Salary increases in the arts sector have risen and more than a third of organisations aren't interested in a diversity-focused recruitment policy.

Those are some of the noteworthy findings to come out of Creative New Zealand's (CNZ) latest Remuneration Report, which saw 65 arts sector organisations and 2,129 individuals - 233 (11%) contractors and 1,896 (89%) employees - give insights into the 12 months to August 2024.

It's the third time the commissioned report on market pay practices in the Aotearoa arts sector has been completed, with CNZ's  Co-Manager Policy & Performance Elizabeth Beale stating “This information is valuable for any arts sector organisation that wants to make informed decisions about remuneration and employment conditions, it also helps us monitor trends over time.

“Building a sustainable career and maintaining a business in the arts is challenging, so the more we can find out and share about pay and employment practices across the sector, the better.”

The 31-page summary report has more numbers than a small-town phone book - with but has some interesting insights for those who work in the creative sector.

The median reported salary increase during the survey's findings was between 3%
(management) and 4% (artists and other staff). That's a significant step up from the last time data was released three years ago - which ranged from 0% (artists and other staff) to 1.5% (management).

Those numbers are expected to hold firm - with the arts median base salary increase for the upcoming year is forecast at 3% for management roles, 4% for artists, and 3.2% for other staff, which is in line with the general market forecasts.

To qualify for those bank-balance top-ups - it pays to be good at your job. 42% of organisations questioned state they vary their salary increases according to performance.

More than half (55%) of respondent organisations have a policy of actively promoting diversity with their recruitment strategy (which is actually 2% down from the last findings) with a further 9% are planning to implement one in the next 12 months. The remaining 36% have no such policy, nor are they planning to introduce one. 

Only 28% of responding organisations have culturally mandated roles. Of these, the highest
proportion (91%) involve Māori engagement with Māori communities.

71% of organisations provide career development or support to assist in the skill and career development of the artists they employ or contract. The median value allocated to artists’ career development in the past year is $6,500 - that's up $1K on the previous findings released three years ago. 

For those looking to crack into the sector, almost half (45%) of organisations reported they have internship programmes in place. But fewer organisations are willing to pay for it.

Three years ago, 35% considered interns to be volunteers or in unpaid roles - in the year to August 2024, that number has risen to 43%, generally on a short-term agreement as part of a course or secondment. The good news for those who get paid internships is that the average hourly rate has lifted to $27.60 (up from $22.43).

Of note with the organisations who took part - 48% turn over more than $1 million (with 30% in excess of $4m) but 59% of participants worked for organisations of no more than 10 staff members in size. Staff turnover was averaged at 24% per annum.

While clearly not for everyone, there will be some keen for a deep dive on this information - the likes of employee agreements, KiwiSaver, leave entitlements, attraction and retention strategies, health and safety - but if you're not involved in the project, it will cost you. 

The full report is available to buy from the report's researchers Strategic Pay - it's not handled through CNZ and the organisation states they make no income from the sale of the report.

“Organisations that took part in the research get access to the full report to acknowledge their participation, so we encourage organisations to be involved,” Beale underlines.  

How creatives handle their careers is getting some much-needed discussion time right now - with Te Taumata Toi-a-Iwi seeking sector feedback on their proposed Tax Exemption model for creative practitioners (broken down here on The Big Idea).

Home turf for NZ dance champions

When it comes to dance crews, New Zealand has long punched way above its weight. But instead of taking their talents to the world - this time world is coming to our backyard.

The World Dance Crew Championship (WDCC) is set to light up Tāmaki Makaurau's Due Drop Events Centre from Sunday (13–19 April), the largest event of its kind which will be headlined by Aotearoa drawcards - the award-winning IDCO and the world famous Royal Family, founded by acclaimed choreographer Parris Goebel. 

Joshua Cesan, Director of IDCO, can't wait to take on the international crews coming from the likes of Japan, Australia, the Philippines, and the United States.

“New Zealand crews are known around the world for the calibre of talent. This is an awesome opportunity for us to not only host international dance crews from around the world, but also show off the talent to the public and local audiences and hopefully, inspire youth. I’m passionate about that.  

"We’re looking forward to showcasing on a New Zealand stage to a local audience. We hope everyone comes along to celebrate the calibre of dance.”

WDCC will include Junior, Youth and Adult divisions - as well as Super Crew divisions where up to 40 dancers can be on stage at one time - as well as an incredible opportunity for high school students to share the shine.

The College Dance Crew Championship (CDCC) on Friday 18 April will spotlight crews from across the country, including Rotorua Girls’ High School, Taupo-Nui-A-Tia College, Avondale College, Alfriston College, and Pukekohe High School. It's not just a chance to perform - the event can earn NCEA credits while developing their craft and a chance to be coached directly from the Royal Family - legitimate 'once-in-a-lifetime' material.

Event Director Bayon Kim emphasises “The international success of some of our dance teams, including The Royal Family and Parris Goebel herself, shows the potential of a career in dance today. Dance is one of the fastest-growing industries globally.  

"It’s important to see this type of success, particularly for our youth, in a world where career paths are no longer linear.”

The base to grow from is certainly there - with 13% of New Zealanders aged between 5–17 participating in a range of dance styles from hip-hop to ballet and contemporary dance. DANZ (Dance Aotearoa New Zealand) estimates that more than 630,000 New Zealanders dance regularly - surpassing rugby and netball combined.

After the stellar impact the World Choir Games had on local choirs, this could be a wonderful launching pad for many.

Emmanuel's excellence

Whatever you dream of doing, you dream of doing on the grand stage.

And young Hawke’s Bay singer Emmanuel Fonoti-Fuimaono is living the dream - after emerging from over 600 worldwide applicants to land a hugely coveted position.

He has become the first New Zealander ever to be offered an audition for the Royal Opera’s Jette Parker Artist Programme in London without ever having studied outside of Aotearoa -  eventually winning one of the few spots available.

It comes hot on the heels of another huge international opportunity, Fonoti-Fuimaono also joining the oldest and Opera programme in the world -  prestigious Merola Opera Program in San Francisco this year before making the move to London.

The young tenor will be working alongside and receiving coaching from some of the most prominent figures in ballet music and opera.

“From growing up in Flaxmere to stepping onto one of the world’s greatest opera stages, this is a dream come true. 

“I’m incredibly grateful to the many people who have supported and encouraged me over the past ten years. To now have the Royal Opera House as my training ground for the next two years is an incredible opportunity, and I plan to make the most of every moment.”

It’s not just a big win for Fonoti-Fuimaono - it’s a major endorsement for the New Zealand Opera community.

He’s been coached and mentored from a wide range of sources locally - he’s a graduate of  Project Prima Volta (PPV), Has a Masters degree from Te Pae Kōkako – The Aotearoa New Zealand Opera Studio (TANZOS), and is an alumni of New Zealand Opera's Dame Malvina Major Studio Artist programme.

Opera icon Dame Malvina beams "Emmanuel’s success is a shining example of the exceptional talent we have in Aotearoa. His dedication, perseverance, and artistry have taken him to one of the most prestigious opera houses in the world.
 
“It’s also incredibly rewarding to see the impact of Te Pae Kōkako – TANZOS, which has been years in the making. I always believed in the importance of a dedicated professional training programme for young artists here in New Zealand, and it’s now delivering exactly as I hoped it would, thanks to the outstanding leadership of Madeleine Pierard and the expert guidance of Nikki-Li Hartliep, as well as the wider team and supporters.
 
“I am incredibly proud to see Emmanuel take this next step, and I know he will make New Zealand proud."

PPV Founder and Director Anna Pierard concurs.

Emmanuel was part of the very first PPV cohort in 2014, and even then, his ability to connect with music and audiences was extraordinary. His success is entirely his own - driven by talent, hard work, and a deep passion for his craft.

“It has been a privilege to see him grow, and I have no doubt he will thrive on the international stage."

One of four talented opera singing brothers - the Fonoti-Fuimaono name isn't just one to watch, it could become one of the biggest in the Aotearoa opera community in years to come.

CHAII and mighty

60 different creatives, artists or groups are busy finding fresh outfits for late May, after the flurry of finalists were named for the 2025 Aotearoa Music Awards.

Of course there are the usual headline names - Stan Walker is almost a compulsory finalist in recent years and racks up five nominations, while the likes of L.A.B., Lorde, Tami Neilson and Troy Kingi all deservedly being recognited for their latest releases.

But perhaps the most impressive collection of nods goes to Mona Senai - better known as CHAII - who has equalled Walker's five nominations with her breakout debut album Safar seeing her in the running for Album, Single (for We Be Killing It), Electronic Artist, Video Content ( for the self-directed Night Like This) and Producer of the Year (alongside husband Frank Keys). 

Throw in the album getting a further nomination through three-time Tūī winner Simon Gooding for the Best Engineer category, and it's incredible recognition for the Iranian/Kiwi artist.

After years working on other people's records, Senai only put her own music first a few years ago, now she joins the likes of Fazerdaze, Georgia Lines, Kaylee Bell and Kingi up for both Album and Single of the Year.

She told RNZ “I was honestly expecting zero nominations. Me and Frank both were not expecting any. So to go from not expecting any to this - it's crazy.”

Kingi's incredible 10 albums, 10 genres in 10 years quest could see him add Best Rock to his Best Folk Tūī  - showcasing his extraordinary artistry (and with 2 albums yet to come, who knows what category may be next).

2024 double-winner TAWAZ is in the running to go back to back - joining talented performers Anna Coddington, Jordyn with a Why and Walker as finalists for both Best Māori Artist and Mana Reo (recordings with at least 50% te reo Māori content), while Haami Tuari is competing against himself in the Mana Reo category - up for his solo effort Taku Kaenga as well as part of the Tuari Brothers for Higher.

Michael Houstoun is chasing a sixth Best Classical Tūī, up against Jian Liu and Justin DeHart. This marks the seventh time that Rattle Records have dominated all nominations in the category. It also marks a 24th Award winning release and 56th nomination - a remarkable strike rate with just over 200 albums to the label's name.

Equaliser goes global

A programme that has its origins here in Aotearoa has just been launched internationally in the music sector.

Gender equality project Equaliser is returning bigger than ever - with the likes of UNESCO Creative Cities of Music's Auckland Director Mark Roach working tirelessly to evolve it on a global scale since it was last run in Auckland in 2024.

The initiative is now available to be undertaken by all fellow UNESCO members, offering professional development and training modules designed to share knowledge, increase professional development and peer network opportunities and foster a safe and inclusive culture for the global music community.

The important mahi developed by SoundCheck Aotearoa's Rachel Harrison and Melanie Calvesbert has been exported as a crucial component of Equaliser - underlying New Zealand's key role in helping tackle gender inequality in the music industry.

Among the Equaliser initiatives will be three-hour Skills Discovery workshops for women working or participating in the music sector and one-day Professional Respect Training Days workshops designed to give everyone (of any gender) the tools and resources to identify and practically deal with sexual harassment and harm.

Wait and see

After literally writing the book on Performance Art in Aotearoa - Chris Braddock has brought a wealth of it together under the one roof.

Group exhibition A Time of Waiting has opened at AUT’s Te Wai Ngutu Kākā Gallery (until 23 May), featuring work by artists Layne Waerea, John Vea, Kalisolaite 'Uhila, Jeremy Leatinu’u, Ena Kosovac, Shannon Te Ao, Olivia Webb, Luke Shaw, Madison Kelly and Braddock himself, along with two artist-collectives, The Observatory Project and Public Share. 

Braddock explains “In surveying our unique history of performance art, we became interested in a range of artists engaging in activities of ‘killing’ or ‘wasting’ time. 

"But what was interesting is these seemingly passive actions didn’t occur in a vacuum. Instead they were a means to confront many issues that continue to play out in culture today; such as tenuous work and labour conditions, inequity, and increasingly pervasive bureaucratic structures.” 

While retaining a focus on live performance, the exhibition includes a range of media, including video, sound, sculpture and text-based works and opened to a live performance from Craddock.

The exhibition also includes an offsite programme of temporary installations and performances which will be staged in Ōtautahi in partnership with Christchurch Art Gallery.

More film recognition

New Zealand is up for five awards at this year's Cannes Global Production Awards (GPA).

The picturesque backdrops of the South Island are strongly represented, with Canterbury up for both the Location of the year award thanks to Selwyn District and the Emerging location award for the province in general.

Screen Canterbury's also nominated in the Economic and Social Inclusion category alongside fellow Aotearoa candidate Māoriland charitable trust.

Never Look Away - the Lucy Lawless-directed documentary on trailblazing Kiwi photojournalist Margaret Moth - has Auckland-based production company General Film & Communication Films (GFC Films) put forward for the Diversity, Equity, & Inclusion Award, while Greenlit's Craig Gainsborough is a finalist for the Impact Leadership Award.

NZ Film Commission Chief Executive Annie Murray states “These awards highlight the often-unsung work behind the camera, the production, location and infrastructure expertise that makes great films possible.

“To see New Zealand people, organisations and locations recognised alongside some of the most respected names in the industry underscores the growing international regard for Aotearoa as a world-class production destination.”

NZFC are also in the running for a major gong themselves, nominated as Film Commission of the Year alongside Australia, Ireland and Spain.

The GPA ceremony takes place on 19 May in Cannes, during the Cannes Film Market. 

“The Cannes Film Trade Mission is a vital platform to build creative and commercial partnerships that elevate New Zealand’s presence in the global screen industry — and to position our country as the ultimate canvas for international filmmakers and storytellers,” explains Murray.

“The annual mission is an important fixture in the international calendar and forms part of NZFC’s long-term strategy to expand the global reach of New Zealand’s screen talent, locations and services.”