It was heralded by many as a crucial elixir for the creative community - then just as sharply questioned as to how much of it would get to where it needs.

But Creative New Zealand (CNZ) has offered more specific details on how it will spend the extra $22 million it had injected into its coffers by Manatū Taonga Ministry of Culture and Heritage (MCH).

And much of it will be music to the ears of those who have felt the cruel squeeze of the over-crowded Arts Grants funding system.

As a reminder - back in February, the one-off top up to the cash strapped key funder of the arts in Aotearoa was broken into two initiatives: Support for artists, arts practitioners and arts organisations ($12m) and Support for festivals ($10m).

The Arts Council has confirmed that over the course of 2023, that money will see an additional $10.6m invested into grants programmes - including Arts Grants and Annual Grants. A further $1.4m will be distributed to multi-year funded organisations.

And it's started to filter through already.

The overwhelmingly contested February Arts Grants round – which CNZ states saw the numbers of artists, organisations and projects receiving funding significantly up on previous rounds - saw almost $3.8m dished out to 81 successful projects. Of that total, $1.7m was from the top up fund.

The next Arts Grants round – opening in late April 2023 – has been allocated an additional $3 million approximately, giving a total budget of around $5 million.

Crucially, the hugely criticised application caps on Arts Grants funding - closed off after the first 250 received, which barely lasted 24 hours in February - looks hopefully to be on its last legs.

CNZ states it is "working to progressively remove the cap on applications" - with Senior Manager of Arts Development Services Gretchen La Roche acknowledging the stress they've caused.

“We recognise that the caps simply don’t feel fair, and that they’re a barrier for many people – so we’re working to remove them.

“A combination of ongoing COVID impacts and a tough economic climate means CNZ is receiving more applications for grants than ever before.”

Oddly, the system also doesn't seem to have worked correctly, with CNZ's website stating that 259 eligible applications were received.

UPDATE: CNZ has been in touch to explain this anomaly - "our application system must be closed manually, meaning a staff member closes it off once the cap has been met. 

"Because the last round received such a high volume of applications in a short amount of time, we decided to allow applications to stay open to 8am, when it could be closed by a staff member at a reasonable hour. This resulted in us receiving 280 applications and of those, 259 were eligible to be processed." 

CNZ has promised details on upcoming funding rounds - including eligibility criteria - will be released in the coming weeks.

Here's the breakdown CNZ has provided of how the $12m support for artists block will be broken down;

$4.5m to top-up Arts Grants in 2022/23 across the February and April Rounds (across the Ngā Toi Māori, Pacific Arts and General funding pools).

$4.6m to top-up Arts Grants in 2023/24 for the August and October Arts Grants Rounds (across the Ngā Toi Māori, Pacific Arts and General funding pools)

$1.5m to top-up Annual Arts Grants in 2023 (across the Ngā Toi Māori, Pacific Arts and General funding pools) – Annual Arts Grants will also be aligned with the financial year; this means organisations will be able to plan from the beginning to the end of the year, simplifying financial planning

$1.4 million in 2022/23 to organisations funded through the Toi Tōtara Haemata and Toi Uru Kahikatea Investment programmes.

As for the Festivals allocation - applications will open in May for three streams - to a combined total of $6.7m; 

$3.5m to establish a new Contestable Festival Fund to be offered for the purpose of supporting the delivery of festivals

$2m to establish a new Commissioning and Presentation Fund for the purpose of joint commissioning of mid- to larger scale work and presentation by festivals within New Zealand 

$1.2m to support Local and Community Festivals to be delivered through the Creative Communities Scheme

Decisions on the final $3.3m of the Festivals initiative fund will be made in June.

CNZ Chief Executive Stephen Wainwright (above) enthuses “this funding means we can provide critical support for creative practitioners and arts organisations during a period of ongoing uncertainty as well as increasing the opportunities for New Zealanders to engage with the arts.

“Increased festival activity will bring joy and excitement to communities and provide employment for creative practitioners.” 

Just scratching the surface

As well as pumping money into CNZ to make a difference to the immediate future of artists, MCH also had a big date on its calendar to push for the sector's long term future this week.

The ministry's first Long Term Insight Briefing (LTIB) made its way to Select Committee stage at Parliament (below). 

This mammoth 69-page document that spells out what 150 organisations and individuals associated with - or closely to - the arts, culture and heritage sector needs and aspires to in the future. Finally in front of a non-partisan group of politicians.

And it was over after 20 minutes.

The Select Committee had a number of questions it still wished to raise - and I'm certain MCH officials left with more points they wanted highlighted.

We understand that there are processes and timing can be restrictive, but this type of big picture focus surely needs more attention from those in Parliament - especially since LTIBs are new directives that have been called for.

There's plenty to take out of that window, however, with The Big Idea covering the hearing and the reaction from creative leaders Jasmine Millet, (Tātaki Auckland Unlimited) and Alice Shearman (NZ Writers Guild).

Sweet Tooth takes the cake

 If anyone ever tells you bringing in foreign film projects and helping fund them has no benefit to this country - here is a handy rebuttal to have in your back pocket.

We at The Lowdown want to see local productions funded and supported as much as anyone in this country - our stories told by our people are crucial in Aotearoa's identity both nationally and abroad.

But there's no denying the impact of helping open the doors for the high profile studios can have hugely positive effects on our screen industry.

A study has into season one of Netflix hit show Sweet Tooth (above) has proclaimed it contributed over $66m to our country’s GDP in 2020 (when it was filmed across Auckland, Waikato and Otago). 

Money is obviously important, but perhaps what will leave a longer lasting legacy is that it led to a total of 1,180 full time and part time jobs, with New Zealanders making up 95% of the crew and 80% of the cast - and 950 local businesses were supported along the way.

The study was conducted by Oxford Economics and commissioned by the Motion Picture Association (MPA) and the Australia-New Zealand Screen Association (ANZSA).

Paul Muller, Chief Executive Officer of ANZSA, highlights the stats that shows the benefits of the NZ Screen Production Grant (NZSPG).

“The study found that for every dollar rebated through the NZSPG, almost $7 in economic activity had been generated, putting money in the hands of New Zealand screen workers and creating opportunities for small businesses throughout the country. This is a great case study to underscore how film and television productions act as a powerful economic driver.”

Director Robyn Grace is an example of what having this opportunity in our own backyard can do. “Sweet Tooth gave me the opportunity to take the important career step from first assistant director to director. 

"It was a real break for me to see the show succeed and have my work find a global audience. I benefited from working with industry professionals at the top of their game and feel like this experience will allow me to contribute more to local productions and to the New Zealand film and television industry at large.” 

Director of Photography Dave Garbett says the show's investment in LED panels and other digital elements will have ongoing positive impacts. "This is cutting edge technology that we will now be able to use on local films and TV shows, and ensures that our camera teams can compete with the best in the world.”

Production Designer Nick Bassett adds "it was an incredible challenge and opportunity to show the world what New Zealand Art Departments can achieve when given the resources. Our crew developed specialised skills and valuable techniques that will give them a foot up in their careers, and of course all those skills are then available for our domestic films and TV shows.”

All this data and people-focussed evidence won't be enough to appease some who love to lop hand-grenades at the NZSPG for personal or political gain.

New Zealand's screen producers' guild - SPADA - have been tackling that issue head on for years (as covered here in The Big Idea), and President Irene Gardiner will surely hope this one sticks in the craw of the detractors who refer to it as a 'Hollywood slush fund'.

Gardiner points out there had been a softening in the numbers of international productions working here in recent times.

"We appreciate the challenges we all face in the current economic climate, but - as the Sweet Tooth study shows - the SPG investment really does deliver an excellent return back to New Zealanders so it’s important it remains competitive internationally." 

One of Aotearoa screen sector's biggest stars Cliff Curtis is singing from the same hymn sheet - explaining “my career is a balance of large-scale international productions which supports my commitment to culturally significant works on local films. I’ve witnessed first-hand how New Zealand has built a film industry that punches above its weight on the global stage. 

"It’s an industry all New Zealanders can be proud of because we are global leaders in this sector. We produce incredible quality, but let’s be clear, the Australian, Canadian, and U.K. economies all benefit from strong incentives. 

"We need our own competitive incentive, not only because we are going to miss out on billions of active inbound investments but because we have an industry that offers the possibility of growth to the New Zealand economy.”

You can see some of Aotearoa stars shining bright in Sweet Tooth when season two launches next month.

Sector movement

The big - and sometimes controversial - shoes of Thomas de Mallet Burgess have been filled for New Zealand Opera.

Australian musician and conductor Brad Cohen (above) will take over as General Director next month - coming in already endorsing the company's strategic direction: to enrich the cultural lives of New Zealanders through an experience of opera that connects, engages, and inspires reflection on our human condition.

Cohen - who has a working relationship with NZ Opera dating back to 1998 - says “in these times of change and disruption, NZ Opera has demonstrated vision and courage in acknowledging and engaging with the issues confronting opera. 

"I look forward to working with the Board and staff in strengthening our connection with communities and audiences, growing our opera ecosystem, celebrating our history, and playing our part in creating a sustainable future for opera in New Zealand.”

The shift of respected gallery Director Andrew Clifford to Whanganui's Sarjeant Gallery means the position he'd held at Te Uru Waitākere Contemporary Gallery was vacated for the first time in nearly a decade.

It's been snapped up by Adrienne (AD) Schierning, bringing 25 years of industry experience with her from early May.

Webb's Head of Art for the last four years, Schierning has also previously worked at Studio One, Papakura Art Gallery and Tautai, combining knowledge in both public and commercially driven art sectors. 

Schierning states “it is an honour to be given this opportunity to build upon the fantastic work Andrew Clifford has done at Te Uru. The gallery programme has always been one to admire and I am excited to bring my own set of experience to this role.

“Art is such a vital part of what makes life interesting. I have always passionately believed in the importance of art being for everyone.”

Worm and fuzzy

You'll notice a common thread in The Lowdown over the past week months - the arts hasn't forgotten about those impacted by Cyclone Gabrielle.

After the initial flurry of support nationwide, the issue seems to have fallen out of the spotlight in some places. We can assure you - much like Christchurch after the earthquakes - it is still a confronting issue for many in and around Hawke's Bay/Gisborne.

So here is some more incoming joy - pioneering theatre makers Nightsong are bringing their wonderful children’s show The Worm to Toitoi – Hawke’s Bay Arts & Events Centre on 28-29 April - with  all four shows - almost 4000 tickets free. Clearly, particular focus is being given to engaging with communities affected by the Cyclone.

These are big calls - as Nightsong Co-Founder and The Worm Co-Director Ben Crowder points out, but the Charitable Trust felt compelled to share the show with the region and was determined to find partners to make it happen.

“The Worm thematically explores travelling from the dark to the light and has great crossover appeal for young and older. It feels like a way to bring whānau together to share in an uplifting experience – particularly after a period of crisis and to lift morale as the recovery begins."

The Performing Arts Network of New Zealand (PANNZ) has jumped in to support, matching the contributions of Toitoi, while Nightsong will absorb all overheads and work pro bono during the Hastings visit.

“New Zealand has a lot of proposed local government cuts for community-based work, and the arts are an easy low hanging fruit to get rid of," Crowder muses.

"However, times like this brings to the fore what is important, and this includes communities coming together to share stories and experiences. We are very heartened by people wanting to contribute.”

Aucklanders can see The Worm at the Herald Theatre from 11 – 22 April - where they can also donate to help more tamariki get to the Toitoi performances.