The swirling winds of change battering the media landscape in Aotearoa are starting to take on a cyclone-like form - and the arts aren't being spared.

With Newshub's demise still ringing in the industry's ears, news that even the mighty, government-funded TVNZ newsroom could be in for a shake-up will have many concerned.

Within the creative community, one of the dedicated arts platforms has hit a troubling crossroads. 

On Wednesday, arts website The Pantograph Punch took to social media to confirm an unwanted rumbling that it will be going on hiatus from 28 March.

The post states "It’s been fourteen years since the Pantograph Punch first opened its doors to the internet, and over the years we’ve gone from being a humble blog on tumblr to becoming an integral part of the arts ecosystem of Aotearoa.

"There are many systemic issues underpinning arts publishing. They are heartbreaking and have only gotten harder, not easier, to swim our way through — and we have had to make the immensely difficult, bittersweet choice to protect our platform and sustain its legacy."

The critical art analysis and discussion that The Pantograph Punch has provided over the years has given rise to creative thought leaders like founding editor Rosabel Tan and former Editor-in-Chief Lana Lopesi - who are both now on the organisation's board.

Director Vanessa Mei Crofskey (Van Mei) told The Lowdown "We are heartbroken by the immensely difficult decision we've had to make, to go on hiatus. Sadly our efforts alone haven't been enough to bandaid over the deeper structural issues we face in terms of creating sustainability for platforms such as ourselves to operate, who are so few and far between but desperately valued and needed. 

"The 'New Mirrors' report, co-authored by Rosabel Tan and Dr. James Wenley for Creative New Zealand aptly paints the level of crisis ourselves and our peers are faced with in between the compounding storms and battles for arts and journalism. The report provides thought for the future, and ideas that give us hope for the wider inequities that have allowed arts publishing to fall through the cracks of funding to be addressed, and for the cultural knowledges we house to remain vigilantly protected."

Mei says there's not much to share yet on the organisation's next steps, "Only that we have been in discussion with peers in arts publishing to escalate our concerns to the Ministry of Arts, Culture and Heritage and to see a future where better protection and resourcing for arts publishing is implemented."

NZFC's big questions

It's not just journalism under the blowtorch, with the New Zealand Film Commission (NZFC) taking a long hard look at what its future looks like.

In their March newsletter, NZFC Chair Alastair Carruthers went straight at the issues facing the sector ahead of any niceties.

He wrote "There’s no doubt that NZFC is part of a wider industry that is changing rapidly. For us, like every other organisation, cost pressures are driving the need for constant adaption and innovative use of technology.

"We’ve actively sought feedback recently and, in many areas, the feedback aligns with the Board’s views about how we can better be set up to meet cost pressures and the challenges the New Zealand film and screen sector faces.

"NZFC needs to change to better support you, and to be more future-focused. This means having a fit-for-purpose operating model, so the team can effectively deliver on strategic priorities, achieve better results within our funding environment, and importantly improve engagement with the sector."

At the heart of that - a restructure is on the cards.

NZFC Chief Executive Annie Murray noted "I am aware of, and committed to addressing where possible, the industry’s high expectations for change at NZFC.

"As a first step towards this, last week I shared a confidential consultation proposal related to organisational and structural changes with my staff. This proposal considers our roles, functions and ways of working, and has been informed by a wide range of feedback – both from NZFC employees and the wider industry."  

Both Carruthers and Murray stated the industry will be updated once the consultation process is complete.

WIFT of success

On a brighter note for the screen industry, the Women In Film & Television (WIFT NZ) Awards provided another golden opportunity to highlight some incredible contributions to the sector across 11 award categories in a high-energy event at Auckland's St Matthew-in-the-City.

Talented writer and performer Marianne Infante was announced as the Outstanding Newcomer for not just her talents but also for advocating for minority voices to be recognised on stage and screen, while the Woman to Watch Award was presented to Abba-Rose Vaiaoga-Ioasa for her outstanding contribution in producing and stimulating Pasifika stories in the screen industry.

At the other end of the experience spectrum, Desray Armstrong (Te-Aitanga-a-Hauiti, Ngāti Porou) was put in the spotlight with the Award for Achievement in Film, having produced and released three feature films within 18 months – Coming Home in the Dark, Millie Lies Low and Juniper.

Industry powerhouse Chelsea Winstanley (Ngāti Ranginui, Ngāi te Rangi) was honoured with the Entrepreneurship Award, with the producer's roles as Company director of This Too Shall Pass, and Matewa Media - which has released five Disney Films in Te Reo Māori - highlighted along with being company director of Ahi Collective.

Barbara Darragh, a pioneer in innovative costume design, a role model and inspiration for costume
designers, was toasted with the Award for Outstanding Contribution to the NZ Screen Industry.

Editor Carly Turner won the Award for Success in Television and Digital, long-time Operations Manager at Images & Sound Jane Anderson was rewarded with the Unsung Heroine of the NZ Screen Industry gong, in-demand stunt performer Ashlee Fidow claimed the Craft Award, compositing supervisor Beck Veitch took home the Technology Award, while broadcaster Mihingarangi Forbes (Ngāti Maniapoto, Ngāti Paoa) was declared Te Reo Māori Champion and producer Ngaire Fuata received the Award for Moana Pasifika Excellence in the Screen Industry.

Shooting stars

Some already sparkling careers are set to be given a boost in a new direction with the announcement of the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ) 2024 Emerging Women Filmmakers Incubator participants.

Six directors are being welcomed into the year-long programme, designed to help accelerate the projects they're working on and towards sustainable careers as screen directors. It's made up of five day-long workshops across a year where participants are exposed to experienced industry professionals imparting knowledge and advice, networking opportunities, and mini-workshops on specific topics.

Two of the participants are no strangers to the front side of the camera - and each other. Outrageous Fortune stars Nicole Whippy and Siobhan Marshall have both made the transition to behind the camera.

Whippy directed and co-wrote the Fijian vignette which opened the feature film Vai, while Marshall’s directorial debut, Manny and Quinn was selected as one of ‘New Zealand’s Best’ at the NZ  International Film Festival and was also an official selection at various festivals including LA Shorts; Show Me Shorts (NZ), the Newport Beach Film Festival and the Austin Film Festival. 

They’re joined in the incubator by Blandine Massiet du Biest - who won the Best Emerging NZ Filmmaker award at Doc Edge 2023 for her feature documentary about expat New Zealand artist Frances Hodgkins; Miryam Jacobi - who has a host of directing credits in music videos and at international film festivals such as Show Me Shorts, Galway Film Fleadh, Vail Film Festival and Melbourne Women in Film Festival; talented all-rounder Jo Luping, whose feature animation Anavau and the Legend of Nunuk Ragang has been selected to be presented at the MIFA project market at the prestigious Annecy Animation Film Festival in France 2024; and writer/director Maza White, whose latest film Daughter of God, won Best Script at last year’s Show Me Shorts Awards and was a finalist in the '2023 New Zealand’s Best' category at the NZIFF. 

Since its origins in 2015, the incubator has 54 women directors participate, including Aidee Walker (Mystic, Kid Sister 1 & 2), Michelle Saville (Millie Lies Low, Sex Education) and Nikki Si’ulepa (Same But Different: A True New Zealand Love Story).

Growing PANNZ

The PANNZ Arts Market came to a conclusion yesterday after three days of networking, open-minded discussions and showcases that brought the who's who of the Aotearoa performing arts and creative community together.

The feedback has been of another well-supported, uplifting event with new connections made and ideas sparked - and the talent of shows pitched and performed was high calibre.

One of the stand-out talking points came from Creative NZ's opening address from senior figure Gretchen La Roche. 

She announced the new Festivals Commissioning and Presentation Fund, which sees almost $2 million earmarked for delivery by PANNZ to enable festivals and presenters to commission more new New Zealand works. 

Dolina Wehipeihana - Kaiārahi Māori of PANNZ - responds “With the contract signed only last week, we are now able to begin work on this exciting project. We will be engaging with artists and festival presenters, as we want to co-design this model with the industry. It is an important and timely fund, which we want to ensure has maximum impact."

Also at the Arts Market, Sam Gough, Chief Executive of Summerhall announced a brand new annual award between PANNZ and the major Edinburgh Fringe venue. The award, which was announced at the end of three days of artists pitching their work, sees PANNZ and Summerhall funding, supporting and mentoring exceptional emerging artists to take their work to the Edinburgh Fringe Festival. 

The first recipients of this award in 2024 are Sharvon Mortimer & Oli Mathiesen, who pitched two works to delegates this year - The Butterfly Who Flew Into The Rave and Night and Mortar.

Taking the lead

A full circle journey for Anita Hunziker with contemporary dance company Footnote New Zealand, named as its new Artistic Director.

Having joined Footnote as a dancer under the direction of its founder, Deirdre Tarrant, Hunziker's built a strong CV over the past 20 years, including performing across Australia with Dance North and a nearly decade-long stint with the World of WearableArt as Assistant Choreographer, then as Assistant Show Director.

Hunziker told The Lowdown she's honoured to be stepping into this leadership role. 

"There is a long legacy of Footnote supporting contemporary dance artists. We go above and beyond to empower and advocate for the artists we work with. 

"A challenge, which all arts leaders are facing right now, is having sufficient resources to fulfil our artists’ creative visions. Footnote has made a conscious decision to prioritise our artists’ well-being by investing in them. This presents challenges when resourcing other production elements. It feels like something we shouldn’t need to sacrifice.

"Footnote moved out of their Cuba Street studios two and a half years ago and we are still working to secure a permanent home for the company. This is a huge challenge for us as it puts a lot of pressure on our team’s capacity. 

"We are a dedicated group, but this extra mahi stretches us pretty thin. Being without a permanent home also creates challenges when connecting with our dance community and Pōneke residents. It's hard to have an open-door policy when there are no doors to open!

"Despite these challenges, I'm confident about the future. Footnote NZ Dance is a vibrant and resilient organisation with an incredible community of artists alongside it.  I care deeply about this company and the people we work with, and our new Artistic Vision fills me with energy."

Hunziker completes a triangle of dedicated women at the top of the Footnote pryamid, along with General Manager Zoë Nicholson and Communications and Operations Manager Brynne Tasker-Poland.

Porter rocks

A rebrand is on the cards for a South Island-focused arts award.

The Zonta Ashburton Female Art Awards (ZAFAA) - highlighting the mahi of emerging and mid-career female artists living and working in Waitaha Canterbury - has just handed out its annual accolades for the eighth time - and has announced it will be renamed to Zonta Ashburton Women’s Art Awards (ZAWAA) in 2025.

Ashburton Art Gallery and Museum Director Shirin Khosraviani expressed that this change “not only honours the intent and spirit of the awards to support all women, but better captures our desire for a more diverse and inclusive world.”

This year, 35 finalists were selected from 60 entries for the Premier Award, and 26 entries were featured in the Young Generation Award category - the highest number to date - for those aged 16-20 years.  

This year’s Premier Award has been won by Marie Porter for her work The Rocks, combining rocks found from Horomaka Banks Peninsula with handmade rocks cast from bronze, clay, papier-mâché, and more, to create a collection that she encourages viewers to touch. 

Porter told The Lowdown "I am delighted to have the opportunity to see an audience interact with The Rocks and The Collector in a professionally curated gallery setting. Who knew there were so many collectors and rock lovers out there? 

"2023 was a great final year of imagining and making toward a BFA (1st Class Hons) at Ilam School of Fine Arts. The lecturers, technicians, studios and facilities were inspiring. Thanks so much to ZONTA, the Ashburton Art Gallery and their sponsors. The ZAFAA - soon to be ZAWAA - exhibition is such a friendly, creative affirming event."

Along with a cash prize of $4,000, Porter has also earned a solo exhibition at the Ashburton Art Gallery and Museum in 2025.

Jenny Wang claimed the Young Generation Award went to Jenny Wang for her sculptural entry Flicker. The finalists' work will be on display until 14 April, while last year's premier award-winner Jo Burzynska’s exhibition Scents Take up the Ringing is open until 21 April.

Blown away

Emerging glass artists Nathan Moore and Bindi Nimmo are in for a big 2024, named as New Zealand Glassworks’ interns.

Whanganui District Council’s libraries and community manager Pete Gray states “New Zealand Glassworks in Whanganui is nationally recognised as the centre for art glass and is committed to encouraging innovation and growing the next generation of glass artists. 

"During the course of this internship programme, which is funded by CNZ, five professional glass artists will be on hand to share their knowledge from March to December this year.”

Mentors on the 2024 programme are the highly-regarded George Agius, Katie Brown, Elizabeth McClure, Madeline Prowd and David Traub.

Moore finished studying in 2023 and is looking to enter the art glass industry and get himself established. “Right out of school I went into trades as a welder, and did that for quite a few years before quite a nasty car crash put me out of work for a while. 

"It was during that time that I decided to go into the creative sphere. When I started studying for a Bachelor of Design and Art at UCOL I took glass as an elective and got hooked.”

Nimmo says she submitted her internship application on her way back to home from an overseas internship in North Carolina.

“When I initially started at UCOL I was looking for a creative outlet and never imagined I’d end up doing glass – but in the first few days senior lecturer Dr Kathryn Wightman took me in and got me started on the art glass path."