One of the creative community's most exclusive clubs has just welcomed two new members.

The Arts Foundation's Icon Awards are its highest accolade and one that is awarded infrequently. A group of twenty living artists chosen to represent the pinnacle of creative achievement in Aotearoa, where the only way a place can open up is if a member passes away.

The loss of two groundbreaking visionaries last year - photographer Ans Westra and visual artist Jim Allen - created room for two more leading lights to reach official Icon status.

At a function at Government House on Wednesday (4 December), those places were filled by 2024 Icon Whakamana Hiranga recipients Tā Pita Sharples and Neil Finn, honoured for "their extraordinary lifetime achievements and mark on the arts."

Both are hugely well-known names in Aotearoa. Arts Foundation Co-Chair Chelsea Winstanley stated at the announcement “Tonight, we celebrate the boldness and brilliance of Aotearoa New Zealand’s artists. These Icons are our truth-tellers, futurists, and storytellers. 

"With only 46 Icons ever named (26 having passed on), this honour reflects the profound impact of these two preeminent artists. We are privileged to welcome Tā Pita Sharples KNZM CBE and Neil Finn OBE into this distinguished circle.”

For many, Sharples is best known for his political and scholastic achievements, particularly being a foundation co-leader of Te Pāti Māori. 

But long before that, Sharples (Ngāti Kahungunu, Ngai Te Kikiri o te Rangi and Ngāti Pahauwera) has played a vital role in the revival and success of Māori art forms kapa haka and mau rākau.

In 1983, he founded Te Whare Tū Taua o Aotearoa (the National School of Ancient Māori Weaponry), a huge moment for the ceremonial and fighting art of mau rākau. In 1968, he established Te Roopū Manutaki, a Māori cultural group based at Hoani Waititi Marae in West Auckland, which played a crucial role in helping urban Māori stay connected to tikanga Māori and cultural identity. 

With this roopū, he has won Best Male Leader on multiple occasions, also taking out top honours with Manutaki winning the Nationals in 1976 and 1990. Sharples led, performed, choreographed, and composed kapa haka for the group, with several waiata and haka now recognised as classics. 

He is one of only nine life members of Te Matatini, and he has spent much of his life dedicated to the revival, retention, and normalisation of traditional and contemporary Māori performing arts. The Icon Award selection panel declared "His dynamism, influence and impact has already created a long-lasting legacy not only for Māori here in Aotearoa but across the world.”

Sharples notes of the Icon accolade, “It makes me proud! Any artistry I've done was from my emotions. My concept of Māori performing arts and traditional Māori weaponry. One can only hope to watch it flourish and inspire for all generations to come."

Finn's artistic endeavours need little explanation. 

One of New Zealand's most endearing and enduring musicians, the Finn name has left a legacy few could be compared with.

His talents as a songwriter, singer and guitarist have been prominent in this country and around the globe for more than four decades.

From joining his brother Tim in the eighties iconic pop band Split Enz, to leading Crowded House (and starting a Trans-Tasman argument over the band's ownership which still causes debate to this day), his numerous solo efforts and being recruited to join Fleetwood Mac - no one can question Finn's credentials.

Even looking at his photo is likely to set generation-defining tunes like Don’t Dream It’s Over, I See Red, Four Seasons In One Day, I Got You, Weather With You or Something So Strong playing in your head.

The selection panel states “Neil Finn is a true Icon who has made an enormous impact to generations of musicians, putting Aotearoa New Zealand on the international stage and bringing the world closer to us.”

Of the recognition, Neil Finn responds: “I am truly honoured to be joining such esteemed company. Grateful to have this recognition of creative work made, an acknowledgement that I accept on behalf of many collaborators, Split Enz, Crowded House, Finn family and beyond. I couldn’t have done it without them.”

Each Icon receives a bronze medallion set with pounamu and a pin, designed by sculptor John Edgar. The pin is given to the recipient, while the medallion passes on to a future Icon at the time of their death.

Sharples and Finn join the current living circle of Icons that include Papali'i Fatu Feu'u, Dame Jane Campion, Dame Robin White, Joy Cowley, Sir Sam Neill, Dr Sandy Adsett, Maualaivao Albert Wendt, Fred Graham, Bill Manhire, Dame Gillian Karawe Whitehead, Jacqueline Fahey, Dame Kiri Te Kanawa, Dame Gillian Weir, Greer Twiss, Sir Peter Jackson, Patricia Grace, Sir Donald McIntyre and - the the last of the eight original Icons named in 2003 still alive - Maurice Gee.

NZ film finances

The New Zealand Film Commission (NZFC) has released its 108-page Annual Report for the 2023/24 year - an insight into what had been a period of huge change for the organisation. 

There is plenty of information to digest - with some big numbers thrown out and some perspective of the impact that its huge staff turnover has made.

In the year to June 30 2024, $13.9 million was invested in New Zealand films, with 49 New Zealand features and shorts premiered at 36 festivals globally. 14 feature films supported by NZFC released theatrically with more than 250,000 box office admissions. Uproar was the highest grossing film of the year, world premiering at the Toronto International Film Festival - ahead of The Mountain which was released in NZ and Australian cinemas and screening at the Sydney Film Festival. 

13 international productions started shooting in New Zealand that time, made up of 82% local cast and crew.

NZFC Chief Executive Annie Murray states she's proud of the progress the organisation has made.

"With a challenging few years now behind us, the NZFC has undertaken a step-change in strategic thinking and managing our resources. Our focus is firmly on growing exceptional creatives and funding films that demonstrate both commercial and creative excellence.

“At the same time, we have an economic remit to deliver on core business, innovation, and employment objectives by supporting inward investment through international production activity in New Zealand. Last year alone, this contributed $1.3 billion to our economy.”

There has been massive upheaval inside NZFC's own four walls, with 29 roles disestablished.

Murray details “The NZFC recently completed a comprehensive restructure, focused on streamlining operations to ensure we take a sharper focus on our core purpose. This restructure has seen headcount reductions (from 54 to 36) and staff travel costs reduced by 26%.

“Efficiencies in overhead and back-office spending have generated nearly $2 million in savings. These funds will be directed toward industry initiatives and will help mitigate cost pressures beyond 2025, allowing NZFC to better support the future of New Zealand filmmaking.”

From 2025 onwards, NZFC as indicated that will see the following areas get extra attention: Script development, business development, industry support, innovative filmmaking and international talent development placements.

Music musings

Backing for local gigs and safer public transport are top of the agenda for the Tāmaki Makaurau music community, according to new research.

Auckland City of Music has released its Music Ecosystem consultation survey results, with most of the respondents (60%) identifying as musicians/composers.

Among the key findings - people wanted to see budgets directed towards supporting local gigs/festivals, and supporting grassroots music venues - an outcome that most would have considered likely.

The question regarding policy concerns was of particular note, with public safety on late-night public transports (92% agree) and and venue accessibility (90% agree) attracting the most attention, while the concept of a broader busking framework elicited the most luke-warm response (57% agree, 38% neutral, 5% disagree).

The vast majority of respondents (84%) also supported the need for a regional music office, which most believe should be predominantly resourced by Council and Government.

And in a stat to further back up what those within the industry already know - 81% of music sector respondents has multiple vocations, ranging from educators to publicists, historians or local or central government staff.

Sophie's Silo sign-off

For eleven years, Sophie Roberts has used this period of the year to unveil what's next on Silo Theatre's agenda.

This week, her announcement of the well-established Auckland theatre organisation's 2025 season is her last as Artistic Director.

Three of the four shows announced for next year are new works from Aotearoa - two of them Silo commissions. 

The season opens at Q Theatre with Speed is Emotional (16 April-3 May) -  a collab with Jo Randerson's Barbarian Productions filled with humour and vulnerability, centred on "the exhilarating chaos of life with ADHD." 

The whānau-friendly Taniwha (26 June - 13 July) at Herald Theatre combines the talents of Roberts as Director with creator/composer Leon Radojkovic and a design team that includes adored and vibrant visual artists Lissy & Rudi Robinson-Cole for a show that will feature live music, puppetry, videography, and a revolving cast of narrators. 

The season's sole internationally written show is the Aotearoa premiere of the Tony Award nominated Mother Play (4-20 September) back at Q, by Pulitzer Prize-winning playwright Paula Vogel - with Jennifer Ludlam, Amanda Tito and Leon Wadham the named cast and Roberts again at the helm.

And last cab off the rank will be the world premiere of D.R.A.G (Dressed Resembling a God) (13 November - 6 December) - with designer, drag queen, and longtime Silo collaborator Daniel Williams making his directorial debut, co-created with Roberts and the show's lead performance talent Adena Delights and Hugo Grrrl. 

Reflecting on her last Silo assignments, Roberts states "When people ask what my job, is it can be tricky to explain. The short answer is, I programme plays, then work with groups of artists to get them on stage. Being the artistic leader of a company can be daunting - you’re tasked with deciding what work you think is of value for an audience in any given year; what will connect with people, expand people’s thinking, and enrich their lives.

"I’ve always found it works best when I’m dialled into my own curiosity as a person, which has made programming a deeply personal process for me. Over the last eleven years, the seasons I have presented have inevitably reflected my own attractions, concerns, questions, losses, discoveries, and joys. They have mapped my own life experiences in many ways.

"As I come to the end of my time at Silo, and the closing of a big chapter in my life, I’ve been drawn to stories that examine what it means to evolve. 

"For my final season I have tried to focus on work that encourages us all to live distinct, audacious, and intentional lives. That is what I’d like to leave you with. I hope these works make you feel big feelings, that they make you feel brave, that they make you feel part of the world. Being part of Silo has made me feel all these things and so much more."

Silo Executive Director, Tim Blake tributes “Sophie Roberts leaves behind a legacy of fearless Silo programming, and her final season is a fitting farewell. It’s packed with world-class writing, some of the very best artists in Aotearoa, and stories that will challenge and change us. The four works in our 2025 Season are a testament to Sophie's impact on Silo and the theatre landscape of Aotearoa.”

Colourful start

The 2025 Wānaka Festival of Colour is also starting to come together, with the first three acts named for the 29 March - 6 April event.

One of them is locally created, partnering with Chamber Music New Zealand to present Reimagining Mozart. Performer and composer Robert Wiremu (Ngāti Kahungunu, Ngāti Tūwharetoa, Ngāti Porou) commemorates the tragedy of Air New Zealand Flight TE901 by reimagining Wolfgang Amadeus Mozart’s Requiem, which was left unfinished at the time of his death in 1791. 

The performance will also include the internationally acclaimed Voices New Zealand Chamber Choir and a chamber ensemble of instrumentalists under the direction of Voices founder and Music Director Dr Karen Grylls.

Also on the cards are award-winning cult cabaret act An Evening Without Kate Bush and Cirque Alfonse's high energy ANIMAL, a show Wānaka officials have collaborated with their Auckland Arts Festival and Dunedin Festival counterparts to bring to our shores.

The rest of the line-up will be announced in January.

Massey's great get

A homecoming of sorts for Professor Johnson Witehira - named as the new Head of Te Rewa o Puanga School of Music and Screen Arts, part of College of Creative Arts (CoCA) at Massey University.

Described as one of Aotearoa’s foremost innovators in Māori art and design, Witehira (Tamahaki, Ngāi Tū-te-auru) has forged a highly regarded career for his work blending traditional Māori practices with contemporary technologies. His projects have included the development of Māori typefaces, large-scale public artworks and digital experiences like in Times Square.

He returns to Massey - where he earned a doctorate in Māori Visual Arts - after co-founding and served as co-director at Indigenous Design and Innovation Aotearoa. Witihera is also a founding member of Āpōpō Creative Tech Hub, a member of the New Zealand Game Developers Conference Board and has experience across multiple creative industries.

“I’m excited about the potential. In my opinion, Massey is on the cutting-edge, with the most advanced music and film production technology in the world and dedicated and knowledgeable staff, who I admire, and it will be a privilege to work alongside.

“Massey has a legacy of Māori and non-Māori staff bringing te ao Māori to the fore within the institution, and I look forward to building on that.”

His role will involve working closely with Associate Dean Toi Māori Rongomaiaia Te Whaiti to strengthen the integration of Māori knowledge and perspectives within the school, including connecting the new Mātauranga Toi Māori major with the Bachelor of Screen Arts (BSA) programme. 

CoCA Pro Vice-Chancellor Professor Margaret Maile notes, “Professor Witehira’s exceptional career as an academic, designer and creative industries entrepreneur - as well as his recognition internationally as a leading cultural innovator - exemplifies the values and trajectory of Te Rewa o Puanga School of Commercial Music and Screen Arts. 

"We are so excited to welcome Professor Witehira back to Massey University and look forward to the transformative impact of his leadership.”

Power to the pod

Everyone's got a podcast in 2024 - but it doesn't make all of them good.

The New Zealand Podcast Awards is fast becoming a way for the cream to rise to the top, and there have been a number of creative endeavours rewarded in the 2024 iteration.

Of note, there was a record-breaking number of independent entries for this year's awards. One of the leading lights was SOUNZ Centre for NZ Music, with two of its podcasts among the most decorated on the night.

Inspiring Journeys Through Music has been celebrated as the Best Arts & Culture Podcast Gold winner, also bagging Bronze in the Best Education Podcast category; while He Reo Tawhito - Conversations about Mōteatea ended up with the full set of medals - Gold for Best History Podcast, Silver in Best Arts & Culture Podcast and Bronze for Best Māori or Pasifika Podcast or Host.

Famed funnymen Tim Batt and Guy Montgomery cleaned up the Best Comedy Podcast award with Gold for their long-standing The Worst Idea Of All Time. 

The Creativity Award was won by Christchurch theatre director and comedian Dan Bain for Dan Bain's Sleepy Time Mumbles (which was also Silver for Best Comedy pod), while Rhys Darby's The Cryptid Factor claimed a pair on Bronzes in the Best Comedy and Spotlight Award categories.

The Dom Harvey Podcast collected Podcast of the Year and Best Entertainment Podcast, Stuff Audio claimed the Publisher of the Year category and the Listeners' Choice Award was won by The Girls Uninterrupted.

President's sweet

Charlotte Grimshaw has been announced as the New Zealand Society of Authors (NZSA) 2025 President of Honour, an annual accolade bestowed on a senior writer and long-serving NZSA member in recognition of their contribution to writing, writers and the literary arts sector in Aotearoa.

Just back from France as the 2024 Katherine Mansfield Menton Fellow, Grimshaw is a previous winner of the Sargeson Fellowship and Katherine Mansfield Short Story Award. Her story collection Opportunity won New Zealand’s premier Montana Award for Fiction, along with the Montana Medal for Book of the Year. 

Her career as a reviewer has seen her recognised at the Montana Book Awards, Qantas Media Awards and Voyager Media Awards. Grimshaw has twice been shortlisted for the Frank O’Connor International Prize, once for the Commonwealth Writers’ Prize, and many other national book awards.

Grimshaw's services are also in high demand beyond her own writing. She is a literary advisor to the Sargeson Trust and to the Academy of New Zealand Literature, has judged the Sunday Star-Times Short Story award and Auckland University's Ingenio short story award twice, as well as the Katherine Mansfield short story prize.

Grimshaw joins the likes of Witi Ihimaera, Barbara Else, Janet Frame, Frank Sargeson, Dame Ngaio Marsh, Maurice Gee, Patricia Grace, Margaret Mahy, Joy Cowley, David Hill, Dr. Paula Morris and Tessa Duder in the distinguished President of Honour position.

Jury duty

A long-time advocate for photography in New Zealand is being recognised internationally.

Julia Durkin has become the first New Zealander invited to be on the jury for the World Press Photo contest, a well-regarded global award.

Durkin is the Founder and CEO of the Auckland Festival of Photography, which just celebrated 20 years since it began life as Auckland Photo Day, a 24-hour community photography competition. It's now the longest-running photography festival in Australasia/Oceania. She's also a Member of the New Zealand Order of Merit for her contributions to photography.

"I am thrilled to be taking on this role and flying the flag for Auckland, New Zealand. It's significant to have a Kiwi professional on board for the World Press Photo 2025 Oceania, Asia Pacific region jury, who are well-equipped to place the stories into a cultural, political and social context as we assess and judge international including NZ visual news stories in the submissions.

"This is a career highlight for my 30+ years of working in the creative industries and such great news for the Festival Trust, team and all our stakeholders who support our work."