TBI Q&A: Emma Giesen

After a rollercoaster ride in recent years, the long-running NZ Fringe Festival in Wellington is on an ‘upward trajectory’, under the umbrella of newly formed Creative Capital Arts Trust.

CCAT manager Emma Giesen talks about why the Fringe open platform is important as a catalyst for the arts sector. “There will always be artists out there wanting to experiment and give new work a go - it is their festival not ours.” 

The NZ Fringe Festival is on until 3 March - celebrating weird and wonderful expressions of art with 60 visual, music, dance, comedy and theatre shows in 30 sites around Wellington featuring hundreds of participants!

* * *

During what hours of the day do you feel most inspired?

The ones in which the sun is shining.

How would a good friend describe your aesthetic or style?

Colourful.

What aspect of your creative practice gives you the biggest thrill?

Seeing ideas come to fruition and people getting enjoyment from the results.

How does your environment affect your work?

Hugely. I’m very affected by place in all aspects of my life. That might explain my passion for living and travelling in different countries.

Do you like to look at the big picture or focus on the details?

Definitely big picture – I’m rather casual about details which can lead to trouble…

What's your number one business tip for surviving (and thriving) in the creative industries?

I’ll let you know when I have survived – the jury is still out!

Which of your projects to date has given you the most satisfaction?

This one – seeing great talent and full houses at Fringe shows.

Who or what has inspired you recently?

Adam Page for his smile and hugs and amazing talent. And the poetry readers at the National Library Fringe show at Meow last night – reminding me to stop and soak in the world.

Tell us a bit about your background

I have a Masters degree in Development Studies and have worked for development and environmental organisations in both Laos and Peru – were I lived most recently for 3 years. I’ve also worked in events – organising the EcoDay festival in Auckland and with my mum Liffy Roberts and her partner Roger King on WOMAD and Taranaki Arts Festival.

Tell us a bit about your role at Creative Capital Arts Trust and NZ Fringe Festival (and how you became involved)

I am the Establishment Manager for the CCAT – employed to set it up, get Fringe 2012 on the go, and make plans to get the Cuba St Carnival happening. I actually came to the role via a job I applied for at Council – my CV got circulated and one of the CCAT trustees spotted it and gave me a call. They were looking for someone with a fresh perspective and the right skills – and here I am!

What combination of people and resources is required to put it on?

Fringe can be run using as many or as few resources as are available. There will always be artists out there wanting to experiment and give new work a go – it is their festival not ours. Fringe is a platform for them and we do what we can to add value with a marketing campaign, building on the “buzz” of Fringe to pull in audiences, and by supporting the artists with some funding, workshops and networking opportunities.

For Fringe 2012 we have a small team of myself, Hannah Clarke in charge of looking after the Fringe artists, and Brianna Kerr as publicist, along with two fantastic interns Joshua Stewart and Christie Mayberry, and a team of volunteers. Hopefully there will be more of us with more funding next time but I’m really proud of what we have achieved with so little.

The Fringe went through a bit of a rough patch last year. Can you tell us a bit about why this happened, how its future was secured and what changes were made?

Really the bottom fell out of the funding – especially from the community and gaming trusts. Wellington City Council funding has sustained Fringe and the Fringe board had to scale things right back to a minimum just to keep it going – eg taking out the Fringe awards which actually take a lot of resources to make happen. All festivals go through highs and lows, and our mission is to start Fringe back on an upward trajectory. Hopefully we’ve done that with Fringe 2012 – we’ll look forward to everyone's feedback.

Why are fringe festivals important for NZ and Wellington?

Fringe creates a platform for emerging artists, and gives them a chance to take the plunge and try something out under the supportive umbrella of the festival. There are no rules – you don’t have to be “selected” or meet anyone's criteria and that is an amazing opportunity to really push the envelope. It's an open platform, and is hugely important as a catalyst for the arts sector in Wellington and New Zealand.

What are some of your personal highlights of this year’s festival?

I can’t pick favourites – I’m really looking forward to all of them. There is so much variation it is really hard to compare – the whole package is what makes it such a great festival. How is that for diplomatic!

If you could go back and choose a completely different career path to the one you've chosen, what would it be?

Not applicable. I have chosen everything I’ve done and have always done what I’m passionate about so couldn’t really ask for anything more. Although every time I watch great live music I fantasize about being up on stage in that zone!

What place is always with you, wherever you go?

Matapouri in Northland, Lima Peru, Laos, India, Africa – really all the places I’ve ever been if I think about it!

What’s your big idea for 2012?

Cuba St Carnival happening. And LOTS of ideas for Fringe.