Proudly Asian Theatre, Black Creatives Aotearoa & Alif Theatre launch groundbreaking producer's training programme

Proudly Asian Theatre, Black Creatives Aotearoa & Alif Theatre launch groundbreaking producer's training programme

Aspiring producers get a leg up in a brand new initiative looking to fill the void of POC producers. PAT Producer John Rata reflects on Producer’s in Training’s recent launch.

Aotearoa's cultural arts landscape is undergoing a remarkable transformation, with a surge of works created and led by people of color from diverse minority communities. These productions are now gracing the stages and platforms of the mainstream, where they might not have even just ten years ago.

Yet, emerging artists from these communities face significant challenges, as they lack a robust support network of producers to bring their visionary projects to life. These passionate artists, often the driving force behind their creations, find themselves burdened with the additional responsibilities of production and management. Balancing their artistic endeavors with the demands of these administrative tasks leads our minority creatives struggling to keep their passion aflame amidst late nights and mounting stress. Frequently, they are forced to acquire producing skills out of necessity, without guidance on where to start or how to navigate predominantly white systems.

“Many of our producers are writers, actors or directors who once upon a time couldn’t find a producer and out of sheer will and necessity has had to become one themselves. What about our culturally sensitive projects? There are barely any producers around, let alone having the luxury of creating mahi with a BIPOC producer.”

- Marianne Infante, PAT Creative Producer

In response to this pressing need, Proudly Asian Theatre, Black Creatives Aotearoa, and Alif Theatre have come together to establish the Producer's In Training programme. This initiative aims to empower new and aspiring producers from our vibrant Asian, Black, and Middle Eastern communities in Tāmaki Makaurau, Te Whanganui-a-Tara, and Ōtautahi to create their artistic visions and find their individual process of leadership.

The programme is also a chance for the three partner companies to teach from the perspective of POC producers who are looking to build a new, holistic frame around what producing is and can be.

“Representation matters, especially in the creative world. Producers are integral to bringing visions to life. Having fellow BIPOC producers teaching this process allows for emerging producers to be seen, heard and understood without the additional cognitive load of explaining their experiences. The Producers in Training initiative creates a safe space that accounts for unique cultural understandings and worldviews often overlooked.”

- Daisy Remington , BCA Producer.

Taught by notable local producers, the course is designed with 8 core classes that cover the beginning to end phases of producing a project - from identifying your personal and professional kaupapa, to the nitty and gritty like handling budgets, contracts, marketing and more.

The program not only upskills technical knowledge but leads to a paid internship placements in upcoming theatre productions slated for early 2024, giving successful applicants the opportunity to collaborate and be involved with established theatre and arts companies. Prior experience in the arts is not a prerequisite; all that's needed is a motivation to create.

This initiative is of importance now more than ever; stories from diverse groups of people are emerging across Aotearoa, more rapidly than we’ve ever seen before. Aotearoa is becoming a field of blooming young POC storytellers.”

- Tristan Valencia, Asian Waves Producer & Co-founder

Together, PAT, BCA & Alif Theatre are fostering a more diverse and inclusive arts ecosystem, nurturing the next generation of visionary producers and creators who will illuminate our stages and captivate audiences with their authentic storytelling - safeguarding the future of Aotearoa’s diverse artistic landscape

“We truly do want to contribute to the arts landscape, though inclusivity is key and so is the freedom to express our stories. The barriers we have been facing have halted the authenticity and beautiful diversity of our stories for far too long. I simply would like to see this changed, as does my community, from the everyday tales of the mundane to the bigger-scale odysseys.”

- Ahmed Youssef, Actor & PIT Community Outreach Co-Ordinator

Are you an aspiring producer of Asian, Black or Middle Eastern Heritage? Check out more information on the programme here, which also contains the programme application form.

The launch of Producers In Training has been made possible by the support of the Ministry for Culture and Heritage's Cultural Regeneration fund.

Fresh off the Page returns with simmering drama Paralúman

Alyssa Pua design, John Rata photography

January was a highlight already for PAT with the return of beloved play reading series Fresh off the Page at Basement Theatre. Delivered under the Red alert to an intimate audience, Paralúman by Alyssa Medel spotlights the breadth of story our Asian diaspora carry, and is an exciting example of what Fresh off the Page is all about.

Event images: John Rata photography

How well do you know your ancestors' sacrifice...and the consequences you've inherited?

A risk-taking political family drama, Medel explores the intertwining worlds of family, generational trauma and the ebbs and flows of revolution in her debut play.

Paralúman is an intimate family drama that follows three generations of strong Filipina women - each made to carry the consequences of their predecessor’s actions in a society forging its political identity at a critical point.

Alma is a librarian entangled in a love affair that’s put at risk by her involvement in the resistance. Clara is hailed as the typical “Maria Clara” of her small village but is caught between family obedience and her sense of justice.

And in the present day, Aya is moving back to the Philippines to pursue her postgraduate studies at a local university - much to her Lola’s dismay. But the tragic secret that is being hidden from her is waiting to crumble everything upon her return.

Paralúman reflects the way of working new to all of us in theatres across the world - highly adaptive, and fraught with decision making pertaining to safety of audience and artists, vs the wellbeing of our artists on emotional, career and financial levels. Each decision we make is in tandem with our artists and it is ultimately their final call as to how their work is delivered under rapid changes.

Paralúman was one such event that was postponed multiple times in 2021, and Alyssa made the decision to go ahead with an audience of 25, reflecting that it was nonetheless an exciting, inspiring event that allowed the space and time with the work as it should be explored - live, with others. We are thrilled to have delivered this work, and are excited for its future - and potential future readings with our trademark full house.

Stay tuned for more Fresh off the Page this year!

Read by:

Charisse Uy

Marwin Maui Silerio

Donna Dacuno

Ariadne Baltazar

Mark Luna Querubin

Director: Mia Maramara

Special thanks to Dramaturg Ahi Karunaharan

Hosting by Marianne Infante

Photography by John Rata Photography

Fresh off the Page is proudly supported by Basement Theatre, Foundation North, Playmarket New Zealand, He Waka Eke Noa Charitable Trust and Creative Communities Auckland

Re-Fresh Development kicks off after Covid hiatus

After Covid setbacks, ReFresh Development is hitting the stage!

Re-Fresh Developments is a development initiative focused on readying works for future programming with writers chosen from PAT’s previous Fresh off the Page cohorts. The showcase culminates 3 days of physical workshops and months of writing development and research.

Nathan Joe’s ‘Losing Face’, John Rata’s ‘Sweet, Sour & Salty’ and Natasha Lay’s ‘How To Be A Great White Man’ hit the floor for development this week. Though Red Light restrictions mean we cannot share the works with a wider audience, a showcase at Herald Theatre will ensure the works are seen by industry professionals, programmers and most importantly, that the writers get a chance to flex their works on the floor and test ideas.

Check out the online developments for a taste of the plays here !

Congratulations - Fresh off the Page play by Ji Lian Kwan wins Asian Ink!

Photo: John Rata

Photo: John Rata

Heart-wrenching, clever and funny, family drama How To Throw A Chinese Funeral by Ji Lian (Jill) Kwan has won this year's Asian Ink, Playmarket’s script writing competition, where the winners undergo further workshop development.

Photo: John Rata

Photo: John Rata

Jill acknowledged the two year anniversary of her Grandmother’s passing, and the one year anniversary of the live playreading with PAT in receiving the prestigious award.

“I wanted to take this opportunity to acknowledge Renee Liang, Ahi Karunaharan and PAT - Proudly Asian Theatre for their generosity, invaluable advice, and time (including one emergency charger delivery on the due date) - without which I literally would not have been able to do this.” - Ji Lian (Jill) Kwan

Fresh off the Page, the playreading initiative that helped How To Throw A Chinese Funeral develop, was set to re-launch late in 2021 before the Delta variant put Auckland into lockdown. PAT hopes to continue developing new works through this platform and has plans to deliver the rest of the programme if restrictions lift in 2021.

Congratulations Jill, from the team at PAT!


History making short film Mekeni launches in lockdown

Mekeni is a beautiful and touching short that explores a father-daughter relationship in Kapampangan-Filipino and English, launching under level 4 lockdown in Auckland over zoom last night.

Written by and starring Marianne Infante and directed by Alyssa Medel-Khew, PAT trailblazers, Mekeni is unique in its capturing of Kapampangan language.

Made as part of the The Outlook For Someday for Someday Stories, a competitive filmmaking initiative for sustainable stories, this will be Alyssa’s second directing credit for 2021, and Marianne’s first writing credit for screen.

Celebrating the nuances of immigrant parent/child relationships in the aftermath of the death of the family matriarch, Mekeni has caught international attention from the Phillipines as the first of its kind to be made in New Zealand.

WATCH MEKENI HERE!

Image: Jinki Cambronero

Image: Jinki Cambronero

SCOOP says:

“Kapampangan, an Austronesian language and one of the eight major languages in the Philippines, is a language and culture that is facing imminent extinction. This drove writer and producer, Marianne Infante (SHORTLAND STREET, PINAY) to create MEKENI to celebrate and preserve her culture.


“For me true love exists in the way my parents sing karaoke love songs and duets together every Sunday, how they spontaneously dance together in the living room, and how they rely on each other in their day to day routine and rituals as migrant parents in a country that is foreign to them” - Marianne Infante.

Image: Jinki Cambronero

Image: Jinki Cambronero

eight_col_Someday_Stories_5_-_Mekeni_BTS_1.jpg

Credits
Cast: Allan Murrilo, Márianne Infante
Director: Alyssa Medel-Khew
Co-Producer & Writer: Márianne Infante
Producer: Todd Waters
Script Consultant: Lynda Chanwai-Earle
Production Mentor: Shuchi Kothari

Made with the support of NZ On Air, Te Māngai Pāho and the New Zealand Film Commission

Credit: Jinki Cambronero

Credit: Jinki Cambronero