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A report released on the economic contribution of New Zealand book publishing shows that the industry has rebounded from difficult trading conditions in 2013 and 2014 to a position of growth in sales of both physical books and eBooks in 2015.

The work of authors and publishers contributed $397 million to the economy with sales from book stores accounting for nearly 60% (with an impact of $234 million) and eBook sales at 7% (with an impact of $29 million.)

Check out the full report here: Book Publishing Report

The Arts Foundation is proud to announce the recipients of the 2016 New Zealand Arts Awards. This year’s Awards feature eleven incredible New Zealand artists with major international influence.

From an extraordinary talent pool, eleven artists, two philanthropists and four arts organisations have been chosen as the 2016 recipients of the coveted Laureate and New Generation awards, Harriet Friedlander New York Residency, the Award for Patronage and the Katherine Mansfield Menton Fellowship.

The Arts Awards enable us to recognise some of New Zealand’s most extraordinary creators in front of their families, peers and country, says the Arts Foundation’s Executive Director, Simon Bowden.

“The national and international achievements of the 2016 recipients are extraordinary. This is why it is important for New Zealanders to celebrate and recognise these artists.”

As a reflection of the Arts Foundation’s commitment to arts in New Zealand, a total sum of $480,000 will be awarded to the recipients at the New Zealand Arts Awards event night on Wednesday 23 November. With the majority of the funds awarded on the evening being generated by private donations, the Awards are also a celebration of philanthropic support for the arts.

It is always exciting notifying the recipients. They are not aware that a panel of experts is even considering them for an award, so the news comes as a complete surprise, says Bowden.

“The awards are no-strings-attached, leaving artists free to use the funds exactly how they please. Some artists have credited the award for enabling the creation of their most celebrated work, others are thankful for the award coming at a time when their washing machine needs replacing.”

The awards are the highest value, multi-discipline arts awards in New Zealand, and since the inaugural Laureates received their awards in 2000, the Arts Foundation has awarded life-changing monetary and honorary awards to over 190 of New Zealand’s finest artists. By the end of this year, the Arts Foundation will have awarded New Zealand artists $5.2million.

2016 Laureate Award Recipients
Each Laureate Award includes a cash award of $50,000:

Eleanor Catton – Writer
Lyell Cresswell – Composer
Dylan Horrocks – Cartoonist/Graphic Novelist/Writer
Peter Robinson – Visual Artist
Taika Waititi – Film Maker

About the Laureate Award:
The Laureate Award is an investment in excellence across a range of art forms for an artist with prominence and outstanding potential for future growth. Their work is rich but their richest work still lies ahead of them. The award should recognise a moment in the artist’s career that will allow them to have their next great success.

2016 New Generation Award Recipients
Each New Generation Award includes a cash award of $25,000:

Parris Goebel – Choreographer
André Hemer – Visual Artist
Alex Taylor – Composer

About the Award:
New Generation artists are the hot shots, the ones to watch, and the ones who have an X-factor that sets them apart from their peers. They have assured potential. Their work is exciting. They are independent, individual and show outstanding promise. They also display a depth of thinking and consistency that gives their work strength.

Harriet Friedlander New York Residency
The residency enables an artist(s) to live in New York for as long as $80,000 lasts them:

Chris Pryor and Miriam Smith – Film Makers

About the Residency
Michael and Jason Friedlander asked the Arts Foundation to assist with the selection and promotion of an artist to receive up to $80,000 to have a New York experience every two years. The Residency is being made possible by a legacy gifted by Harriet Friedlander, who was a dedicated supporter of the arts. She also loved New York. She believed that any young artist exposed to the city would learn and grow in unimaginable ways.

2016 Katherine Mansfield Menton Fellow

Kate Camp – Poet/Writer

About the Katherine Mansfield Menton Fellowship
For the past forty-six years, the Katherine Mansfield Menton Fellowship has enabled a selected New Zealand writer to live for up to six months in Menton, France. There, they have access to the writing room in Villa Isola Bella where one of New Zealand’s most famous writers, Katherine Mansfield, once lived.

Award for Patronage Recipients

John and Jo Gow – Philanthropists

The Award for Patronage Recipients are given $20,000 to distribute to artists or arts organisations of their choice to celebrate the occasion of the award. All recipients to date have chosen to donate $20,000 of their own so they can give away $40,000 to artists, organisations or projects of their choice:

John and Jo’s chosen donation recipients are:

• The Big Idea
• Tautai
• Q Theatre
• Sculpture On The Gulf

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PwC report: Music industry contributed $484 million to New Zealand GDP in 2015

2015 PwC report highlights:

- The music industry contributed $484 million to NZ’s economy
- The music industry in NZ supported employment of 4,508 full-time equivalent workers (FTEs)

The report was commissioned by Recorded Music NZ, APRA AMCOS and The NZ Music Commission with the support of NZ On Air, Te Mangai Paho, Creative NZ, Independent Music NZ and The Music Managers Forum, and was conducted by PwC.

It reveals the New Zealand music industry in NZ contributed $484 million and 4,508 full time equivalent jobs (FTEs) in 2015. It was a year of total growth and four out of five market segments grew.

The two largest contributors were music radio broadcasting and live music performance. Music radio broadcasting contributed $214.5 million and live music performance (primarily driven by a number of international heritage acts touring NZ in 2015) contributed $157.8 million, which collectively amounts to 77 per cent of the music industry’s 2015 total GDP contribution.

Music retailing – the physical and digital sales of music, including traditional and store-based retailing, online stores and payments for online music streaming services – generated a total economic impact of $78.9 million and the equivalent of 407 full-time jobs.

This is an increase from 2014’s $71.2 million, boosted by the growing popularity of streaming services nationwide. The gross output from online streaming almost doubled between 2014 ($18.6 million) and 2015 ($36.8 million), indicating consumers have moved towards an on-demand consumption preference – especially as the popularity of services such as Spotify, Apple Music and Pandora continue to grow.

Communication and public performance contributed $28.9 million to the economy and the equivalent of 352 full-time jobs. The subsector includes royalties derived from music played on radio, television and the internet as well as music played in public such as at retailers, hospitality outlets, education facilities and gyms.

Synchronisation, referring to the royalties earned from licensing music for use in advertisements, games, films and television programmes, contributed $4.1 million and the equivalent of 50 full-time jobs to the economy.

Notes: The report analysed the direct economic impacts of the music industry, the impacts of music spending which occur when the music industry purchases goods and services from other industries, and the induced impacts which are generated when wages or salaries earnt in the industry are spent on other goods and services. The total economic impact of the industry includes all of these effects.

Another story of successful growth within New Zealand’s creative sector.

New Zealand’s game development industry grew 13% last year to earn $88.9m in the year ending 31 March 2016 according to an independent survey of New Zealand Game Developers Association studios. Almost all of that revenue (92%) came from exports of interactive software and online services.

Check out the NZGDA link above for the full report.

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The UK Creative Industry Council have released a 5 year strategy for cross industry collaboration.

The figures speak for themselves; the creative industries in the UK play a pivotal role in the vitality and reputation of the UK and EU economies. The sector is growing at 8.9% a year and is responsible for the employment of 2.9 million people.

The strategy provides a promising outlook on the UK creative sector and addresses key issues relevant to New Zealand.

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This month the Music Managers Forum hosted a very successful annual awards evening, celebrating the hard work of music managers in New Zealand.

The night was a great success, seeing a large range of both people and venues honored for their dedicated work in the industry.

The 2016 Music Managers Awards Winners are:

Recorded Music NZ Manager of the Year: Ashley Page (Broods, Joel Little, Jarryd James, Alex Hope) 2nd year in a row
Breakthrough Manager of the Year: Alastair Burns (Marlon Williams, Julia Jacklin)
NZ Music Commission International Achievement: Alastair Burns (Marlon Williams, Julia Jacklin)
Self Managed Artist: Tami Neilson
Independent Tour: Mel Parsons
OneMusic Large Venue: Studio, Auckland
OneMusic Small Venue: The Tuning Fork, Auckland
Industry Champion: Teresa Patterson, CRS Management
MMF Mentoring Program Achievement Award: Avina Kelekolio and Tana Tupai

New Zealand’s Huhu Studios have signed an $86 million agreement with Chinese animation leaders, DeZerlin. The agreement will see through the production of five animated films over the next three to four years.

The deal is said to create at least 72 jobs in New Zealand. It is estimated that two-thirds of the work coming from the deal will be completed in New Zealand.

This deal demonstrates the phenomenal creative value of New Zealand’s animation and film industry, an industry that is clearly at the top of the global game.

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The collection of original New Zealand art music is in a healthy state after five years of the Resound project.

Funded by NZ On Air, Resound is delivered by SOUNZ Centre for New Zealand Music in partnership with RNZ Concert. It is a project to increase the amount of Nw Zealand composed music available to RNZ Concert for broadcast and for online access via he Sounz Media On Demand website and he RNZ Concert website.

It is an important contribution to the New Zealand music scene breathing life into archived recordings and making the new recordings of New Zealand works.

“New Zealand composers and concert audiences are being well-served by the Resound project, which has produced an extraordinary number of sound and video recordings of original NZ are music. We congratulate all involved in the project on a fine job,” said NZ ON Air Chief Executive Jane Wrightson.

The Broadcasting Act tasks NZ On Air with reflecting and developing New Zealand identity and culture through local content. Supporting a range of different types of music is key to cultural identity.

Resound has been funded by NZ On Air since its inception in 2-1-. In 2015 it received $130,000.

Check out the Resound showcase.

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Ninety educational publishers and ed tech companies will be meeting next week with the Ministry of Education in Wellington. The discussions will involve a broad range of educational topics ranging from user research to digital technologies in education and trends in publishing platforms and educational resources.

The meeting is fully subscribed with a waitlist. A report will be published in the next PANZ newsletter.

 

 

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The composer should score what you can’t see, the SFX sound design enhance what you can

Veteran NZ film composer Graeme Revell (DEAD CALM, THE CROW, THE SAINT, THE CHINESE BOX (Gold award, Venice Film festival), BLOW, SIN CITY, CSI MIAMI, GOTHAM) gave an insightful and honest account of his career to date – with composer Victoria Kelly moderating.

He talked about his ongoing collaborative relationships with directors.  Some of whom he has continued to work with over many years such as Philip Noyce whom he worked with on Dead Calm and then many years later on The Saint.  Part of working with directors and filmmakers is finding a language that the creative team uses and understands – and of course this will vary on each film project.

The huge variety in his work is interesting – whilst in some ways he thought he had never got that “important film” he had the opportunity to work on a large number of films in a whole range of genres and styles.  He admitted to sometimes feeling typecast as the “ghostly voices guy” but has continually made effort to try different styles.  Coming from a background in industrial and sonic experimentation perhaps this was a given.

When asked “How do you become a film composer?” Graeme says just to “write music” and keep doing it. 

He believes that a composer is every directors “secret weapon” to complete a film and that part of working on a film is changing and rolling with the punches to complete a project.

For approaching key scenes in a film he had interesting advice to offer – especially in regards to romantic scenes that can easily veer into schmaltzy territory.  It’s best to ignore the actual ‘moment’ and create beautiful moods on either side instead.

For his work on Sin City with Robert Rodriguez the Noir-ish score was based around a lot of audio experimentation using samples of a trumpet mouthpiece and old melotrons to create interesting effects and ambiences.

He was critical of action movie scoring where a composer can be locked into what he calls “Mickey Mousing” – trying to just write music between cuts rather than writing themes.  Where the music becomes more of a percussive sound design than a recognisable score.

But he has been fortunate or determined to avoid repeating himself musically.  Whilst he considers himself to be a really bad musician he does really understand sound and SFX – The composer should “score what you can’t see” (interior monologue or characters) and SFX/sound design should “enhance what you can see” – but acknowledges the lines do blur.

Graeme tends to work alone and does his own orchestration these days – he also works with lots of ethnic instruments – being very open minded and researching in your down time to find inspiration and new and original ways of doing things; such as the Ney flute player he discovered working in Upstate New York laundry.

He also talked about the contraction of the film industry and working with shrinking budgets. He talked about what he terms “Hip-hop scoring” where you collect, record and sample material constantly to try and create more “bang for your buck”.  He has been lucky to be able to store in his library samplings of major orchestral sections – but acknowledges that more and more filmmakers are expecting the sound of a 90 piece orchestra for a fraction of the price …

He did however talk about the need sometimes to invest or “take a hit” on jobs to get ahead and sometimes unless you “show the client they won’t believe it” – He personally paid for recording live strings himself on The Crow as the director could not hear it working.  For the film Pitch Black he also covered the fees for the horn section.

The ideal for a composer is forming long term working relationships, but that not all relationships work out and not all jobs develop into long working relationships.  Rather focus on what you’re really good at and keep writing music!