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