
University arts fellowships on ‘hold'
Artist Grahame Sydney, the 1978 Frances Hodgkins Fellow, said being awarded the fellowship was ''like a gold medal in many ways''. PHOTO: STEPHEN JAQUIERY
The arts community is reeling over the University of Otago's decision to "pause" two prominent fellowships which have launched the careers of some of the country's most notable artists.
The Otago Daily Times has received an email from Otago University pro-vice-chancellor humanities Prof Hugh Campbell that said it would not have a Frances Hodgkins Fellow for arts or Mozart Fellow for music next year.
The fellowships would have been worth about $97,000 for the recipients next year.
Prof Campbell blamed the economic situation.
"While it was initially thought that funding these fellowships for 2026 could go ahead, recent volatility in international investment markets has created unacceptable levels of risk to the ongoing viability of the funds should they have gone ahead.
"This is a hold on these fellowship offerings and the university is committed to ensuring that these fellowships remain a long-term part of our community and the wider New Zealand arts landscape."
Artist Grahame Sydney, a 1978 fellow, said for many artists it provided them the security of being able to employ their craft in a creative environment.
"It is a wonderful gift, that ability to be nothing but a painter or a sculptor or whatever for a whole year without interruption and with some degree of financial support.
"For me, it wasn't the gift of a full-time year — I was already doing that.
"But it was certainly a huge contributor to the notion of your standing in the arts community.
"The fellowship was the first of the arts fellowships in New Zealand and being given it was sort of like a gold medal in many ways."
Many of the artists who were awarded fellowships ended up staying in Dunedin for longer than their tenure, Sydney said.
"It had that magnetic attraction and a lot of people discovered how much they loved Dunedin and did not leave after having had the fellowship.
"And that changed Dunedin in many ways, too."
This year's Mozart Fellow Dr Simon Eastwood said the pause was hugely disappointing news.
"The Otago Arts Fellowships are an absolute taonga for the arts in Aotearoa in so many ways.
"At the most obvious level, they provide artists with the time they need to focus on their craft and develop new ideas away from the pressing needs of the gig economy and the need to pay the bills".
Dr Eastwood, who moved to Dunedin about 18 months ago, said he had seen the impact the fellowships had on the city.
"They also enrich the cultural life of the country as a whole.
"A list of previous arts fellows includes some of the greatest creative thinkers our country has had and some of our best art has arisen directly from the time artists spend here in Ōtepoti — I'm not including myself on that list, by the way."
The year-long Frances Hodgkins Fellowship began in 1966; its first recipient was Michael Illingworth. Notable fellows include Ralph Hotere, Grahame Sydney and Jeffrey Harris.
It was named after Dunedin-born Frances Hodgkins, one of New Zealand's most distinguished painters.
The Mozart Fellowship was first awarded to Anthony A. Watson in 1970; other notable fellows include Anthony Ritchie and Gillian Whitehead.
At Otago University, arts fellows receive a studio or office space and not less than the minimum salary of a full-time university lecturer for the year.
Dunedin Public Art Gallery director Cam McCracken said the Frances Hodgkins Fellowship held a significant place in New Zealand's arts landscape. "While it's a little disappointing to see the fellowship paused, I understand this is due to economic pressures.
"I fully support the decision if it helps the university stabilise its resources and ensures the fellowship's long-term future."
Prof Campbell said it was not a decision the university had come to lightly.
"The trust funds that support these two fellowships have become increasingly at risk of over-allocation over recent years ... and the university was not in a financial position to supplement these fellowships, as it has in the past."
The fellowships were originally established through endowments and have since been managed in trust funds by the university.
"We are deeply disappointed that we have to pause offering these fellowships for the short-term," Prof Campbell said.
matthew.littlewood@odt.co.nz
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Otago Daily Times
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Otago Daily Times
4 days ago
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Invasion of the red tide
As climate change is the big issue of the day, there is plenty of scope for Dr Octavia Cade's brand of science fiction writing. Rebecca Fox talks to this year's Robert Burns Fellow. A toxic algae bloom is creeping up Otago Harbour, smothering everything in its path. Do you race down to the harbour to see it for yourself or shrug it off as just one of those things? Kerikeri writer Dr Octavia Cade is fascinated by the ways people could react to the scenario and interact with the environment. "So there's this plethora of strange and fascinating possible reactions." So much so the scenario forms the basis for a science fiction novel and a research paper she is writing this year while the Robert Burns Fellow at the University of Otago. "They've all gone a bit barmy, my characters. But it's fun. If you're into science fiction as I am, and you've been reading New Zealand science fiction from when you were a kid, there's a surprising amount of it that really looks at what do we do with an invasive species once it gets to New Zealand." Algae blooms are becoming more common in New Zealand summers with warming waters and nitrate run-off impacting waterways. It makes the perfect villain for Cade's preferred "near-future" writing style. "There are some really strange and interesting side effects [from it]." Even Under the Mountain by Cade's favourite author from childhood, Maurice Gee, has its invasive species. "The invasive species there was obviously the Wilberforces. They horrified me as a child, but as I grew up, and I keep reading it, because I do read it on a fairly regular basis, the solution to it is pretty damn horrifying, if you think about it. The solution to ecological invasion in the Wilberforces is for children to commit genocide." 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It turned out what I was quite good at writing about was plants and animals and how people react with nature and how we talk about science. And so once I started writing, they say write what you know, and eventually I started listening." It turned out to be good advice and her stories began to do well. "So I started writing science fiction as a way to communicate science, basically. And it sort of took off from there. So yes, the scientific paper is responsible for my career writing novels about algal blooms." After helping her marine biologist father as a child she knew marine biology was not as glamorous as it sounded. "It was standing in freezing cold warehouses holding clipboards while he dissected fish. And so I thought, I don't want anything to do with marine biology on any level." But a compulsory marine botany paper turned out to be more interesting than she expected. And down the line it has ended up producing a story about algae blooms. She has discovered a real fascination for the blooms, imagining a bright red harbour and people going slowly "doolally" around it after injesting food affected by it. "With algae, the colour and how toxic it is, how poisonous, how it smothers everything in the harbour. I mean, imagine an albatross trying to float in that or a seal. It sort of kills everything and you can't go swimming. It affects all the water sources, it sort of spreads. It's like this little contagion. "And the fascinating thing about algae blooms is really we have a decent idea how to stop them. You know, we've got to control runoff and all sorts of things, but we often don't." So while she no longer writes purely scientific papers, she continues to read a lot of them — for inspiration. "When I see something particularly weird or disgusting happening in the animal world, I "favourite" the page and then shove it in my story ideas file." Her first novel The Stone Wētā , published in 2020 and expanded from a short story written in 2016, came about after she read how scientists during Donald Trump's first term as United States president were working across borders to store climate data and information as they were concerned about censorship. The short story had been picked up by one of the top international science fiction publications Clarkesworld Magazine . "I was thinking, well, this sounds like something people should be talking about more than they are. And so that's where a lot of my stories come from, actual interesting bits of science. And I was able to include a lot of weird stuff in that book." Still really liking the concept, Cade developed it into an adult novel and it won the Sir Julius Vogel Award for best novel. Another news article she has bookmarked is of the fishscale gecko, which sheds its scales and "skitters off looking like raw chicken breast". "The pictures of this thing are revolting and fascinating. And I just love that anything weird and disgusting that can be used as colour." Cade believes each writer has their own natural length. Hers is short stories — she has had about 70 published to date around the world — so writing a novel is more of a challenge. "It's one of the advantages of the Burns. You get space to upskill in your creative practice." She sees her short stories as being part of a long historical and cultural tradition of short story writing in New Zealand with New Zealand children growing up on authors like Katherine Mansfield, Janet Frame, Patricia Grace and Owen Marshall's work. "I just love them. I love how short stories require different things from readers and writers. You cannot, because you've got such a limited word count, you can't go explaining everything. You can't really go down sidetracks and wander. You've got to be very economical with your storytelling. And you have to trust that the reader can follow along. And I quite like that. "Whenever I try to write a novel, I often feel like I'm putting in all this waffle. But you can't write a novel like you're writing a short story." Cade remembers her first day in the Robert Burns fellow's office sitting staring at her computer. "For nearly the entire day, I stared sort of frozen in terror at this blank screen because they'd given me the opportunity and I'd been expected to produce something, something good." She gave herself a good talking to that night and the next day began to write. But she still feels slightly intimiated by the list of top New Zealand writers that have gone before her. "I have a bucket list, you see, of writing opportunities that I would like to apply for. And I've been quite lucky in getting them, but it is a luck that has been very much underpinned by a lot of hard work." She has applied for the Burns fellowship and others many times before, seeing each application as practise developing her application skills and learning from the rejections and comments she receives. "I mean, if you are in the creative sector, you have to have a very thick skin when it comes to rejection. A lot of it is luck, but a lot of it is hard work and not taking yourself too seriously. It's never nice having a story rejection or a novel rejection or a residency rejection. But if you are going to work in this industry, you need to learn to suck it up. And it's all part of the learning process, I suppose, in the end." These days her other "hobby", academic writing, has also become more of a focus as she became aware that it is an advantage to have a list of academic papers to her name when applying for residencies. "I don't get paid for academic writing but there is a cachet there and it is an investment." But it is also an excuse for her to indulge some of her passions such as a love of horror movies — a side effect of growing up on science fiction and her love of Under the Mountain . "The terror I spent lying awake at night thinking about the Wilberforces, you know, sludging at the window the way they did to the twins. There was something fascinating about that. So that was my gateway drug for horror." So writing papers about something she has seen in a horror film gives her an excuse to watch more of them. One of the papers she is working on is an academic collection coming out called "Sharksploitation, Shark Horror Films in the 21st Century". She is writing a chapter looking at urban shark films, things like "Under Paris" and "Bait", when sharks come into the cities. She finds urban ecology very interesting, especially the way people react to it when they see wildlife in places they do not expect to see it. "Because these are issues that are happening all around the world. I mean, in Colorado, I've written papers before on animal horror films, you know, giant sharks and crocodiles and so on. And they're kind of problems in wildlife management. "I think there's something very interesting that horror films are contributing to this sort of ongoing discussion. Because they remind us that, you know, we're not just existing outside of a food web." Cade is enjoying being back in Dunedin and revisiting all the places she remembers from her university days. "It's a great place if you want to write books or learn about nature, because you have the albatross and the sea lions and the penguins and Orokonui's just over there. There's so much scope for creativity." She was gutted to learn recently that the Frances Hodgkins and Mozart fellowships had been put on hold for a year given the benefits the fellowships have for creatives of all types.