About Creative New Zealand

2011 March

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Welcome to our first newsletter for 2011. The devastating earthquake in Christchurch has rallied the arts community in New Zealand with individuals and organisations looking at ways to offer support to the people of that city. On our website we have an online page dedicated to providing updates on the impact on the arts, and how the arts community is working to provide support and assistance.

In this newsletter we are calling for nominations for the Prime Ministers Awards, updating you on the Venice Biennale 2011, and highlighting some of the Creative New Zealand initiatives helping to strengthen the arts around New Zealand.

Christchurch Earthquake

Creative New Zealand response to the Canterbury earthquake

Creative New Zealand has provided grants in advance totaling $506,403 to four Christchurch-based arts organisations affected by the recent Canterbury earthquake and broadened the scope of its emergency response fund.

Arts on Tour, Christchurch Symphony Orchestra, The Court Theatre and The Physics Room are all recurrently funded organisations (RFOs) and have received grants covering the period from April to June this year in one lump sum. Creative New Zealand has also developed guidelines to support a wider range of funded projects by individual artists and arts practitioners through its existing earthquake emergency response fund.

Creative New Zealand is working to get a clearer picture of the overall impact of the earthquake on arts in Christchurch and the region. As we work through with people in the region it has been heartening to see the many events and activities being organised artists and arts organisations to raise funds in support of Canterbury.

You can get regular news and updates through a dedicated page on our website.

 

Prime Minister’s Awards

Calling for nominations for the 2011 Prime Minister’s Awards for Literary Achievement

New Zealanders are being asked to nominate outstanding New Zealand writers for this year’s Prime Minister's Awards for Literary Achievement in the following areas:

- poetry

- fiction

- non-fiction

The awards are administered by Creative New Zealand and the nominations are assessed by an expert literary panel. 

We are looking for writers whose work has made a significant contribution to New Zealand literature and who have been acclaimed and acknowledged by their peers and the general public. 

For example, they may have:

  • written a body of work that has received national acclaim
  • received a major fellowship, residency, book award and/or international recognition
  • shown leadership in the New Zealand literary sector.

2010 recipients

In 2010, the Prime Minister’s Awards for Literary Achievement recipients were Cilla McQueen, Joy Cowley and Sir James McNeish.

Cilla McQueen (poetry) is New Zealand's current Poet Laureate and a compelling performer of her work. Cilla’s poems are widely anthologised and she has won three New Zealand Book Awards for poetry. Her most recent collection is The Radio Room, published by Otago University Press in 2010.

Joy Cowley (ficton) is a much-loved, widely-published author of more than 600 books for adults and children. Joy recently published an autobiography, Navigation, a memoir, (Penguin) but is probably most loved for her children’s books, which include the award-winning Snake and Lizard (Gecko) and Hunter (Puffin).

James McNeish (non-fiction) writes across a variety of genre including plays, biography and novels. He was recently made a Knights Companion of the New Zealand Order of Merit in the 2011 Queen’s New Year Honours for his services to literature. His non-fiction spans history and memoir and his most recent book is the novel The Crime of Huey Dunstan (Random House).

Please find links to:

The closing date for nominations: 5pm, Friday 6 May 2011.

 

Venice Biennale

A little bit of Venice in West Auckland

The smell of burning rubber and boy-racers doing donuts provided an unusual backdrop as one our most celebrated artists – Michael Parekowhai – unveiled his new sculptural installation, which will represent New Zealand at the 54th Venice Biennale in June.

Parekowhai, along with a team of installers and a piano technician grappled with grand pianos, some with life-size cast bronze bulls resting on top, gently moving them from the artist’s studio into a ‘Henderson palazzo’.

Inside an unremarkable warehouse the installation was replicated for whanau, friends and patrons as it will appear in Venice, before the five works, which make up the installation, make their 18,000km journey to Europe. The unique exhibition was in recognition of the generous support provided by the patrons of the Venice project.

The works were showcased with a special performance on the central piece, He Korero Purakau mo Te Awanui o Te Motu Story of a New Zealand River (the carved piano), by one of New Zealand’s  classical music icons, Michael Houstoun. There was also a spirited celebration of the intercultural musical connections between Māori and the Italians by Dr Te Oti Rakena and Robert Wiremu.

The installation entitled On first looking into Chapman’s Homer, is a culmination of Parekowhai’s 10-year held vision to exhibit at the Venice Biennale, widely recognised as the most significant event on the international visual arts calendar.

On first looking into Chapman’s Homer pays tribute to the poem of the same title by the nineteenth-century English Romantic poet John Keats, and references notions of discovery, exploration, and the cultural interplay between the old and new worlds.

Music and performance will be a central aspect of the installation, of which Parekowhai says, “While the objects in On first looking into Chapman’s Homer are important, much of the real meaning of the work will come through music, which fills space like no object can.”

Parekowhai’s contribution is timely, compelling and memorable says New Zealand’s Commissioner Jenny Harper.

“New Zealanders are fully aware of how topical and polished Parekowhai’s work is, how purposefully he creates and maintains a sense of drama and surprise and how fluently he jests and engages with aspects of Māori and Pakeha high and low culture.”

“On first looking at Chapman’s Homer is topical and will create a sense of drama and surprise for the audiences in Venice as it did in Henderson.”

For a full description of the installation and for a countdown to the Venice Biennale:

Michael Parekowhai along with his sister Cushla were interviewed by Kim Hill on National Radio this weekend. Listen to the interview.

Thanks to The Edge, New Zealand audiences will be able to view and interact with a similar carved piano in October this year at Michael Lett’s gallery in Auckland. Further details will be released nearer the time.

About New Zealand at the Venice Biennale

New Zealand is a relative newcomer to the Venice Biennale, with 2011 marking the fifth official participation. In 2007, Creative New Zealand made a commitment to the 2009, 2011 and 2013 biennales. For all of the New Zealand artists whose work has been shown, significant national and international opportunities have transpired, and a broadened awareness of and engagement with their work and with the quality and breadth of the contemporary New Zealand art scene has resulted. Read about a recent success story of one such artist – Judy Millar.

Also presenting at the 54th Venice Biennale with support from Creative New Zealand will be New York-based New Zealand artist Hye Rim Lee. No More Strawberries In My Garden, a multi media installation including a glass sculpture 3D animation projection with an experimental sound component, will be part of the collateral exhibition Glasstress. Hye Rim Lee is developing an international profile as a innovative new media artist and she will return to Venice for the second time.

 

Creative Communities Scheme

Raglan teens learn the art of bone carving

A group of teenage boys from Raglan discovered the satisfaction of learning new skills and creating their own art with the help of the Raglan Bone Carving Studio and the Creative Communities Scheme (CCS).

In February the studio, with funding support from CCS, held a series of weekend workshops on bone carving skills for teenagers. Artist and tutor Rangi Wills (Tainui) said that the highlight for him was to see the boys so proud of the things they had made.

“Each of the students completed a carving with some completing two and one three. Most had no experience of carving at all. They all enjoyed themselves and two of the boys wanted to come back and do more,” he said.

“We will be doing more of this type of workshop for teens. It was all boys this time but I would like to do a workshop aimed at teenage girls, because one of the best carvers that worked with me during my apprenticeship was a girl called Dena Newton”.

Rangi Wills was taught to carve as a teenager in the 1980s by carver Bill Rawhiti who was running two-year apprenticeships in Auckland for young people. Rangi has since built a career out of those skills, setting up the Raglan Bone Carving Studio with his partner and selling his work through outlets such as the Te Papa Store and the Auckland Museum Shop.

CCS is one of the ways Creative New Zealand, in partnership with local government through out New Zealand, supports opportunities for New Zealanders to participate in the arts. This small grants initiative is designed to support a wide spectrum of community arts projects and activities happening throughout New Zealand.

In the 2009/2010 financial year, CCS supported 2,418 projects nationally. Funding decisions are made by local assessment committees on the basis of criteria set by Creative New Zealand. Among other things, these criteria seek to promote the uniqueness and cultural diversity of local communities.

If you are interested in finding out more about CCS please contact your local council or Carolyn Todd at Creative New Zealand. Carolyn focuses on community arts, including the delivery of the CCS. Contact her on carolyn.todd@creativenz.govt.nz


Te Manu Ka Tau

New Zealand’s artistic talent being marketed to international producers

Over 30 international directors and producers from 11 different countries have arrived in New Zealand to view the exciting and diverse New Zealand work that is being presented at Pasifika Festival, Auckland Arts Festival, WOMAD and SOUNDS Aotearoa.

Hosted as part of the Te Manu Ka Tau – Flying Friends programme, an initiative of Creative New Zealand, the guests will also take part in a number of panel discussions touching on subjects like entrepreneurialism, music and programming and freelancing, as well as highlighting the role of Māori and Pacific arts, focusing on the potential markets for New Zealand art in Australia, Asia, The Americas, Israel and Europe.

More than 100 international guests have visited New Zealand since the programme’s inception in 2009. The aim is to encourage international exchange and collaboration, including facilitating exposure, networking and capability building. The group that are currently in New Zealand will access more than 60 acts and participate in a Māori Art Forum at Mataatua Marae.

Creative New Zealand recently talked to Karen Fischer, Director of the Pacific Arts Network, Hawaii and William Burdett-Coutts, Artistic Director of the Assembly Rooms, Edinburgh and of Hammersmith’s Riverside Studios, who both participated in the Te Manu Ka Tau programme in 2010.

William places high value on the importance of seeing art on home ground as well as being able to think about how the work will translate to overseas audiences.

“It is a great opportunity to experience New Zealand performances, particularly of new work that has not yet been seen outside of the country. I also cannot place high enough importance on the value of networking with New Zealand performers and producers. New Zealand has such a vibrant and diverse culture, it is exciting to see the amount of work that is coming out of such a small country.”

Karen Fischer, agent and former presenter in Hawaii found her visit to New Zealand last year invaluable as her mission is to represent performers from the Pacific.

“As a result of last year's visit, I began working relationships with Maisey Rika (who is currently touring Hawai'i), Pacific Curls, and No. 2, and I was able to further my previous relationships with Atamira, Taki Rua and Tawata Productions. I was also fortunate to be able to attend the Kapa Haka competition in Rotorua, which gave me yet another dimension of Māori culture and performance.”

Over the years both presenters have presented a variety of New Zealand works that include shows like Indian Ink’s Krishnan's Dairy, Toa Fraser’s play No. 2, as well as performances from Te Vaka, Māori theatre producers, Taki Rua and Tawata Productions.

Karen highlights that other Pacific Island cultures are particularly important for those living in Hawai'i and both Polynesian cultures share the same roots.

And these connections can lead to wonderful things. “Maisey's performance was greeted at one theatre on Hawai'i Island by a local halau (hula school) chanting their 'mahalo' (thank you), and she was able to respond in kind.”

"As an agent, I am trying to expand the reach of these companies past Hawai'i to the continental United States.” Te Vaka and No. 2 have upcoming tours in 2011-12. Te Vaka will reach five venues in Alaska, due to presenters' interest in serving Native Alaskan populations.

“The bonds with other indigenous cultures are common. Not only are there shared stories, shared expertise, but there is also shared strength in connecting with performers who also draw their work from their indigenous traditions and histories while producing contemporary work."

As Creative New Zealand is very aware, the arts are now a global business. In the last 25 years with the development of digital technology, there has been an explosion of networks, and for those in the business this is an essential development.

“However”, William adds, “as much as it is valuable for us to see new and intriguing works we can also provide useful feedback to companies about development of work, realities of production, travelling and audience reaction to certain topics”

Karen agrees, “Our field works through relationships. It may simply be the nature of performance – we are a field who learns from our mentors and those who have gone before us, so face-to-face relationships are inherent in how work gets produced. The process of booking and presenting happens in the same way.”

“Sometimes (more and more rarely these days) work can sell itself through someone hearing a CD or seeing a video and falling in love with the work. More often than not, however, the artist (or manager or agent) works through relationships with presenters or festival directors and, they, in turn, can tell their colleagues in the field. And so the network grows. Through this programme, international directors can both see work and have conversations with the artists, the first step to touring and booking.”

This is where networking programmes facilitated by Arts Councils and cultural organisations become important as they can provide artists with a platform to showcase to producers who are strategically positioned to aid artists and companies to present to a wider audience. Sometimes it means that work has to be tweaked to fit with an audience but this is part of a learning curve when presenting internationally. It provides companies with the skills and acumen to globally position their works for a wider audience without compromising the artistic core of the work.

Find out more about the Te Manu Ka Tau programme.

 

Donations Toolkit

Updated donations toolkit available online

An updated toolkit to help arts organisations understand New Zealand’s tax rules on donations and what incentives you can offer potential donors is now available.

Donations are just one way that arts organisations can source revenue and the toolkit tells you how to take advantage of the incentives offered; gives advice on how to talk to potential donors; and how to maintain a relationship with them.

Changes to tax law now allow donors to claim back more tax from the donations they make to arts organisations.

Previously individuals could claim a third of their donation up to a maximum of $630 per annum. Now there is no limit on how much that third can be.

Publicly listed companies or unlisted close companies, which are unlisted companies under the control of five or fewer people or other companies, can deduct the total amount of their donation from their annual taxable income, provided it’s not more than their company’s net income.

Previously companies could only claim 5 percent of their total donations annually while unlisted close companies could not make claims for donations at all.

Included in the donations toolkit is also a guide on the paperwork you will need to do and a glossary of the technical terms.

If you are interested in ways to increase private sector giving in the arts, you may also wish to read the following reports: the Creative New Zealand commissioned The art of the possible: strengthening private sector support for the Arts in New Zealand or Growing the pie: increasing the level of cultural philanthropy in Aotearoa New Zealand / Report of the Cultural Philanthropy Taskforce to the Minister for Arts, Culture and Heritage, Hon Christopher Finlayson.


Legislative Change

Proposed changes to the Arts Council of New Zealand Toi Aotearoa Act 1994

A new governance structure for Creative New Zealand could take effect from 1 October if new legislation before Parliament is passed.

The new Arts Council of New Zealand Toi Aotearoa Bill, awaiting its second reading, would establish a single board to replace our existing Arts Council, Te Waka Toi, Arts Board and Pacific Arts Committee.

The new 13-member board would include a minimum of four Māori and two Pacific Island representatives who each have knowledge of Māori and Pacific artforms as well as cultural traditions.

Creative New Zealand is preparing for a smooth transition to the new structure when the bill is passed. We expect that a single board, once in place, would make fewer demands on staff time and resources so we can direct more of our focus to working alongside artists and arts organisation to develop their arts practice.

The new structure will have no effect on the services we offer or our existing funding programmes.

External peer assessment of applications will continue to be a key part of the new structure and specific funding will also be tagged for Māori and Pacific arts, as it is now. Requirements for the new Arts Council to recognise the role of Māori as tangata whenua and the arts of the Pacific Island peoples of New Zealand are included in the bill. Also the provisions in the existing Act for community councils remain unchanged.

Under the new structure roles and responsibilities will also be clearer with decisions on strategy and policy and funding made by one body, rather than being split between four separate boards.

Updates on the passage of the bill and the transition to the new structure will be included in the Our council and boards section of our website.

 

Staff Profile

Makerita Urale on being the Senior Programmes Adviser, Pacific Arts

On being Makerita Urale

I grew up on Wellington’s south coast, Island Bay and Lyall Bay, and I’ve always loved the creative flair and sense of originality in the local arts community. I was very active in this arts whanau during the 90s, as a producer and writer, running events, creating and dreaming up arts projects and trying to get arts funding to make them happen. Most Kiwi artists probably know for a fact, that being part of a strong arts whanau and community is really important for sharing creative ideas and inspirations, debating issues and having the courage to give and accept honest critique and feedback.

Theatre and writing is my ‘first home’ but I moved towards documentaries in the last 10 years. I also realised it cheaper and easier to ship a DVD overseas, than physically sending a theatre group on tour.

What inspires me

The ideas of our best Kiwi artists inspire me. Their unique point-of-view – influenced by their place in the Pacific – makes our art stand out on the world stage. Len Lye’s work is fabulous, pioneering, artistic, fun, clever and unique – love it – but part of his journey as an artist was drawn from his time living in Samoa where tattoo, tapa motifs and Pacific landscape triggered patterns and rhythms in his head that found expression in his films and sculptures.

I like exploring other ideas, cultures and people because it’s so interesting, and this is particularly relevant given New Zealand’s multi-cultural mix.

Some of the projects I’m most proud of include the documentaries Children of the Revolution (Qantas Award 2008 for Best Māori Program), Waiata Whawhai - Songs of Protest, Savage Symbols (Samoan tattooing), Mob Daughters and Gang Girl - Tarnz's story, all produced by Claudette Hauiti. I was also a director of The Living Room art series focusing on kiwi artists, and creative producer of a short doco on Niuean composer Tigilau Ness, directed by Louis Sutherland for The Gravy art show for Wellington production company Sticky Pictures Ltd.

My play Frangipani Perfume, has toured in New Zealand, Canada, Australia and the UK with play readings in Toronto and La Mama Theatre in New York, and was published by Play Press. The fact that it has reached international audiences confirms my belief that there is a growing interest internationally in the work of Pasifika artists.

About my role at Creative New Zealand

Now that I’m working at Creative New Zealand that arts industry experience is invaluable in understanding the reality for artists.

As an arts advisor, my role means I travel quite a lot to meet with artists and arts organisations. Maintaining this contact is very important to me, especially in supporting the arts and culture of Pasifika people, where government agencies can be perceived as bureaucratic, unfriendly and alienating. For many artists, just a tiny bit of seed funding or advice for an early project can help kick off a life-long career. Having knocked on Creative New Zealand’s door for arts projects over the years – and been both supported and declined – I have understanding of what can be frustrating in the process, and in finding ways to ‘interpret’ the information to artspeak or Pacific speak.

What’s new?

The internet is here. I love the freedom it provides with instant access to information and free communication tools. It gives back to people and communities a semblance of control over what to view, buy or pay for as well as responsibility for connecting and creating new forms of social online communities. New online tools are rapidly defining how we define ourselves in the ‘real world’ and the virtual world. What is exciting is the way knowledge is being shared freely on a global scale through collaboration in the creation of new apps, software and many online art communities such as devianART and www.thebigidea.co.nz.

The new Pacific Arts - Creative New Zealand Facebook page is an important step to connecting with the Pacific arts sector who engage in social media. It’s not for everyone, but we need to use multiple tools in the modern world, and be flexible with how we provide information to support the arts in New Zealand. You can contact Makerita at makerita.urale@creativenz.govt.nz or 04 498 0729 or on Facebook.