Wellington's big two months of creativity are starting to reach its climax.

With the Aotearoa NZ Festival of the Arts approaching its conclusion and the burst of movement and sound that is CupaDupa a little over a week away, the capital is truly rocking.

And smack bang in the middle of it all, the New Zealand Fringe Festival has pulled up stumps after another successful season. Three weeks of theatre, dance, digital, comedy, circus cabaret and other weird and wonderful offerings gave emerging and established artists from the region - as well as from across the motu and overseas local, national, and international artists - the chance to shine.

The numbers are in, and they're impressive.

2024 saw a total of 168 productions with 590 performances in 48 separate spaces - 89 of them World premieres - with over 900 artists from more than 22 countries and work spanning 25 genres selling 21,150 tickets (not including the numerous free events). 

And the most important factor - with final box office reconciliations to be confirmed, more than $323,000 will be paid out to artists and venues in the coming weeks.

The festival awards night was full of recognition, welcome cash prizes and invitations to take work overseas.

The success story of the awards was Andança Company's debut production Show do Café, which claimed the coveted Best in Fringe, along with Stela Dara collecting the Most Promising Emerging Artist award, and fellow performer LJ Crichton the Most Promising Pasifika Artist gong.

Among the other multiple winners in the whopping twenty categories named; The Butterfly Who Flew Into the Rave, which collected both the Melbourne and Sydney Tour Ready awards - to go with the invite to the Edinburgh Festival it received at PANNZ Arts Market last week - and the Momentous Movement award;  Eliza Sanders' Manage Your Expectations as the San Diego Tour Ready and Outstanding Solo Performance award winner; and Sweeties with the Adelaide Tour Ready and Spectacular Organised Chaos awards.

Vanessa Stacey, NZ Fringe Festival Director told The Lowdown that Fringe is not only alive, it’s thriving. 

"As wicked as this year's 2024 Fringe festival was, there's just no rest at NZ Fringe. On Thursday before the last weekend of another record-breaking year, we announced our new National Tour Ready funding applications. supported by the Ministry of Culture and Heritage (open now until mid-April). 

"This funding is open to any show presented at any of the Fringe Festivals in New Zealand over the last three years and hopefully, it will help mitigate those post-festival blues for our artists along with our ongoing artist development and creative lab series."

Boyo boy

The SongHubs model has proven a successful one for helping share indigenous songwriting and storytelling tools from around the world - since 2016, it's seen 52 songs released, successful music funding opportunities realised and industry connections strengthened. 

The concept's latest announcement sees the first Māori/Cymraeg SongHubs will bring Māori and Welsh songwriters together to collaborate, with the revitalisation of their native languages through music at its heart.

This joint venture between APRA AMCOS NZ, the British Council and the British High Commission will involve three Welsh songwriters and one Welsh producer collaborating with six Māori songwriters and two Māori producers at Auckland's Big Fan Studio over four days (24-28 March).

The Aotearoa contingent is made up of producers Kingdon Chapple Wilson - AKA Kings - and Noema Te Hau III, along with award-winning songwriters Rob Ruha, Maisey Rika, Pere Wihongi,  Arahi Whaanga, Awhimai Fraser and Marei Nathan.

The programme will be Curated by Māori opera singer Kawiti Waetford and Kiwi Welshman Greg Haver.

“While completing my Masters I had the privilege to immerse myself in the rich tapestry of music, song, and language cultivated by the people of Wales,” Waetford explains. 

“Through this experience, I witnessed the deep connection they share with their whenua, cultural heritage and their ongoing commitment to language revitalisation. This serves as an inspiring testament to the resilience and cultural pride of the Welsh people, resonating deeply for our own journey as Māori.

“Bringing our two cultures together to share our languages, traditions, and histories to write songs collaboratively, I see this program as further championing a positive kaupapa of language revitalisation through the transformative power of music.”

The programmes' format will see participants rotating in small groups around Big Fan’s studios, creating bilingual songs - waiata and cân - with each songwriter getting the opportunity to lead in the writing process.

It will conclude with a public panel discussion at Te Noho Kotahitanga marae at Unitec on 24 March with Sir Tīmoti Kāretu and Waetford leading the kōrero.

AWF headliners pack a punch

The Auckland Writers Festival has been pulling out all the stops in hyping its 2024 line up (officially announced on Wednesday) - referring to themselves as "the Superbowl of Book Festivals" and touting it as the highest per-capita attendance of any festival of its kind in the Southern Hemisphere. 

The six-day event (14-19 May) has confirmed to have more than 40 international authors and 200 events - the first under new Artistic Director Lyndsey Fineran, who has used her international connections to bring in some big names like the latest Book Prize winner Paul Lynch in person to discuss his novel Prophet Song.

But what makes Aotearoa lit festivals special is the local flavour, and there's plenty of that to go around.

Among the highlights - Becky Manawatu (Ngāi Tahu) is sharing an exclusive early conversation about her anticipated next book Katarina, which has high expectations after her award-winning hit Auē spent three-and-half-years on the bestseller list.

Writing royalty Dame Anne Salmond will receive a well-deserved spotlight as the 2024 AWF Honoured Writer, while acting icon Sam Neill makes his first NZ Book appearance to discuss his memoir Did I Ever Tell You This? on stage with Robyn Malcolm.

And just to make sure you don't think a book festival is locked into books - there's an opportunity to watch the creative process of indefatigable talent Troy Kingi up close and personal, as he invited the audience to help conceive, write and perform an entirely original waiata in under an hour.

Fineran states of her first crack at the helm of AWF “I couldn’t be prouder of this world-class line up, nor the talented team behind it. It’s ambitious, interrogating, dynamic and fun and I can’t wait for it to all come to life in May." 

While tickets go on sale tomorrow (15 March), over 25% of the events - which include authors' talks, kōrero, debates and writing masterclasses - will be free and unticketed.

Another one bites the dust

While the AWF is good news for book lovers, there's been some heartbreaking news this week for bibliophiles, particularly in the capital.

Good Books - which has been a strong advocate for Aotearoa writers and publishers since its inception in 2020 - has gone the way of fellow Wellington book institution Vic Books, and will be closing its doors for good.

There's been an outpouring of dismay and aroha since directors Catherine Robertson and Jane Arthur confirmed the news on social media.

"Yes, we’re closing – but it’s a decision we’re at peace with. We have loved owning Good Books. We love our amazing team (present and past), who have made the shop what it is. We love the connections we’ve made with our customers, our reading and writing communities, and our small business neighbours in Te Aro. 

"But the economic environment has been very tough lately, as you’ve probably picked up on – and after a lot of discussion, we’ve decided to err on the side of caution and close under our own terms."

The doors will close on 10 May, with plenty of sale opportunities, refunds or book stack available to those with vouchers or subscriptions and still book launchs to look forward to, with  Karen McMillan latest novel, Turbulent Threads (sadly now quite apt) and Arthur's own new book Brown Bird.

While not quite their parting message - there is a request.

"When we’re gone, please give your love to your other local indie bookshops!
Most of all, don’t worry about us. And rest assured, we’re looking after our staff, because that’s always been important to us." 

Big creative firepower to welcome world to NZ

The biggest event on the international choral calendar is now only four months away, and happening in our own backyard.

Tāmaki Makaurau is hosting the 13th World Choir Games (10-20 July), with around 10,000 participants representing 250 choirs from around the world getting their routines ready.

But while they'll bring a global flavour, details are coming out of the plans for the Games’ Opening and Closing Ceremonies - which will give them a real taste of Aotearoa.

The opening event at Spark Arena is being compared to an Olympic style stadium feel - and they've brought out some of New Zealand's big guns to bring it to life with the announcement of the creative team.

Malia Johnston - best known for her jaw-dropping World of WearableArt Award shows and the opening ceremony of last year's FIFA Women's World Cup - is on board to direct the  ‘Welcome to Aotearoa New Zealand’ show, bringing with her two long-time and skilful collaborators, sound and light designer Rowan Pierce and award-winning composer Eden Mulholland. 

Kura Te Ua (Te Rarawa, Te Aupōuri, Te Aitanga a Māhaki, Te Whakatōhea, Tūhoe) has been appointed guest choreographer and concept advisor, Pak Peacocke brings a stacked CV to the role of production manager and Otene Hopa (Ngāti Whātua, Ngāpuhi, Waikato) will work as tikanga advisor.

It's been confirmed the event's official song will be released soon - composed by Hall of Famer Don McGlashan with additional lyrics and translation from Hana Mereraiha. If that's not Kiwi enough for you, then know the final time it will be heard at the closing ceremony will be performed by the enticing vocal talents of Marlon Williams (Ngāi Tahu, Ngāi Tai) and Ria Hall (Ngāi Te Rangi, Ngāti Ranginui).

Artistic and Games Director John Rosser enthuses “It has been a genuine joy to bring this show team together. Each member brings huge talent and experience to the project, but the collaboration between them adds a whole extra layer. As for the song, I always had confidence Don would write something very special, and he has. I can’t wait for the choral world to experience both of these offerings.”

Two at the top

History's been made at the National Concerto competition - with two prodigious talents unable to be separated - creating just the second time in 56 years that the top award has been shared.

Wellingtonians Peter Gjelsten (Violin) and Ben van Leuven (Clarinet) - who interrupted his studies in Norway to take part - were awarded first equal place after the Douglas Lilburn Auditorium bared witness to New Zealand’s top young instrumentalists presenting a major concerto, accompanied by the Christchurch Symphony Orchestra under conductor Benjamin Northey.

Auckland violinist Hazuki Katsukawa collected the other podium finish in third.

Gjelsten notes “Winning this competition feels fantastic, however I felt like I had already won the biggest prize, just getting to play the Sibelius Violin Concerto with an orchestra in the full. This has always been a dream of mine, I will never forget this experience.”
 
The prize package has been divided into two equal parts - each winner sharing the $15,000 on offer.

The prize money comes at a time in these musicians' young careers and training when they are venturing overseas and investing in extensive schooling and further studies. The long-term value is the reputation and kudos that comes from having their names listed alongside so many of New Zealand’s great classical artists.

Past winners include some of the country's most influential classical musicians like Michael Houstoun, Mark Menzies, Hamish McKeich, Ashley Brown, Henry Wong Doe, Natalia Lomeiko, Benjamin Morrison and Amalia Hall.

Speaking on behalf of the National Concerto Competition, Rebecca Hendl-Smith explains “The prestige of this competition, built over 56 years, means we as audiences can look forward to witnessing exceptional musicians like Ben, Peter and Hazuki before they embark on their international careers. We are very lucky, it is an event to be treasured.” 

Dream role realised

For performers, some parts are so iconic, they can become the everest of even the most stacked CV.

For Royal New Zealand Ballet’s (RNZB) Principal Mayu Tanigaito, that has finally landed after 12 years with the company.

As RNZB gets set to tour the inimitable Swan Lake for the first time since 2013 this May, Tanigaito will finally get the chance to perform arguably ballet's most coveted role, the dual dynamic that is Odette/Odile.

Tanigaito declares, “It is a privilege to get to perform this iconic dual role. Although it is quite late in my career to debut this role, I feel like I have been working towards this my whole career. 

"From performing Odile in competitions as a young teenager, to understudying this role 11 years ago, and since performing both main pas de deuxs, I am very excited to perform the complete role in Russell Kerr's (former RNZB Artistic Director who passed in 2022) beautiful production.”

Making it even more poignant, Tanigaito’s husband - recently retired RNZB Principal Paul Mathews - will rejoin the company for the season as Wolfgang, Prince Siegfried’s tutor. It's a role until now only performed in this production by the late, great Sir Jon Trimmer. 

Mathews, who has been building a new career in the business world, explains “I have performed over 50 performances in this production over a variety of roles, but I am excited to perform Wolfgang. I shared many character roles with Sir Jon over my career and we would talk in depth about character development so I will incorporate those gems of wisdom. Reconnecting with the RNZB and honouring Russell Kerr and Jon Trimmer, who both did so much for ballet in New Zealand, was an opportunity that I couldn't turn down.” 

Swan Lake is touring Wellington, Auckland, Napier, Christchurch, Dunedin and Invercargill, with paying homage to Kerr and Trimmer high on the motivation scale.

RNZB Artistic Director Ty King-Wall states “This production holds so many precious memories for generations of New Zealanders. With Russell’s passing in 2022, our season is imbued with even more emotion, as we recognise his incredible talent and honour one of the true luminaries of ballet in Aotearoa.”  

Trilingual triumph

Getting screen time in the US is a major achievement for any Aotearoa short film - winning an award is even more reason to celebrate.

The Lascar - the first New Zealand film to bring together Urdu, te reo Māori and English languages on screen together - has picked up a major award at the Alameda International Film Festival in Oakland, California.

It adds to the list of accomplishments for the 35-minute film - set in the 1799 Aotearoa and interweaving Indian sailors, British sealers and Māori mana whenua - including Best Drama Short and Best Short Film at the Indian Independent Film Festival in 2023.

Director Adi Parige - born to an Indian family in Wellington, raised in the US and beginning his film career in California and the UK - told The Lowdown “Receiving this recognition from the Jury at Alameda International Film Festival means so much to me and the whole cast and crew of The Lascar. 

"It took an enormous undertaking to responsibly present this historic tale of three cultures intersecting in colonial Aotearoa. For our efforts to be recognized is deeply encouraging for the future of The Lascar and the young filmmakers that came together to make it. We look forward to showing our work at more festivals in the coming year.”

Shot at Manurewa Point/Tora near Cape Palliser and in forest north of Wellington on a $50,000 budget with a cast that includes a lead actor - Vinith Shiva - who had no on-screen experience alongside the likes of decorated performers Tanea Heke and Ian Blackburn.

Parige hopes the mid-length film can be a proof of concept and is on the hunt for producers to turn it into a feature film.

Elliott sculpting success

One of the most dedicated advocates for sculpture work in Aotearoa is being called on to help decide one its major awards.

Sue Elliott, Chair of the Wellington Sculpture Trust for the last 11 years, has been named as the judge for the 2024 RT Nelson Awards for Sculpture, which will be held at this year's NZ Art Show (31 May - 2 June).

30 finalists including familiar names like Lissy and Rudi Robinson-Cole (featured below in The Big Idea's latest video story), Kereama Taepa, Zena Elliott and Mel Ford are competing for the total prize pool of $25,000, including a $15,000 premier award.

Elliott's commitment to the creative community is unquestionable, including playing a passionate part in Wellington Museums Trust, the New Zealand International Festival of the Arts, Public Art Heritage Aotearoa New Zealand, and College of Creative Arts, Massey University. 

"I'm delighted to be judging these awards. Sculpture holds a special significance in New Zealand as an expression of our creative, cultural and social identity, and I am a huge believer in enabling and encouraging emerging artists to thrive."

Elliott will also adjudicate the inaugural Emerging Artist Awards, aimed at recognizing young talent studying art at NCEA Level 3 or equivalent. 

Collaborative quartet

Four different disciplines - one shared opportunity.

The Arts Centre has revealed the next four artists to live and work in the heritage precinct in Ōtautahi Christchurch between 8 April - 16 June. 

Dancer and Artistic Director Sacha Copland, writer, performer and improv specialist Shay Horay, experienced actor and musician Phoebe Hurst, and self-taught textile artist Ron Te Kawa (Maungarongo Te Kawa - Ngati Porou) will collaborate in a programme that brings them together creatively and physically - with the Creative Residence apartment being a shared space with views over the heritage rooftops and the Botanic Gardens. 

It's a homecoming of sorts for several of the incoming residents, with the Arts Centre being part of their formative creative years.

Horay, who has performed in over 30 countries in an extensive career, states “The residency is a chance for me to focus my energy on a project I have had in the pipeline for a few years, it’s an awesome opportunity. And to use The Arts Centre as a base is even better."

Copland adds “after 20 years of choreographing and touring around the world, it feels like the right time to return home and connect with a site that fuelled my dreams as a kid.”

Bishop's new role

A luminary of the children's literature world has just taken on a new position of mana.

Award-winning author and illustrator Gavin Bishop (Tainui, Ngāti Awa) has joined the great Joy Cowley as a patron of Storylines Trust. 

With more than 70 books to his name, Bishop has racked up accolades the Prime Minister's Award for Literary Achievement (Non-fiction), the Sir Kingi Ihaka Award for lifetime contribution to strengthening Māori art; the Margaret Mahy Medal for lifetime achievement, an Officer of the New Zealand Order of Merit (ONZM), President of Honour of the NZ Society of Authors and a record five-time winner of the supreme Margaret Mahy Book of the Year Award.
 
Not to mention that there has been a Storylines prize - the Gavin Bishop Award - named after him since 2009, where he mentors the winning young illustrator each year, often on to thriving careers.

Storyline Trust chair Christine Young notes “Gavin is one of New Zealand’s finest writers and illustrators as seen by the number and stature of awards he has won for his work. Fittingly, he has worked closely with Joy Cowley, our other patron, to illustrate a number of her books. 

"His work has led the way in developing books in te reo and English, from board books to large format illustrated masterpieces, appealing to pēpē, tamariki and rangatahi, and educating young people with Aotearoa New Zealand’s culture in a uniquely engaging way."