Resilience, love and bravery. Those three words for me epitomise this year's Performing Arts and Young People (PAYPA) Hui, hosted at the newly reincarnated Court Theatre building in Ōtautahi Christchurch. Spread out over 7-9 November, the event brought together an array of educators and practitioners championing work with, for, and by young people.

It’s no secret that the Theatre for Young Audiences (TYA) sector has been hit hard in recent years. Articles outlining those difficulties have been published recently, and I encourage you to read them, as they paint a sobering picture of just how fragile many of these creative ecosystems have become. It’s a grim image, but behind it stands a wealth of courageous advocates, many of whom I had the pleasure of meeting over the weekend at the PAYPA Hui.

In attending two workshops, panels, and the awards evening, I was inspired by the tenacity of PAYPA’s commitment to quality performing arts experiences for our tamariki. The not-for-profit organisation is the national support entity for artists and organisations in the sector, and organises the annual national hui with help from collaborators like Cubbin Theatre Company and support from Creative New Zealand. Many will know that hui such as this are a huge part of what keeps the sector going. Here are my takeaways from the weekend.

Small acts, big meaning

On Saturday morning, we gathered to experience the beauty of Lambe Lambe theatre. This intimate, miniature form of puppetry is often performed for an individual audience. Created in Brazil in 1989 by artists Denise di Santos and Ismine Silva, the ‘stage’ is often housed in a box and viewed through a peephole. Theatre shrunk to the size of a box! Talk about doing more with less. Created in Brazil in 1989 by artists Denise di Santos and Ismine Silva. The workshop co-ordinators Ana Lorite and Rosána Lopez were captivating. We were tasked with creating and sharing our own makeshift Lambe Lambe boxes. As we worked, many of us shared our excitement for the potential of this type of puppetry in our varied education and performance environments. Its accessibility, portability, and tactile immediacy offer a world of creative possibilities for young audiences. I really hope we see a lot more Lambe Lambe theatre blossoming across the country.

Fun is serious business

Later that afternoon, we gathered for a workshop titled Creative Movement and Play. Led by Lizzie Tollemache of Rollicking Entertainment, we rolled, laughed and mimed our way around the room. Lizzie guided the group through exercises that emphasised fun and failure. This ethos was carried through the entire workshop, capturing something essential about the TYA sector itself. The belief that openness to failure and the willingness to never take yourself too seriously are essential ingredients. After all, if we hope for our youth to take creative risks, we should be willing to do the same.

Connection, collaboration and celebration

A warm welcome from Kerryn Palmer started the awards evening off. She highlighted the ways the organisation nurtures and supports artists, educators, and young audiences across Aotearoa. This was followed by a presentation via Zoom from Scottish theatre-maker Tony Reekie, who shared stories from his work abroad and examples of innovative projects being created across Europe. His insights offered a window into what the future of the TYA sector in Aotearoa might look like, and his reflections resonated with a refrain that threaded through the weekend: the importance of connection, collaboration, and care.

This year’s Emerging Artist Awards went to Harmony Hogarth and Seiyan Thompson-Tonga, while the Production of the Year Award went to Taki Rua’s Rere Atu Taku Poi. The evening celebrated the generosity and excellence of all the nominees. Theatre for young people is never a solo endeavour; it thrives through networks of artists, educators, and communities showing up for one another, season after season.

Remembering Tim Bray

The Peter Wilson Award for Significant Contribution to the Arts was awarded to theatre titan Tim Bray in memorium. Tim’s long-time collaborator and friend, Sam Scott, who presented the award, spoke with warmth about their shared history. Scott captured Bray’s spirit and work ethic

with a list of selected words. Amongst them, “playful, hardworking, loving, tenacious.” Over a career spanning more than a hundred productions, Scott mentioned that Bray was “always such an amazing supporter”, and that he had “a beautiful quality of being funny and light whilst also being really serious about what mattered”. The award was accepted on Tim’s behalf by his sister, Rosemary Bray, who spoke of Tim’s early fascination with theatre. A moving tribute to one of Aotearoa’s pioneer practitioners of theatre for young people.

Building community

The theme of community carried into a panel led by Steph Walker with Ralph McCubbin Howell, Mel Luckman, and Tahlia-Rae Mavaega, who discussed the value of building community far beyond the rehearsal room. Each of them spoke on different ways we can consider what we have to offer each other as colleagues. Whether that be through sharing resources, experiences or simply an outside eye on a project. The takeaway for me was the recognition that, whilst a lack of funding is a major obstacle, there are so many ways we can support each other that don’t involve dollar signs.

While this article can only touch briefly on the event, the full presentation of the awards ceremony is available online. The ceremony closed with words of thanks to Cubbin Theatre Company for organising the event and to Creative New Zealand and The Court Theatre for their support. I made my way home with optimism and hope for the practitioners who create work for young people with resilience, love and bravery.