
Arts Sustainability Fund Recipients Announced
The 2025/26 successful projects are Maven Theatre Company, a new professional theatre company that will premiere local and national drama productions, and Ngai-kore-tua-mao, an exciting environmentally-based performance and community arts programme by Louie Zalk-Neale (Ngāi Te Rangi).
The Arts Sustainability Fund provides multiyear funding to help establish aspirational new projects that have the potential to grow into a major arts activity in Kāpiti Coast District.
Group Manager Customer and Community, Brendan Owens says the fund is designed to help local practitioners achieve ambitious arts projects that have the potential to become self-supporting over the next two or three years.
'With an impressive theatrical programme that will enhance opportunities for local talent and technicians, and a truly exceptional arts programme that combines creativity, cultural expression of our tangata whenua and diversity, active care for the environment and community participation in the arts, we think this year's successful projects will be very well received.
'These projects have tremendous potential to create art events that will raise our arts profile, and become a drawcard for audiences across the region and beyond.
'Council is proud to be supporting incredible initiatives that will enrich our arts sector and boost Kāpiti Coast's cultural economy,' Mr Owens says.
For more information on available funding, visit kapiticoast.govt.nz/funding.
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The 2025/26 Arts Sustainability Fund grant recipients:
Maven Theatre Company aims to enhance local theatre through staging quality productions in our state-of-the-art venue at Te Raukura ki Kāpiti. The new theatre company, founded by Jessica Clough and Sera Devcich, will provide a platform for local artists, actors and technicians to showcase their skills.
Ngai-kore-tua-mao is a community-enriching arts programme by celebrated visual artist Louie Zalk- Neale (Ngāi Te Rangi). The programme will present powerful art experiences strongly integrated with te taiaio (the environment) and engage audiences in a rich cultural/ecological programme of events to raise the profile of the lesser-known fibre and cultural practices of mahi tī kōuka (the art of weaving with cabbage tree leaves).
Last year's Arts Sustainability Fund recipient Writers' Practice will launch Bookmark Kāpiti an inaugural two-day literary festival across Kapiti Coast venues on 9–10 August.
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Otago Daily Times
06-08-2025
- Otago Daily Times
Film offers look ‘behind the scenes'
This year's International Film Festival gives New Zealanders the rare opportunity to see behind the scenes at a gallery as it curates a ground-breaking exhibition, in this case Auckland Art Gallery's "Toi Tū Toi Ora: Contemporary Māori Art". Rebecca Fox talks to TOITŪ: Visual Sovereignty 's director, Oscar nominated producer, award-winning film-maker and art lover Chelsea Winstanley. More than 100 artists, 300 art works, 10 installations — it sounds huge. For art lover and movie producer Chelsea Wistanley, the concept of Auckland Art Gallery's "Toi Tū Toi Ora: Contemporary Māori Art", to create the largest Māori art exhibition in New Zealand's history, authored by Māori voices, sounded fascinating. "I like to find stories about people that are doing all the good things behind the scenes." Living in Los Angeles at the time the exhibition was being developed by gallery's curator, Māori Art, Nigel Borell (Pirirākau, Ngāi Te Rangi, Ngāti Ranginui, Te Whakatōhea), Wistanley's marriage to Taika Waititi had broken down, Covid had hit America, Black Lives Matter was going on. "LA was kind of crazy. And it was almost like a great catalyst, actually. So I was like, I'm coming home. I'm going to sink my teeth into this." Personally she needed to come back to New Zealand, but it also seemed like the perfect opportunity for her to go back to her love for writing and directing. While she is known for producing — as a producer on Waititi's Academy nominated feature Jojo Rabbit , Wistanley became the first indigenous female Oscar nominee for Best Picture and her critically-acclaimed documentary feature, Merata: How Mum Decolonised the Screen played at the 2019 Sundance and Berlin film festivals — it is not something she ever wanted to do. "I just fell into that role and you just keep doing one thing after another and someone tells you, you're pretty good at it or they keep offering you work in that space." Along the way Wistanley (Ngāti Ranginui and Ngāi Te Rangi, Pākehā) forgot about her youthful self's wish to be a director. She had started out directing a television art show where she met artists such as Fred Graham, Tama Iti and met Waititi for the first time. "I really believe in timing. And it was the perfect time for me to come home, sink myself into something that was really right. You know, on the kaupapa that I love, art." Working alongside Borell and the gallery's team, Wistanley threw herself into the project deciding to self-fund the documentary to avoid any unnecessary restrictions. "So what little resource I had, me and my producer, we were just like, right, we're going to do this. We'll scrimp and scrape. We'll pull favours. And, you know, half the time I'm getting the camera out myself and I'm not a camera operator. But there's just times you're like, oh, my God, I've got to capture that." She had been told the exhibition was going to be the equivalent to the landmark 1980s "Te Māori" exhibition that toured the United States and then New Zealand's main centres, including Dunedin. "It's got this really neat synergy, I suppose, because "Te Māori" really awakened Māori people to what their culture and a traditional culture that they had. And then when it finished its amazing world conclusion, it actually finished at the Auckland Art Gallery. "And that was another thing that I thought, from an international perspective, was really interesting, too. Like it had all these parallels. So I was like, that's going to be fantastic." But things took a different direction as tensions emerged between Borell and the gallery's director about the imbalance of power in curating. Borrell's vision was that Māori artists should be seen on their own terms, free from colonial frameworks and he pushed to centre Māori voices and stories. He eventually decided to resign just before the show opened. "Alliedship, support and advocacy for indigenous and for Māori in this space is awesome but at the same time it often gets mixed up in authoring the ideas and wanting to have space in that and it is not up for grabs, it is ours to lead and to own. If it is not I don't want to be part of that conversation," Borrell says in the film. "If we can't shape it with this exhibition project which we have waited 20 years to do, when can we?" Like any film-maker, Wistanley had to adapt and follow the story although this was not easy at times. "I'm merely just to be there to capture and respond as an artist myself, as a storyteller. Because people talk about a story being made three times, from the paper, then while you're shooting, and then again in the edit suite. When you get to that third part, you've got to now pull all the pieces together. And whatever you thought might have been the actual story is not any more." She did not want that dispute to overshadow the film though. "I think the overall outcome of the film is, what I really want anyway is, there's nothing to be afraid of, of sharing power. Even if power is the right word. It's just living in harmony together and in true partnership. "Everyone in the gallery, Māori, Pākehā, it doesn't matter who they were, everyone was so invested in the success of that show. Because they're all working there because they love art. So they just want the best thing for the show and for the public to experience." So she also concentrated on was showing the work that went on behind the scenes. Wistanley, whose home's walls are covered in art, got to meet and watch work some of the country's top contemporary Māori artists. "I've always loved art and photography. And it's always kind of been my, I suppose, passion. But this time around, being able to spend time with and see the likes of Shane Cotton or Emily Karaka and their spaces of work. That was the great thing I wanted to show." Selecting those to follow on their journey for the documentary was difficult but working closely with Borrell and the team, she selected a variety of artists doing different projects who also had strong stories. "The artists were so generous." Getting to see the work of the Mataaho Collective (Erena Baker, Sarah Hudson, Bridget Reweti and Terri Te Tau) as it was being made in collaboration with Maureen Lander was special, especially as afterwards the collective went on to win the Golden Lion Award at the Vience Biennale, one of art's highest accolades . The documentary follows their journey at Venice. "My gosh, that was just, like, ultimate, you know. But they're amazing. They're just wonderful." These experiences gave her a new appreciation for artists. "Artists are just the most incredible people. They truly are." Being able to watch and film Ngahina Hohia installing her Paopao Ki tua o Rangi (2009) mixed-media installation using poi, light and sound, drawing on her own whakapapa and the story of Parihaka, over a few days was "mind blowing". It is a piece that has been shown around the world. "It's so beautiful. Again as a viewer you go in and you don't know how many days she spent putting it all together." Then she got to be in Australia when Reuben Paterson saw the glass waka he had designed in real life for the first time. Due to Covid he had supervised its construction via the internet. "It was great to capture him there. I would have been freaking out if that was my piece and it's so incredible when you see it going." But it also gave her a new appreciation for what galleries and their staff do to make exhibitions come to life for the public from driving across the country to pick up valuable and fragile works to conserving pieces so they can can continue to be seen for years to come. "I didn't realise how many people even worked at the gallery, or what all their roles were. Everyone from the registration team, were just such lovely people who take such incredible care, meticulous care. There is just so much that goes on behind the scenes." Sad that the show came down in 2021 six months after opening and that it did not go on to travel internationally, Wistanley took time to decide whether or not to finish the documentary. "I really just didn't want to put out a piece that, oh, the show opened. And yet again, it smashed all the records for visitors and things like that. It did all those things. But it didn't do some other really fundamental things, which sat with me for some time." Two years ago she began working on the piece again, trawling through the hundreds of hours of material to piece together the final story. "I think for them, it's a great archive. I just really wanted to kind of celebrate really what goes on. And it probably turned into something slightly different in the end." TO SEE TOITŪ: Visual Sovereignty , Rialto Cinema, Dunedin, August 24, 3.45pm. Q and A by director Chelsea Winstanley.


The Spinoff
06-08-2025
- The Spinoff
‘We need to support New Zealand authors': Kirsten Le Harivel's books confessional
Welcome to The Spinoff Books Confessional, in which we get to know the reading habits of Aotearoa writers, and guests. This week: Kirsten Le Harivel, co-founder of Bookmark Kāpiti. The book I wish I'd written There are so many books I admire. As a writer, I wish I'd written Still Life by Sarah Winman. I really loved the way the story centred friendship. Everyone should read Books by New Zealand writers! That may sound clichéd but if we want a literary landscape, we need to support our authors by buying their books. There are so many local writers out there doing awesome stuff, in so many genres and set in so many places around this world and the next! The book I want to be buried with I want to be cremated. I feel quite uncomfortable about the idea of burning books, except perhaps my diaries! I have kept all the writing I've done since I was a teenager and I really don't like the idea of it escaping out into the world! Fiction or nonfiction Definitely fiction. I love its ability to take us out of the day-to-day and let us imagine new realities. I find fiction by Patricia Grace, Witi Ihimaera, Jenny Pattrick, Tina Makereti, Tīhema Baker and many other New Zealand writers helps me understand our history and its repercussions in contemporary Aotearoa. The book I never admit I've read Lol, as someone who works in the 'literary' sector, I always feel embarrassed that I have a major soft spot for cosy mysteries and magical romance. I think sometimes the industry can get snobby about what is 'good', but 'good' can be all kinds of things to all kinds of people. These genres I've discovered in the last couple of years when real life was complicated enough that escapism was absolutely what I needed. If I could only read three books for the rest of my life they would be This question makes me think of being left on a desert island and since I rarely read fiction books more than once (unless I'm reading them from a craft perspective), I would pick three very practical tomes on surviving in the wilderness. Books I'd never ordinarily read but I'm sure would be essential if I was stuck survivor-like somewhere! Greatest New Zealand writer There are so many more amazing New Zealand authors than I can realistically name so I'm going to mention two people who have had a big impact on my own writing journey. Lynn Jenner who has the most incredible ability to make compelling what may seem mundane or every day. Like watching 'Search and Rescue' in Lost and Gone Away and the building of the Kāpiti Expressway in Peat. Hinemoana Baker who was my first creative writing tutor. I still think of that class and how lucky I was to be a baby poet learning from her and all the other writers in that class including Renée, Natasha Dennerstein, Nicola Easthope and Sarah Delahunty. That class started me on my journey to become a poet. Best thing about reading Reading is my happy place! As my nine-year-old son says to me, it's a way to escape, especially when people are being annoying. It also allows you to imagine the lives of people who have different experiences than your own or to see your own experiences in a new light. Best place to read My children still want me to read to them so curled up on the couch or in bed with them is definitely one of my favourite places. I've been reading the whole School of Monsters series by Sally Rippin with my five-year-old, she loves them so much she dressed up as Mary at her school's annual book parade. Almost all the kids and the teachers had dressed up as different book characters, even the year 7s and 8s which gives me great hope for the next generation of readers! With my son, we're reading a George Mackay Brown short story collection I read as a child which is a lovely way to reconnect with my childhood and my birth country, Scotland. What I'm reading right now I am really busy working on the inaugural Bookmark Kāpiti so I'm reading a lot of what I think you'd call 'historical cosy mysteries'. I recently discovered several series set in India (where I lived for several years) by Sujata Massey, Vaseem Khan, Harini Nagendra. I enjoy being transported back to that country and time in my life via their books. The Spinoff Books section is proudly brought to you by Unity Books and Creative New Zealand. Visit Unity Books online today.


Scoop
18-07-2025
- Scoop
Make The Most Of The Coast With The Creative Communities Scheme
Press Release – Kapiti Coast District Council To be eligible for funding, projects need to have an arts or cultural focus and take place within the Kpiti Coast. Applications open Wednesday 16 July and close at 5pm Monday, 11 August. Kāpiti Coast District Council is thrilled to announce that the first round of the Creative Communities Scheme 2025/26 is open for applications. The twice-yearly scheme is funded by Creative New Zealand to support local arts and cultural projects. This round has about $23,000 available to share across projects that create opportunities to create or celebrate the Kāpiti Coast's fabulous cultural scene. Funded projects must take place between 16 September 2025 and 16 September 2026. Council arts events coordinator Nerita Clark says individuals and organisations are able to apply for funding. 'The scheme means we're able to support a range of inspirational projects that really add to the vibrancy of the district,' Ms Clark says. 'The recipients of our most recent round of funding have been working on exciting projects, from inclusive art or dance classes, to writing workshops or retreats, children's theatre, exhibitions and arts exchange, as well as an innovative, multimodal programme of weaving, dance and workshops. 'We're open to all kinds of arts projects, and welcome anything that creates opportunities for our local communities to get involved, but especially projects that support diversisty and encourage cultural or youth participation. 'We're delighted to administer this scheme in partnership with Creative NZ, so our community has the opportunity to participate in local arts and nurture emerging talent. 'The Creative Communities Scheme recently celebrated its 30th anniversary, and it's enduring sucess shows that the arts are truly valued. 'It's fantastic to be albe to support grassroots arts projects, and we're always excited to see applications for new projects that will inspire creativity on the coast,' Ms Clark says. To be eligible for funding, projects need to have an arts or cultural focus and take place within the Kāpiti Coast. Applications open Wednesday 16 July and close at 5pm Monday, 11 August.