Post by Lux on Feb 28, 2009 9:54:45 GMT 12
By KATHERINE NEWTON - The Dominion Post | Saturday, 28 February 2009
An Auckland-based magazine claims the City of Sails has trumped Wellington in the culture wars.
'Auckland rules OK! How Wellington's losing the culture wars", shouted Metro's headline earlier this week.
Inside, a 10-page spread proposed that the capital's reputation as the cultural epicentre was all talk and Auckland should step in and rightfully claim the crown.
After all, Auckland has a higher proportion of people working in the creative sector, more cultural institutions and more truly international events, senior writer Simon Wilson said.
Apart from Ian Athfield, Peter Jackson and a few other cultural giants, Wellington's arty types have fled, mostly northward.
The Wellington theatre scene is in the doldrums these days, Wilson, a former Wellingtonian, said. It's an unappealing toss-up between "comfy" Circa or "desperate" Downstage.
In fact, Wellington was not just losing the culture war. "It's all over, bar the shouting."
Where did Wellington's 'cultural capital' label come from?
Wellington's reputation as a cultural hub has grown organically, rather than through marketing, Downstage director Hilary Beaton says.
"Wellington does have a long and respected history of theatre practice and not just traditional theatre."
That arts scene owes much to the city's natural geography, Beaton says.
"I think why Wellington is the cultural capital of New Zealand and will remain so is because of its topography. It's a village."
Stand-up comedian and television star Dai Henwood, a Wellingtonian living in Auckland, agrees with Beaton that Wellington's natural amphitheatre lends itself to the arts.
"Wellington was always a cultural centre because of its geography."
David Perks, Positively Wellington Tourism chief executive, says that, unlike Auckland, Wellington takes ownership of its cultural institutions and figureheads.
"Wellingtonians believe in their city and the arts that go on.
"While there's a lot of grandstanding about what Auckland has going for it, the city doesn't take ownership of that."
Ian "Blink" Jorgenson, founder of the A Low Hum music tours and record label is more cynical.
"Every city looks to come up with a tagline."
"Wellington's always tried to push itself as a cultural capital. Because we hear it so often we just assume it's true."
Does Auckland have more cultural events, people and institutions?
Whether it is a clever marketing ploy or not, Wellington's status as the cultural capital is false if you look at the numbers, Metro says.
The magazine lists 19 "major cultural events" in Auckland, compared to just five in Wellington, to prove it.
However, there are some interesting omissions. For example, Auckland's Writers and Readers Festival makes the list but Wellington's doesn't.
Auckland's Chinese Lantern Festival is there, but not Wellington's Chinese New Year celebrations.
Homegrown music festival which sold out in its first year isn't there; nor is annual Bob Marley tribute One Love.
Auckland-based TVNZ, TV3, and Sky are all "nationally significant organisations" on Metro's list, but Wellington-based Radio New Zealand is deemed a "government agency" and doesn't qualify.
The Royal New Zealand Ballet based at Wellington's St James Theatre is mysteriously absent. Weta Workshop, The Film Archive, the NewDowse and City Gallery are also overlooked.
Wellington's size relative to Auckland needs to be factored in, too, Wellington director and actor Ray Henwood says.
"If Auckland couldn't have bigger numbers for everything, I'd eat my hat."
What about all those overseas acts that skip Wellington?
Wellington's critics say it fails to attract big overseas acts, with few names big enough to attract a sellout audience to Westpac Stadium and no venue capable of hosting slightly smaller gigs.
The Rolling Stones and Elton John filled the Cake Tin, but Rihanna and Chris Brown ignored us earlier this year, as did Red Hot Chili Peppers.
Wellingtonians shouldn't be too cut up about that, Mr Perks says. Big acts don't go to Auckland because it's a cultural epicentre they go there because it's an easy tag-on to an Australian tour.
"Big acts clearly go to Auckland because they're making an economic decision, whereas [when] an act comes to Wellington they'll weigh up that, 'This is a smaller city, but I'll get the support'."
There are plenty of local acts to fill the gap, anyway chief among them The Phoenix Foundation and Fat Freddy's Drop, who have both set the recent national musical agenda.
Is Wellington's theatre scene past its best?
Wellington theatre "is in danger of becoming a backwater", Wilson writes.
Downstage used to lead the pack, he says, but has been plagued by funding rows recently. Instead, Auckland does all the "big, dynamic work" these days, with the Auckland Theatre Company leading the way with its development programme.
Ray Henwood disagrees. "That's just nonsense. There was a very interesting article in the Playmarket News [asking] why is it that the New Zealand plays ... are workshopped in Auckland [but] their first performance is in Wellington?
"There are things up there that are very exciting, but all those plays find their first audience down here."
Downstage's financial woes are real, but don't signal its death, Henwood says.
"They said this when the Sydney Theatre Company was under threat.
"Now there's a very strong, very lean, efficient Sydney Theatre Company."
Wellington Mayor Kerry Prendergast says what Downstage is going through is nothing new. "All theatre companies go through periods where there's difficulty."
She points out that Auckland's own Civic Theatre struggled for years to become financially viable.
In the meantime, Toi Whakaari's young actors, directors and writers are still turning out inspiring work, Hilary Beaton says. "Work starts at Bats and then moves to Downstage and then further afield."
How do you measure cultural capital?
There is no mathematical way to prove Wellington has greater cultural capital than Auckland, or vice versa, Dai Henwood says. "You can get statistics to prove anything. Just bringing numbers into it is silly."
David Perks agrees that simply counting artists, theatres, galleries, museums and concerts is a pointless exercise.
The key is in the feeling of the city, he says.
"In a numbers term you could always make the statistics read whatever you want. But come to Wellington when something like Cuba St Carnival is on and then go to Auckland and see whether you can get that kind of experience there."
It depends what counts as "culture", too.
Blink is adamant about one thing: "The sevens isn't a cultural event."
Is it worth fighting over?
Kerry Prendergast says she finds it strange that Auckland needs to use Wellington as a reference point.
"We don't see our competition as the rest of New Zealand. We don't really care what Auckland claims to be."
Simon Wilson himself rejects that.
"The argument is actually presented by Wellington."
He made the comparison "because Wellington makes itself the reference point".
Auckland Mayor John Banks would not be drawn into the argument.
"I'm well above pettiness around these things. I can only admire Wellington for the great changes that have taken place."
Hilary Beaton says Metro's article merely reinforces the old view of Auckland as aggressive and competitive.
"The fact that they've raised that comparison in a competitive way is actually one of the things that distinguishes Wellington and Auckland."
Ray Henwood agrees.
"They feel that they deserve the right for that. It's, `We should be the cultural capital and therefore make us the cultural capital'."
Blink feels the argument is similar to trans-Tasman disputes over cultural icons. "I think a lot of Wellington people feel that maybe Auckland keeps stealing stuff."
Dai Henwood says he finds the comparison between Wellington and Auckland "a bit stupid".
"It's a pointless argument."
Wellington should not feel threatened by Auckland's own cultural scene, he says.
"Wellington was always thought of as the cultural capital. Now they've [Auckland] realised how a strong arts scene benefits a city."
The argument is not likely to die soon, though, he says.
"New Zealand is a parochial country. Kiwis love having a go at each other."
AUCKLAND
Population (region): 1,250,000
Number of people working in the creative sector (city): 13,616
Professional theatres: 4
Public art galleries: 5
Regional museums: 3
WELLINGTON
Population (region): 460,000
Number of people working in the creative sector (city): 4540
Professional theatres: 3
Public art galleries: 4
Regional museums: 3
~~~~~~~~~
FGS - How typical: Auckland -We have numbers , woopdeedo! This article reads like a puffer fish.
Everyone knows for Heart and Soul you come to Wellington! ;D
An Auckland-based magazine claims the City of Sails has trumped Wellington in the culture wars.
'Auckland rules OK! How Wellington's losing the culture wars", shouted Metro's headline earlier this week.
Inside, a 10-page spread proposed that the capital's reputation as the cultural epicentre was all talk and Auckland should step in and rightfully claim the crown.
After all, Auckland has a higher proportion of people working in the creative sector, more cultural institutions and more truly international events, senior writer Simon Wilson said.
Apart from Ian Athfield, Peter Jackson and a few other cultural giants, Wellington's arty types have fled, mostly northward.
The Wellington theatre scene is in the doldrums these days, Wilson, a former Wellingtonian, said. It's an unappealing toss-up between "comfy" Circa or "desperate" Downstage.
In fact, Wellington was not just losing the culture war. "It's all over, bar the shouting."
Where did Wellington's 'cultural capital' label come from?
Wellington's reputation as a cultural hub has grown organically, rather than through marketing, Downstage director Hilary Beaton says.
"Wellington does have a long and respected history of theatre practice and not just traditional theatre."
That arts scene owes much to the city's natural geography, Beaton says.
"I think why Wellington is the cultural capital of New Zealand and will remain so is because of its topography. It's a village."
Stand-up comedian and television star Dai Henwood, a Wellingtonian living in Auckland, agrees with Beaton that Wellington's natural amphitheatre lends itself to the arts.
"Wellington was always a cultural centre because of its geography."
David Perks, Positively Wellington Tourism chief executive, says that, unlike Auckland, Wellington takes ownership of its cultural institutions and figureheads.
"Wellingtonians believe in their city and the arts that go on.
"While there's a lot of grandstanding about what Auckland has going for it, the city doesn't take ownership of that."
Ian "Blink" Jorgenson, founder of the A Low Hum music tours and record label is more cynical.
"Every city looks to come up with a tagline."
"Wellington's always tried to push itself as a cultural capital. Because we hear it so often we just assume it's true."
Does Auckland have more cultural events, people and institutions?
Whether it is a clever marketing ploy or not, Wellington's status as the cultural capital is false if you look at the numbers, Metro says.
The magazine lists 19 "major cultural events" in Auckland, compared to just five in Wellington, to prove it.
However, there are some interesting omissions. For example, Auckland's Writers and Readers Festival makes the list but Wellington's doesn't.
Auckland's Chinese Lantern Festival is there, but not Wellington's Chinese New Year celebrations.
Homegrown music festival which sold out in its first year isn't there; nor is annual Bob Marley tribute One Love.
Auckland-based TVNZ, TV3, and Sky are all "nationally significant organisations" on Metro's list, but Wellington-based Radio New Zealand is deemed a "government agency" and doesn't qualify.
The Royal New Zealand Ballet based at Wellington's St James Theatre is mysteriously absent. Weta Workshop, The Film Archive, the NewDowse and City Gallery are also overlooked.
Wellington's size relative to Auckland needs to be factored in, too, Wellington director and actor Ray Henwood says.
"If Auckland couldn't have bigger numbers for everything, I'd eat my hat."
What about all those overseas acts that skip Wellington?
Wellington's critics say it fails to attract big overseas acts, with few names big enough to attract a sellout audience to Westpac Stadium and no venue capable of hosting slightly smaller gigs.
The Rolling Stones and Elton John filled the Cake Tin, but Rihanna and Chris Brown ignored us earlier this year, as did Red Hot Chili Peppers.
Wellingtonians shouldn't be too cut up about that, Mr Perks says. Big acts don't go to Auckland because it's a cultural epicentre they go there because it's an easy tag-on to an Australian tour.
"Big acts clearly go to Auckland because they're making an economic decision, whereas [when] an act comes to Wellington they'll weigh up that, 'This is a smaller city, but I'll get the support'."
There are plenty of local acts to fill the gap, anyway chief among them The Phoenix Foundation and Fat Freddy's Drop, who have both set the recent national musical agenda.
Is Wellington's theatre scene past its best?
Wellington theatre "is in danger of becoming a backwater", Wilson writes.
Downstage used to lead the pack, he says, but has been plagued by funding rows recently. Instead, Auckland does all the "big, dynamic work" these days, with the Auckland Theatre Company leading the way with its development programme.
Ray Henwood disagrees. "That's just nonsense. There was a very interesting article in the Playmarket News [asking] why is it that the New Zealand plays ... are workshopped in Auckland [but] their first performance is in Wellington?
"There are things up there that are very exciting, but all those plays find their first audience down here."
Downstage's financial woes are real, but don't signal its death, Henwood says.
"They said this when the Sydney Theatre Company was under threat.
"Now there's a very strong, very lean, efficient Sydney Theatre Company."
Wellington Mayor Kerry Prendergast says what Downstage is going through is nothing new. "All theatre companies go through periods where there's difficulty."
She points out that Auckland's own Civic Theatre struggled for years to become financially viable.
In the meantime, Toi Whakaari's young actors, directors and writers are still turning out inspiring work, Hilary Beaton says. "Work starts at Bats and then moves to Downstage and then further afield."
How do you measure cultural capital?
There is no mathematical way to prove Wellington has greater cultural capital than Auckland, or vice versa, Dai Henwood says. "You can get statistics to prove anything. Just bringing numbers into it is silly."
David Perks agrees that simply counting artists, theatres, galleries, museums and concerts is a pointless exercise.
The key is in the feeling of the city, he says.
"In a numbers term you could always make the statistics read whatever you want. But come to Wellington when something like Cuba St Carnival is on and then go to Auckland and see whether you can get that kind of experience there."
It depends what counts as "culture", too.
Blink is adamant about one thing: "The sevens isn't a cultural event."
Is it worth fighting over?
Kerry Prendergast says she finds it strange that Auckland needs to use Wellington as a reference point.
"We don't see our competition as the rest of New Zealand. We don't really care what Auckland claims to be."
Simon Wilson himself rejects that.
"The argument is actually presented by Wellington."
He made the comparison "because Wellington makes itself the reference point".
Auckland Mayor John Banks would not be drawn into the argument.
"I'm well above pettiness around these things. I can only admire Wellington for the great changes that have taken place."
Hilary Beaton says Metro's article merely reinforces the old view of Auckland as aggressive and competitive.
"The fact that they've raised that comparison in a competitive way is actually one of the things that distinguishes Wellington and Auckland."
Ray Henwood agrees.
"They feel that they deserve the right for that. It's, `We should be the cultural capital and therefore make us the cultural capital'."
Blink feels the argument is similar to trans-Tasman disputes over cultural icons. "I think a lot of Wellington people feel that maybe Auckland keeps stealing stuff."
Dai Henwood says he finds the comparison between Wellington and Auckland "a bit stupid".
"It's a pointless argument."
Wellington should not feel threatened by Auckland's own cultural scene, he says.
"Wellington was always thought of as the cultural capital. Now they've [Auckland] realised how a strong arts scene benefits a city."
The argument is not likely to die soon, though, he says.
"New Zealand is a parochial country. Kiwis love having a go at each other."
AUCKLAND
Population (region): 1,250,000
Number of people working in the creative sector (city): 13,616
Professional theatres: 4
Public art galleries: 5
Regional museums: 3
WELLINGTON
Population (region): 460,000
Number of people working in the creative sector (city): 4540
Professional theatres: 3
Public art galleries: 4
Regional museums: 3
~~~~~~~~~
FGS - How typical: Auckland -We have numbers , woopdeedo! This article reads like a puffer fish.
Everyone knows for Heart and Soul you come to Wellington! ;D
;D 
Detention Sparrow!
I had a hearty laugh over that - then went to Onehunga to my friends rellies and had curried fijian crab for brunch which was very very yummy.
and they always come home Otautahi
