Glossary

Many of these terms may also have other quite valid definitions, but this glossary is to help people understand how we at Creative New Zealand use these terms.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

An activity can be a single project, eg a residency programme or an integrated programme to be offered over a defined period, eg an exhibition or series of exhibitions, a publication or series of publications. An activity can also be a service or services to be made available to artists and practitioners.

Examples of activities in a 'regular programme' would be:

a regional arts festival delivering a programme once very two years
a three month artists' residency offered annually for three years.

Examples of activities within a 'continuous programme' would be:

a threatre company delivering an annual season of productions
an organisation delivering an ongoing programme of arts activities.

Activity budget

A detailed budget for each proposed activity for which you are seeking funding.

Activity revenue and costs

Terms used in a Statement of Financial Performance. Activity revenue (also called variable revenue) results directly from runninng an activity. Activity costs (also called variable costs) are in curred directly as a result of running an activity.

Artform

One of various forms of arts practice, for example theatre or dance.

Artform development

Developing the arts involves identifying and encouraging the development of:

high-quality and innovative art
individual artists and arts practitioners through improving their artistic quality, their ability to be innovative, or their productivity, so that they can reach their potential and achieve their goals
arts organisations through improving their artistic quality, organisational effectiveness, and financial health
New Zealand’s arts infrastructure, arts communities and audiences.

Artform publication

An artform publication is a book about New Zealand arts or artists or is created by an artist as an artwork in its own right. When applying for support towards an artform publication, the application should be submitted under the relevant artform, e.g., a book about a visual artist should be submitted under Visual arts.

Audience development

An audience development programme or initiative aims to have audiences more engaged and participating more often, and to encourage new audiences.

B

Best practice

Activities or methods that are shown to produce the best results.

C

Community

A community is defined by the people within it – where these people are, what they do, shared experiences, what they are interested in or how they identify themselves. A community may be based around a place, a cultural tradition, or commonly held interests or experiences.

Community arts

Creative New Zealand recognises three core strands of activity as community arts, and these are:

Community Cultural Development

collaboration of arts practitioners with communities to achieve artistic and social outcomes
processes of collective creativity
community-based issues focused on through the arts (for example in relation to the environment or to issues of social equity).

Maintenance and Transmission of Cultural Traditions

Māori and Pasifika Heritage Artforms
defined groups of interest (such as migrant communities) maintaining and preserving their distinctive artistic and cultural traditions from one generation to the next.

Leisure and Recreation Activities

community-based arts groups devoted to the recreational pursuit of diverse artforms.

Community arts for investment programmes

The community arts focus for our investment programmes, Toi Uru Kahikatea and Toi Totara Haemata, is on collaboration with the communities concerned, as opposed to the provision of arts experiences for these communities. Organisations that receive funding through these programmes may contribute to community arts through:

the maintenance and transmission of cultural traditions
community cultural development.

Community arts participation

By supporting initiatives that encourage participation in the arts, Creative New Zealand’s focus is mainly on people’s active involvement in the arts. There are also community arts activities. e.g. workshops, wānanga or fono — in which participants are involved actively and receptively in the learning, practice, presentation and appreciation of their traditional arts practices. This means that participants may not be actively involved in the activity but may be present at the activity, listening, learning and acquiring skills and knowledge.

Craft/object art

Creative New Zealand sees craft/object art as including the traditional applied arts and contemporary practices of all the peoples of Aotearoa/New Zealand, including Māori and Pasifika peoples and the diverse cultures of people living in Aotearoa/New Zealand today. Genres include, but are not limited to, ceramics, furniture, glass, jewellery, object making, studio-based design, raranga, tāniko, tapa making, textiles, tivaevae, typography, and weaving.

Creative New Zealand recognises that the boundaries between craft/object art and the visual arts are not precise. Makers and artists usually define for themselves how their practice, or different aspects of their practice, relates to a given artform. For design, our focus is on the development and/or public presentation of new work by independent studio-based designers.

Creative non-fiction

Writing projects which use literary techniques to create factually accurate work. They are assessed on their literary merit. All non-fiction projects must demonstrate literary merit to be considered for support.

Cultural tradition

Relates to the particular artistic heritage that the project or activity is part of, for example:

a dance project with a focus on tango would be Latin American
an Indonesian wayang kulit (shadow puppet) production would be Southeast Asian
a project featuring a group of ueillian bagpipers would be Anglo-Saxon / Celtic.

It does not relate to the individual applicant’s ethnic affiliations or geographical origins.

Curator

In the Craft Object and Visual Arts sectors a curator selects, presents and provides interpretation of works of art. In addition to selecting specific works for public presentation, curators are often responsible for the consideration and promotion of contemporary artists and artworks within exhibitions, publications and the broader discourse of the Craft Object and Visual Arts sectors. Creative New Zealand’s support for curators and curatorial development is primarily focussed on freelance curators and their projects, rather than institutionally affiliated/employed curators.

Customary Māori arts

Customary Māori arts include, but are not limited to, projects focused on one or more of the following: rāranga, tukutuku, kowhaiwhai, ta moko, kaupapa waka, oral arts, eg karanga, whaikōrero, pao, mōteatea, whakairo and/or Māori performing arts, eg kapa haka waiata a ringa, waiata tawhito, poi, whakaeke, whakawaatea, waiata haka, mau rakau, taonga pūoro and traditional Māori games. Creative New Zealand recognises that Ngā Toi Māori activities and programmes may involve elements of both customary and contemporary practice. The term Customary Māori arts is used by Creative New Zealand to track how Māori artists and the arts sector as a whole are working.

D

Design

Creative New Zealand can support non-commercial projects that recognise and build on the interaction between design and arts practice. Creative New Zealand supports 2D design projects focused on typography, poster design, graphic design and publication design through the Visual arts artform category. 3D design projects are supported through the craft/object artform category and can include furniture and object-based design projects.

Dance

Dance includes classical and contemporary dance; street, experimental and integrated dance; and traditional and contemporary Māori and Pacific Island dance.

It includes customary and contemporary practices of all the peoples of Aotearoa/New Zealand, including Māori and Pasifika peoples and the diverse cultures of people living in Aotearoa/New Zealand today.

Demography (New Zealand)

Creative New Zealand expects that a strong response to New Zealand's demography will be demonstrated through the following practices:

activity that responds to and engages with a diverse range of communities
activity that will engage with artists/or audiences in regional centres or rural areas
activity that furthers the careers of artists drawn from a diverse range of communities
activity that consistently includes Māori work and/or delivers to the Māori community
activity that consistently includes Pasifika work and/or delivers to the Pasifika community
activity that furthers the careers of Māori artists and arts practitioners
activity that furthers the careers of Pasifika artists and arts practitioners.

Digital environments

All online, mobile and broadcast media, and offline passive and interactive digital devices and platforms, that produce, distribute and consume creative digital content.

Distinctive

For the purposes of international touring or exhibiting, an artwork is ‘distinctive’ if it has been created by a New Zealand citizen or resident and has at least two of the following four features:

it has distinguishing characteristics that are typical of New Zealand art, music, dance, poetry and such like
it conveys or expresses experiences, attitudes and styles unique to the New Zealand way of life or to New Zealand’s history
it has representational, symbolic or iconic significance for New Zealand when taken abroad
it displays an authenticity and originality peculiar to the artist or artists who created it.

Distribution

The action of spreading or dispensing a work throughout a region. Distribution may involve the physical touring of a work (through, for example, exhibitions or performances), or the publishing and promotion of a literary work, or the digital transfer of an artwork by means of digital files passed between devices (such as computers and mobile phones) that are capable of reading digital formats.

Distribution agents

Are practitioners and organisations that have a proven ability to organise effectively and efficiently the physical distribution of the arts within New Zealand. This includes:

festivals
theatre and dance producers
music tour managers
organisers of visual arts and craft/object touring exhibitions
the organisers of a writers’ tour where a group of writers travel together to read and promote their work at a series of local venues
regional venues and galleries that receive touring work.

Diversity

Creative New Zealand support is available to all New Zealanders, irrespective of age, gender, ethnic affiliations, physical or other disability, sexual orientation or religion. For further information see our Diversity in the Arts Policy 2015

E

Emerging

An artist who:

has received recognition for the public presentation of at least one work in the area of arts practice for which they’re applying funding
is recognised by peers or experts in the artist’s area of arts practice, which can include kaumātua or kuia, or other people of standing within the artist’s community
has specialised training or practical experience in their area of arts practice (training need not have been at an academic institution)

Also see Public presentation

Established

An established artist, arts practitioner, group or organisation:

has recently achieved the successful public presentation of at least three high-quality artworks, events or programmes in an area of arts practice, and
has endorsement and support for their work from at least two peers or experts in their area of arts practice, and
is acknowledged as being established in their area of arts practice.

Also see Public presentation

G

General Manager

The person who has overall responsibility for the financial and organisational management of a company or group. A General Manager will be retained by the company or group by means of a mutually agreed, written contract based on a clear job description. The contract will outline the rights, responsibilities and authorities of the General Manager, their remuneration and any reporting requirements to a Board or owners of the company.

Genre

A category of artistic, musical or literary composition characterised by a particular style, form or content; a kind or type of work.

H

Heritage arts

Artistic expressions and forms reflecting a particular cultural tradition or traditions that continue to be celebrated and practised by New Zealand artists and practitioners, and that are appreciated and supported by New Zealand communities.

High-quality

Assessors for Arts Grants, Quick Response and the Toi Tōtara Haemata and Toi Uru Kahikatea programmes pay particular attention to the strength of the idea; the viability of the process; the experience and ability of the people involved; and the soundness of the budget. Applications that are strong in some, but not all, of the above areas are seen as having potential.

I

Innovation

Involves the creation of value out of new ideas, products, arts experiences, services, or ways of doing things. An ‘innovative’ arts practitioner will understand the skills and techniques required by their area of arts practice, but will not rely on established ideas, forms or ways of working. They will be actively investigating new ways of working and will be taking artistic risks.

Actual innovation will depend on context (when and where the project is to happen). It may exist in the form of the work, the process of creating the work, the way the work is presented, the ways the work engages with its audience, or the way in which skills and techniques are passed on.

Integrated programme of work

A programme that has more than one work/event and which:

has as its main focus the development or presentation of the arts or participation in the arts
has an overall artistic vision and is conceived, produced, curated, marketed and presented as an integrated package
occurs within a defined area or region and within a defined period of time.

An integrated programme of work may be offered in a variety of contexts, including programmes offered by an arts festival, an artist-run gallery, or a theatre company.

Interarts

Interarts projects integrate artforms of any cultural tradition, combining them to create a new and distinct work. The result of this integration is a hybrid or fusion of artforms outside of Creative New Zealand’s artform categories.

Intercultural engagement

Involves people from different cultural traditions or artistic backgrounds actively collaborating on a specific project or activity. It includes the development and promotion of artistic links between tāngata whenua and other first-nations peoples.

Internationally viable

An artwork by an international-ready artist or company is internationally viable if there is clear evidence that taking it overseas is feasible and practicable. There needs to be evidence of:

adequate financial resources
professional expertise of the individuals involved
robust infrastructure to support taking the work overseas
the use of appropriate marketing tools

The artwork’s potential for continued life overseas beyond the proposed presentations will also be considered.

International-ready

An ‘international ready’ artist or company will have:

a track record of work that demonstrates the three criteria of international quality, distinctiveness and viability
infrastructure and the skills to work internationally and to support international engagement
a proven track record of successful work (for example, they’ve had at least three books or scores published, or had three works tour New Zealand, or had works exhibited in at least three solo or group exhibitions)
a proven track record of the distribution of their work in New Zealand
already achieved international success, and
a desire for international engagement and a strategy for undertaking it.

Internship

A period of work placement where a person works alongside and learns from a more experienced person working in their field, such as a gallery curator. It is expected the learning area (or areas) will be identified as part of any internship proposal.

Investment

Making a monetary or other tangible contribution to a project or activity with the expectation of some form of return to the investor. Creative New Zealand expects its allocation of public funds to result in identifiable returns and benefits for New Zealand. The returns we seek are the outcomes stated in our Strategic Plan and Statement of Intent. We are more likely to contribute towards (‘invest’ in) projects and organisations that can clearly demonstrate an ability to deliver the results we are seeking.

K

Kaupapa Pasifika

Pacific Arts applications are assessed on the extent to which Kaupapa Pasifika is evident in the practice and results of the proposed project. Kaupapa Pasifika refers to a foundation of understanding and knowledge created by Pasifika people and expressing Pasifika aspirations, values and principles. It is based on these two concepts:

Kaupapa – awareness of the unique cultural perspectives of a distinct group of New Zealanders.
Pasifika – the unique cultural perspectives and beliefs embodied in the values, customs, rituals, dance, song, language and cultural expressions of the individual Pasifika nations.

The combination of the two attributes reflects the unique context of Aotearoa-based Pasifika communities, their Pasifika aspirations, values and principles and desire to express cultural values and world views that relate to their experience as Pasifika peoples living in New Zealand.

When assessing a culturally-specific heritage arts application, it will replace the concept of Kaupapa Pasifika with the specific island group, for example, Kaupapa Samoa or Kaupapa Fiji. This is similar to the terms Fa’a Samoa or Vaka Viti meaning ’the Samoan way’ or ’the Fijian way’.

Key role

Refers to specific aspects of the New Zealand arts infrastructure that Creative New Zealand funds arts organisations to carry out. The term key role is used in relation to the Arts Leadership Investment (Toi Tōtara Haemata) programme. When determining Toi Tōtara Haemata key roles, Creative New Zealand identifies its own responsibilities in funding specific areas of arts practice, taking account of the funding responsibilities of other central and local government funders and support provided by the private sector.

L

Landed costs

Include fees and expenses incurred where the arts activity takes place overseas. Landed costs will generally be paid for by a presenter and include:

accommodation
artists fees
ground transport
marketing, technical support and presentation
per diems (daily allowances).

Literature

Literature is a broad, inclusive concept. Creative New Zealand will consider proposals from writers and illustrators to research and write high-quality work in fiction or non-fiction.

Fiction includes, but isn’t limited to, novels, novellas, short stories, poetry, children’s fiction, young adult fiction, graphic novels, illustrated picture books, and speculative fiction such as fantasy fiction, science fiction, detective fiction, and historical fiction.

Non-fiction includes, but isn’t limited to, autobiography, biography, essays, social commentary, literary criticism, reviews, analytical prose, non-fiction written for children, young adult non-fiction, and writing about the physical and natural sciences.

Local arts

Community-based art activities that are mainly intended to benefit local communities

M

Māori-led

We use the term Māori led to mean an entity:

that is led by artists or arts practitioners of Tangata Whenua Māori whakapapa who have formal authority to make decisions in operations and governance of the entity managing the organisation (not all governance or senior leadership of the entity is required to be Māori)
- where Kaupapa Māori is evident in:
- mātauranga, tikanga and te reo Māori in the approach, cultural and creative practice and results of the work of the entity
the entity’s empowerment of Māori artists, arts practitioners and Māori communities – supporting the transmission of Māori arts knowledge, skills and practice
with a Māori arts, cultural and creative focus: the entity delivers high-quality work that supports Māori artists, practitioners, audiences, communities, arts practice and sector development and creates space for Māori arts to evolve.

Market development

A programme that maximises opportunities for developing sustainable markets for the arts through strategic investments and partnerships, either nationally and internationally.

Masterclasses

Classes, workshops, seminars or other training offered by experienced and respected artists and practitioners (see also Wānanga).

Mātauranga Māori

Mātauranga Māori literally translated means 'Māori knowledge'. It’s a modern term that broadly includes traditions, values, concepts, philosophies, world views and understandings derived from uniquely Māori cultural points of view. It traverses customary and contemporary systems of knowledge. In everyday situations, Mātauranga Māori is an umbrella term that draws on knowledge systems such as whakapapa (genealogy), tikanga Māori (Māori protocol), manaaki (hospitality and consideration), taonga tuku iho Māori (treasured arts and heritage).

Media arts

Media arts includes a variety of artistic practices that use digital or analogue technologies within a screen-based, electronic, internet or mobile device domain.

Media arts projects may include animation, dance films, experimental films, experimental sound/audio, moving-image arts projects, network cultures and web-based art.

Multidisciplinary arts festival

An arts festival that takes place within a defined area or region over a designated period of time and involves a programme of arts events and activities that features at least two different artforms, of any cultural tradition.

Mentoring

When an established artist or practitioner passes on skills or knowledge to a less-experienced artist or practitioner. Mentoring may involve giving feedback on a project, helping the mentee develop skills, or buildnig knowledge of the professional arts sector.

Metropolitan and regional galleries and museums

Those owned, controlled, governed, or otherwise managed or partially managed by central and local authorities.

Moving-image

Moving-image projects can include fine-art video projects, installations, and experimental multidisciplinary arts projects.

Multidisciplinary

Projects and activities that do not feature one main artform and that involve at least two different artforms, of any cultural tradition.

Multimedia

Projects involving more than one material or artform.

Music

Music includes classical and contemporary music; orchestral, choral, and band music; opera; jazz and improvised music; sound art; contemporary popular music; 'world' music; and traditional and contemporary Māori and Pacific Island music.

N

Network cultures

The field of network cultures revolves around the interaction between forms of media such as the internet and mobile telephony, where the users themselves shape the technology.

New Zealand work

Original work created by a New Zealand citizen or resident (whether living or dead), and to subsequent presentations or exhibitions of that work.

Ngā toi Māori

Ngā toi Māori (Māori arts) include, but are not limited to, Māori heritage arts practice such as: taonga pūoro, tārai waka, kaupapa waka, whakairo, raranga, tāniko, kākahu, tukutuku, kōwhaiwhai, tā moko, kapa haka, mōteatea, waiata ā-ringa, waiata tawhito, poi, waiata haka, pao, mau rākau, whaikōrero, karanga, whakapapa recitation, te reo me onā tikanga, kōrero paki, kōrero tuku iho, pakiwaitara, karetao, whare tapere and whakaraka. It also includes the work of Māori artists across all forms of contemporary arts practice.

Non-activity revenue and costs

Terms used in the Statement of Financial Performance. Non-activity revenue (also called fixed revenue) is revenue that is not earned through running activities. Non-activity costs area business overhead costs that are independent of the costs related to running activities (also called fixed costs).

O

Oceania

We define Oceania as including the island countries of the Pacific Realm, Micronesia, Melanesia and Polynesia.

P

Pasifika artist

An artist of Pacific Islands heritage.

Pacific arts

Pacific arts includes Pasifika artists undertaking contemporary and heritage arts projects in all art forms — craft/object art, dance, interarts, literature, music, theatre and visual arts.

Pan-artform festivals

Pan-artform festivals involve a series of events occurring within a defined region in a defined period with an overall artistic vision and programme that is curated, presented, promoted and marketed as an integrated package. The festival will involve at least three art forms, be focussed on the development and presentation of the arts and offer community arts participation and engagement opportunities.

Pasifika-led

that is led by artists or arts practitioners of Pasifika heritage/identity who have formal authority to make decisions in operations and governance of the entity managing the arts project (not all governance or senior leadership of the entity is required to be Pasifika)
where Kaupapa Pasifika is evident in:
- the practice and results of the work of the entity
- the entity’s foundation of understanding and knowledge - created by Pasifika people and expressing Pasifika aspirations, values and principles
- the communities the entity serves and its empowerment of Pasifika artists, arts practitioners and Pasifika communities
- the entity’s expression of cultural perspectives and beliefs embodied in the values, customs, rituals, dance, song, language and cultural expressions of the individual Pasifika nations but reflecting the unique context of Aotearoa-based Pasifika communities – for example, Vaka Viti (Fijian way), Fa’a Samoa (Samoan way)
with a Pasifika arts, cultural and creative focus: the entity delivers high-quality work that supports Pasifika artists, practitioners, audiences, communities, arts practice and sector development and creates space for Pasifika arts to evolve.

Per diems

Daily allowances

Public presentation

May include an exhibition, installation, publication or a performance. Venues may include (but are not confined to) a marae, theatre, gallery, bookshop or found space. For the presentation to qualify as a ‘public presentation’:

it must be open to members of the public to attend, view, read, or buy the work being presented
there must be public notification of the time and place at which the presentation will be available to the public, and
the presentation must seek and encourage critiques, reviews or peer evaluations of the presented work.

Performances, presentations, publications, exhibitions and showings made as part of a course of study do not count as public presentations.

Practitioners

The term encompasses a wider group than the term ‘artists’. It includes people involved in organising the project and can include producers, stage managers, technicians, publishers, editors, translators, curators, agents and dealers, as well as community-based practitioners. The term includes those people who may not necessarily classify themselves as artists, but who may be necessary to creating, presenting or distributing an artwork.

Producer

The person responsible for the organisation of a production and is responsible for planning and overseeing the execution of all the elements required to ensure that a production occurs on time and on budget. A producer may be an individual or a company.

Professional artists

Are individuals who:

have acquired advanced knowledge or training within their chosen artform (this includes artists from diverse cultural backgrounds whose artistic or cultural knowledge has been developed through oral traditions; professional artists who are self-taught; and artists of professional calibre who must work outside the arts to generate income)
have received the recognition of their peers through the public presentation of their work in a professional context (this includes publishing, performing and exhibiting)
have a serious commitment to their arts practice and consider it a major part of their working life, rather than as a pastime, and
have maintained professional practice for at least three years.

Project

A self-contained activity that is time bound with an identifiable start and end date.

R

Remount

A reworked production or a new version of an existing work, piece or exhibition.

Residency

A host organisation supporting an artist to work with a community in a specific environment for a set period of time. The artist is expected to have meaningful interactions with the community. The host is expected to provide the artist with opportunities to develop new skills or directions in their work, or to produce a substantial body of new work.

S

Sector

The ‘New Zealand arts sector’ refers to the New Zealand arts community and all the artists, practitioners and organisations that contribute to creating, presenting and distributing the arts of New Zealand. The term ‘sector’ can also be used to refer to the artists, practitioners and organisations that make up a particular form of arts practice, such as the dance sector, the music sector and the literary sector.

T

Tāngata whenua

Refers to the Māori people, who are the indigenous people of Aotearoa/New Zealand and who embody its indigenous culture. Translated the term means ‘the people of the land’.

Teu le vā

A Samoan term that translates as 'to adorn the space between people,' or develop and support meaningful relationships through collaboration.

Theatre

Theatre includes both classical and contemporary theatre, and all genres such as comedy, drama, physical theatre, devised theatre, street theatre, musical theatre, circus, puppetry, mask and theatre for children.

Toi Tōtara Haemata

Also known as the Arts Leadership Investment programme. This Programme with the Arts Development Investment (Toi Uru Kahikatea) provide ongoing funding over several years to artists, arts practitioners and arts organisations to support continuous programmes of activity and ongoing infrastructure.

Toi is te reo for Arts. The tōtara is a native tree to Aotearoa: Haemata refers to the human qualities in this case growth, development, power, strength, protection, and leadership.

Toi Uru Kahikatea

Also known as the Arts Development Investment programme. This programme with the Arts Leadership Investment (Toi Tōtara Haemata) provide ongoing funding over several years to artists, arts practitioners and arts organisations to support continuous programmes of activity and ongoing infrastructure.

Toi is te reo for Arts. Uru refers to a grove of trees. Kahikatea are native trees that often grow together and can be among the tallest trees in the New Zealand forest. A Kahikatea of 56 meters (185 ft) is the tallest native tree in the country. Kahikatea can grow in quite marginal land and are noted for the density and purity of the stands it forms in swampy areas and along river banks. It is also known for its strength.

Touring

Involves three or more consecutive performances, presentations or exhibitions in different locations and can include the place of origin.

Track record

To be eligible for funding, an individual or arts organisation must have some experience and must have achieved recognition and success in the area of arts practice for which they’re applying for support.

This means you must have:

recognition from peers or experts
achieved a degree of critical or sales success
specialised training or practical experience.

Success means having at least one publicly presented work, which has received some critical or sales success. This does not include presentations made as part of a course of study. For example:

For a community artist, practitioner or group, success means having successfully completed at least one community arts project which has been recognised by peers or other stakeholders as demonstrating best practice in community arts. For a Pasifika artist, practitioner or group, success can be shown by having endorsements from Pasifika community leaders. For a Ngā Toi Māori artist, practitioner or group, success can be shown by having endorsements from Māori community leaders.
For a craft/object artist, success means at least one public exhibition of a body of work that achieved a degree of critical or sales success.
For a dance practitioner, success means having undertaken a key creative role in at least one publicly presented work that achieved a degree of critical or box-office success.
For an Interarts practitioner, success means having presented at least one work that received a degree of critical, box-office or sales success.
For a writer of literature, success means having had published at least one work that received a degree of critical or sales success.
For a publisher of literature, success means having previously published at least one work by a New Zealand author that achieved a degree of critical or sales success.
For multidisciplinary arts success means having previously delivered a work that achieved critical and/or sales success.
For multidisciplinary art festivals success means having delivered at least one festival that included works from at least two artforms, of any cultural tradition. Applicants must supply accurate revenue, expenditure and attendance information about the previous festival.
For a musician or a music group, success means having performed publicly with a degree of critical or box-office success. This does not include performances made as part of a course of study.
For a music composer or writer, success means having had published or performed at least one work that received a degree of critical or sales success. This does not include performances made as part of a course of study.
For a Ngā Toi Māori carver, success means having been mentored by established carvers, or having completed a course at a marae-based or recognised wānanga.
For a Ngā Toi Māori weaving group, success means having a record of successful exhibitions or workshops in the community.
For a Ngā Toi Māori contemporary artist, please refer to the relevant artform e.g. if you are a contemporary dancer; check your track record requirements under Dance.
For a Pacific Arts artist or arts organisation, success means an arts activity that has been publicly presented and received a degree of success in either professional or community arts
For a Pasifika contemporary artist, please refer to the relevant artform e.g. if you are a contemporary dancer; check your track record requirements under Dance.
For a theatre practitioner, success means having undertaken a key creative role in at least one theatre production that achieved a degree of critical or box-office success.
For a visual artist, success means at least one public exhibition of a body of work that achieved a degree of critical or sales success. This can be a solo show or as part of a group exhibition, but not as part of a course of study.
For a visual arts curator, success means having curated work that was exhibited at a gallery and that received a degree of critical acclaim.

V

Visual arts

Visual arts includes, but is not limited to, drawing, experimental sound/audio and moving-image arts projects, installation, kōwhaiwhai, painting, performance within a visual arts context, photography, printmaking, sculpture, tā moko, and typography. Visual arts also includes customary and contemporary practices of all the peoples of Aotearoa/New Zealand, including Māori and Pasifika peoples and the diverse cultures of people living in Aotearoa/New Zealand today.

Funds and opportunities : Glossary Page

Glossary

Community Cultural Development

Maintenance and Transmission of Cultural Traditions

Leisure and Recreation Activities

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