Attitudes, attendance and participation in 2006 Asian Aucklanders and the arts is a partnership research initiative by Creative New Zealand, Auckland City Council and ASB Community Trust.

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Creative New Zealand Northern Region -Auckland T +64 9 373 3066 E [email protected] W www.creativenz.govt.nz

Auckland City Council T +64 9 379 2020 E [email protected] W www.aucklandcity.govt.nz

ASB Community Trust T +64 9 360 0291 E [email protected] W www.asbcommunitytrust.org.nz Contents

Foreword 2 Attendance 18 Creative New Zealand 2 Four motivating factors 18 Auckland City Council 3 Events with particular appeal 19 ASB Community Trust 3 Triggers to attendance 19 Acknowledgements 4 Barriers to attendance 20 Participation 21 Introduction to the research 7 Triggers to participation 22 Why we did the research 8 Barriers to participation 23 What we wanted to know 8 Sharing stories 27 How the research was A snapshot of communities 28 conducted: methodology 9 Family stories 30 What we already knew: A creative perspective 39 demographics 10 Artists’ stories 40 What the fi ndings tell us 13 Looking to the future 47 An overview 14 Reference group refl ections 48 Some key fi ndings 14 An international perspective 52 Attitudes to the arts 15 Defi ning the arts 15 Using the research 53 Perceptions of New Zealand arts 15 The role of the arts 16 Appendix 56 What young people think 17 Useful organisations, Different stages of the media and networks 56 migrant experience 17 Origami kiwi instructions 58

ASB POLYFEST Chinese Ribbons Dance Group from Epsom Girls Grammar School. Photograph by Chris Traill Tēnā koutou me ngā ahuatanga ō te wā. A tātou tini mate e hinga atu i ō tātou kainga maha ō te motu, rātou kua ngaro i te tirohanga kanohi haere atu ra. Te hunga takimano, kua riro ki te pō , te hokai a taiao, tauārai ō te pō. Ko te tirama taipo kia rātou, titoko ko te ao mārama ko tātou ko te tirama taiao ki a tātou. Tēnā koutou, tēnā koutou, tēnā tātou katoa. Kei raro ngā pitopito kōrero e pā ana kia Creative New Zealand mō te mahitahi, rangahau ki te taha ō te iwi whānui kei Aotearoa e noho ana.

A LITTLE MORE LIGHT Groupe F, Auckland Festival, AK07 opening event at the Auckland Domain. Photograph by John McDermott Foreword 3 Cr Penny Sefuiva Cr Penny Chairperson Committee and Recreation Culture Arts, Auckland City Council ASB Community Trust ASB Community welcomes ASB Community Trust the opportunity to work alongside Creative New Zealand and Auckland research City Council on this exciting and their into Asian Aucklanders attitudes to, attendance at and participation in the arts. Auckland City Council’s policies to City Council’s policies Auckland achieve this. cant Our aim is to nurture and showcase to nurture and showcase Our aim is ensure creative talent and Auckland’s for all our there are opportunities and communities to experience Our Asian participate in the arts. involved communities are already and cultural in a broad range of arts working activities, and we are these directly with some of signifi communities by supporting events such as the Auckland Festival, International Cultural and the Auckland Diwali Festival Lantern Festival. It is heartening that the research shows a high level of awareness of we also face such events. However, ongoing challenges to break down barriers to participation and increase accessibility to our programmes and services. want to develop a culturally We inclusive city and this research supports our goal to use the arts as a tool to foster greater cross-cultural interaction. The arts can help bring different communities together to share cultures and promote greater I am sure this research understanding. will prove invaluable in guiding project – ndings will inform our future Auckland City Council was pleased Auckland City Council Creative to partner again with be joined by New Zealand, and to in this ASB Community Trust, pioneering research project. what we This research builds on the 2005 have already learned from Aucklanders and the Arts the greatest that Aucklanders believe strength of our arts lies in our cultural diversity. The 2006 Census showed that Asian peoples now account for 24% of the Auckland city population – a 44% increase on 2001. The fi work to ensure Auckland City Council has appropriate strategies in place to engage successfully with this rapidly growing sector of our community. However, we hope the research will be useful to other local authorities in the Auckland region and beyond. We also want to assist Auckland’s arts organisations to build on the ways they engage with and attract this sector of the community through their programmes and activities. Stephen Wainwright Chief Executive Zealand New Creative For Creative New Zealand, New Zealand, Creative For an this research has been undertaking step in our ongoing work to exciting opportunities engage with and develop in the arts for Asian communities. body of This report adds to a growing New Zealand evidence that Creative in this area. is using to inform its work be undertaking we will year, Next both qualitative and quantitative the arts as research on Asians and national study part of our follow-up on New Zealanders and the arts. Kia hora te mārino, kia whakapapa pounamu te moana, kia tere te kārohirohi. ndings of this ected particularly in Auckland, ected particularly in Auckland, Auckland City Council and ASB City Council and Auckland on this project. Trust Community multi- New Zealand is a vibrant, a bicultural cultural society built on is foundation. This multiculturalism refl where the our most populated region, rapidly. Asian population is growing for Creative priority A key three next New Zealand over the years is to work with communities throughout the country to enhance their engagement with the arts, both as participants and audiences. This report is full of stories, insights with that provide us and examples an understanding of how we can best support the artists, artforms and cultural traditions of this country’s diverse ethnic communities. One of Creative New Zealand’s roles is to work with arts organisations to build audiences for the arts and to provide New Zealanders with greater access to the arts. The fi research will be an important tool to help reach Asian communities and increase their attendance of and participation in the arts. New Zealanders. all rst step in our ndings, presented in this report, We were delighted to work with We Creative New Zealand New Creative This research into Asian Aucklanders and the arts will play an important role in helping Creative New Zealand ne, and work towards, a future defi vision of the arts for are an important fi journey to connect with and support the various communities in the region whose origins lie Auckland in the Asian region. Foreword City Auckland Creative New Zealand, Trust Council and ASB Community company commissioned research to undertake Colmar Brunton in 2006 Chinese, qualitative research with and Japanese Indian, Korean region. communities in the Auckland was to gain The aim of the research Asian an understanding of how arts. peoples engage with the The fi

Asian Aucklanders and the arts 2 oratos, Jon Carapiet, Debby Acknowledgements ), Creative New Zealand Helen Bartle ( City Auckland ( Susan Brooker ) and Chloe Harwood (ASB Council ) led this project on Community Trust behalf of these organisations. go to the Our very special thanks reference seven members of the DeSouza, group: Kitty Chiu, Ruth Lee, Dr James Alistair Kwun, Melissa Liu, Dr Sapna Samant and Kentaro Their knowledge, insights Yamada. and generosity have been invaluable in guiding this project. Thanks also to Cath Cardiff of Creative New Zealand, who initiated this project, and to the Colmar Brunton research team of Harry Pappafl Giness and Carl Sarney. to acknowledge would also like We the input and support we’ve had from tāngata whenua. Most of all, we wish to thank the families, communities and artists who took part in this research and provided us with such a rich source of information. These are your stories and we greatly appreciate the time you took to tell them to us. cer Jennifer Gill Jennifer Offi Chief Executive Trust ASB Community development. In the arts, we support In the arts, we support development. organisations that foster projects and cultural access, engagement and opportunities for all. each of is researching The Trust this insight the sectors it funds and and the into Asian Aucklanders that work.arts will complement It has given us the opportunity to learn more about Auckland’s will help diverse communities and guide our policy development. ©Meng Cui (Sean). Source: Auckland Festival of Photography This research will inform our This research development and help programme to ensure that we can respond diverse the growing needs of the up Auckland. communities that make research It is also hoped that the will provide other community insights into funders with valuable overcome Asian communities and way of their barriers that stand in the arts. engagement with the This research was commissioned in recognition of the growth of Asian and communities within Auckland, we value the opportunity to engage with these groups and learn more about their histories, motivations and challenges. As a major community funder in this region, our aim is to enrich the lives of people living in and Northland by working Auckland in partnership with community organisations to achieve the widest possible levels of participation. achieve our mission, we fund To community organisations across six sectors: the arts, health and social services, education, sport and recreation, the environment and heritage, and community economic DIWALI

Asian Aucklanders and the arts 4 DIWALI. Source: Auckland Festival of Photography Introduction to the research 9 nitions of nitions ne and describe their dentiality. “attendance” and “participation”, “attendance” and “participation”, research those taking part in the were free to defi engagement in arts-related activities. in the research were Participants recruited with the advice and support of the research reference group, through personal networks and by telephone, using the ConsumerLink were assured of panel. Participants confi Sixteen families and nine artists can read some were interviewed. You of their stories on pages 28 to 45. community leaders were also Ten interviewed to provide background to the interviews with and context families and artists. Although these community leaders were not the main focus of the research, and artists either in their homes or either in their homes and artists included interviews Family workplaces. and were multiple family members with language conducted in English, necessary. assistance provided where study to This was a qualitative a range of perceptions explore Rather than and experiences. setting pre-determined defi people, under the age of 25, people, under towards the arts? towards both positive and negative, artists? New Zealand arts and to the positive and negative, arts in more traditional heritage New Zealand? the work of New Zealand-born artists and that of international artists who come to New Zealand? How the research was the research How conducted: methodology Creative New Zealand, Auckland City Council and ASB Community commissioned Colmar Brunton Trust study with a qualitative to undertake Asian peoples about their engagement region. with the arts in the Auckland In-depth interviews were conducted and with Chinese, Indian, Korean Japanese families, community leaders 7. What are the attitudes of younger the attitudes of younger 7. What are attitudes, 8. What are the overall both 9. What are the attitudes, towards How do perceptions vary 10. ne as the arts? individuals defi the arts communities engage with in terms of attitude, attendance and participation? established migrants and people of Asian descent who are born or have lived most of their life in New Zealand? and organisations in Auckland do people currently attend and participate in, and why? for their children in terms of arts participation and attendance, and why is this so? arts attendance, participation and attitudes between the communities to? we talked What is it that might stop them joining might stop them joining What is it that or taking music lessons? a book group arts as a hobby Why might they see the option? rather than a viable career research, Among the aims of this the following we wanted answers to questions: and 1. What do Asian communities 2. How do recent immigrant 3. How does this differ from more 4. What arts activities, events 5. What are the parental aspirations 6. What are the main differences in uence their engagement arts Asian peoples’ attitudes to the the arts events they attend part in. the arts activities they take What we wanted to know to wanted we What the terms What do we mean by or “Asian communities” “Asian is a very broad This Aucklanders”? used in this term, a label we have report to capture the individuals, in Auckland families and communities Asian region. whose origins lie in the multicultural is a vibrant, Auckland of Asian peoples society and the home this from many countries. However, research focused on Chinese, Indian, and Japanese communities Korean – the ethnic groups with some of the largest representation in the Auckland population. In undertaking this research, three areas: we wanted to explore We were particularly interested in We gaining insights into people’s cultural and how heritage and experiences, these infl with the arts. What are some of the barriers that prevent them from going a concert or an exhibition? to a play, c Aucklanders cient sample and in New Zealanders and New New ZealandersNew and the cally at Asian peoples. research, to be undertaken by by research, to be undertaken Creative New Zealand in 2008. size for analysis. Young people aged size for analysis. Young between 10 and 14 years were also interviewed. The research did not look specifi This latest research, therefore, provides a vital snapshot into the of people living in experiences who have diverse and often Auckland deep cultural connections to Asia. Only qualitative research was under- this stage, we were more At taken. interested in hearing the stories of our survey participants than in knowing precise numbers of people engaged That will in any particular activity. be the subject of a national follow- up survey to arts qualitative and quantitative research, and quantitative research, qualitative in were published the arts: Attitudes, attendance and participation in 2005 participation Attendance, arts: the and and attitudes towards the arts in 2005. As well as surveying adult research New Zealanders, this included additional face-to-face and Pacifi interviews with Māori peoples to provide suffi cance of this based on ndings, trend, Creative New Zealand, City Council and ASB Auckland formed a partnership Community Trust in 2006 to commission research on Asian peoples and the arts. In late 2005, Creative New Zealand City in partnership with Auckland Council commissioned Colmar Brunton to conduct research on New Zealanders’ attitudes to, attendance at and participation in the arts. The fi Why we did the research did we Why diverse Asian Learning more about the region communities in the Auckland and families and how individuals, artists New Zealand engage with the arts in this research. focus of was the key The Asian population is the fastest growing segment of New Zealand’s total population, with most of this growth happening in Auckland. Recognising the signifi Introduction the research to

Asian Aucklanders and the arts 8 es ( 14.6% ). c Island peoples ( 6.9% ). 6.9% ( peoples Island c c Island population in c population will make up will make c population New Zealand ( 265,974 ) increased ) increased 265,974 New Zealand ( by 14.7% between 2001 and 2006 of the New Zealand population, followed by Māori Those who identify themselves as a new option on “New Zealanders” ( up 11.1% of the ) make census forms population, followed by Asians (9.2%) and Pacifi in the United Kingdom and Ireland remains steady at 6.6% while those born in Asia stand at 6.5%. 9.1% of the New Zealand population New Zealand population 9.1% of the ). 2001 6.7% in cf. by 2021 ( between City increased by 44% 93,522 2001 and 2006, and is City’s total ) of Auckland 24% ( population of 382,539 ) increased 565,329 ( New Zealand ) between 2001 and 7.4% by 39,048 ( 2006. One in seven people identifi with the Māori ethnic group. the Pacifi the up 67.6% Europeans now make The number of New Zealanders born the Pacifi the population in Auckland the Asian population in the Māori Other demographic trends, based on Other demographic trends, that: the 2006 Census, show c ndings compiled ndings up 16.5% of the New Zealand 15.1% cf. population by 2021 ( ) in 2001 14.5% of the New Zealand ) 7% in 2001 cf. population by 2021 ( make the Māori population will up the Asian population will make What we already knew: already we What demographics recorded the region The Auckland ) 12.4% ( strongest population growth 2001 and in New Zealand between 2006, according to fi www.stats. ( by Statistics New Zealand the 2006 Census. ) following govt.nz is growing The Asian population group in faster than any other ethnic New Zealand with a 48.9% increase between 2001 and 2006. On Census Day 7 March 2006, the number of Asian peoples living in New Zealand two-was 354,552. Approximately ) live in the 234,222 thirds ( region. Auckland The Māori, Asian and Pacifi populations will all increase their share of the New Zealand population in the 20 years between 2001 and 2021. It is predicted that: cant role in Mainland China, Singaporean, Mainland China, Singaporean, ) leaders Hong Kong four Chinese ( Taiwanese, Taiwanese, ( Chinese four leaders Indian two leaders Japanese two leaders. Korean two length of time spent in New Zealand. length of time were drawn The community leaders groups, from a range of community other church organisations and associations and societies. They included: All interviews were conducted between November 2006 and January 2007. Each family interview two to two-and-a-was approximately half hours in length. Interviews with individual community leaders and one-and-artists were approximately a-half hours in length. A reference group, made up of seven members representing a range of Asian cultures and experience, was also consulted during the project. The group played a signifi shaping and advising on the project.

MainlandSingaporean, China, ) artists Hong Kong China, Singaporean, Hong Kong ) ) Kong China, Singaporean, Hong families

two Japanese artists Japanese two artists. Korean two three Chinese ( Taiwanese, Taiwanese, ( Chinese three artists Indian two three Japanese families Japanese three families. Korean three six Chinese ( Taiwanese, Mainland Taiwanese, ( Chinese six families Indian four their comments added depth to the added depth to the their comments highlighted issues and research and trends in their communities. were: The families interviewed These artists represented a range of ages and artforms, as well as a varying Family members included children members included Family between the ages of eight years and 25 years, and those who had spent a varying length of time in New Zealand. Some had spent more than 25 years in New Zealand or were born here; some had been living in New Zealand for at least 15 years while others had only been here for between eight months and seven years. The artists interviewed included: DIWALI. Source: Auckland Festival of Photography

Asian Aucklanders and the arts 10 TURBULENCE The 3rd Auckland Triennial, Auckland Festival, AK07 at the Auckland Art Gallery Toi o Tāmaki. Photograph by John McDermott What the fi ndings tell us 15 uence on interviewees’ interviewees’ on uence here than in some countries in Asia it” and fewer artists can “make professionally. – for the arts in New Zealand are relatively small opportunities – and audiences funding for the arts is more limited career paths in the arts are limited populations of many countries in Asia of many countries in populations infl and had some perceptions of New Zealand arts. perceptions of New Zealand was a sense that there Typically, that the New Zealand’s size means and level quality of the performances be as high as of artistic skills may not that come to the international acts with this were Associated Auckland. including: several other perceptions, The perceived lack of funding and limited career paths mean that some interviewees felt that in New Zealand, people engaged more in the arts in a voluntary or hobby capacity. A positive aspect of this is that participation in the arts as a hobby was seen by some as less intimidating than in their country of origin. an awareness of There was, however, some world-class New Zealand artists nition of arts, there ne the nes what the arts are all nition of the arts. versus arts that are more popular versus arts that are more and accessible art tradition versus contemporary the arts that “good” for you versus are pure entertainment. as elitist and inaccessible were seen European or academic have a as sophisticated and were seen In attempting to defi In attempting about the difference were comments that: between arts activities Perceptions of New Zealand arts Zealand of New Perceptions New Zealand is a small country with a population of just over four million. This is in stark contrast to the dense One young member of a new migrant sport “Is Indian family even asked: an art?” Underpinning any defi the arts is a generational change in perceptions of what the arts are. older generations, traditional or For “high art” in the European academic tradition defi about. As the arts evolve, pushing boundaries and incorporating new media, younger generations have a broader defi ected nd out more ne the arts refl ning the arts even though they may have been born in New Zealand and see themselves as Kiwis. to go with can be barriers to to go with can attendance and participation. fi artform – and how to to attendance – is a common barrier and participation. with new typically more engaged more technologies, and have new and evolving art to exposure and artforms. branded as “Asians” Artists can feel no one Lack of time and having about an event or an Not knowing Asian people are Younger their diverse experiences, interests and their diverse experiences, cultural traditions. Attitudes to the arts to Attitudes Defi The term “the arts” can mean different things to different people, The regardless of ethnicity. interviewees’ responses to a question asking them to defi ndings. ndings ciency in the English language and participating in the arts can be blurred. can be a barrier to attendance and participation. everyday life. often entwined. passing on established and identity, values and histories across generations. and build bridges across cultures. New Zealand’s most distinctive artistic expression. The boundaries between attending Profi The arts are seen as a part of socialising and the arts are Food, The arts create a sense of belonging The arts bring communities together Māori arts are seen as Traditional outlined ndings and perceptions Some key fi Some key that the It is important to remember fi of a in this report are the result cannot be seen qualitative study and community. to represent the whole there were some clear However, among the themes that emerged artists, families and community to. leaders we spoke fi key These are some of the when nd useful , people engage in the arts New Zealand is the size and diversity is the size and diversity New Zealand region. There are also of the Asian of the arts in differences in the role the level of the country of origin, the scale of funding for the arts and is also language audiences. Clearly, Asian peoples’ an important factor in the arts in ability to engage with New Zealand. some common There are, however, both across threads that emerged the migrant communities and with the wider New Zealand community. As revealed in the research report ZealandersNew and the arts: attitudes, attendance and participation 2005 in and for enjoyment, self-expression to community interaction. They like attend arts events with their families or their peer group. Throughout this report, we have highlighted a number of opportunities that individuals, groups and organisations may fi they communicate with Asian communities. ected in a uenced by the length ndings us tell

children through to young professionals and the elderly the arts and particular artforms. New Zealand lifestyles and traditions, infl of time interviewees had lived in New Zealand and been able to engage with the wider community values and also to embrace contemporary values

levels of income stage of life, ranging from school of a wide variation of knowledge to the degree of exposure a desire to hold on to traditional An overview of this research was the feature A key and across the huge diversity within to. This diversity groups we talked refl and range of views were number of ways, including: What the fi What For Asian peoples in Auckland – Asian peoples in Auckland For particularly those who were not born here – one of the main differences between their country of origin and

Asian Aucklanders and the arts 14 What the fi ndings tell us 17 on young people’s uence cant impact on their attitudes migrant and second-generationmigrant and culture such In a globalised experience. to continue. trends can be expected traditions, In some Asian cultural parental infl lives may continue longer into the life lives may continue longer in some other of an adult child than many parents example, traditions. For concern we interviewed expressed career as an about the viability of a Although artist in New Zealand. there is limited evidence of parents actively rejecting artistic careers for their children, there was little support for their children to pursue a career in the arts. of the young people interviewed Few an as part of the family expressed interest in pursuing a career in the arts. The arts were seen as an interest rather than a sensible career path. Different stages of the migrant of the migrant stages Different experience The length of time that Asian peoples has a have been living in Auckland signifi and the way they relate to the arts in New Zealand. ka and ka ict within families cation is a part of the uid identifi uid Dance is another artform seen as artform seen as Dance is another maintain cultural a way to help cross-connection and also encourage the example, cultural interaction: for Pasifi combination of Bollywood, break dancing. Māori dance moves with people tend to have greater Young multicultural Auckland’s to exposure the older society than people from for example, generation. Children, have cross-culturalat experiences school on a daily basis and are more to the shifting values of exposed In some cases, contemporary society. this can cause confl about the continuation of traditional values versus the adoption of new values in New Zealand. young people are more Typically, engaged with new technologies, giving to new and them greater exposure evolving art and artforms. Among the under 25-year-olds interviewed, there’s a sense that some are now part of a new global community and not bound only to a Kiwi or a country-of-origin identity. As other studies have suggested, this fl What young people think young What computer games, hanging Shopping, music out with friends, sport, texting, … all are activities that young people Asian Younger in New Zealand enjoy. people we interviewed shared many of the same interests as other young New Zealanders. Music, especially rock and hip hop, was seen as “cool”. It plays an important part in their lives and is seen as a way of encouraging cross-cultural interaction. For many of the people we interviewed, many of the people For provide a cultural the arts also connection across generations, and with within their own culture create a other cultures. They can address some sense of belonging and Where do I fundamental questions. do I most come from? Which culture am I going? identify with? Where as a way to help Many also see the arts New Zealanders understand non-Asian more about their culture. “Kiwi people generally have no idea about our culture other than the food that they have tried at the numerous Asian restaurants in said one interviewee. Auckland,” c interviewee c New Zealanders and New c peoples also see their research. A Pacifi and landscape, and a different kind and a different kind and landscape, their arts interests of life. Pursuing wasn’t a motivating factor. The role of the arts role The theme to One particularly clear was that for emerge from the research arts, culture many Asian peoples, the linked. and identity are inextricably as a distinct The arts are not regarded but are a part of and separate practice everyday life. the arts within migrant many, For communities play a vital role in Eating bringing people together. sharing food and socialising together, are all important cultural aspects of this and are closely connected to the way in which the arts are seen as a part of everyday life. It is interesting to note that Māori and Pacifi arts, culture and life intertwined. “I don’t think of it as the arts. It’s just part of our culture,” said one Māori interviewee in the the arts said: “In our culture, the things people call arts are just part of life.” c c arts. There was c communities that communities c c arts. However, However, arts. c so creates an impression ka Festival in Auckland City in Auckland Festival ka ected some of the values in some opportunities for cross-cultural cross-cultural opportunities for participation in the arts. There also appears to be limited There also appears to Pacifi to exposure the Pasifi opportunity was mentioned as a great Pacifi to experience strong family also recognition of the traditions in Pacifi refl Asian traditions. Underpinning some of the responses to perceptions of Māori and Pacifi arts is the fact that New Zealand is a relatively new country without the long histories and traditions of countries throughout Asia. Because of New Zealand’s “newness”, it may appear to lack depth in terms of historical and cultural richness. The strong sports culture in this country al that New Zealand’s identity is more through sport than expressed through the arts. It is important to note that many of the migrants we interviewed had moved to New Zealand for its lifestyle trilogy, and trilogy, Whale Rider Rider Whale lms Lord of the Rings

Shared values Shared arts Māori and some interviewees, For associated with ceremony, their values resonated and family spirituality and values cultural with their own These traditions. shared values opportunities arts for provide may connections to make organisations and marketing in their programming also offer may They of arts events.

musicians Bic Runga, P Money, P Money, musicians Bic Runga, ) Fraser and Brooke Kanawa Kiri Te awareness although the range of survey was limited. A quantitative the would be needed to identify were known New Zealand artists that to Asian peoples in Auckland. describe what they saw as to Asked art, the traditional New Zealand interviewees mentioned traditional there was limited Māori arts. Typically, to Māori arts - particularly exposure of contemporary Māori arts. Some spoke the difference between what was termed “high art” in the European academic tradition and traditional Māori arts with their roots in daily life and rituals. and arts ( e.g. the fi e.g. and arts ( and the

Asian Aucklanders and the arts 16 What the fi ndings tell us 19 invitations acts international happening upon it by chance supporting your own a social excursion. Triggers to attendance Triggers There are many reasons why Asian peoples attend arts events, including a personal interest in a particular Other common artform or performer. triggers that emerged in the research are: Invitations A personalised invitation can provide people with security and a sense because of the suggestion of videos the suggestion of videos because of and video games. that portray the migrant Performances – displacement, retaining experience in a new and developing an identity appeal for land – have particular some many communities. However, concern at the stereotyping expressed the artists that can happen when and writers have not experienced to this was it themselves. Related the desire to see Asian communities portraying their own stories. ne this particular culture cross-cultural a or showcasing free or low-cost suitable for all family members. Events with particularEvents appeal Movies, comedy and festivals relevance appear to have particular different and interest across the However, communities interviewed. variation the study revealed a wide in individual in the level of interest study artforms and a quantitative would be needed to defi interest more accurately. of promoting has a tradition Auckland and supporting large cultural festivals. These have particular appeal because they are often: For some of the people we interviewed, For comedy can be a safe medium in which to both challenge stereotypes and portray familiar aspects of a culture. Seeing their culture portrayed in a humorous and affectionate way was seen as highly relevant. there was little Typically, understanding of what was meant by some video installations. However, an interest younger people expressed Family The family is important in motivating Asian peoples to attend an arts or a cultural event. As with other cultures, doing things together as a family is this that meet important. Activities need include going to the circus, musicals and the museum. Expression and communication Expression reason for people’s A fundamental is personal involvement in the arts and communication with expression case for the others. This was also the part in diverse communities taking this research. and fun Stimulation and The arts as a form of entertainment motivation stimulation is an important that some to attendance. This means arts events are competing with other forms of entertainment, including sport, eating out, shopping and, for younger people, simply hanging out with friends. The kinds of events mentioned in the interviews were the free arts/cultural Cirque du festivals in Auckland, particularly Soleil, music concerts ( ), multi-media contemporary music events and video installations. ne art paintings ( often ne art paintings ( culture communication of tradition and maintenance and expression outward and fun stimulation involvement. family Four motivating factors motivating Four reasons why There are four primary motivated to Asian peoples may be are: attend arts events. These and culture Tradition This includes traditional storytelling and plays, fi ), visiting with religious themes museums and engaging in craft shows, as well as heritage performance arts. The motivation here is to maintain a tradition and ensure cultural identity. some, this is about telling their For stories and making sure they are heard across the community and passed on generation. through the next Museum is seen as a The Auckland place where people can connect with a range of different cultures and their histories. It was often mentioned as one of the main places where different ethnic to Māori communities are exposed traditional artforms and performances. ned What makes Asian peoples attend Asian peoples attend What makes arts events? Are their reasons for a festival or an attending a play, art gallery any different from other cultures in New Zealand? What are the barriers that discourage or prevent them from attending arts events? As already mentioned, the boundaries between attendance and participation are not always as clearly defi for many of the Asian communities taking part in this research as they are artforms. for more traditional Western Attendance having a more complete connection complete connection having a more culture and with New Zealand migrants with traditions than newer For whom they might be confused. a sense of a loss some, this may lead to a desire to of their own heritage and reconnect with their communities. they may also the same time, At stereotyped sense that they are being long-term as “Asians” despite their Zealand. connection with New schools for nd work and rst and Asians second, rst arrived and have a steady

For some new migrants, attending new migrants, attending some For in the arts is an or participating at a opportunity to meet people and to share similar stage of migration for many However, those experiences. their main new migrants to Auckland with a new focus is to settle, cope language, fi a home and the children, establish This can create a circle of friends. to engage leave little room or time with the arts. may migrants, the arts longer-term For have become a more central part of their social life and circle of friends. They may have more time than when they fi income, enabling them to expand their engagement with the arts. Of course, having more time and money will not necessarily motivate people to engage if they are not interested in the arts. those who have been born in For the so-called 1.5 New Zealand ( of ) or have spent most generation and their lives here, the experiences relevance of the arts may be different yet again. These people may identify as Kiwis fi

Asian Aucklanders and the arts 18 What the fi ndings tell us 21 A positive step A positive Asian audiences welcome to Actions and participants help reduce may might These of exclusion. feelings a be as simple as a greeting, or a personalised conversation or take to attend an event invitation to One way part in an arts activity. is to barrier deal with the language leaders liaise with community or networks. Church choirs, piano, violin, drumming, Church choirs, piano, violin, drumming, carving, eggshell ikebana, drawing, animation, musicals and calligraphy, origami are among a wide range of traditional and contemporary arts activities that interviewees said they participated in. predominantly Pākehā New Zealanders, New Zealanders, Pākehā predominantly might thought they some interviewees accepted. This stand out and not feel or it may may simply be a perception of not be based on actual experiences being made welcome. Participation New Zealanders and the arts Importance of peers The that “having showed research an with” was someone to go in attending important motivator Peer-to-peer an arts event. and word-of- strategies marketing arts tools that powerful mouth are can use in engaging organisations with Asian communities. Perceptions about arts events Perceptions Events in Asian communities, both in their country of origin and in New Zealand, often have a strong eat, talk and social component. People move around, with the arts occurring simultaneously as part of these social interactions. some interviewees, therefore, For the idea of watching a performance passively and in silence can lack appeal. Indeed, there may be a fear of censure if a comment or action is seen by other audience members as disruptive. was also A sense of social exclusion By going to certain arts expressed. events, where the audience is nd out about Once at the event, programmes can event, programmes Once at the information source be an important enjoyment to enhance the audience’s attendance. and encourage future the this is not the case if However, language itself is a barrier. out about events Finding to an arts people can’t go Clearly, about it. event if they don’t know important Asian communities have networks that share information about activities, often via emails and newsletters. Sometimes, these through a church networks are linked organisation, an association or a social group, or the school community. families, schools are an important For channel for information about arts and cultural events. Children can help with language and also act as a vehicle for communications about these events. Informal word-of-mouth networks effective can also be an extremely way for people to fi events, as well as motivating them to attend. “If friends are into it, and you know what’s going on, and they want someone to go with, they’ll tell it to you and you go too.” ciency in the English culty of understanding about the nding out and c congestion, parking public transport issues. public transport Language options Language can a show Making a booking for people for be a daunting prospect language More with limited English. online people making options for help or telephone bookings would this barrier. overcome traffi Language The level of profi barrier for language is an obvious is not simply many Asian peoples and about the diffi also create a performance. It can barriers to fi and then event, making a booking when you reading the programme have arrived at the event. Individuals and families with limited English tend to engage with their own language media, created locally by the or listen to broadcasts over community, the internet or other channels from their country of origin. This means that some to some people are not getting exposed of the mainstream communications promoting arts events in Auckland. New ZealandersNew and the research: for example, having no research: for example, artform and not understanding its i.e. the artform “language” lingo ( ) and idioms getting there, and the the ticket, associated social activity such as a meal in a restaurant lack of knowledge of a particular language the cost, which might include their own artists, whether they are whether they are their own artists, or visiting artists from friends, family Knowing the their country of origin. because artist can be highly appealing and sense of of the social interaction community it may provide. A social excursion or cultural activity an arts Attending time with is an opportunity to share to engage with family and friends, and the wider community. to attendance Barriers Many of the barriers for Asian peoples attending arts events are similar to the by people who took barriers expressed part in the arts one to go with and lack of time. Other barriers include: culty nding out about events.

Supporting own your many of the As with any community, interviewees felt a need to support for some migrant communities, especially for individuals with limited English, in fi Happening upon it trigger to Sometimes the key attending an event is happening upon it by chance – particularly for festivals and some shows. This indicates a communication gap and the diffi International acts of a well- The arrival in New Zealand either as a known international act, of origin local hero from their country can or as a world-class performer, a community. have great appeal for act is only Sometimes the visiting well-known within a particular community but this can still create a great deal of interest and drive attendance through community networks and word-of-mouth. of acceptance that they have been that they have been of acceptance their community invited to represent in a or simply join the community celebration or an arts-related event.

Asian Aucklanders and the arts 20 What the fi ndings tell us 23 cates of participation were go to nd out more or where to Another common barrier to participation among the people we interviewed was a sense that the arts in New Zealand were underfunded – a sentiment related to the view that the arts may be undervalued. interviewees told stories In particular, about people who participated in certain arts events as performers. Their efforts had received limited acknowledgement and token vouchers and appreciation. Petrol certifi often inadequate recognition of the time, effort and skills involved in participating in the event. They felt that this could result in fewer people participating in a particular artform or performing in certain arts events. Underfunded and undervalued For new migrants, in particular, migrants, in particular, new For lives dominate their different priorities arrival. in those early years after barrier is the One commonly expressed knowing about issue of knowledge: not because it an event or artform simply knowing where is unfamiliar; and not to fi artform. participate in a particular New Zealanders and New research. uence of peer pressure and “Koreans like learning. They are are They learning. like “Koreans including compelled to learn things, learning artistic skills.” Interviewees also commented about the infl collective activities. They said that were “more group-orientedKoreans be individualism”. To than Western part of the group, they felt compelled to do the same activity as others. to participation Barriers What is it that discourages or prevents from Asian peoples in Auckland participating in arts activities? Cost, lack of time and different priorities are some of the common barriers emerging from the research – barriers shared by many New Zealanders, as revealed in the the arts opportunity to enjoy a hobby in their to enjoy a hobby in their opportunity and also maintain unique spare time the cultural traditions. Sometimes, but own sake hobby is purely for its that a interviewees also mentioned for hobby could create opportunities work or travel. c Island children had won vitality of their culture and religious culture and religious vitality of their religious events, In some diversity. become participation and attendance intertwined as merged experiences, and friends both family members those they either perform or support know who are performing. the fusion of Some interviewees saw of expressions traditional and modern the arts in the the arts as a feature of traditional While Indian community. artforms enable people to maintain and share their heritage, this modern ensures that the artforms expression are never dull and allows everyone to become involved. School events and dance competitions are seen as a way of building an awareness of some artforms, both within and beyond the Indian community. One family mentioned with pride that a group of Pacifi the Bollywood Dance Competition. For them, this signalled both an accessibility of the artform and a willingness to embrace wider participation. community Korean community, people in the Korean For the arts can be an important “You don’t need to be perfect to don’t need to be perfect “You of your in front be able to perform here.” peers Indian community Creating and maintaining social and community networks is often the key to participating in the arts for the people Across Indian community. of different age groups, there was a the of enjoying common expression connections with their community – with their community connections time maintaining cultural at the same with the next values and sharing them a woman may example, generation. For group to maintain belong to an ikebana Japanese her friendships with other an artform women, as well as to enjoy in. she has a personal interest the Some interviewees mentioned atmosphere and environment relaxed made it easier in New Zealand, which to perform as a non-professional. invitations, either from the Formal Japanese Consulate or organisations representing the Japanese community, can be important access points for participation in the arts. with a community group liation religious festivals. affi groups and involvement in church Japanese community Japanese some people of Japanese origin For participating in living in Auckland, the arts is a way of maintaining social Chinese community of the Chinese some members For arts is seen practising the community, other side as a means of “using the self- of the brain” and developing learning to play example, discipline. For lessons are the piano or taking ballet seen as a means of self-improvement and personal achievement. some people originating from For the densely populated centres of Mainland China and Hong Kong, participating in some arts activities is more achievable in New Zealand. having a piano in your example, For own home to practise on is easier in New Zealand than in China and because there are less Hong Kong space constraints. That said, the cost of a piano and paying for lessons may remain a barrier to participation. , Useful cant as a point

combined with parental pressure to participate organisations, media and networks Communication channels Communication associations of community A number region Auckland and societies in the Asian represent communities. can be importantThese channels with these communicating for arts encouraging communities, and attendance and participation, taking supporting already is what 56, appendix on page The place. may be a good starting point. starting be a good point. may

school, to the arts at exposure Triggers to participation Triggers are the communities, there Across several common triggers that encourage arts participation. These include: Some of the people we interviewed people we interviewed Some of the arts and voluntary felt that community events are more signifi arts. of engagement than professional of the arts, Because of the social role attending an the boundaries between in the arts arts event and participating can be blurred.

Asian Aucklanders and the arts 22 nd it nd cult. cult to promote their event to a their event cult to promote nal barrier that language can Promoting an event Promoting skills A lack of English language mean that some community may and participants fi organisers diffi of help in Offers wider community. the design and implementation of by be valued may communications communities. migrant Language can also prove a barrier in also prove a barrier Language can sponsorship and terms of accessing in an artform funding to participate A number or put on a performance. mentioned of times, interviewees where to go that they didn’t know And if they for funding and support. they found the did know where to go, process diffi A fi events present is trying to promote beyond their own communities. communities have their Typically, own communication channels such as email, posters and media. These can reach people within the community in their own language but they do little to reach the wider community or other ethnic groups who don’t share that language. rst Source: Auckland Festival of Photography . nd out nding a space for cant challenges may ©Caprice Roussell uently can be a barrier to

Basic needs Help with basic needs such as and costumes, instruments for storage and affordable transportation rehearsal/performance space would support individuals and community expand to maintain and even groups with the arts. their engagement

LANTERN FESTIVAL LANTERN Language Not being able to read or speak English fl participating in the arts. In the fi place, it can be hard to fi just what arts activities there are to participate in. And then language can be a barrier to engaging in the artform itself and working with others. emerge in terms of fi The costs associated with participation with participation The costs associated If there important barrier. are also an funding for a is no or little external part in an take group or individual to artform, signifi practice, spaces for performances, and even buying materials for props, equipment. transporting or storing also The cost of lessons was to participation. mentioned as a barrier

Asian Aucklanders and the arts 24 PENUMBRA Auckland Festival, AK07 at Skycity Theatre. Photograph by John McDermott Sharing stories 29 – especially become a sizeable community with community with become a sizeable presence in Auckland. an established within the There is large diversity up of which is made community, Indians from the sub-continent as is also a Indians. There well as Fijian Christians, mix of religions, including Muslims. Hindus, Buddhists and common Speaking English is more compared among some Indian migrants this However, to other Asian peoples. is not always the case among the older community members. There are some concerns that these older people are not able to engage with the arts for the same reasons as their non-Indian peers: for example, people with a physical disability, transport, money and language. spiritual and cultural many, For traditions still play a strong role in everyday life, and there are many religious and cultural festivals celebrated throughout the year. Some Indians may have lost relative economic strength and social status since moving to New Zealand and this may also have an impact on their ability to engage with the arts. nd ce in Auckland are active in helping ce in Auckland Indian community The Indian community has a rapid increase in experienced migration in the past ten years to Auckland are important but there are are important but Auckland or television or radio few newspapers language. programmes in the Japanese community Korean population of Before the 1990s, the in New Zealand was living Koreans But since then, there have been low. this country. waves of migration to community in Auckland The Korean has a strong church connection: there are many church groups and schools. These six Saturday Korean church groups tend to be a starting point for cultural performance groups interested in participating and Koreans in the arts can meet, network and fi audiences to perform to. Embassy and its Consulate The Korean Offi cultural presence in to build a Korean the church- New Zealand. However, combined with focused community, language issues, may limit engagement communities. with non-Korean cial” invitation cial” cally Japanese events to go to. motivated by the willingness to motivated and an other cultures experience this has enjoyment of travel. However, of transience also resulted in a level the community, and fragmentation in and more recent with its mix of settled culture residents. Some see traditional suffering as a result. people, it can some Japanese For an arts be a challenge to attend They’re event with other people. not sure whether to be honest in their comments or say they enjoyed something because it’s the “right” thing to say in Japanese culture. some, therefore, it’s easier simply For a risk. not to attend than take others, an “offi For to attend an event or participate in something acts as a seal of approval. The smaller size of the Japanese community compared to other Asian can also act communities in Auckland as a barrier because there are fewer specifi There appears to be a limited number of established community networks. The Japanese Consulate and the New Zealand Japan Society of c jobs lot more chilled out st a areas. As one artist said, As areas. ll a skill shortage. With habits habits a skill shortage. With ll Japanese community Japanese These days, Japan is seen as a mix with its people of East and West quick to adapt to new environments. Many of those interviewed describe the decision to leave Japan as one during the wave of migration in the wave of migration in the during the perceived to be English- 1970s, were and far less educated speaking, people conservative than Chinese from other are ju “They about Chinese tradition.” They mainly about Chinese tradition.” for specifi came to New Zealand and to fi those of middle-and attitudes similar to adapting to their new class Pākehā, easy for some. home was comparatively on the other from Hong Kong, People hand, were perceived as being more traditional and conservative, and keen to preserve the traditions of their culture. Interviewees also described the Chinese community as tending to people were Young be risk-averse. encouraged to attend university and choose a degree that offered the best opportunities with the lowest risk. les. wever, it wever, ect individual ect experiences and perceptions of the and perceptions experiences and artistsfamilies interviewed, the full not represent and may Asian peoples in of of views range names used here The Zealand. New and in some cases, pseudonyms are also been details have personal extracts are All the stories changed. profi extensive more from is important that the to remember refl stories following interviewing process. Ho process. interviewing Chinese community There was a perception among the people we interviewed that the migrant Chinese community in New Zealand and has lost some of the skills of, interest in, Chinese traditional arts through the generations. Among Chinese peoples, there may be different levels of understanding and familiarity with Chinese traditional those from example, arts. For Singapore and Malaysia, especially A snapshot of of A snapshot communities

in which uences that affect the ways Not their real names Not their real additional section offers This the through gained perspectives

For Asian communities, as with any Asian communities, For are a way to tell the arts community, of their people’s stories – stories their life culture, their history and These stories help experiences. connections within their them make other own community and with communities, communicating across generations and cultures. As in any ethnic group, communities are made up of individuals. While there are common features that many of these individuals share, there is also a great diversity of attitudes and infl Asian peoples engage with the arts. This report also recognises that migrant communities are continually evolving as they respond to life in the region, and to its diverse Auckland cultures and communities. Sharing stories Sharing

Asian Aucklanders and the arts 28 Sharing stories 31 ersity “We value our Chinese heritage but our Chinese heritage value “We A typical been westernised. have we Mum at have would Chinese family oil paintings no home not working, and Dad doing most of on the wall, the talking.” to New Zealand in 1997. They work in 1997. They work to New Zealand a and have health sector, in the public Anita, studying at univ daughter, school. and a son, Dan, at high a halfway transitional family,” “We’re Anita says. Rick says that if they hear of Chinese performers coming to New Zealand they’re interested in going along as a They enjoy catching up with family. people in the Chinese community when they go to festivals such as the Lantern and the Moon Festival. Festival They feel there is a lot on offer in New Zealand but it’s all much more “Hong than in Hong Kong. expensive has easy access to a vast variety Kong have an underground of arts events. We railway to everywhere and there are also big stadiums that seat up to 40,000 people. So it tends to be cheaper and easier to attend arts events.” rst and a lifestyle after that.” and a lifestyle rst “Singapore is more academic and academic and is more “Singapore chasing the Everyone’s commercial. an important It’s more to have dollars. income fi nished. Parking is also a problem. nished. Parking They think that people in New Zealand are more accepting of art as an occupation and that “it’s not so on the fringe”. A non-essential item long-term migrants Pangs, The Hong Kong from moved from Hong Rick and Penny in 1991, and then to South Africa Kong weekday. In Singapore, they could go they could In Singapore, weekday. show and have dinner out to see a have to eat afterwards but here, they to go out because very early if they want the show is nothing will be open once fi costs about the the arts Attending as it does in same in New Zealand work out the Singapore. They often when price per hour of entertainment of an event. deciding on the value They feel that in New Zealand there is more opportunity to enjoy participating in the arts as a lifestyle. . The The nd a nd . The library Central Leader Central or AK@Play book of events in Auckland, book of events in Auckland, and nance. Weng and his wife Mayling moved to Weng New Zealand from Singapore in 1988 was offered an IT job when Weng here and Mayling was able to fi job in fi They learn about arts events from the Now What City Scene has other booklets too, and they often come across events advertised in New Zealand Herald They tend to work out what’s on and what they’ll attend on a month-by- month basis. One major barrier to attending these events is not being able to get food easily after 9pm on a Compared to Korea, attending arts to Korea, Compared affordable in New Zealand. events is less population That’s because the bigger larger audiences and means in Korea Transport therefore cheaper tickets. Korea. costs are also lower in come musicians or three Korean Two year but the to New Zealand every usually too expensive. are tickets money for Value long-term Chinese Duans, The Singapore from migrants ne arts ne cation. ne arts in Korea as ne arts in Korea This would encourage more people to encourage more people This would in and attend the arts. participate Earning a living Korea from migrants new Parks, The to Jin and his family moved He from Korea. New Zealand in 1996 Hee-Ju,is a teacher and his wife, is a They have two full-time home-maker. institutions. children studying at tertiary languages, he Although Jin teaches did a master of fi well as his teaching qualifi would never do just a fi “You need a way to actually degree … You some money.” make Maria, is studying Their daughter, the At visual arts and psychology. moment, she is looking for funding one of space with for an exhibition her fellow students. She is considering applying for funding but is also looking at getting sponsorship from a private She is more hopeful than company. her father that it may be possible to pursue a career in the arts. However, she is aware of her father’s experience and has followed his advice by studying a subject with more certain career opportunities. cult, uenced shows always especially in New Zealand, to earn a decent living and have a secure future as a musician or dancer. Overall, Doris and Steve think that Chinese people tend to be fairly conservative and become more so They suggest that as they get older. shows need to be more mainstream and not so fringe: “Things we’ll expect to be to enjoy rather than expect confused by.” Chinese-infl attention and they catch their Chinese shows usually try to go. “The been well- we’ve gone along to have community attended by the Chinese many and often sell out. In fact, involved Chinese people are already sure there’s a in the arts and I’m not need to encourage more.” as a hobby when Doris enjoyed singing daughter has she was younger and her just started singing lessons. She will also be taking piano lessons and ballet lessons. Doris says her own parents could never afford proper music lessons she when she was a child. However, would discourage her daughter from choosing music or ballet as a career path. That’s because it is so diffi The The or the Chinese newspapers

nd out about these shows from available in Auckland. They also get available in Auckland. the occasional email from TicketDirect, and Doris sometimes listens to Chinese TV. radio and watches CCTV on SKY When they see an advertisement for Can dates ( they consider the a show, too it then or will we be we make is it? How far away ), the venue ( busy? How do you get there? Is there easy ), and the cost. parking? New ZealandNew Herald, The Sunday Star Times Doris came to New Zealand from Doris came to New Zealand holiday ten Mainland China for a was here, she years ago and while she Chinese met a New Zealand-born married. They man, Steve, whom she 2 at is in Year have a daughter who is a fulltime primary school. Doris mother and Steve is an accountant. Most of their entertainment involves shopping or watching a movie, either at the cinema or at home. Once a They month, they try to get to a show. fi Family stories Family Appealing the mainstream to here, migrant/born new Guangs, The Mainland China from

Asian Aucklanders and the arts 30 Sharing stories 33 “New Zealand is a young young Zealand is a “New Māori country so other than Western follows art everything Kanawa, Te Kiri like – forms Zealand singer is a New who classical Western but sings in a style.” Getting in touch migrants new Kobayashis, The Japan from Alex moved to New Zealand in moved to New Zealand in Alex 2002, two years before his wife, Miya, and their two children moved here. He wanted to come to New Zealand because “it’s not Japan, I can speak English and it’s warm”. Their children learn musical instruments. They say it’s easier to enjoy playing music as a hobby in New Zealand because they are under much less pressure from other academic study than they would be in Japan. Asked about uniquely New Zealand about uniquely Asked Māori art - weaving, art, they mention - and also haka singing and carving, using New Zealand landscaping, native plants.

; MJ orist and runs oristry. Their son oristry. and in nished a degree E-cube , The New Zealand Herald New The nd out about Japanese arts through and local newspapers; on the internet; and from brochures at their local community centre. They’ve also received invitations to the Emperor’s birthday celebrations at the Japanese Consulate. They see New Zealand art as Māori Zealand art as Māori They see New that Indian art is about art and say part of a dance and music, is often festival and is almost always accompanied by food. to participate Time long-term migrants Takahashis, The Japan from to New Zealand with his moved Kane in a tertiary family in 1991 to lecture His wife, institution in Auckland. fl is an ikebana Tami, training sessions in fl Chris has recently fi interior design. It’s easier to participate in and attend the arts in New Zealand, compared to always working, Japan where “You’re time.” there’s no extra They fi events through magazines like Gekkan NZ rst child. They’ve “We like to do Indian things like do Indian things like to like “We and social get-togethers, Diwali, Indian Those to support like we Guys and our cricketers.” When it comes to putting on events, sponsorship by local business is common among the Indian “Indian people aren’t community. tend to want looking for handouts. We to stand on our own two feet, which is why the Indian community puts things on for themselves.” When they attend these events, they tend to go as a family or not at all. “Indian people won’t get an outsider Only a family member can babysitter. do that so you have to have a family member living near by if you want to go out for the evening.” but met her husband ( English-born husband ( but met her Kingdom where ) in the United Indian they had their fi in since had a second child New Zealand. lived in Although the family hasn’t the India for several generations, to retain their Indian Khatris still like culture where they can. Indians to come rst Going out to the movies was a Going out to for of entertainment favourite form experience them back home but the here. They’re was quite different to used to huge 600-seat where cinemas excitement. there’s lots of buzz and get dressed up to go along and People groups. “Here often go in large family watching it is very casual, just like get more excited at home … People That’s a big about going to the beach. deal for Kiwis.” The Charterjees say that in Sri Lanka, the arts are much more a part of life and happen during religious festivals or pageants. “More or less, there’s a cultural activity or pageant every month with dance, music, food, costumes and so on.” Going out as a family Indian heritage born here, Khatris, The Jimmy Khatri was born in New Zealand and says his grandfather was one of the fi and live here. Jimmy is now retired door to and lives in the house next husband Sam and his daughter Shelly, their two young children. Shelly was also born in New Zealand “Back home, everyone knows a knows everyone “Back home, an there’s when month in advance happening … Publicity is not event here.” so prominent Also, they have few friends or no family to go along with, and no family to help with the costs. A part of life migrants new Charterjees, The Lanka Sri from Ritu and their son Tony wife Kevin, in 2004. moved to New Zealand as a company works Kevin works in the administrator and Ritu Year is in Tony public service sector. 12 at secondary school. movies and They used to go to more more, before theatre, and dine out them, they came to New Zealand. For low income is the main barrier to were in attending the arts. “We back quite a high income bracket home and now we’re in a relatively low one.” Their costs of living are higher here. Another thing they’ve noticed is that the dates of events aren’t as well- publicised as they’re used to. rst-class t or subsidy subsidy or t

“Parents in Hong Kong want their want in Hong Kong “Parents a stable career. children to have no social benefi There’s to earn a living yourself need so you be a To on the table. to put food a either have you artist, professional to live can afford second job or you inheritance. family’s your off to do statistics and “Asians like We’re not calculations. risk-takers tend to be and Zealanders New like as an artista career is just not viable. a you art make Studying would as it’s a high- to the family burden investment.” risk

ax weaving. They appreciate Māori ax weaving. quality but they don’t go out of their quality but they don’t way to see it. art, it’s a non- “As much as we enjoy on essential so if there’s something go if we can that appeals to us we’ll we won’t afford it at the time, but save up especially to go.” In terms of art as a career path, they say that: art and believe it to be of fi art and believe it to be Asked to consider New Zealand art, to consider Asked such a range of artforms they mention face tattoo and as tapa cloth, moko fl

Asian Aucklanders and the arts 32 Sharing stories 35 nding culties, the cost of parking and “For new migrants, we’re all we’re migrants, new “For and struggling to settle down money to go, as I want so much other So are is a constraint. commitments.” Manu and Sita note the cultural Sita note the cultural Manu and in small things “like connections do … We the blessing of buildings rituals are the same ... Beliefs and very similar.” in Although they have been years, fi New Zealand for seven time is still a barrier to them engaging time is still a barrier to time, other in the arts. As well as of factors that limit the number are transport arts events they go to diffi family. for the whole the cost of tickets “In India, people are into the arts and drama, and these have much It’s cheap - maybe more exposure. $2 or $3 even at the top end - so you can afford it. Manu says Indian community events are as much about socialising as can be involved entertainment. People through groups such as Auckland Marathi Association, which puts on c art c ka Festival. Festival. ka Manu, Sita and their two children ) migrated aged 21 and Anu, 14 Yas, ( to New Zealand in 1999 from India. studies Both parents work full-time. Yas at university and Anu is at school. All of them enjoy modern Indian arts from Bollywood to Bhangra dance, to share this in conjunction and like with a family meal, and with other families and friends. This may also a barbeque, card involve a beer, games or Playstation “sing star” to get them performing. Exposure to Māori and Pacifi has been limited: mainly through university and at the Pasifi settling in. Art is fairly low on the Art is fairly low on the settling in. priority list. the Taiwanese They are members of them $60 Association, which costs and they receive newsletters a year, They also and invitations to shows. arts events get information about posters at from the local newspaper, websites. university and Taiwanese than butter chicken More migrants new Narayans, The India from nally dent about going “Koreans are more group- more are “Koreans to comparison by orientated to In order individualism. Western are you be part of the group, – compelled to do the same quite We’re or interest. same hobby to peer pressure.” sensitive Settling in Wangs, new The Chinese migrants Taiwan from Margaret is a solo mother of two adult Margaret is a solo mother in rst applied to live sons. They fi New Zealand in 1993 and were fi approved to move here in 2003. They see New Zealand as a good place to learn English, which they hope will improve their opportunities in the future. Margaret feels that there are fewer for her to go places in Auckland dancing compared with Taiwan, especially for middle-aged people like Because her English isn’t very herself. good, she’s less confi out too. of many As well as the expense feel that for arts events, the Wangs new migrants there are other more important things to learn when you’re . Korea tting in and Mama MiaMama nd out about and NZ Times , where they fi Les Miserables Les They learn about upcoming arts about upcoming arts They learn events through television, Civic pamphlets outside the with friends. Theatre and by talking Korean They subscribe to two newspapers, Times as Korean events and performances. events Korean by They have also been invited Consulate to attend the Korean some events. can offer a greater Jae says Korea variety of activities because of its population. He says that there seems to be more investment in because there’s a the arts in Korea greater potential income from larger audiences. They also commented is that the GDP per capita in Korea higher than in New Zealand so there’s generally more money around to attend arts events. drawing, e.g. in the arts ( Participating taekwondo, dance, speech, poetry, ) as a hobby is ballet, gymnastics encouraged because it’s enjoyable to do and may provide travel/teaching opportunities as well as fi with the group. Peer pressure Peer long-term migrants Kims, The Korea from Jae Kim and his wife, Min-Ji, arrived in New Zealand 15 years ago. He is much more of a golf fanatic than an arts enthusiast although every so often, when he has some spare time he will walk from his during the day, Art work in the city to the Auckland keeps o Tāmaki. He also Gallery Toi an eye on the banners outside the gallery to see if there’s a particular coming up that he might exhibition be interested in. They enjoy the occasional trip to the theatre to see shows such They think there needs to be a They think Japanese association more active people to encourage more Japanese and also help to attend arts events, together. people meet and do things with Japanese It’s hard to get in touch and they society in New Zealand something to suggest this might have “closed” nature do with the generally we need of Japanese people. “Perhaps so friendly, to look at how Kiwis are kind and welcoming.” nd out nd is how they hard c. “It’s so nd out about a Gekkan NZ cult to get to the concert

“Other kids also practise their also practise “Other kids in Japan harder much instruments because to perform so it’s harder skilled that more much everyone’s free more I feel But here are. you relaxed,” more and everyone’s their daughter says.

Japanese art event in New Zealand, as well as posters in the shopping centre and on the internet. They feel it is just as easy as in Japan to fi Miya and Alex wouldn’t discourage Miya and Alex their children from becoming but it’s harder to professional musicians earn money that way because “it’s not really a job”. They would be expected to have another job as a back-up. it’s much more In Japan, they say, to go to an arts event. expensive and it’s also It’s hard to get tickets very diffi because of the traffi to move around in Japan and after a But here concert you feel exhausted. in New Zealand we can drive there and park, then drive home.” The magazine fi would most likely about arts events.

Asian Aucklanders and the arts 34 Sharing stories 37 “It’s 120 million compared to four to four “It’s 120 million compared here It’s a small economy million. as much.” can’t expect and you many Japanese people are more many Japanese mainstream Kiwi integrated into is much life because the community Asian groups. smaller than some other them Therefore, trying to reach may through community networks not be effective. they say Compared to New Zealand, part of daily that art in Japan is “a talk about it: here they talk life. We to attend about sport.” Opportunities arts events are far fewer here than in says. Japan, Kami Kami and Harry appreciate the arts and Harry appreciate the arts Kami of the creative as an expression imagination in many forms and from different cultural traditions. They are also a form of entertainment, a link to ancient times and an escape from everyday life. They say that Japanese traditions are broad and include a huge number of different artforms, performance ranging from Kabuki through to martial arts, garden design and the tea ceremony. Broad traditions Broad long-term Nakamuras, The Japan from migrants and her husband, Harry, Kami migrated to New Zealand in the mid 1990s and had previously travelled They outside of Japan. and worked have two children: Juro, aged 10 and aged 13. Aneko, The family is involved in the Japan and when they Society of Auckland were interviewed, they were planning to celebrate Japanese Day at the ASB Stadium. It was another chance for the children to be with the wider Japanese community. In terms of communicating to the they say that Japanese community, more popular community events; community events; more popular for families; tickets offering discounted and using using word of mouth, arts to make celebrity endorsement attendance cool. thing. “It should become a trendy may be more If it becomes hip, people the youth and kids, interested. For sophisticated show that it’s not the geeks but thing; not nerdy or for that it’s the hip thing to do.” rather, ts is escaping from the suffering “Indian culture has everyone has everyone “Indian culture family-oriented.” It’s very involved. “The arts are a powerful tool to pass arts a powerful “The are to new of the past traditions down lose touch and not with generations our roots.” On top of time and cost, another barrier to engagement with the arts is knowing about events that may be of interest. “There’s no will to go unless it is promoted and made It’s accessible. And it has to be easy. not as easy as going for a meal. It has to think effort to be planned and takes about it,” Sanji says. Sanji has some ideas on how to encourage people to engage with the linking arts into example, arts. For They say that in India, rich and poor They say that in India, in events and the participate alike One of the associated arts activities. benefi and reality of the lives of those less well-off. family to learn new things together new things together family to learn to their own heritage. and hold on c lm c peoples’ c , the fi and visiting and visiting arts are ts of the Krishnan’s Dairy Krishnan’s Bend it Like Beckham Like it Bend performers such as Canadian as particularly Peters comedian Russell humour appealing because of the portrayals of and resonance in their That said, familiar community quirks. going to the cost of all the family with events is prohibitive. Combined means they the pressure of time, it going. sometimes end up not Museum appeals as The Auckland a way to learn more about their new Traditional homeland and its history. folk dancing and singing hold appeal as a way of learning more about their own and other communities’ heritage. similar reasons, Māori and Pacifi For arts are of interest to most of the family although they have had limited to them. exposure Sanji says Māori and Pacifi strong family connections and their respect for ceremony are values shared by Indian communities. Sarah, the benefi For in “touching the deeper self … it gets you in touch with the emotions and spirits … the soul of a country”. Arts events can also be a chance for the such as rst time and people Hip thing to do Hip India from migrants new Reddys, The The Reddy family moved from Bombay in 2003, motivated by their view of New Zealand as a good place to raise their children. Both parents, Sanji and Sarah, work and their three 14, Roya, 12 and Tina, Rav, children ( all at school. ) are 10 It’s the outdoors New Zealand that share to the family enjoys and likes with visitors from overseas: Western Hill, Devonport and Springs, One Tree Cornwallis Beach. These activities are also easier to plan for in terms of cost. the Reddys, it’s really important For for the family to be able to do things Therefore, arts activities together. with a strong entertainment quality appeal to them. They mention plays the grass roots as they are the next as they are the next the grass roots to Provide enough funding generation. easy to access and affordable. it make national And give it more exposure: households television reaches most Diwali was on TV and is free to view. this year for the fi me and said: who’d seen it came to to go there’.” ‘I’d like c

“Kiwis know us for our food but our food us for “Kiwis know than butter chicken. more we’re

“Get the information out there, it to students at especially expose plays throughout the year. This is open This the year. plays throughout and even a couple of to everyone involved. Chinese people have become community He says the Fijian-Indian Pacifi has a connection to other active in cultures but is also very heritage connecting to their Indian are although their experiences India. different to migrants from and cultural in arts Participation events through community organisations can be a struggle because of low budgets and a non- professional approach. Funding could help improve the quality of the of Building awareness experience. where to get funding is important, Sita says. “The thing is the formalities … how you get things done, who to go to for the information.” Most of all, Anu wants to see more festivals and cross-cultural events. “I want them to create more events and more awareness of what we are.

Asian Aucklanders and the arts 36 Sharing stories 39 and other lms, books media are being authored by people media are being authored to the with limited connection they are individuals and cultures They felt that these representing. rather portrayals reinforce stereotypes and than recognise the diversity Zealand. reality of modern New that there There was also a perception and career are limited opportunities paths open to those in the creative sector in New Zealand. This attitude was reinforced by family perceptions that other careers offer a more sustainable and stable future. there was family others, however, For acceptance and support in their pursuit of a career in the arts. One of the themes that emerged was a feeling of being “branded” by their In some instances, this may ethnicity. have helped them obtain funding or others, gain performance roles. For it has been a barrier to employment opportunities. many of the portrayals of Asian many of the in fi characters A wider community faced to Many of the artists we talked the challenge of appealing to a wider express their express

individual creativity as well as tell individual creativity as of their their stories, and the stories family and communities. Zealand Some had come to New as youngsters or were born here. Their career paths, therefore, were Others developed in this country. of an older generation came to New Zealand with their artistic interests already developed. Among these artists, many came for reasons They other than their arts career. came for a better lifestyle, for peace, a better place to raise their children, for the land and the beaches. Although interested in pursuing their art as a hobby or a profession, the importance of this was secondary to these other factors in motivating them to migrate. Reinforcing stereotypes Reinforcing Among some of the artists we interviewed, there was a sense that A creative perspective A creative motivations, Different experiences, emerged challenges and perspectives practitioners. in interviews with arts pursuing them, however, most of For in the arts their interest or career enables them to “Without comedy life is very dry. dry. is very life comedy “Without barrier, Because of the language not much chance here there’s people to understand Korean for in English.” comedy relevance in the Korean community. community. the Korean relevance in plays a big role for example, Pottery, art and in daily life. Opera as in Korea also common and orchestral music are in Korea. forms of entertainment and Nam-Hee One artform that Hwun miss is comedy. The family would like to see the to see the The family would like cost of performing at venues such that Centre reduced so as Aotea community groups could afford to use it more often. They would also and more support for community like school groups to perform in smaller theatres and venues. Hwun sees this as an important way for migrants to retain cultural traditions and for New Zealand to be seen as a country of opportunities. c cultures. c Personal connections to artists are a connections Personal to go to events: particular motivation of work by a to an exhibition e.g. and friend. Hwun would artist Korean a wider audience at these to see like community events beyond the Korean taste but recognises that individual simply may means that some people not be interested. are aware of Hwun and Nam-Hee within the generational differences older people, For community. Korean they had meant War the Korean little time to enjoy the arts and this may have continued for the next generation in some families. Nam-Hee says that it’s However, for children to traditional in Korea learn music as a hobby but that this is families less the case for Korean in New Zealand. They say that the younger generation growing up in New Zealand has to events and more greater exposure familiarity with a range of cultures, including Māori and Pacifi Although the family recognises that it’s impossible to generalise, some artforms may be of particular and have their own business. They own business. They and have their Alistair, and Karl have two sons, are both in who are teachers and their twenties. busier than Although family life is still enjoy in the past, they say they meals, activities together - family participating watching television, and the Korean in events organised by church or Christian organisations. church Hwun says that the Korean is an important way to maintain a connection to their culture for the generation. next The family’s range of sources for events information about art-related includes pamphlets and posters, networks through church-related groups, word of mouth via friends, email subscribed newsletters, local newspapers and television. “But 50 per cent of the potential audience is reached through a poster and the news media.” Korean Although ethnic groups have their Korean e.g. own cultural traditions ( ), Hwun says traditional drumming are very that “the arts in Korea westernised and modernised”.

cial events - particularly cross-

Hwun and Nam-Hee have been in New Zealand since the early 1990s Generational differences Generational migrants long-term Maengs, The Korea from They feel that Japanese contemporary Japanese contemporary They feel that aspects of both Asia culture has level of and Europe, and has a not be typical sophistication that may of other Asian countries. the arts are a and Harry, Kami For They way to bring people together. to see organisations such would like Council and the City as Auckland with Japanese Consulate working provide more community groups to offi cultural ones. “Can we not bring these communities together? There’s no communication between them. The current focus is in maintaining their own culture but it doesn’t need to of creating bridges be at the expense between these different cultures.” focus to see more They would also like on different age groups in the events younger people, the For on offer. entertainment factor is important and “more hands-on stuff”. there needs to be

Asian Aucklanders and the arts 38 Sharing stories 41 costs increase. Most of these costs are Most of these costs costs increase. members of the group. covered by a modest fee The musicians charge events and for appearances at bigger at secondary are paid to give tuition they are looking schools. However, source for an ongoing funding some of take – something that would who works full- the pressure off Paul, part-time. time and is also studying says Despite the funding issues, Paul they still have lots of fun practising a They feel and performing together. great sense of pride about their music when they can see their audience enjoying it. feels especially proud when he sees Paul people emotionally moved by Korean the music. He sees a parallel between drumming and Korean Māori haka “The Māori people have been through over by a lot of hardship, being taken the European civilisation. Similarly, people went through much Korean over by hardship when we were taken Japan. I think that this hardship has given the music a real sense of spirit, which comes through in a Māori haka and also in our drumming. nine-years-old. His parents chose a because they wanted New Zealand stressful Korean break from the highly there was a lifestyle and could see here for Paul good education on offer and his siblings. a In 1997, he started attending church and saw the church’s Korean group perform. traditional drumming a lot of fun so like “I thought it looked I joined the group.” he started taking years later, Two drumming more seriously and trained with the master drummer who set up now leads. the group that Paul There are 50 members of the core group, who are mostly young Korean students looking for a bit of fun and camaraderie. These days, the group is well-known and receives invitations to play at various arts and cultural events. They have also been on tour through several cities in New Zealand and have performed in Sydney and Brisbane. has always been a problem. Funding to buy The instruments are expensive and repair and as the group grows the administration and travel larger, “I would love to see an arts love “I would that represented community richness of the multicultural Zealand’s population. New “I think it’s going to happen anyway but this research is a wonderful way to No one has to maybe help it along. apologise for who they are. In fact, who that place so wonderful they are makes and rich. Rich is the best word for it. Lush and rich, rich in culture.” Sense of pride : musician Hwang, Paul Korea from long-term migrant came to New Zealand 12 years Paul ago with his parents when he was anybody but myself. It would be great It would be myself. anybody but arts myriad voices in the if there were from the community. for Chinese “I think it’s important to talk,people to be encouraged and to voice their own opinions of view to put across their point Otherwise, mainstream New Zealand. else they run the risk of someone potentially, doing it for them and, doing it badly.

ames you ve years? Those nd it much harder to write and always struggling for money and struggling for money and always it to come from. But where it’s going infl feels so worthwhile and to a quite happy, so much that you are degree, to suffer for it.” she was raised feels that because Tina of how things here she has a good grasp complex work and is able to write puts her at an essays in English. This advantage over new immigrants projects, looking to pursue creative who may fi proposals and apply for funding. She says she doesn’t feel comfortable being seen as a representative of the Asian voice. “The term ‘Asian’ in itself is problematic. And then even within ‘Chinese’ it’s problematic. Are you a Chinese New Zealander who was born here, did you come here when or did you just come you were young, here within the past fi differences are big differences. “I guess I’ve been seen to be representing Chinese New Zealanders when in fact, my work as a Chinese New Zealander is tremendously subjective and not meant to represent rst year my tutors were lm studies. lm lmmaker is because it’s not a usual is because it’s not lmmaker wonderful people and led me to believe out a career that I could actually make my of my love of movies. So to keep I did a BSc in computer parents happy, science as a safety net, just in case I it as a movie maker. couldn’t make “The only reason my parents weren’t that comfortable with me being a fi a solid profession where you can make income. And they are right there. I mean, I wonder from day to day pay cheque is coming where my next from. I mean, ‘struggling artist’ is a you are sense because term that makes struggling for your passion and you are struggling for something you believe in The older two gained their PhDs gained their PhDs The older two in the footsteps of their and followed highly respected parents, who are both in their professions. at university started When Tina she planning to study medicine, for a decided to defer her studies some “more enjoyable year and take philosophy papers”, including English, and fi “I have always loved movies and I guess in that fi ll out the Zealand sh or New sh in a small pond”. lmmaker : lmmaker

Tina has lived in Auckland all her life all her has lived in Auckland Tina and is the youngest of three children. Artists’ stories passion your for Struggling fi Cheung, Tina Chinese heritage born here, community. Both the families and Both community. all communities were artists from their culture, expressive to share keen more widely. visions and creativity issue for many a key is also Funding Where do artists. What’s on offer? you go? How do you fi and forms? How can you understand meet the therefore show that you criteria for funding? / creative Another outcome of the in New Zealand migrant experience is being “a big fi That’s not to say all the artists saw themselves as big fi as a small pond. However, there was as a small pond. However, a perception that artists might need to go overseas to develop their craft even though there are opportunities in New Zealand to “get a foot in the door”, be recognised and do what you want to.

Asian Aucklanders and the arts 40 Sharing stories 43 uent in English, were treated as novelties rather than were treated as novelties seemed “invaders”, and their accents Zealanders more acceptable to New Chinese accents. than Hong Kong that Chinese people Li explains having a put a lot of emphasis on in the arts “profession”. A career because is seen as “kind of useless” She you can’t earn enough money. puts this down to the fact that many overseas Chinese families from the Southern China diaspora are originally of peasant stock. Self-improvement, education, working and earning money to protect the future of your family has historically been a priority. she says that the increasing However, business value of creative industries a is helping more Chinese artists keep foot in both camps. Discussing attendance, Li feels there is a diversity of interest across the many different Chinese communities that’s similar to that of mainstream New Zealand - from the conservative attitude, which sees the arts as a They entered New Zealand as They entered with offers of suitable professionals employment, were fl rst-generation New Zealander, New Zealander, rst-generation Having a profession Having : artist Li Liu, heritage Chinese born here, Li is a fi Her born and bred in Auckland. parents, who are originally from Malaysia, immigrated to New Zealand in the 1970s. Li believes integration was relatively easy at that time for her parents. is a need for a directory on where to a directory on where is a need for approach, how to apply go, who to funding bodies for funding and which artforms. cater for the different to see is What Justin would like to funding for Chinese practitioners works that enable them to produce communities; tell the stories of their by their stories written and performed relating to own people about issues their experiences. If parents could see there were funding opportunities for artists to produce works about their communities that received public recognition and praise, then perhaps their attitudes towards the arts as a viable career would gradually change. cult lm cance. nd out information on how to detective. He found it insulting that found it insulting that detective. He as a recognition of him there was no New Zealander. insult to injury was his Adding stereotyped understanding that such audience. roles turn off the Chinese more to fi So he turned his hand and editing. directing writing, many “Asian” roles written With New Zealanders, there’s by Pākehā a lot of stereotyped clichéd characterisation, Justin says. Works that don’t bow to this stereotyping would not only reach out to the Chinese community but would also startle mainstream audiences by providing real insights into another culture. International acts have kudos because they are from overseas while “unknown” New Zealand acts are seen as a bit of a lottery with the potential for disappointment. There’s concern over relevance: not getting it, feeling stupid for not understanding the content or missing the signifi Justin has found it incredibly diffi to fi He thinks there apply for funding. nd nancial Most of all, Sarah needs support in Sarah needs support in Most of all, and areas: a place for her the following and dry storage others to rehearse; safe fi for instruments and costumes; help to fi reward for performances; in overcoming funding; and assistance barriers. language and information stories Authentic : actor/writer/director Chang, Justin Mainland Chinese heritage born here, Born and Justin is in his forties. his educated in New Zealand ( ), he parents are both Chinese-born remembers growing up as the only “Asian” child in school. He has never been to China and apart from his features, there’s nothing about him or his lifestyle that he considers to be particularly “Asian”. Justin trained overseas and when he returned to New Zealand, he work but primarily for acting looked found the opportunities were too limiting and he was always being typecast. Every time he went for a to put on a role, he was asked Chinese accent and audition for the fu-killing laundry part of the kung man or the pidgin-English-speaking cate of nd practice space and nds it hard to maintain nds it hard to maintain “Performers have no place to have “Performers so places are Performance practise. or four three Some are expensive. the big rooms.” for dollars hundred and share her art while having to and share her art while for the family. earn a living and care may get support artists Korean Embassy and the from the Korean she says, Society, New Zealand Korean but it’s hard to fi “Korean, Māori, Chinese ... Many Māori, Chinese “Korean, in want multi-nationalities people. We the audience.” Although Sarah has performed she fi widely, transport instruments and performers to venues. When performers are invited to perform at events, she says, they should be being given things like instead of paid petrol vouchers and a certifi participation. This leaves performers the Sarah often having to cover like cost of food, transport and so on. it She says this lack of reward makes harder to motivate younger people to maintain their study of the traditional arts. cult times

“Some Korean people cry when they they when people cry “Some Korean them I suppose it reminds hear us. of old Korea.”

Sarah moved to New Zealand with her husband and family in the early 1990s. She recalls the diffi and War, during and after the Korea how women in the 1960s tended to be in the house and had less equality than today. generation Sarah wants the next in touch with their culture to keep and also learn about other people’s cultures. She values the chance to perform with artists from other backgrounds and has participated in events with Indian, Chinese and Japanese people, who are also the audience for her performances. Sharing her artSharing : artist performance Gwon, Sarah Korea from long-term migrant In New Zealand, it’s easier to get In New Zealand, it’s easier group than involved in a performing where there’s a lot more in Korea, really “You people to compete with. to perform have to be professional in public.”

Asian Aucklanders and the arts 42 “If your work has a reputation, has a reputation, work “If your as though it’s an feel then people going they’re that what insurance to see is worth it.” Relevant and appealing material also Relevant and appealing This includes drives audiences, he says. in India and are genres that exist musicals, accessible to the mainstream: theatre and puppetry. comedy, means giving Getting people to the arts a connection, a link, them a reason to go: someone they know in the performance. Going to one event may encourage them to go and see something else. A barrier to attendance is simply not knowing about an event. He says that this could be overcome with advertising Indian that reaches the and marketing TV, Triangle community: for example, Indian newspapers, posters in shops and restaurants frequented by the Indian channels for Tamasha Key community. are tapping into newsletters distributed Indian Association, by the Auckland and the North Harbour and Auckland Central Sports Associations. “No matter how good the show is, people won’t come if they don’t know it’s on.” his subscription to a Japanese his subscription arts magazine, the contemporary of Takashi internet and the work to provide a birds’ eye view Murakami as his sources of Japanese art and act of inspiration. contemporary In New Zealand, he sees than it is in art as more mainstream aspirational Japan. Buying art is more not have to and as an artist, you do for people to be proud of it” “make your achievements. audiences Driving : stand-up comedian Tamasha, heritage Indian born here, As a stand-up comedian, Tamasha has spent the past ten years either making people laugh or being booed off the stage, thanks to his satirical depictions of Indian stereotypes and the personalities that every Indian community has. Price can be a barrier to attending a as he’s he says. However, show, a show can come from experienced, India costing twice as much as his show and people will pay to see it. factor Reputation, therefore, is a key in driving audience numbers. ercer exible approach and approach exible nition of Japanese. of nition to stay just a couple of years to learn a couple of years to learn to stay just found himself he English. However, art drawn into the contemporary back. scene and hasn’t looked is not so much In Japan, he feels there is fi opportunity: the competition on and the emphasis is placed Zealand The New technical ability. scene, with its fl artistic styles, acceptance of different suits him. He feels he has had opportunities here than he never would have had for in Japan: professional training, and also the ability to one thing, bring something to the arts world that is distinctive - a style that fuses New Zealand and Japanese cultures. His style, he says, is a rebellion against the label of “Japanese artist” that he felt was placed on his work. Instead of getting frustrated by the label’s limitations, Akiyama uses it the to his advantage by exaggerating defi Western Akiyama says he will always and he is between Kiwi feel like Japanese cultures; living and creating in New Zealand but using

LANTERN FESTIVAL ©Edwina Hopwood. Source: Auckland Festival of Photography Akiyama has been in New Zealand since 1997, arriving on his own at the age of 20 and originally intending A distinctive style A distinctive : visual artist Akiyama, Japan from long-term migrant waste of money, to the liberal attitude, to the liberal attitude, waste of money, an arts event where attending and a way to is good entertainment broaden your horizons. for the Chinese groups However, that have the least mainstream are issues arts attendance, there location, of personal relevance, Many advertising and language. see as a events target what most offer only homogenous group. They mainstream advertising without including for example, considering, multicultural content or marketing in the Chinese media. Li feels there are challenges she faces as an Asian artist in New Zealand. She says she will never be race-neutral. always She will appear in the public sphere as an ethnic minority and whatever she says will be seen as something that came from an Asian person.

Asian Aucklanders and the arts 44 THE FAMOUS SPIEGELTENT Auckland Festival, AK07. Photograph by John McDermott Looking to the future 49 ndings of this preconceptions, about connecting about connecting preconceptions, that have not yet ideas and people is currently been connected. There of exchange little interchange and the different creative ideas between as ethnic communities labelled is Asian. This report, therefore, mainstream in useful not only to the and the arts understanding Asians as well in but to Asian communities to represent terms of how they want arts. themselves in New Zealand I hope that this project will serve as an inspiration and provide elements of a blueprint for creating new and improved platforms that allow Asian communities and New Zealand as a in Auckland themselves through whole to express are entering an era the arts. We when the local has become global and the global has become local. Asian participation at every level is important to the future development of New Zealand’s most global city. By building on the fi report, local and national government, businesses and various communities can work together to establish the institutional and psychological changes necessary for a creative led. nal product has potential to be used Connecting ideas and people Connecting By Associate Professor James H. Liu to the key Interconnectedness is sciences work.making research in social a ground- This research has been different breaking effort at connecting understand and institutions in society to and the arts. serve Asian communities the three The representatives from and Colmar funding organisations took Brunton researchers consistently on board suggestions made by the the reference group. Consequently, fi as a springboard for engaging Asian communities in the arts instead of another report to be duly noted and fi By interviewing leading individuals, families and creative artists from four Asian communities, the project has captured some important group creative people in dynamics. Young Asian communities are wrestling with not only stereotypes from the mainstream but preconceived notions of the arts in their own communities. The cutting edge of the arts is always about breaking boundaries and shifting dence and Alistair Kwun is Director, Alistair Kwun Communications. and participants, and it would be and it would be and participants, to follow the aspirations fascinating research. of this group in future and global Here is my vision: local in Asian communities connecting barriers and New Zealand without opens up new borders. This research fresh conver- pathways and unlocks It validates sations to achieve that. and the voice of Asian Aucklanders here as the helps assert our place “new mainstream”. Above all, it communicates diversity as relevant, essential and belonging to everyone. I hope this research will enable all New Zealanders to continue celebrating “togetherness” through the arts with pride, confi an open heart. My thanks to Creative New Zealand, ASB Community Trust, City and Colmar Brunton Auckland for the privilege of being part of this groundbreaking research. esh to the statistics in the Asian Aucklanders and the arts unsure about my place and future my place and future unsure about as a cultural-creative practitioner in come to I have since this country. being part terms with who I am but brought back of this reference group times. memories of those tough stands out On a personal level what in the of the stories research is the richness Brunton captured by the Colmar communicator research team. As any will agree, stories have the power to transform lives and generate intense emotional connections between people from diverse walks of life. The stories drawn out in this research inspire, touch and delight. Another highlight for me is increased understanding around the importance to attach that Asian Aucklanders the arts and culture in their lives. It adds fl Census 2006, reinforcing that Asian are contributing deeply Aucklanders to the social, economic, cultural and creative life of the region. It is fantastic to know what’s on the mind of young Asian Aucklanders. They are tomorrow’s creative leaders

ndings provide ndings Ruth DeSouza is Centre Co-ordinator/Senior DeSouza is Centre Ruth for Asian and Migrant Centre Fellow, Research National Institute for Public Health Research, AUT. Health and Mental Health Research, The research went beyond treating went beyond treating The research at whole and looked Asians as a gaining an in-depth of understanding communities four of the largest Asian fi The in Auckland. voice and an opportunity for both further, relationship to be developed and between and enhanced within communities to Asians and the wider which they belong. Goan As an East African I welcome this project New Zealander, and encourage other organisations to look at ways in which Asian communities contribute to New Zealand society and are, in turn, shaped by their contribution. New pathways New By Alistair Kwun As a New Zealand-born Chinese, I grew up alone in my skin and rst ections ections nement and nement ndings of the research; fi cant as the

validation of a research project. Minority researchers have asserted that the process of undertaking research is as signifi that the process of research validates for a fi what is found. Importantly, piece of research, the reference group was involved from the beginning of this project to the very end. There was also an acknowledgement of the multiple identities of all concerned and the dynamic nature of culture and creativity. Psychologist and writer Carol Gilligan and Psychologist to have a once asserted that in order necessary and relationship, a voice is in order to have a voice, a relationship is necessary. This project was a tremendous opportunity for members of Asian communities to be involved in the development, refi Reference group refl group Reference Multiple identities By Ruth DeSouza Looking to the future to Looking

Asian Aucklanders and the arts 48 Looking to the future 51 ne your target population and then design the marketing/ communication plan accordingly building process by working in partnership with the local ethnic community to deliver culturally programmes appropriate marketing involving communication strategy, community networks and eliminating language barriers funding application process with relevant policies and systems to support the process. to create a two-way capacity- to develop a cost-effective to provide a culturally friendly to defi to that eliminating the “middleman” the “middleman” that eliminating ) Ticketek e.g. ( booking system and of tickets would reduce the price to go. encourage more people artforms I believe the mainstream and must be more customer-focused result-orientated if they want to engagement increase Asian peoples’ are: with arts. My suggestions Over time, and with some proactive strategies by the three organisations leading this research, I believe that the Chinese community will engage more with New Zealand arts and cult ed some I’m delighted that ndings. Indeed, Contributing to society Contributing Chiu Fung By Kitty Shui and art appreciator As a researcher, leader, active Chinese community research I’m not surprised by the fi Council, City the Auckland and ASB Creative New Zealand have made this Community Trust research a reality. the Chinese As the research shows, community is made up of people who have very deep traditions and a through the culture that is expressed By immigrating, arts and daily living. they have limited contact with these secure traditional artforms. This research has identifi major challenges, issues and opportunities to increase the quantity and quality of Asian peoples’ me, three participation in arts. For important challenges are accessibility, affordability and communication. If more affordable local community venues were used instead of all the big stadiums with diffi expensive more Asians would go to arts parking, events. And in terms of cost, I think lms, Dr Sapna Samant is writer, radio producer radio producer Dr Sapna Samant is writer, Ltd. of Holy Cow Media and Company Director If the dominant Pākehā view of the Pākehā If the dominant actually had space history of Aotearoa the research for these migrant tales, felt the need to partners would not have participation address the lack of Asian arts. These in and attendance at the epic fi make and other stories would short stories, television series, theatre, sculptures, dance dramas, paintings, only if people poems, video art etc but of their culture. ownership take Migrant artforms do not have to imitate those from the motherland. New artforms, and hence new stories, inspiration from various can take sources and yet stay true to cultural that to happen, For complexities. there has to be a two-way process between communities producing their own artistes and funding bodies proactively creating an atmosphere conducive for practice. This research I hope it will lead to us paves the way. arts. seeing more Asians in Aotearoa Seeing ourselves in the arts in Seeing ourselves Samant By Dr Sapna is one of the The Indian community in oldest migrant communities that an Indian, New Zealand. It is said actually discovered the Black Peter, gold in Otago. bearded man Imagine: A tall, brown, landscape contemplates the winter under the near Dunedin. He shivers so far away from his clear blue sky, warm, native Goa. He misses the food, his mother and the priest at the church in the village but he is and for adventure resolute. He asked the cosmos brought him to Aotearoa. Or imagine, even before that, a young Bengali sailor jumps ship to be with his Māori girl. Neither the captain of the Supreme the ship nor her father, Chief who has promised to marry his daughter into a powerful iwi in the them apart. can keep Waikato, young Sikhs clear gorse Or, much later, and bush under the supervision of racist white masters because they need the not knowing that one day they money, a Gujarati are going to own this very land; man, inspired by Mahatma Gandhi, in Auckland. assists striking dock workers Melissa Lee is Producer, Melissa Lee is Producer, and Principal, TV One Asia Downunder, company production Asia Vision and how they view art. As a Korean view art. As a Korean and how they pleased that the I am New Zealander, artists, researchers included Korean break through to who are struggling to story. present their side of the in Auckland, The Asian population population, the diversity within this differences, the commonalities and arts, their views how they perceive the all in this report. on New Zealand … It’s initiative Although this is a fabulous and a groundbreaking start, it’s important to continue building on this research so that inclusive and fair policy and funding decisions are made. The reference group has been very vocal and articulate and I am very proud to have been a part of the group. now we will see changes in the Perhaps way art is communicated to our Asian communities and we may see more Asian Kiwis participating in the arts.

Associate Professor James H. Liu H. James Associate Professor for Applied Cross Centre is Deputy Director, School of Psychology, Cultural Research, University of Wellington. Victoria

Diversity has been a fashionable word have in recent years. Aucklanders always known their city to be so. of just how they have evidence Now, diverse it is. Government departments, funding bodies and local authorities must understand not only the make-up of their multi-ethnic population but when and why they also what, how, do what they do. Only with this information and understanding can relevant policies. they make I believe that this research gives us only a glimpse of our Asian population Relevant policies Relevant By Melissa Lee New Zealand to represent all its New Zealand this and take various communities, vision to the world.

Asian Aucklanders and the arts 50 Looking to the future 53 Jerry Yoshitomi is the grandson of Issei ( fi rst fi of Issei ( is the grandson Jerry Yoshitomi generation ) immigrants who came from Japan twentieth century. to the United States in the early and has worked University He attended Stanford rst He was the fi in arts management since 1974. American of the Japanese Executive Director in Los Angeles. Cultural and Community Center Jerry has worked with Over the past year, in Zealand and arts organisations New Creative New Zealand to help them build audiences and encourage arts participation. Using theUsing research This research will enhance Creative City Council New Zealand, Auckland and ASB Community Trust’s understanding of Asian peoples living region. It will in the Auckland inform their ongoing policy and implementation of strategic initiatives aimed at supporting these communities, delivering quality arts their and encouraging experiences participation in the arts. ndings ndings will escalated over the past 30 years. escalated over importance acknowledge the To Asian of these relatively new the initiative communities and to take a tribute to and do this research is funded the wisdom of those who to seeing I look forward the survey. the the results of this research, initiatives implementation of strategic Kiwis. and their impact on Asian the United Asian immigration to States has a history of about 130 years and we’ve not yet attempted research of this depth and impact. Thanks to this project, there now research, a report of the fi exists and some strategic activity that will be of value to Asian communities throughout New Zealand, as well as to New Zealand’s arts, cultural and community organisations. There are very strong parallels in this report with the needs and aspirations of communities of Asian ancestry in other parts of the world. I sincerely hope that the fi be distributed widely to cultural policy leaders in other countries with Asian immigrant populations. rst and ndings on each of the Asian direct support from those agencies from those agencies direct support in light of the growing – particularly Asian ancestry. percentage of people of but also very It’s remarkable, that a small country encouraging, has stepped the size of New Zealand cultural needs forward to survey the Asian ancestry; and desires of Kiwis of fi the different needs for and the second generation Asians; in Japanese, role that the arts play Chinese and Indian homes, Korean, relationships and communities. The fi communities provide depth and detail. All of this helps the research partners understand the policy and strategy implications of supporting these diverse cultural groups. and then linking Understanding, motivation to behaviour ) as research participation in the arts ( is something that we are methodology, just beginning to learn in the United States, and there’s been very little work done to research the art needs and aspirations of Asian Americans. My understanding is that Asian immigration to New Zealand has Kentaro Yamada is an artist. Yamada Kentaro around the world. I think this is around the time – and opportunity an exciting embrace our – for New Zealand to multiculturalism and creativity. An international perspective Yoshitomi By Jerry In 1993, I wrote an article looking to the future of people of Asian ancestry in the United States. Our task was to look forward to the year 2020 and imagine the conditions of Asian American arts at that time and to suggest methods to support and nurture that work. Although the intentions of several public arts agencies at various levels of government in the United States have been meritorious, there is still a lack of research, knowledge and uencing gure out if nitely shaped my creative mind. in different cultural centres such as cultural centres such in different and New York. Tokyo Asian As a typical 1.5 generation of my experience New Zealander, has growing up in New Zealand defi the time and New Zealand gives me creativity. space that is needed for what is As an artist, I look beyond me, For discussed in this research. are about most of these discoveries what is going on in people’s lives. I prefer to concentrate on what is beyond this research – how to make sense of it all as an artist. I believe New Zealand has huge potential to be creatively successful with different cultures infl each other. However, my focus is on However, each other. beyond different common experiences cultures. One of my favourite cities is in New York People City. New York don’t ask me where I am from. They’re over trying to fi I am Japanese or a New Zealander. Our world is getting smaller and smaller and people are moving from communicating country to country, to each other on a personal level

Kitty Shui Fung Chiu is Associate Director, Chiu is Associate Director, Kitty Shui Fung and for Asian Health Research Centre Evaluation, Social and Community Health, The University Health, School of Population of Auckland.

Embracing multiculturalism Embracing Yamada By Kentaro to thank of all, I would like First Creative New Zealand and its research partners for inviting me to be a part of this research. I Although I am based in Auckland, don’t consider myself as an artist from New Zealand or Japan. I was born in Japan, moved to New Zealand on my own 15 years ago. I have spent half of my life here in New Zealand and the other half in Japan. I have and lived also travelled extensively therefore contribute and integrate and integrate therefore contribute New Zealand society. better into and at When people feel comfortable and become ease, they perform better productive part of a creative and New Zealand society.

Asian Aucklanders and the arts 52 Looking to the future 55 ed the gaps rst thing organisations need “It’s more than just about “It’s more media. advertising right in the need to look actually Organisations and ask if they’re at their core inwards out to this market to reach ready practices.” current their and extend were born or have spent most of their have spent most of were born or Zealand and share many lives in New a target market. of the Kiwi values – as “This research has identifi between the Asian Auckland market market between the Asian Auckland organisations. and the practice of arts I think the fi they want to ask themselves is what of the to achieve with this segment from there. population and then work “The research is a good start in understanding how we behave as Asians and compares this with how arts organisations and groups are currently The big question we need to operating. address is how we bring together these it ultimately, two strands and whether, goals for this meets the organisation’s segment – be they monetary or social.” years, when fteen New Zealand. Their children, however, New children, however, Zealand. Their Zealand the New will experience we already education system where in have development programmes will be place. I think these programmes to develop Asian an important strategy audiences of the future. approach and “That’s a very long-term the results of we won’t necessarily see that work for ten to fi through.” the 1.5 generation comes Rachel Chin, who is a Malaysian in 2005 Chinese, came to Auckland and completed a bachelor of business joining ) degree before marketing ( Theatre Company in 2006. Auckland the transition was relatively her, For “I’m from an English-speaking easy. family and I have an aunt who has lived here for almost 20 years.” Back in Malaysia, she learned ballet and piano, and enjoyed going to plays, dance performances and musicals. Being involved in the arts in Auckland, to therefore, stems from her exposure the arts since she was young. Language, she says, can be an obvious barrier for many Asians but points to the 1.5 generation – those people who nd out out nd rst migrant generation weren’t led its audiences to fi “Having champions in the “Having to act as ambassadors communities another idea that could us is for need we It’s something well. work further and this research to explore valuable.” will be really who comes to its productions and who doesn’t. “Asian audiences are one of the gaps but we see them as potential a audiences,” Michael says. “From if we take demographic point of view, then the away language and ethnicity, Asian population tends to be close to terms audiences in our core Pākehā of education, house size, family size and household income – factors that indicators for attendance. are key as an adult is also very “Attendance much determined by past behaviour. If the fi theatre attenders in their home country, they’ll suddenly it’s highly unlikely want to start coming to theatre in decisions are driven by the creative driven by the creative decisions are on artistic merit. team and based Auckland Theatre Company has Theatre Auckland profi rst ndings couldn’t be t into the lifestyle of gure out how to t in with cultural practices. thing is that it helps us understand how the arts fi these communities. What comes the through strongly is that for many, arts are part of their daily lives. need to fi “We communicate the appeal of theatre in line with these values. It could be as simple as the words we use in our material, and choosing marketing venues and times of performances that fi as Or it might be as complex programming work with an Asian focus, collaborating with Asian companies and artists, or casting Asian performers. But these sorts of Auckland Theatre Company Theatre Company Auckland is a question the productions Michael company is exploring. and Sponsorship Marketing Adams, and Rachel Chin, Audience Manager, read this Development Co-ordinator, report and say its fi more timely for the company. in my “The draft report appeared day after we’d been having the inbox board about a big discussion with the how we could attract more Asian audiences,” Michael says. “The fi nd ways to help overcome this: fi producing other-language e.g. brochures or using community networks and ethnic media. venues ( e.g. markets, parks ) to parks markets, e.g. venues ( activity raise awareness of an arts of not and help remove a barrier knowing the rules. costs for families to attend arts events and increase opportunities to “test drive” an arts event. multi-language booking e.g. service ( line, overcoming the barrier of a ). booking fee participate by sending out participate personalised invitations. and develop different communities, or support cross-cultural events together. that bring communities and Be aware of language barriers using non-traditional Consider Implement initiatives to reduce Provide a more accessible booking to Encourage communities connections between Make Asian audiences and Theatre Auckland Company How best to reach Asian communities and encourage them to attend ndings, the following ce of Ethnic Affairs, Ministry Ministry ce of Ethnic Affairs, nd valuable information and

to communities. arts centres, consulates, e.g. ( Offi ) to develop arts Education of initiatives and/or build networks. schools, education centres and print, radio, community media ( ) to promote television and email lists arts performances and activities.

out Use community leaders to reach with other organisations Work Use word of mouth, local networks, Practical suggestions Practical Based on the fi suggestions could be developed into practical initiatives to build relationships with Asian peoples and overcome barriers to participation in and attendance of the arts. insights in this report. For arts For insights in this report. for example, organisations in Auckland, intelligence that market it provides key audiences will help them reach new Although and encourage participation. the research may focused on Auckland, wider arts sector. also prove useful to the Other local government bodies, Other local funders and the arts sector community may fi

Asian Aucklanders and the arts 54 Appendix 57 ce in Auckland in ce www.koreanembassy.org.nz www.koreatimes.co.nz www.nz.emb-japan.go.jp/auckland/ www.nz.emb-japan.go.jp/auckland/ www.gekkannz.net +64 4 473 9073 +64 9 379 0818 +64 9 379 3436 9 303 4106 +64 7773 366 +64 [email protected] [email protected] [email protected] [email protected] +64 366 7775 366 +64 Korean of Korea, Embassy of the Republic Wellington Tower ASB Bank 11, Level Street 2 Hunter Street Manners 11 143, PO Box Wellington T E W Offi Consulate 396 Queen Street 10th Floor, Street Wellesley 5744, PO Box Auckland T E Times Korea 9/30 1, Level Upper Queen Street Auckland Newton, T W Consulate-General of Japan, Consulate-General Auckland Centre ASB Bank 12, Level 135 Albert Street Auckland 3959, PO Box T E W Gekkan NZ magazine. Japanese-language Monthly Building Tasman Floor, Ground 16-22 Anzac Avenue Central Auckland T F E W www.nzindians.org.nz www.theglobalindian.co.nz www.nzjapan.net/auckland/ www.indiannewslink.co.nz +64 9 357 0665 +64 21 251 4924 +64 21 45 1423 9 533 6377 +64 +64 9 533 8010 +64 9 303 2286 [email protected] [email protected] [email protected] [email protected] New Zealand Indian Association ( Inc ) Inc Association ( Zealand Indian New Auckland, branches: it has three in 1926, Formed Wellington. ) and Taumarunui Section ( Country ) Inc Association ( Indian Auckland Auckland Symonds Street, 8110, PO Box T E W Global Indian website The Publications Pvt Ltd Angan Drive Woodbank 56 Auckland Glen Eden, T E W Japanese Society Zealand Japan New The of Auckland Auckland Epsom, 26 685, PO Box T E W Indian Newslink tabloid. fortnightly English-language Indiana Publications ) ( NZ Ltd Howick Ana Drive, 6 Santa Auckland Park, Highland 82 394, PO Box T T W Radio Tarana Zealand’s Indian community, at New Aimed primarily service on 1386AM. language a Hindi it provides Street 35–39 George 2, Level Kingsland Auckland Street, Wellesley 5956, PO Box T E ce, 23-35 Marion Street Marion 23-35 ce,

[email protected] www.skykiwi.com www.hwahsia.org.nz www.wtv.co.nz www.nzchinese.org.nz +64 9 276 4180 276 9 +64 2288 571 9 +64 +64 9 475 5913 +64 9 522 1840 522 9 +64 2288 309 9 +64 [email protected] [email protected] [email protected] +64 9 522 1842 E W Association Taiwanese Auckland Otahuhu, South Road, 193 Great T W WTV TV Ltd in association with SKY Network World throughout daily 24 hours Ltd broadcasts Television Zealand. New Wellington Mt Road, 124 Penrose Unit F, Auckland Penrose, 12 743, PO Box T E W Indian Association Auckland Marathi Centre Town Botany 64 369, PO Box Auckland 1730 East Tamaki, T E New Zealand Chinese Association Association Zealand Chinese New of the Banana Conference. Organisers Head Offi Wellington 6008, PO Box Auckland 484, PO Box Branch, Auckland President National Luey, Kai T F E W Skykiwi.com dedicated Chinese website Zealand’s only New users. than 120,000 registered with more Director Creative Liu, Kylie 228 Queen Street 3, Level Auckland Street, Wellesley 5699, PO Box T ect the region’s diversity. diversity. ect the region’s

+64 9 525 1588 www.radiochinese.co.nz www.chinaembassy.org.nz www.tritv.co.nz www.maa.net.nz www.chinaconsulate.org.nz +64 9 537 4990 +64 4 472 1382 9 376 5030 +64 +64 9 525 1589 [email protected] [email protected] [email protected] [email protected] +64 4 499 0419 +64 9 525 0733 T E W Chinese Embassy 2-6 Street Glenmore Kelburn Wellington Karori, 17 257, PO Box T F W T E W The Association Music ) of Auckland MAA ( to as a bridge established to use music MAA was promote and among members communication facilitate ethnic origins. with people of different friendship Newmarket, 113 092, Auckland PO Box E W Chinese Chinese Consulate South Road 588 Great Greenlane Auckland Greenlane, 17 123, PO Box T T F E W Chinese Radio Home Centre Highland Unit B, Auckland Road, 491 Pakuranga Triangle TV Triangle it includes service, television regional Auckland’s to refl ethnic programming Crescent 28 Surrey Lynn Grey Lynn, Grey Auckland 78 034, PO Box ce for the Community and Voluntary Sector Voluntary and the Community ce for ce for Community and Voluntary Voluntary and Community for ce ce Auckland of Ethnic Affairs, +64 4 470 6584 +64 9 366 1470 www.ocvs.govt.nz www.ethnicaffairs.govt.nz www.beehive.govt.nz www.bananaworks.co.nz +64 9 360 0803 +64 4 918 9555 7968 +64 9 362 +64 4 471 1168 [email protected] [email protected] [email protected] +64 9 360 0477 +64 4 913 3080 T F The Offi the between relationships co-operative to inspire exists sector. and voluntary and the community government Building Charles Fergusson Block, West 2, Level Wellington 1556, PO Box Street, Bowen T F E W Asia Downunder Asia about TV One programme is a Asia Downunder and Asians in New Zealand. Road 4 Newton Auckland Newton, 68 835, PO Box AA Centre, 99 Albert Street, Department Albert Street, 99 AA Centre, Auckland 2220, PO Box Affairs, of Internal T E W Community Minister for Sector and Voluntary Laban Winnie Hon Luamanuvao Wellington 18 888, PO Box Parliament, Post Free T E W Offi mō Sector Tari te Rāngai ā-Hapori, ā-Tūao Bananaworks Communications Limited Communications Bananaworks Grafton Street, Arawa 3, Level 6 Auckland Street, Symonds 8951, PO Box T T W Offi Level 4, 35-37 Victoria Street Victoria 35-37 4, Level Wellington Street, Manners 24 534, PO Box

www.aen.org.nz www.asiannetwork.org.nz www.asianz.org.nz +64 27 233 8680

+64 9 815 7851 +64 9 529 2760 +64 4 471 2320 [email protected] [email protected] +64 9 815 7852 +64 9 524 9320 7-A, Business Centre, Wagener Place Wagener Business Centre, 7-A, Sandringham Auckland Mount Roskill, 27 550, PO Box T F E W 19 Avice 19 Avice Street, Remuera, Auckland 1050 T F M E ) TANI ( Incorporated Asia Network T W Limited Communications Alistair Kwun arts marketing and youth relations, Cross-cultural and public relations. AEN Aotearoa AEN Aotearoa Ethnic Network in connects ethnic communities and AEN promotes to AEN email list is free The Zealand. New Aotearoa than 330 people. with more join and connects you W Zealand Foundation Asia New 36 Customhouse Quay 7, Level Wellington 10 144, PO Box The following list may be a useful starting list may following The wishing artists and artspoint for organisations Asian communities. with to communicate General Appendix organisations, Useful networks and media

Asian Aucklanders and the arts 56 in step 3. ap created ap at a point one-third the length ap at a point one-third ap. ap. nished kiwi! nished ap is created. Line XY should intersect the should intersect Line XY created. ap is

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Asian Aucklanders and the arts 58 Edited by Iona McNaughton Designed by 4i’s Communications Ltd Printed by McCollams

May 2007, 3,000 copies ISBN 978-0-478-18556-0