Ross Calman’s The Treaty of Waitangi has taken top honours at the $70,000 New Zealand Book Awards for Children and Young Adults at Wellington’s Pipitea Marae on Wednesday (13 August). It’s won both the Non Fiction category and the Margaret Mahy Book of the Year - the country’s highest accolade in children’s writing. 

The convenors stated “After extensive discussion with both the bilingual and te reo Māori judging panels, we agreed unanimously on one book that will not only have significant impact on young readers, but is also particularly important for our time,” with Calman praised for what judges describe as “compelling and essential reading”.

Calman told The Lowdown "Having spent over twenty years now engaged in communicating the history of the Treaty and its ongoing significance, it feels hugely affirming to receive this award. 

"The Treaty is such an important kaupapa that I hope this award will spark renewed interest in it. I got a complete shock when my book was announced for the non-fiction category, but then when the time came around for the big award to be announced, I had this strange feeling, like maybe it was going to my year. 

"It was a very special moment and something that I will cherish, including the amazing support that I got from some of my whanaunga in the audience, who sang a spontaneous waiata after my speech. Very humbling."

Calman (Ngāti Toa, Ngāti Raukawa, Kāi Tahu) pockets $17,000 for his two prizes, while a further six other $8,500 category awards were presented.

Gavin Bishop’s domination of the Picture Book Award continues, winning once again with Titiro Look - translated by Darryn Joseph - judges declaring it as “a beautifully produced board book that is an absorbing exploration of reo Māori and reo Pākehā”.

Li Chen’s graphic novel, Detective Beans and the Case of the Missing Hat, claimed the Junior Fiction prize, while the Young Adult Fiction Award was a remarkable win for self-published, first-time author Sanna Thompson for her book The Paradise Generation.

Thompson told The Lowdown “It was an incredible  honour just to be a finalist among such amazing books and authors, and now to have actually won doesn't quite feel real. Surely not! It means so much that people have read my book, and felt that it deserved this. 

“When my name was called, I was not expecting it at all - and then I was so glad that I had actually written a list of people I wanted to thank, which I'd thought was a nice exercise but wouldn't be more than that. I feel so grateful for all the people who have helped me along the way.”

Elizabeth Gray’s Hineraukatauri me Te Ara Pūoro bagged two awards  - for new award Best Book Originally Written in Te Reo Māori and for Rehua Wilson’s artist efforts in the Illustration category.

And one of the country’s literary masters was bestowed with the Award for a Book Translated into Te Reo Māori with Witi Ihimaera’s A Ariā me te Atua o te Kūmara - translated by Hēni Jacob and illustrated by Isobel Joy Te Aho-White - celebrating the importance of Matariki.

Another familiar name in literary circles, Claire Mabey landed the $2,500 Best First Book Award for The Raven's Eye Runaways, lauded by the judges as “the work of a writer who wields words with exquisite care and understands the power of great storytelling”.

Scottish sejourn

No time for Mabey to sit back and celebrate - she’s busy embracing another huge career opportunity. 

She’s one of four Aotearoa Creatives taken over to the Edinburgh International Book Festival (running til 24 August) by the British Council New Zealand and the Pacific.

A globally renowned literary event with over 600 writers and thinkers from 35 countries across six continents taking part in nearly 700 events, Mabey (that’s to her huge collective of roles as an author, literary festival founder, book editor and critic), internationally and locally adored novelist Catherine Chidgey, vibrantly talented poet, author, and performer Dominic Hoey and the award-winning, admired author Becky Manawatu. 

The quartet will share their perspectives with global audiences, with the hope to build international connections and collaborations in the literary world, showcase the quality and innovation of contemporary New Zealand writing, and further strengthen cultural ties between New Zealand and the UK by taking part in a series of events.

Funding gamble?

When it comes to funding the arts sector - there’s long been an opinion-dividing relationship with gambling.

Many find it difficult to reconcile that a number of core funding bodies and Trusts receive large amounts of money from contributions from the likes of Lotto and pokie machines, citing the harm that problem gambling causes local communities.

This ethical conundrum is valid and comes down to individual opinion but a potential collective concern is how would those organisations continue to support creative endeavours without that money coming in?

This topic is being brought up as the Government is proposing the Online Casino Bill to regulate online casinos and license up to 15 of them to operate in New Zealand. The Government state the aim of the amendment to the 2003 Gambling Act is to harness tax revenue and add a level of harm-mitigation.

However, unlike other licensed gambling activities, such as Lotto, TAB, and pokies, they don’t plan to require those operators to return some of their profits to local communities through funding grants.

This is by no means a criticism of the concept of regulating online gambling - it’s the lack of obligation to give back that is causing consternation to some in the sector.

Funding HQ  - an online platform that works with many organisations through capability building - has labelled this decision “an existential threat to New Zealand's community sector”, putting at risk $366 million of annual funding. 

Gaming machine funding contributed to 26,596 grants being approved in 2024, supporting nearly 9,000 organisations across all sectors - including $20m for arts, culture and heritage.

Sports organisations across the country have bandied together to speak with a collective voice and have been vocal in demanding the government reject any bill that doesn’t include the community funding component into this discussion.

If those approved online gambling platforms aren’t duty-bound to support the community that they are drawing money from, then Trusts who currently receive gaming grants may have less to pass on and the knock-on impact to the community will be noticeable.

Public submissions for the Online Casino Bill close at midnight on Sunday 17 August (the link is here).

André's assessment

New Zealand Symphony Orchestra (NZSO) Music Director Designate André de Ridder is soaking up as much information as he can - in between performances - during his latest trip to our shores.

It was announced in June that the German conductor would start the revived role with NZSO in 2027, but he was already locked in the organisation’s current festival touring the different performances concurrently - with the Auckland Town Hall leg of Enchanted (15 August), Ascension with Taonga Pūoro specialist Jerome Kavagnagh (16 August) and Creepy-Crawly Carnival with Bret McKenzie (17 August) still to come after a success Wellington season.

Sharing his thoughts with The Lowdown, de Ridder explains “it feels special to be back in any case, after the two wonderful winter festivals I had with the orchestra already, but knowing I have been chosen to become the NZSO’s next Music Director adds excitement, joy and also a little pressure naturally, to fill such a role: looking at the bigger picture with responsibility and creative vision. 

“It’s a new chapter for the orchestra in many ways as there is a whole new team now in place with [Director of Artistic Planning] Frances Moore and [Chief Executive] Marc Feldman and myself incoming - we have been bonding heavily over artistic planning ideas for the future - and with the Wellington Town Hall re-opening in 2027, too. What a great moment to be joining the orchestra.“

There are plenty of new relationships to form, information to take in and plans to be made - and de Ridder is adamant he’s up to the challenge.

“I’m learning, as we speak, about the role and the presence of the orchestra in Wellington as well as on tour nationwide, and about the possibilities opening up around the opening of the new National Music Centre. We will then of course have the Town Hall and the Michael Fowler Centre available for different kinds of programming. 

“For me, audience development is, not only in this context, paramount and has to be included in the planning from now onwards. It already plays a major part in my discussions with Frances, Marc and the orchestra players themselves. 

“We are also planning for me to go on a regional tour with the orchestra in my first year to get to know as many places and communities we can engage with as possible.“

de Ridder thinks the orchestral talent in NZ compares favourably to his many other overseas postings.

“I’ve been impressed by the orchestra’s level from the first moment: it’s interesting, I feel the NZSO with its mix of homegrown players and international musicians - who either moved here for the orchestra or are guests for a period - combines treats and feats of orchestral playing from different places in a very balanced blend.  

“And you only have to look at the NZSO National Youth Orchestra and some young soloists the orchestra has supported and played with recently, to feel good about the future of classical music. We will help nurture that talent and as a national orchestra, we have a responsibility to spread the gospel of orchestral music and the joy of playing in an orchestra!”

But it’s not Aotearoa he’ll be calling home - de Ridder is also taking up the Music Director position at the English National Opera.  

“I will most likely move to the UK sometime in 2027, from my native Germany where I am currently Music Director of both the opera and Philharmonic Orchestra in Freiburg. 

“This is not only for family reasons, but also opera production periods are generally longer than orchestral periods. Whereas in Freiburg I had both a concert season and opera season, this will now be separated if you like, as ENO is a pure opera company. And who knows, my dream would be a collaboration, some kind of exchange one day between the two!?”

While time flies when you’re busy - 2027 is still a fair while away. The NZSO Music Director-in-waiting is already thinking his 2026 plans.

“I’ll be conducting in Wellington and Auckland as part of the 2026 season, including a world premiere by one of my favourite living composers and a major symphony by Shostakovich that isn't played often in this country! 

“And apart from that - many early morning and evening Zoom calls to continue the planning!” 

Eboni elected

History’s been made at the Publisher’s Association of NZ (PANZ), with Eboni Waitere (Ngāti Kahungunu, Rangitāne) named as its first Māori President.

Executive Director of the award-winning HUIA Publishers, Waitere states “I am excited to be of service back to the publishing community. We have an extraordinary depth of talent across Aotearoa, and I believe New Zealand’s trade and education publishers are world-class. We’re already exporting stories, voices, and ideas globally - my vision is to build on that foundation through collective strength, collaboration, and bold, strategic action.

“Literacy rates and our education space are priorities for me,” she continues. “Valuing our local content and seeing our stories is important. New Zealand is an international leader in educational resources, we need to reignite that - through stronger investment and cross-sector collaboration.

“In the age of artificial intelligence, laws must protect creators, uphold indigenous rights, and enable fair access in a digital world. This is a chance to create copyright settings that are future focused, a system that values mātauranga Māori, supports local publishers, and ensures the voices of our storytellers are protected and respected.”

PANZ Association Director Courtney Sina Meredith adds that Waitere “brings strategic excellence, mana, unwavering integrity, and a lived understanding of the power of publishing to shape culture.

“Eboni’s leadership is courageous, considered, and grounded in a vision that reflects the richness and diversity of Aotearoa.” 

Park's new place

Meanwhile Contemporary Art platform Te Tuhi has gone international with the announcement that Suzy Park will be coming from South Korea to be the organisation’s new Curator from November.

The appointment has been created through a relation with Park as Te Tuhi presented three New Zealand artists at the 2024 Busan Biennale, one of her many curatorial roles overseas.

Executive Director Hiraani Himona enthuses “Our team and artists loved working with Suzy in Korea, and we’re thrilled she was so enthusiastic about joining us in Aotearoa. Her curatorial approach resonates deeply with Te Tuhi's values – community-minded, collaborative, and socially engaged. 

“Suzy brings with her a fresh international perspective and a deep commitment to artists, which will be a tremendous asset as we grow our programme and continue shaping the next 50 years of Te Tuhi.” 

Park brings a decade of experiences working with artists, collective and institutions to her new role.

“Joining Te Tuhi, an institution with a remarkable 50-year legacy of continuously supporting artistic experimentation and expanding internationalism grounded in locality, offers a rare opportunity to rethink the nature of art across different geographies. Aotearoa New Zealand’s unique cultural and historical context - shaped over centuries - sustains a deeply resonant art scene today. 

“What excites me most is the chance to engage with artists here through both fresh eyes and long-held questions.”

With Te Tuhi’s gallery spaces currently closed for repairs and upgrades, Park will have time to adjust to her new role before shaping the 2026 exhibition programme. 

Heavy-hitting line up

The final list of international delegates and local heavy-hitters has been confirmed for the independent music industry event, Going Global Music Summit later this month (August 28-29).

It’s being described by thought with industry clout as a notable line-up, providing a rare opportunity to engage with festival programmers, label leaders, and artist advocates from around the world.

Among the artist keynotes speakers confirmed are Brad Kora and Ara Adams-Tamatea from hitmakers L.A.B., one of the country’s most streamed artists 9LIVES, and indie darling Princess Chelsea.

Local heavyweights Alan Holt (NZ Music Commission), Ant Healey (APRA AMCOS), Pippa Ryan-Kidd (Independent Music NZ Chair), Jo Oliver (Recorded Music NZ) and Cath Andersen (NZ Music Commission) are among the delegates while the like of TikTok’s Australian Head of Music Ollie Wards, SXSW Music Festival programmer Pixie Weyand out of the States, Cindy Castillo from Spain’s MadCool Festival,  IMCJ Vice Chairman Taro Kumabe in from Japan, German promoter Mario Stresow from FKP Scorpio and South Korea’s CJ Cultural Foundation GM Moranie Kim give a strong international flavour.

This year’s summit is focused on artist development and will contain panels that deep dive into some of the big questions and bold concepts shaping music today, from how TikTok works to AI tools and building your music career.

IMNZ General Manager Dylan Pellett states “The interest shown from the wider world in Aotearoa New Zealand artists has never been higher. We are really looking forward to all the connections and discussions to be had over these coming days and beyond.” 

The loaded local music showcase that happens across both evenings - the Going Global Festival - is also proving a big drawcard. The Big Idea has a double pass to give away, click here to enter.