, and marginalization have been created, and how, with the advent of new craft, media, and ideals, they are being actively challenged to redefine surfing spaces in the twenty-first century.