It's been a week since Creative New Zealand (CNZ) publicly announced the major changes that will impact 80 arts organisations under their long term funding models - and the news is still sinking in for some.

It's been met with a range of emotions - independent artists suddenly feeling that the playing field will be levelled to organisations worried about what the future may hold, adding extra strain at a time where many are struggling.

One artist and theatre maker told The Lowdown "So happy to hear about CNZ scrapping the Tōtara and Kahikatea (funding programmes). These were unfair models accessible only to ‘shoulder tapped’ organisations! Now arts orgs all have the same funding hoops to jump and equal access to big sums of funding."

But others from both inside and outside the current funding Tōtara (six year funding) & Kahikatea (three year funding) umbrella warn that the announcement feels like a "double-edged sword" - a phrased used from several who spoke with The Lowdown.

One arts leader noted "The proposed one-year extension (through until the end of 2026) offers a much needed lifeline for organisations already facing major reductions in resource (as it essentially buys us time to plan and explore new revenue sources). 

"However, there’s also a real sense of foreboding given the already super competitive nature of the new Arts Organisations and Groups Funds so we are all looking forward to further clarity and next steps over the coming months."

Another told The Lowdown "On one hand, these two trees (Tōtara & Kahikatea) haven’t been pruned or made fit for purpose for many years - well meaning categorisations based on the idea of identifying organisations as ‘Leaders’ that is now outdated. 

"Today’s leaders are anywhere and everywhere, no longer necessarily attached to the 'big orgs'. I’d argue an organisation isn’t a leader, it’s the people who work within these shells that bring the mana, the ihi, the wehi.

"But, on the other hand, as the leader of a small organisation within the current 'tree scheme', I feel like the light at the end of the tunnel has just been drawn out further. Those trees are taking a long time to chop down! Yay, we don’t have a funding application due next year, but everything remains fuzzy and uncertain. 

"For many of us 2027 is a long way off - we are an industry in crisis and we’re all quietly battling to survive."

Louise Gallagher, Performing Arts Network NZ (PANNZ) Chief Executive told The Lowdown that it's been signalled for some time that change may be coming.

"In an investment client meeting earlier this year, (CNZ Chief Executive) Stephen Wainwright explained how the funding cycles work and how CNZ are not funded in this long term strategic way, but annually - which was enlightening and also very bold of CNZ to have this programme when their funding is not secure long term.

"That perhaps is a deeper industry discussion and advocacy work to be done to address this. But that was a clear message that change was needed.

"So I understand the risk profile of that, and with the every increasing demands from the sector on that finite amount of funding, it becomes even risker to continue to fund in this same way.

"This change does level the playing field in some ways, however I do fear it is throwing the baby out with the bathwater, and much may be lost than be gained.

"The biggest flaw I see in the process is that we need more transparency around who gets to assess applications and/or the sector to have confidence that there is an assessor who has all the attributes and qualifications needed to assess complex multi-year applications.

"I do fear that CNZ may find themselves in another situation where there is a huge demand on the funds, that many will miss out and there will be outcry from the industry. 

"The funding is not increasing, and CNZ have a difficult task of ensuring all representations are covered from regional to metropolitan areas, as well as them immense diversity of the sector.  How you strategically cover all that, and not lose the art in all of it?  

"Partnerships are going to be key for CNZ and for the rest of us as well. There are some great examples of CNZ forging into this space - the CNZ Pasifika team as well as some of the work by the advocacy team are seeing some great results. 

"It is good to see that CNZ have taken advice, and have deferred the changes until 2026, as the initial thoughts felt very rushed and did not provide companies the time to rethink strategy and programmes for the new system that lies ahead - whatever that new system may look like, we are yet to find out. It is a tricky time for everyone, there is no safe harbour for anyone, currently."

Diana Weir, Auckland Philharmonia Chief Executive told The Lowdown "As with other major peer centres across the globe, the health and impact of New Zealand’s anchor arts institutions require stable, replicable, multi-year funding to ensure all Kiwis have access to high quality arts experiences that are both locally impactful and contribute to our national cultural identity. 

"We look forward to receiving further information on the forthcoming CNZ changes and working with CNZ and our arts colleagues to ensure that the arts and culture sector in Aotearoa receives the support it needs to thrive in the future."

As is clear - all involved are awaiting more clarity - so we went straight to the source.

Claire Murdoch, CNZ's Senior Manager, Arts Development responded to The Lowdown on several of the issues being discussed within the creative community. 

When asked if there's been much feedback since the announcement, Murdoch explains "Little to none through any formal channels. We think organsations are reflecting on the news. 

"I have had several representatives of Tōtara and Kahikatea organisations express delight that we won’t be requiring RFP applications in 2025 – and as a former Kahikatea organisation rep up until a few months ago, I really do get it! Additionally, they are telling us that they appreciate us allowing time, for both them and us to properly plan for change."

CNZ has outlined the $100 million that is allocated to Tōtara and Kahikatea funding over the 2023-25 period will be absorbed into the 'For The Arts', eight pronged funding model. The Lowdown asked if this will go straight into the Arts Organisations and Group Fund or more broadly through the funding programmes. 

Murdoch replied "We intend to maintain our current level of investment in arts organisations and groups, so our total investment in organisations and groups will not reduce as a result of this change. 

"And of course, the arts organisations and groups fund is not the only way we offer financial support – we also have the development fund, the new leaders programme and the residents, internships and fellowships fund." 

We then quizzed Murdoch on if there are plans for the 'For The Arts' funding programme to include longer term funding in it than currently exists (i.e. 3 years plus).

"We’ve already extended multi-year funding for organisations and groups in the Arts Organisations and Groups fund as part of For the Arts (with 1 or 2 year funding options). That’s in response to what we’ve heard from organisations over our sustained and in-person engagement over the past 12 months, that multi-year funding is one of their greatest needs. 

"I don’t want to speculate on the final design of the new programme before we develop it – and this will be done based on feedback from organisations, too – but multi-year, flexible funding towards a programme of work is absolutely intended to be part of the new funding." 

We shared the concerns from creatives and arts organisations that with so many big fish joining the Arts Organisations and Groups Fund - albeit with more money available - that it will become an even more crowded process after there was such a high percentage of unsuccessful applicants in August. 

Murdoch responded "Our funding is always going to be highly contested and has been static for some time. What we’re aiming for is a flexible system of financial support that will better meet the needs of organisations and groups across the sector." 

One of the big reactions to the August funding annoucement is the lack of ability for feedback on applications - is that something that CNZ plans to remedy? 

"I’ve heard the concerns from some applicants about this, and believe they are specifically about the written feedback from external assessors that was available under our old assessment systems. 

"To be honest, this written feedback was sometimes valued by some applicants, and sometimes it was not! We responded to the universal negativity regarding caps on applications by removing them. That has meant that the number of applications we accept now better reflects the growing demand for all our funds. The scale of the demand also means we can’t feasibly develop detailed written responses for every application. 

"We need to focus our resources, time and energy into where they are the most valuable to applicants and to the assessment process. Feedback in general remains part of what’s valuable, and I’m going to keep looking at that." 

There's no question arts funding is a difficult jigsaw to solve - CNZ's not getting extra money to add to funding, so they have to make do with what they get. Money doesn't grow on trees, particularly not Tōtara or Kahikatea ones, but whether this new approach levels the playing field remains to be seen.  

Big growth for Auckland Pride

The Auckland Pride Festival - like many - has faced many challenges over the pandemic period. Its February timing saw it hugely impacted by lockdowns and other gathering protocols. But after getting through those tough times, now is a time for unprecedented growth for the organisation that runs it.

It's announced a newly established organisational structure, brought together to affirm the Auckland Pride’s role in the creative and rainbow sectors.  For the first time in its 11-year history, Auckland Pride will have more than three full-time staff members. As a result of increased capacity, Auckland Pride is strengthening its programming to more effectively serve Takatāpui and Rainbow communities through advocacy, creativity, and community-building.

The new Auckland Pride team includes Partnership Manager, Blaise Clotworthy - (they/them - Pākehā); Executive Producer, Katharine Atafu-Mayo (she/her - Malie, Falelatai, Sāmoa; Scotland); Operations Manager, Vic Walsh (she/her - Tauiwi); Digital Producer, Bunty Bou (he/him - Cambodia); and Executive Director, Hāmiora Bailey (Ngāti Porou Ki Harataunga, Ngāti Huarere).

Bailey explains “We’re excited to take Auckland Pride into this next phase, where we can hold our membership in greater confidence and serve the communities they belong to safely. 

"Through this, Auckland Pride embraces art as a powerful form of activism—one that both envisions and drives liberation. Through the festival, we create vital spaces for our communities to gather, express, and celebrate belonging.

"Art has a unique ability to connect us, to spark conversations, and to challenge the status quo. Every performance, exhibition, and gathering during Pride is an act of resistance and community-building, forging bonds that strengthen our resilience and solidarity. 

"As we come together throughout the month of February, to share stories, we’re actively shaping a future rooted in equity—a future where the pursuit of liberation is sustained by the creative power of our collective voices, and shared action.”

With registrations for Auckland Pride 2025 now open, the organisation have placed a real focus on the pathway its offering to creatives. First-time event organisers, future advocates, and emerging artists can register their events in the Open Access festival and receive support through Proud Centres programming. From there, they can go on to apply for Pride Empowerment for seed funding and support, progress their craft through Pride Develops, and eventually become Pride Elevates artists or senior artists within the Festival.

“At the core of Auckland Pride’s philosophy is the belief that art is activism. Grounded in a Kaupapa Māori approach, we see the arts as a powerful tool for both personal and social transformation. On the marae, art and activism are not separate, and Auckland Pride draws on this to create spaces where Takatāpui and Rainbow people have the means to express who they are, demand their rights, and build stronger, more cohesive communities. 

"This approach not only celebrates creativity but also actively contributes to better social and health outcomes for our people.

“Auckland Pride is a unique, community-led movement powered by the voices and vision of those it serves—our team can’t do it alone, our strength comes from the membership who support us. We’re calling on you, our artists, allies, advocates, and supporters, to join us. Every membership and donation strengthens our ability to drive change, create vital spaces, and uplift our communities through collective action.”

Smaill's homecoming

Back to where it all began for novelist Anna Smaill - apppointed as Victoria University of Wellington International Institute of Modern Letters (IIML) and CNZ Writer in Residence for 2025.

Smaill completed an MA in Creative Writing at the IIML back in 2001, before her publishing career began four years later with her poetry collection, The Violinist in Spring, released through Te Herenga Waka University Press. 

Her first novel The Chimes won the prestigious award for Best Novel at the 2016 World Fantasy Awards. It was also longlisted for the Booker Prize and translated into four languages. Her second novel Bird Life was published in 2023 in the US, UK, and Australia to excellent reviews, and was longlisted for the Ockham NZ Book Awards.

Smaill states “I am so grateful for the chance to work on my next book at the International Institute of Modern Letters in 2025, the place where I first started to take myself seriously as a writer. The residency position represents time and creative freedom. But even more it represents the collective mana of the institute and all the writers it has fostered. I feel very lucky to be part of it”.

During her residency (which starts in February), Smaill plans to work on a novel tentatively titled The Blazing, which she describes as “part archival thriller, part coming-of-age story”. Set in both the US and UK, the novel will be “an examination of the value and worth of art and history in the midst of cultural collapse, and will explore ideas of provenance and whakapapa. In testing how individual stories can ripple outward to effect historical change, it will follow a path back to Aotearoa New Zealand.”

IIML Director Damien Wilkins adds, “Anna’s two novels put her in the front rank of writers in this country and we’re thrilled to have her in Bill Manhire House next year”.

Funny funding

Podcast funding and support is certainly on the rise - with the latest opportunities enough to make you laugh. Well, that's the plan at least.

The New Zealand Comedy Trust (NZCT) and RNZ have launched the Aotearoa Comedy Podcast Development Fund, with $85,000 up for grabs to support the development of original, inclusive, and engaging comedy podcasts that reflect Aotearoa’s cultural diversity and creative innovation.

NZCT Chief Executive Lauren Whitney states “This exciting opportunity allows us to invest directly in the comedy industry and support comedic voices from across Aotearoa. 

"Partnering with RNZ, renowned for delivering high-quality, compelling podcasts, enables us to provide audiences wider access to comedy that reflects their lived experiences, no matter where they are. We’re thrilled to support the next wave of innovation in Aotearoa’s exceptional comedy scene.”

The first phase of the fund is for podcast development and creation of pilot episodes. Once developed, if concepts require further funding or resources to create a full series, this may be provided by RNZ to develop these podcasts for broadcast. 

The fund focuses on developing comedy podcasts that will resonate with listeners across Aotearoa, particularly targeting those aged 45 and under. Formats of interest include scripted comedy, panel shows, conversational or co-hosted styles, and sketch or satirical comedy. Creators are encouraged to be inventive, to think about how their podcast can integrate with live comedy events, festivals, or multimedia platforms like radio and video - with a particular note of "maintaining high production quality and cultural sensitivity." 

Expressions of Interest close on 27 November.

Legend status

One of New Zealand's small screen pioneers has been handed another accolade.

Dame Julie Christie will receive the 2024 TV Legend Award at this month's New Zealand Television Awards (NZTA) - presented to a television professional, programme or organisation who has made a significant contribution to the television industry in New Zealand over the span of their career.

Christie's impact on this country's television landscape is undeniable. A multi-award-winning creator and producer of unscripted formats in 30 countries, her work on shows like Treasure Island, Dragons’ Den, My House My Castle, and Trading Places shaped the way local television is produced and consumed. Whether you like 'reality' or unscripted TV or not, there's no arguing its produced many jobs for a great number of production crews in Aotearoa. Christie has also driven a number of scripted productions as well, cementing her legacy.

NZTA Committee member Kelly Martin states “Dame Julie Christie has been a driving force behind some of New Zealand’s most successful television series, many of which have achieved international acclaim and adaptation. She has opened doors for countless individuals, inspiring not only those dedicated to telling New Zealand stories but also performers across a wide range of genres, including reality TV, comedy, sports, drama, and factual programming ensuring her legacy within the industry remains strong.

"Dame Julie’s belief in working hard and playing even harder has truly stood the test of time and her influence and commitment have significantly shaped the television landscape, making her contributions to the industry more than worthy of this award.”

She'll join a list of TV Legend honourees that includes writer, actor and director Oscar Kightley, producer Janine Morrell-Gunn, actor and director Ian Mune, TV executive Andrew Shaw, broadcaster and journalist Tini Molyneux and veteran producer John Barnett.