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Cultural Recovery Package helps NZ arts

May 15, 2002


Cultural Recovery Package
helps New Zealand arts
look to the future

"The Cultural Recovery Package has assisted Artspace to improve its performance in terms of communications, research and development and it has enabled us to expand our exhibition programme. Moreover it has been welcomed by Artspace (along with the rest of the arts sector) as a sign that the Government recognises the value of the arts and the contribution they can make to the development and sustainability of a country renowned for its creativity, innovation and, cultural diversity."
- John McCormack and Hanna Scott, Artspace

“Hawkes Bay was felt to be a very creative region but scattered, fragmented and working apart. Being involved in Creative New Zealand's Regional Strengths Strategy (RSS), made possible through funding from the government's Cultural Recovery Package, has enabled us to develop strong, creative, regional partnerships which position the arts alongside food, wine and tourism as being important to our region's economic development.”
- Ros Stewart, Chairman, Hawkes Bay, RSS Working Group


In May 2000 Creative New Zealand was allocated one-off funding of $20 million (incl. GST) as a portion of the Government’s Cultural Recovery Package. These funds were spread over three calendar and four financial years and will be fully expended by December 2003 .

Prior to the Cultural Recovery Package, Creative New Zealand was unable to increase funding levels to its recurrently funded organisations (ie professional arts organisations funded on an annual or three-year basis) - these organisations were struggling to keep their heads above water. The funding available through Future Strengths and the Cultural Recovery Package has enabled these organisations to look to the future and address issues of longer term sustainability, capability and development.

The additional one-off funding was used to implement three high-priority strategies. These are: Future Strengths, Regional Strengths and Seriously Maori.

FUTURE STRENGTHS

The Future Strengths strategy, is an arts development strategy designed to strengthen and develop New Zealand’s professional arts infrastructure. The strategy has four goals, each of which has artistic, organisational, financial and market objectives. For existing organisations the goals are Capability, Sustainability and Development. The fourth goal, New Voices, is specifically for emerging organisations of strategic significance.

A three-year strategy, Future Strengths has meant that Creative New Zealand was able to increase its funding to the 31 organisations already receiving annual funding by an average of 30 percent. It was also able to offer multi-year (three-year) funding to seven annually funded organisations (bringing the number of multi-year clients to eleven) and offer annual funding for the first time to seven organisations under the New Voices goal.

The increased grants have been complemented by a three-year programme of initiatives, addressing pan-organisational issues.

 A series of workshops on good governance in the arts and the publication of Getting on Board: a governance resource guide for arts organisations, specifically based on the NZ context.
 fellowships for two NZ arts managers to attend a residential programme in strategic leadership in the arts at Banff Centre for Management, Canada.
 research and development on two artforms, dance and craft. This has included the publication of Moving to the Future: Ngä Whakanekeneke atu ki te Ao o Apöpö, Creative New Zealand’s strategy for professional contemporary dance in New Zealand.
 Wild Opera - a partnership with the Centre of NZ Music (SOUNZ) to support the development of new New Zealand operatic theatre.


New annually funded organisations:
Seven organisations received annual funding for the first time under the “New Voices” strand of Future Strengths. This group serves to broaden the reach of the sector.

 NZ Book Council: represents all sectors of the book trade and profession
 Capital E’s National Theatre for Children: professional/quality theatre for children – national touring reach
 Tautai Contemporary Pacific Arts Trust: peak body for Pacific artists
 Artists Alliance: a national voice for visual artists
 Te Whanau Paneke: fosters totality of Maori arts
 Te Whare Tu Taua o Aotearoa: national school of ancient Maori weaponry
 Black Grace Dance Company: contemporary dance theatre with a Pacific and Maori performance edge

New multi-year funded organisations: Auckland Theatre Company, NBR Opera New Zealand, Canterbury Opera, Circa Theatre/TACT, TOWER New Zealand Youth Choir, Toi Mäori Aotearoa and Chamber Music New Zealand.

$3.2 million was allocated to Future Strengths in its first year. Approximately $3.5 million has been allocated in its second year, with an investment of $321,000.00 in annual funding to “Black Grace” through ‘New Voices’.

REGIONAL STRENGTHS

The Regional Strengths Strategy, is a three-year strategy to build capacity and relationships, to develop larger arts initiatives spanning local authority boundaries. Six pilots were set up in the first year and have now completed a variety of initiatives. The objectives of Regional Strengths include building infrastructure, increasing opportunities of artists and attract leverage towards regional arts initiatives.

The Regional Strengths Strategy is now in the second year of a three-year strategy. In the first year each pilot has been very different, reflecting the conditions on the ground, and testing various models. Year two builds on the achievements of these initial pilots.

The six pilots, which involve 19 districts, took place in year one, Northland, Southland, Otago, Hawke’s Bay, Manawatu and Auckland. The regions are continuing their work in year two of the Strategy. Four additional regions are involved in the Regional Strengths Strategy in 2001 – 2002 and currently establishing plans. The new regions are:
 Wanganui, Rangatikei, Ruapehu
 Northland / Kaipara
 Nelson, Marlborough, Tasman, Buller
 Hokitika / Greymouth
The four new regions generally have a cultural tourism focus, and are currently engaged in establishing plans.

An evaluation of year one has informed the development of the strategy for year two and three. The six pilots set up to test the Regional Strengths strategy are now complete. Through the RSS, new partnerships have developed, and invested their material and financial resources into regional arts development. Local government involvement has increased markedly. Key achievements include:

 completion of a wide range of regional projects
 newly established or strengthened relationships amongst TLAs and arts communities
 additional collaborative work which has begun, using the newly established forum as a springboard
 the establishment of relationships between TLAs, arts organisations and Maori in the region
 establishment of comprehensive regional data bases of artists and arts organisations
 the strengthening of artists networks, including networks across art forms
 considerable skills acquisition and professional development for all pilot team members

$510,000 was allocated to Regional Strengths in its first year and $350,000 has been allocated for year two of the strategy.


SERIOUSLY MÄORI

The Seriously Mäori strategy is a three-year strategy to benefit Mäori artists, iwi and Mäori authorities. The strategy includes: developing the toi iho™ Maori Made Mark, a promotional initiative for Maori arts involving a trade mark to support and promote authentic high quality artworks of the tangata whenua. Also developing iwi arts management plans with iwi. Wider promotion of Mäori arts, linked to toi iho™, is planned for the future.

$1.7 million was allocated to Seriously Mäori in its first year and $1.44 million has been allocated for year two of the strategy.
A selection of examples which illustrate how arts organisations
have used the Cultural Recovery Package funding since the funds were made available by Creative New Zealand:

FUTURE STRENGTHS

THEATRE

Auckland Theatre Company
In 2001 ATC introduced the ATC 2econd Unit. This aims to produce new New Zealand work, provide professional development, build younger audiences, and build the theatre community both in Auckland and New Zealand as a whole.

Achievements to date include:
 the production of new works of, for and by young practitioners; the production of one new New Zealand play, The Atrocity, by Sugar & Spice; workshops and play readings of new New Zealand plays.
 the setting up of an education/industry training programme, which provides 6 training positions (2 directors, 1 set designer, 1 stage manager, 1 lighting designer and 1 costume designer), a script assessment service, acting masterclasses, 10 new New Zealand play readings and 3 eight-day intensive work shops.
 the provision of school matinees and workshops for Auckland secondary schools; the creation of a school ambassador and outreach programme
 links established with SiLO Theatre, Howick Little Theatre, UNITEC and playmarket.

BATS Theatre
BATS have been able to develop its STAB season much further than would have otherwise been possible. STAB is the BATS annual commissioning grant, which over the last seven years has given opportunity to established and emerging performance artists to explore, experiment and create innovative new work.

With the additional funding, BATS was able to commission two innovative projects - A Perfect Plan by Jealous (nominated for ‘most original production’ at the Chapman Tripp awards), and Wild Night American Dream by The Clinic - and contribute towards the development of two further projects.

BATS has continued to develop its marketing skills (website, Guano magazine etc) to better promote its generic profile and brand to new and current audiences. It’s also been able to heighten the safety of the theatre with new emergency lighting systems, exit lights and ramps and improve the technical maintenance of the theatre, including a new sound system.

The Court Theatre
The Court Theatre has introduced a six-month trainee internship in set design, working under the guidance of in-house set designer Tony Geddes.


Circa Theatre
As a direct result of the increased funding in the Cultural Recovery Package, Circa immediately increased the income paid to the performing artists, thereby enabling theatre professionals to make a more reasonable living from their art.
Capital E’s National Theatre for Children
Capital E became an annually funded organization which immediately had the effect of attracting other funding partners – notably The Ministry for Education through the LEOTC funding programme. This made it possible for the theatre to strengthen its links with schools and the curriculum through the employment of a Schools Coordinator.

Annual funding has also:
 strengthened existing partnerships with Auckland’s The Edge and its Community and Education Programme
 allowed the presentation of up to three major seasons
 enabled the theatre to confidently plan seasons for the following year
 enabled the theatre to strengthen its infrastructure and encourage the Wellington Museums Trust (Trustees for the Theatre) to strengthen its financial commitment to the theatre
 assisted the theatre in consolidating its national touring operations and forward planning of all tours
 allowed the theatre to create a vision for the future, to employ artists of the highest caliber and to encourage those artists to create a body of work for audiences of children and families.
 made it possible for the theatre to expose itself to International audiences and international standards (International Children’s Theatre Festivals in Australia, Canada, USA and Scotland are taking an interest in the theatre’s unique New Zealand work)

The theatre has also been able offer some actors, musicians, designers and theatre technicians twelve months work over 2001 and 2002 which was impossible two years ago and has increased its annual turnover.


Playmarket
As a result of additional funding Playmarket has:
 redesigned and improved its website - which is a crucial part of its information and promotion programme
 has appointed a full-time script development manager
 confirmed a week long national workshop project for 6 writers in October, 2002
 Worked in partnership with 3 of the professional theatre companies on new
script development projects
 has hosted four writers’ groups in four centres
 moved the National Young Playwright’s Competition to Christchurch.
 sent a representative of the organisation to participate in a key role
in the Australian National Playwrights Conference.
 begun working with the Ministry of Education on a research project looking at a teaching unit as part of the new drama curriculum.


Taki Rua Productions
Taki Rua has been able to employ a production manager on a 6-month contract and set up a 6-month development programme for young Mäori writers.

Taki Rua was also able to tour Mäori theatre internationally last year when it took Woman Far Walking to Hawaii in September 2001.

MUSIC

Chamber Music New Zealand
Chamber Music New Zealand has been able to re-introduce its touring and chamber music programme to schools.

Southern Sinfonia
This orchestra, formerly called Dunedin Sinfonia, has been able to rebrand itself as Southern Sinfonia which it felt this was more appropriate since it serves both the Otago and Southland regions. It has also been able to draft an audience survey and develop its promotional material and expand its tour schedule.

The orchestra has been able to recruit a marketing assistant to research increased opportunities to tour throughout the region as well as a composer in residence.

SOUNZ (Centre for New Zealand Music Trust)
SOUNZ has been able to create a part-time marketing position to be responsible for updating the sales catalogue and promotional material as well as significantly updating the website, which has not been possible since 1997. It’s also been able to increase another staff position from 20 to 30 hours a week

Wild Opera – A major breakthrough for New Zealand opera
Creative New Zealand has put in place an initiative called Wild Opera for the selection, development and eventual production of new New Zealand operatic theatre, in partnership with SOUNZ.

Creative New Zealand supported a consultation process with Canterbury Opera, NBR New Zealand Opera, the New Zealand Festival of the Arts, and New Zealand composers and theatre practitioners, to look at ways to develop the art form. Proposals for new work were called for in November 2001 and a total of 29 proposals were received. Four proposals were selected by the Reference Group to go into a Show and Tell session on 22 May 2002. In March, SOUNZ facilitated a forum/workshop involving industry advisers working with the selected composers/creators.

At the Show and Tell, a sample of each new work will be produced to give an idea of the flavour of the proposed opera. The creators of three other proposals have been invited to present their ideas in a seminar form. A range of opera companies and performing arts presenters will be invited to the event with the aim of selecting works for further development through cross-company collaborations etc.


DANCE

Black Grace Dance Company
Contemporary dance company Black Grace received annual funding for the first time. This supported a programme of activity to develop and present three new works in Auckland, and a tour to Wellington in 2002.

Dance Aotearoa New Zealand (DANZ)
In April 2001, DANZ was able to co-host with Creative New Zealand Future Moves 2001, a contemporary dance conference that attracted 90 delegates from all over New Zealand and internationally. This was a professional development conference, which aimed to strengthen the dance sector and it has been widely regarded as a success.
Contemporary Dance Strategy
Prior to the government’s Cultural Recovery Package, contemporary dance was identified by Creative New Zealand as an area with significant infrastructure needs. Creative New Zealand believes it is vital that the future of this country’s dance sector is secure and strong. To this end it developed and published a strategy for professional contemporary dance in New Zealand, entitled Moving to the Future: Ngä Whakanekeneke atu ki te Ao o Apöpö.

Creative New Zealand worked with the dance sector over an 18 month period to develop this strategy, which is aimed at encouraging the long-term growth and development of the art form. The strategy was launched by the Associate Minister for Arts and Culture, Hon Judith Tizard, and the Chair of Creative New Zealand Arts Board, Murray Shaw, in Auckland on 3 May. Creative New Zealand also announced its support of the recommendation for a feasibility study for a dance house. Copies of the strategy have been distributed within the sector and are available on Creative New Zealand’s website.

Footnote Dance
Footnote Dance has been able to realise two specific objectives that are very important to their strategic aims: the ongoing development of New Zealand work and the promotion of the International profile of professional New Zealand contemporary dance. Funding for these two aspects of our work over the past two years has meant.

 Consolidation in terms of choreographic opportunities for New Zealand artists (2001–02) and the realisation of a retrospective programme of works by Michael Parmenter (2002).
 The ability to travel to Brisbane in 2001 for a week-long intensive professional visit to Expressions and the Queensland Ballet. This initiative included one performance and one schools visit.
 The follow up collaboration with Expressions this year (2002) will see Footnote Dance presenting their repertoire Banding Together 2002 programme of works by Michael Parmenter, Merenia Gray, Raewyn Hill and Deirdre Tarrant at the Judith Wright Arts Centre on 1 and 2 August as well as spending an intensive week in classes with Lisa Wilson and Maggie Sietsma at Expressions
 Also following on from the Brisbane visit, Justin Rutzou visited Footnote Dance in January this year to give a masterclasses at the first Choreolab project which developed directly from the Future Strengths hui held by Creative New Zealand in April 2001.


LITERATURE
New Zealand Book Council
The NZ Book Council has established a permanent office and secured staff employment and increased payments to participating writers.

The NZ Book Council has been able to extend the geographical reach of its reading programme Writing heroes gets kids reading, thus reaching between 30,000 and 40,000 additional readers throughout New Zealand. This project helps demystify the process of reading and writing by putting a human face to literature.
The NZ Book Council has also been able to set up a Trans-Tasman Writers Exchange. David Malouf came from Australia to New Zealand in May 2001 and the Book Council has organised for New Zealand artists to travel overseas, thus raising their international profile.


Booksellers New Zealand
Booksellers New Zealand undertook a major promotion of New Zealand books at the London Book Fair in March 2001 and 2002.

The additional funding enabled Booksellers New Zealand to set up two major audience development initiatives during the first World Book Day Aotearoa in October 2000. These were the Famous Faces poster (conveying the message that reading is accessible and valuable to all) and the touring of New Zealand writers for World Book Day.

Additional funding enabled Booksellers New Zealand to set up local programmes for children and the touring of writers to provincial areas during the New Zealand Post Children’s Book Awards.

VISUAL ART

Artspace
Artspace has used the additional funding to improve their performance in 3 key areas:
 Communications - they have developed a communications plan, obtained new sponsorships and improved the profile of their projects.
 Expanding their special projects exhibition programme - they have been able to expand their work into new music and artists projects by establishing an annual music festival Alt.Music and the annual New Artists show that focuses on emerging talent in New Zealand. In 2002 they developed The Future of Auckland and in 2003 they intend to host Foreign Agents which will draw on New Zealand talent overseas as well as within New Zealand.
 Research and Development - the director is now able to make one international research and development trip per year so Artspace can better keep abreast of developments and innovations in contemporary art internationally, source world class projects for the Artspace programme and establish and nurture networks with visual arts professionals.

Artspace has also been able to secure a full time administrator’s position through an increased salary.

Artists Alliance
Artists Alliance has been able to employ a full time Executive Director and a part time Administrator, previously they employed one part time person only. The increase in staff has allowed the organisation to establish systems which have enabled it to be run on a more professional footing. This in turn has led to an increase in the services and products they are able to provide to members and the wider arts community. It has also enabled the organisation to have a more national focus.

In 2001/2002 Artists Alliance published a pilot publication The Guide for Visual Artists. This will lead to an expanded publication in late 2002. In April 2002 they also published the inaugural issue of Appliance. Published as a supplement to the Artists Alliance bi-monthly magazine, Appliance is aimed at the emerging artist/student/new graduate community. It is planned that future issues will be produced in partnership with individuals and organisations from that community.

Moving Image Centre (MIC)
The additional funding enabled MIC to open a new building and deal with the increased revenue costs associated with this expansion. The organisation has been able to increase its programming and will also be able to improve its signage.

Tautai Contemporary Pacific Arts Trust
This organisation was set up in 1995 to promote contemporary Pacific visual artists. As a result of increased funding, Tautai has been able to employ a full-time arts administrator for the first time
Tautai has also been able to increase its programme of activities and put together a video about contemporary Pacific artists practising in New Zealand. The organisation has also been able to rent its own office space and upgrade its website.

Te Whanau Paneke
Through annual funding, Te Whanau Paneke has been able to provide a programme of activities that would otherwise not have been undertaken including the provision of a protege programme that will ensure the traditional Maori arts of carving and weaving are kept alive for future generations.

The organisation has also been able to forward plan with a greater degree of certainty and therefore reduce the risk in investment decisions. The result has been the establishment of artists studios that enable professional development while also becoming a visitor attraction which people find culturally and artistically enriching.


MULTI MEDIA

Toi Mäori Aotearoa
Toi Mäori moved from annual to multi-year funding as a result of the CRP. This shift has been critical for the success of the organisation as it has enabled Toi Mäori to put management mechanisms in place and to upskill its managers. The additional funding alongside initiatives to come out of the Future Strengths strategy, such as the governance resource Getting On Board (see below), has meant the organisation can plan ahead with a long-term vision. This has greatly helped its negotiations with potential partners.

Arts On Tour
Arts On Tour have been able to increase the number of tours of performing artists to rural centres from 5 in 2000 to 6 in 2001/2.

INITIATIVES ACROSS ARTFORMS

Getting On Board
Creative New Zealand has published Getting On Board: a governance resource guide for arts organisations. Graeme Nahkies of consulting group BoardWorks International was commissioned to research and write the guide following a series of interviews and workshops with arts organisations in New Zealand. It emphasises the importance of sound governance practices and was distributed to professional arts organisations and other interested groups.

Professional Development for Arts Managers
Last year, Creative New Zealand awarded Simon Prast , Producer, Auckland Theatre Company and Elizabeth Owens, Executive Director, Canterbury Opera, places at a seven-day programme on leadership and management in the arts at the Banff Centre, Canada.

Although Banff is not offering this course again in 2002, Creative New Zealand is committed to strengthening the capability of the arts sector in these areas.

The New Zealand College of Management has been contracted to survey all organisations recurrently funded by Creative New Zealand on arts leadership development.

Creative New Zealand will also support a minimum of ten New Zealand arts leaders to attend a conference and professional development programme on arts management in Canberra, October 2002. Hosted by the Australian Institute of Arts Management, the programme includes topics such as risk management and governance issues.

Partnership with the New Zealand Institute of Management
A partnership was set up with the New Zealand Institute of Management aimed at ensuring that successful arts companies are recognised as viable businesses. Benefits to Creative New Zealand’s 38 recurrently funded organisations include free membership to the Institute via Creative New Zealand’s membership; regular invitations to forums and keynote addresses; and fee reductions to arts management courses.

Summary of perceived benefits of additional funding through
the Future Strengths strategy:

The benefits of increased funding to professional arts organisations include:
 Audience development
 Greater expertise of staff and members through professional development opportunities
 Ability to forward plan
 More new New Zealand work created and produced
 Increased capacity to develop strategic partnerships with other bodies
 Artistic development – higher and more consistent artistic standards
 Capacity to undertake long-term strategic projects
 Increased interaction with community groups
 Increase in staff morale
 Higher profile and visibility
 Increased quality and range of services
 Increased ability to meet increasing demand on services from stakeholders
 Increase in membership
 Financial gain – increased revenue
 Increased international market opportunities
 National voice for visual artists, literary sector, Pacific artists and representation for traditional Maori art forms
 Increased support for contemporary dance
 Increased opportunities for professional development and contacts within the sector
 Increased opportunities for self-evaluation

REGIONAL STRENGTHS

Key Regional Strengths strategy (RSS) benefits to date:
 Active partnerships, networks and structures for regional collaboration established
 Regions identify common issues and purposes
 Regional networks enhanced
 Regional arts development consultation processes established
 Leverage of financial and other resources for arts development

Regional Strengths strategy initiatives from year one:

Northland
The focus for this partnership hosted by the Arts Promotion Trust (Northland) was to 'establish a market awareness of Northland as a unique and desirable arts centre in which artists thrive'. Three initiatives were identified and implemented:

 development of an interactive Arts North website. Launched May 2002
 an Arts of Northland exhibition in Auckland featuring high profile Northland visual artists. Opened April 2002.
 publication of Northland directory of performance venues. Launched May 2002

Other achievements include creating a stronger foundation for dialogue amongst Northland local authorities for regional arts development and developing a greater clarity regarding the state of the Northland arts infrastructure.

Auckland
Representatives of the 4 cities in the region using the name Creative Cities, hosted by Auckland City, formed the Regional Strengths Strategy (RSS) Auckland partnership. The focus of Creative Cities was to identify gaps in the region's arts infrastructure and to deliver support to strategic regional initiatives.

Six important initiatives involving Arts Advocates Auckland, Objectspace, New Theatre Initiative, Kiwi Music Advancement Trust, Tautai Trust and Nga Puna Waihanga O Tamaki Makaurau were identified and resourced. A further number of projects that could not be funded were supported by being linked up to alternative funding sources.

The principal benefits arising from Creative Cities have been that the 4 cities have established an on-going communication around regional arts development and that key representatives across the region are thinking more regionally.

Hawkes Bay
Starting with a focus of developing and implementing a strategy to position arts, culture and heritage within a regional development model, the Hawkes bay RSS partnership, hosted by Creative Napier, has created 4 initiatives.

 establishing a regional arts trust. This was launched in December 2001.
 undertaking a study to scope the economic scale and impact of the Hawkes bay arts, culture and heritage sector. Completed February 2002.
 publishing a Hawkes Bay arts and craft trail. Published and distributed October 2001.
 publishing a Hawkes bay Arts Guide. Due to be launched October 2002.

In addition to completing these initiatives the partnership has enhanced the dialogue around the concept of regional arts development within Hawkes Bay.

Manawatu
This partnership formed with the purpose of proposing 'a strategy by which the community relationship with the arts in the Manawatu region can be managed as an umbrella organisation called Arts Manawatu.'

The partnership negotiated with Creative New Zealand to implement one initiative, the facilitation of a region wide arts festival built around the existing Manawatu Arts Awards. This initiative was completed in February 2002.

The principal benefit arising from the work of the RSS partnership has been that arts representatives are thinking more regionally and are more aware of the value of collaboration.

Otago
A new dynamic infrastructure for Otago arts projects has been completed through this pilot. An Otago regional arts guidebook, The Otago Arts Guide, has been launched in six districts. Covering six districts, the guide has 17 maps that promote and profile artists and arts industries in the region. The pilot also aims to create economic growth and opportunities for visual arts practitioners, and is working with other sectors to achieve this. The project has seen a number of major outcomes. These include:

 producing a sophisticated comprehensive arts guide for the wider Otago region
 selling nationally and internationally over 2927 books in only 8 weeks
 bringing together six local authorities and key stakeholders to support and invest in the guide
 establishing a strong infrastructure for continued work and development
 established a new framework and promotional tool for cultural tourism, economic development and employment

The project has established considerable credibility and leverage in its pilot phase and now has the commitment for future support and printing.

Southland
This pilot set up seven Arts Action workshops for professional development, infrastructure and networking, which have been completed. The workshops have included training in sponsorship and funding management, career development, business planning, event management and cultural tourism.

The workshops increased skill development, established stronger networks for artists and cultural development opportunities. Key achievements include:

 increased capability for the regions development
 arts are seen as a credible tool for development
 increased knowledge of local arts
 a sense of regional cohesion
 identification of common issues and purposes across TLAs and arts organisation
 raised profile of the arts sector and arts industry in the region

An Arts Action Calendar to co-ordinate and promote arts and culture in Southland through a database is under way. This pilot positions the arts as an integral part of Southland’s leisure strategy.

Regional Strengths strategy initiatives from year two
The Northland, Auckland, Hawkes Bay, Otago and Southland partnerships have been invited to submit finalised Action Plans to Creative New Zealand by 31st May outlining their plans for a second year’s participation in the RSS based on a matched funding model. These new regions are developing regional working groups and plans for regional initiatives. Cultural tourism is a focus for many of the new regions.

Four new regions have been invited to submit Action Plans for first year RSS participation. These regions are:

Wanganui / Rangitikei & Ruapehu: Hosted by the Wanganui District Council are developing an Action Plan with a cultural tourism focus.

Northland / Kaipara: This partnership, hosted by the Kaipara District Council.

Nelson / Marlborough / Tasman / Buller: This partnership is hosted by the Nelson Arts Marketing Trust nominated by the Nelson City Council.

Westland / Greymouth: This region is currently establishing host relationships and developing plans.
SERIOUSLY MÄORI

toi iho™ Maori Made Mark
Mäori have been calling for a mark of authenticity and quality for the past 20 years. Creative New Zealand held a number of Hui to create the design of the toi iho™ Maori Made Mark and develop an accreditation system. Following that work, two additional hui were held in Wellington and Christchurch in July 2001 to present information on the toi iho™ Maori Made Mark.

toi iho™:
 responds to urgent calls from the Mäori arts community for a Mäori-made brand. Mäori with whom Creative New Zealand consulted in 1997 identified this as a priority issue.
 recognises and supports the intellectual and cultural property rights of Mäori artists and the integrity of Mäori culture.
 will promote authentic Mäori artworks. With the burgeoning interest in Mäori arts nationally and internationally, it is important and timely for the Mäori arts community to set in place a label and management structure that can capture and manage the growing interest in the consumer and sponsorship markets for Mäori artworks.
 will assist Mäori artists to earn income from their artworks. A successful brand for Mäori artworks will, over time, increase their value and the demand for them. This will result in economic benefits for those artists registered to use the brand.
 will add value to New Zealand’s cultural tourism strategy.

The Maori Made Mark was launched in February 2002 and the first application round for licenses closed on April 5th. The first assessment round will take place at the end of May 2002 and the first users will be announced in late June. Product with the toi iho™ trademark will start to appear in New Zealand stores from July 2002 and a major promotional initiative will be targeted at the tourist summer season in New Zealand from November 2002.


Iwi Arts Management Plans
The aim of this project is to work with iwi to develop arts and management plans to enable their heritage arts to be preserved, maintained and developed. This will result in iwi being empowered to control the development and delivery of their arts.

This is an exciting initiative where iwi Mäori are exercising and expressing their tino rangatiratanga by developing and implementing their own arts development strategies and programmes.

The project:
 recognises the Treaty of Waitangi in terms of assisting Mäori to exercise kaitiakitanga over their culture and heritage.
 assists iwi to develop an arts infrastructure, supporting a co-ordinated development and protection of their heritage arts
 supports iwi to plan and manage the resources available to them more effectively
 upskills iwi in arts planning, management and development, thereby providing them with revenue-earning opportunities and employment capabilities.

In year 1 of the initiative, 9 iwi and urban authorities have taken part. These are: Ngäti Kuri (Far North); Te Whanau o Waipareira Trust (West Auckland); Manukau Urban Mäori Authority (MUMA, South Auckland); Raukawa Trust Board (Tokoroa); Te Whanau a Apanui (Bay of Plenty); Te Runanga o Turanganui a Kiwa (Gisborne); Ngäti Kahungunu Iwi Incorporated (Hastings); Taranaki Mäori Trust Board (New Plymouth); Ngai Tahu Development Corporation (South Island).

Among the outcomes iwi have been looking to realise through these plans are:
 greater business and project management
 increased employment opportunities
 stronger partnerships with other organisations
 more confidence in seeking funding for arts projects

Examples of initiatives through year one of the Iwi Arts Management Plans:

 Ngäti Kuri (Far North)
Ngäti Kuri have developed a database of their art knowledge and their artists.
Ngati Kuri have also complete a series of wananga (workshops) focussing on, Moteatea,
Raranga, Korero Tawhito and Pakiwaitara. As a result of these wananga a Far North
businessman has gifted a building which they will establish as an arts centre in a building
in Te Hapua. It will be used as a Whare Taonga and will house the operational and
administrative arms of the Arts Trust. They have also strengthened the Ngäti Kuri Arts Trust.

 Te Whanau o Waipareira Trust (West Auckland)
Te Whanau o Waipareira have established a database of Maori artists. They are also brokering major public art commissions and have been holding Wananga (workshops) on Rongoa (Mäori healing) and Raranga (weaving), Nga Mahi a Nga Tupuna (traditional working processes in the arts), and the making and playing of traditional wind instruments. In addition they are focussing on Cultural Tourism.

 Manukau Urban Mäori Authority (MUMA, South Auckland)
MUMA are profiling a Mäori women artists conference. They have also developed a database of Maori artits. They are also featuring Mäori artists on radio Watea which has resulted in sales. The air time has also resulted in recording opportunities. They are also completing a major landscape design project.

 Raukawa Trust Board (Tokoroa)
Raukawa Trust Board have created and are implementing a 5 year strategic arts management plan for the iwi. They have also held a variety of Wananga (workshops) in: Whaikorero, Waiata Koroua, Waiata Tawhto Reo, Powhiri and Karanga. They have also concluded contemporary art wananga in sculpture and painting.

 Te Whanau a Apanui (Bay of Plenty)
Te Whanau a Apanui are establishing an artists database and a video unit to capture Te Whanau a Apanui knowledge. Also Wananga (workshops) for Whaikorero, Karanga, Artsworks Conservation, and the Waiata of Hiri Tawhai

 Te Runanga o Turanganui a Kiwa (Gisborne)
Te Runanga o Turanganui a Kiwa completed a consultation project across many Marae about participation in the Iwi Arts Management Plans to identify which artform areas should be focussed on. They are now developing an action plan. They have focussed on the artforms of: Tuku tuku, Whakairo, Taonga Puoro, Taniko and Raranga.

 Ngäti Kahungunu Iwi Incorporated (Hastings)
Ngäti Kahungunu Iwi produced the Matariki Festival in Hastings in May 2001 and Kahungunu Day in 2002. This was a celebration of Ngati Kahungunutanga and featured art displays, performance, and a Raranga exhibition. They have also conducted a Music Composition Competition for youth which was originally intended for Maori stream schools but due to the response from mainstream schools the project was broadened. They have leveraged significant support from their Local Authority.

 Taranaki Mäori Trust Board (New Plymouth)
Taranaki Mäori Trust Board are intending to hold a Wananga (workshop) on arts business development for Taranaki artists with the participation of a number of established Taranaki Mäori artists. They are also pursuing developmental and strategic work across their three iwi.

 Ngai Tahu Development Corporation (South Island)
Ngai Tahu are developing a data base of traditional and contemporary Ngai Tahu artists and are preparing a draft arts policy for Ngai Tahu. They are compiling a comprehensive resource of Ngai Tahu arts history and have set up a number of artist residencies in their area. One music residency resulted in a CD. Another artist residency which starts in May 2002 has been agreed between 3 Otago Runanga and the school of arts at Otago Polytechnic supported by funding from the Manawapopore Trust. A third artist in residency project involves a hui that will bring a Tuka Tuka specialist to meet with people on the West Coast. Ngai Tahu also have also set up a curatorial training programme with 3 trainees.

Most of the year one iwi development initiatives are in the final phase. In addition to the above listed outcomes, a major benefit of the Iwi Arts Management Plans has been the development of meaningful, two-way relationships with iwi Mäori.

When the deadline closed for the year two iwi at the end of March, there had been 11 expressions of interest. Creative New Zealand is currently in negotiation with iwi for year 2 projects and it is expected that contacts will be executed with 8 iwi for year 2.

***

For further information contact:

Undine Marshfield
Media and Communications Adviser
Creative New Zealand
Tel: 04 498 0725
Mobile: 025 965 925
Email: undinem@creativenz.govt.nz

Website: www.creativenz.govt.nz

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