WOMAD NZ Programme Director Emere Wano originally became involved in the festival to ensure Maori culture was an integral part the event. She talks about how her role has grown since then, and what keeps her involved.

“It connects music, language and culture in such a beautiful way and in such a beautiful environment.”

Wano is also the Artistic Director for the inaugural Sounds Aotearoa music industry expo, held in New Plymouth this week in the lead-up to WOMAD NZ.

WOMAD NZ 2010 took place at New Plymouth’s Brooklands Park and TSB Bowl on 12-14 March.

What aspect of your creative practice/work gives you the biggest thrill?

The discovery of artists, programming collaborative works and working with other creative people.

How does your environment affect your work?

I need a vibrant, happy environment to work in as it does have an effect on your work and creative juices.

Do you like to look at the big picture or focus on the details?

I love the big picture, but unfortunately with an admin background i can tend to get caught up in detail.

What's your number one business tip for surviving (and thriving) in the creative industries?

Be flexible, ready to adapt to situations and think on your feet.

Describe your role at WOMAD NZ. 

The role is to select and programme the New Zealand artists. To programme all the artists (incl internationals) across the various stages which includes Kidzone, Taste The World and Artists In Conversation.

What’s involved in the preparation?

Going to performances, gigs, shows to see artists performing.  Receiving and reviewing artist applications DVD’s and listening to CD’s.

What combination of people and resources are required? 

Time….energy and patience to go through the applications. Financial resources to support the scouting side of things to attend gigs in other cities, countries etc. Good networks and working knowledge both domestic and internationally.

What have been some of the challenges and how do you approach them?

With the international artists for WOMAD it’s difficult as most of them we don’t know a lot about or their music so programming them across stages is a challenge. With the NZ artists it is who do you leave out!

Why is WOMAD an important event – internationally and in NZ?

Because it connects music, language and culture in such a beautiful way and in such a beautiful environment. NZ artists get to perform and connect with artists from other parts of the world which is really important for NZ.

How does WOMAD generate opportunities for New Zealand artists?

Being programmed in WOMAD NZ provides opportunities for them to engage and work alongside performers from other countries and cultures.  They may also receive invites to perform in other WOMADs around the world i.e; WOMADelaide, WOMAD UK, WOMAD Sicily, WOMAD Abu Dabhi

You have been involved with WOMAD NZ since it first came to Taranaki. How and why did you become involved?

Roger King hosted the then WOMAD UK; event director Thomas Brooman in New Plymouth wanted him to see a snippet of Maori culture so that’s how our initial involvement came about. We became involved also because we wanted to ensure that Maori culture was an integral part of the WOMAD NZ experience for the artists, staff and audience. For the artists when they leave NZ they leave with a lasting impression.

What keeps you involved?

The energy, vibrancy of the festival. The opportunity to meet other people from other cultures. Working with NZ artists which I totally love. 

How has your role changed since then?

Quite a lot. In the beginning I was given the Kidzone area to look after and then 3 festivals ago was asked to pick up the Artist Liaison portfolio. This year as they were in the interim period whilst appointing a replacement Artistic Director I was approached to be the Programme Director in the interim.

How has the festival evolved since then? 

It was very organic in the beginning and it is now become a well oiled machine. Also it’s now an annual event which has helped.

What are some other highlights of WOMAD 2010?

Not only the music but the food, the artist in conversation sessions, the films and meeting the artists.

The Artists in Conversation programme are intimate sessions where you can find out about the artists, their work and their experiences.

Tell us about your role in Sounds Aotearoa and why this event is important for New Zealand.

I’m the artistic director for this inaugural event which has been 5 minutes in the planning. It’s an opportunity to promote and market New Zealand bands to a selection of international buyers, programmers and festival directors. It’s also a chance for the industry to get together, network meet and greet, share knowledge and learn from experts.

How did you get into event management (training, personal interest)?

Creative and performance wise I come from a Kapa Haka performing background. Which is traditional Maori song and dance but has the disciplines of dance, choreography and choral singing. My event management background stems from my time at the then Taranaki Polytechnic organising graduation ceremonies and prizegivings. From there I left to set up my own company specializing in event management, which has evolved into festivals. 

Tell us a bit about your passion for Maori arts development.

I’m really keen to help Maori arts and artforms again promote and market themselves and use my skills and knowledge to network these things together.

What are some of the personal and professional skills and qualities required to be a successful event manager? What advice would you give to aspiring event managers?

Good time management, relationships skills, adaptability/flexibility, problem solving, action oriented.

Professional qualifications in event management and frequent development courses. However experience working within events - large, small, community and corporate - is really useful.

What are some of your upcoming plans and projects – your next big idea?

Working on the TSB Womens Surf Festival which is involves the world’s top 18 womens surfers; WCT NZ Tour, NZ Womens Open and Australasian Pro Juniors.
Next phase of development for Sounds Aotearoa looking at inviting other artforms to be involved.

Attending a couple of markets overseas to maintain relationships and make new ones.