Harp Fest NZ 2023,
3-6 February 2023
Artistic Director’s Report
Anna Dunwoodie
Little did we think when the first talk of Harp Fest NZ happened in March 2009, around a table at a Harp Retreat in Waipu, that 14 years later we would have successfully run an event that had the harp world talking.
HFNZ23 was the result of 100 Harps, a showcase of the Auckland harp scene which I ran in July 2018 and included 15 harp businesses – harp teachers, makers, retailer, therapists – a performance stage (6 x 30 minute performances) and a ‘harp petting zoo’ for people to try a harp. I distributed 4500 flyers around the central Auckland schools and had newspaper and social media advertising campaign. Aside from charging $50 per stall for the businesses, I covered all other expenses personally. Across the 4.5 hours the doors were open (free entry), we had 350 people through to find out more about harps, and I decided the time was ripe for holding a fully-fledged harp festival.
Planning for HFNZ23 began seriously in 2019, with June 2021 being our target date to hold the event. World events seemingly transpired against us with COVID 19 locking us up at home for months on end, but on the positive side, creatives around the world made the most of this challenging time, with new connections and collaborative projects popping up all over the globe. New Zealand, God’s own country, was a beacon of hope for many people. The positive result for us here in NZ, was that so many of the artists who eventually made it to Harp Fest NZ 2023, did so because they were following a strong desire to get away from their own countries to a place where it seemed we treated each other with kindness and respect in really tough times.
Harps Aotearoa Foundation, as a charitable trust, was formed in May 2022 to give the trustees and the event a status that would, in the future, give security to the whole concept in a way that the committee of Harp Fest NZ could not do. In retrospect, things may have been easier if the Trust had been formed several years earlier, with all official documents (bank accounts and such) in the Trust name and with a track record of our events and activities as evidence of our community engagement. To be organising a major event and trying to formalise all aspects of the Trust, while trying to apply for funding and support, was, in reality, a significant challenge. It did, however, arm our team with a ‘steely determination’ to get the job done, and with the necessary experience to tackle any new challenges and meet them head on.
In a short time we achieved the status as the leading harp organisation in New Zealand, a view acknowledged and endorsed by the rest of the world’s harp communities. We have become recognised internationally for good leadership and teamwork, sharp organisation, clever innovation, as well as our policies of deliberate and absolute inclusivity.
We have the honour of having representation on the board of the International Society for Folk Harpers and Craftsmen (USA) and the World Harp Congress.
Personally, I am grateful for the dedication and experience that the Harps Aotearoa Foundation Trustees bring to this organisation. Bronwyn McConchie, Derek Neutze and Raewynn Robertson are great supporters of the NZ harp scene and go above and beyond to ensure accessibility to the harp in NZ and to the rest of the harp world for NZ. Also a huge vote of thanks needs to go out to the Harp Fest NZ committee members and volunteers without whom this event would not have been able to happen.
2022 was a huge year with Bronwyn, Raewynn and myself spending many, many hours and weekends together planning, from scratch, an event that I had dreamed about for years. I am eternally grateful to these two amazing people, for not only the hours of work and energy they put in to this project, but also for their tolerance and open mindedness when it came to working with so much information that needed to get out of my head, onto paper, into policies and then into reality.
Bronwyn and Raewynn both have real strengths in seeing a project through. From the pencil sketches on a page, to an end result that not only fulfilled my dream, but also opened a lot of doors, and made dreams come true for other harpists both local and international. I am truly grateful for the work they have done – I’m sure they were completely unaware of how much of their time this would consume and I hope it hasn’t put them off doing it again......
Thankfully I can say that this experience has built strong friendships and an ongoing commitment from all of us to build on those friendships, and to deliver the best we can possibly do. It’s a program that will be delivered with pride and passion, now and for future generations of ‘Kiwi Harpers’.
In our preparation for HFNZ23 we drew on our international harp friendships as a way to both raise awareness of the event, and to raise some funds. By the middle of 2022 we had compiled a fundraising book called ‘Aotearoa Summer Collection’ which was a collaborative effort featuring 24 pieces of music, on loan to us, from 11 harp composers, and Harp Fest guests from around the world. Also featured were two arrangements of NZ well known songs, “Pokarekare Ana” and “The Wellerman” which I had arranged and contributed to ensure there was a New Zealand representation. Aside from that there were compositions from Italy, Wales, Scotland, England, Ireland, America, Canada and Singapore. A truly generous act of kindness from our harp friends. The book sold more than 50 copies. These were mostly to people who knew they would be unable to attend in person, but wished to have a souvenir and to show their support for the event. Due to the nature of using the intellectual property of other composers, the sale of the book was tightly wrapped up in an agreement that sales would be limited to the 6 months around the event, and then handed back to the composers after this time. We are very grateful to the generosity of the composers for the use of their music, and the funds were used to sponsor HFNZ23 workshops.
Our connections with the international harp world were strong from the start, and our Harps Aotearoa Foundation monthly (and later bi monthly) newsletters, ensured that our 400+ subscribers were regularly updated with our plans, and they were excited by this. The feedback from our newsletters is always positive, and according to our provider, Mailchimp, our uptake (the reader interaction) is above average. Our website eventually (after a bumpy start) became a solid hub for potential attendees to gather information.
As a warm up to HFNZ23, Harps Aotearoa Foundation used the Zoom Room Harp Chat space I had created in 2020, to connect internationally recognised harpists in a space to talk about their music journeys and pedagogical ideas with harp students and enthusiasts. Through these chats we immediately broke down possible barriers between ‘big names’ and the rest of us. When it came to the in-person atmosphere at Harp Fest NZ23, the resounding comment from all parts of the harp community was that it was like being part of a big family. This is an all-inclusive community – the person who collected the international guests from the airport and dropped them to their accommodation, was the same person who introduced them at the welcome concert, or put a bandaid on the finger of a young harpist between workshops.
Our small, dedicated team of Harps Aotearoa Trustees and HFNZ23 committee called on friends and family to help us out in the days leading up to HFNZ23 and over the weekend, and they were there to pick up the pieces as our houses flooded, and roads and schools closed during the two wild weather events which HFNZ23 was neatly tucked in between. More about our fabulous volunteers later.
Our Harp Fest NZ Engagement:
HFNZ23 brought together more than 150 harpists and music lovers from NZ and abroad.
HFNZ23 was enthusiastically attended by 11 (out of 12) international headline guests, with Irish harper, Mary O’Neill being unable to complete the journey to NZ after her flight from Hawaii to Auckland was cancelled due to the Auckland storms.
Our guests and some of their special skills:
Adriano Sangineto (Italy) traditional European music and dance, harp amplification, harp and voice, lever harp and composition
Amanda Whiting (Wales) jazz harp, improvisation, composition
Elizabeth Volpe Bligh (Canada) orchestral harpist, harp professor/pedagogy focus, classical and contemporary music, composition, lever and pedal harp, masterclass teacher
Esther Swift (Scotland) harp and voice, traditional Scottish music, lever and pedal harp, composition
Felice Pomeranz (USA) harp professor at Berklee/pedagogy focus, jazz harp, improvisation, pedal and lever harp, composition
Josh Layne (Canada) YouTube star ‘Harp Tuesday’, pedal and lever harp, composition, classical and contemporary music
Katryna Tan (Singapore) pedagogy focus, creative harp projects, lever and pedal harp, composition, classical and contemporary music, masterclass teacher
Oscar Rodriguez do Campo (Argentina) harp professor/pedagogy and technical focus, Harp Competition adjudicator
These amazing people injected such enthusiasm and diversity into our programme and this was complimented by workshops and presentations by:
Jakez Francois (France) Principal sponsor and presenter ‘The French Harp Through the Ages’
Andy Rigby (Australia) Latino music specialist, concert performer
Carolyn Mills (NZ) The Science and Mystery of the Harp
Adele Coles (NZ) English Tunes on the Harp
Helen Morrison (Australia) Harp Therapy specialist
Robyn Allen Gouge (NZ) The Harp in Worship
Kim Webby (NZ) Harp Technician, vendor and principal sponsor
Diana Devitt Dawson (Australia) Alexander Technique specialist
Moira Pagan (Australia) Harp Art, graphic artist
Wayne Birchall (Australia) Graphic designer
Christine Morphett (Australia) Life and Times of Turlough O’Carolan, concert performer
Helen Webby (NZ) Pedal harp demonstration, concert performer with Nikau Harp Trio
Judith West (NZ) Seated Pilates for Beginners
Karen Plimmer (NZ) Let’s Work and Play Together – working with students with disabilities and special needs
Christine Middleton (Australia) Therapeutic Harp specialist
Ingrid Bauer (NZ) Masterclass teacher, concert performer, Harp Competition MC
Suneetha Carter (Australia) Masterclass teacher and vendor (Carter Harps Australia)
Anna Christensen (NZ) Masterclass teacher, Harp Competition adjudicator
David Chisholm (NZ) Head of Music, School of Music Auckland University, Harp Competition adjudicator
Lin Zheng and Boya Guzheng (NZ) concert performers & presentation ‘The History of the Chinese Guzheng”
Michelle Velvin (NZ) concert performer, and Harp Competition host
Aleesha Kiing, Jessica MacBrayne, Luka Manley, Mandipa Mhuka, Seina Murikami (NZ) Student performers
Elsa Klein (NZ) Harp Competition 2023 winner
Lyon and Healy/Salvi Harps Principal Sponsor
The Harp Society of New Zealand sponsor of the Harp Fest Harp Competition, and NZ concert
Lewis Eady Showroom allowed the use of the venue for the Harp Fest Harp Competition
Auckland City Council provided funding for venue, security and insurance
Perpetual Guardian and Margaret Neutze Legacy Fund provided funding for the children’s programme
KBB Music and Rockshop (NZ) vendor
Oceania Harp Studio (NZ) vendor
Sigma Harps (NZ) vendor
Harpitree (NZ) vendor
HF NZ23 took place at Dilworth School, Newmarket, and the diverse programme of concerts, masterclasses, talks, workshops and presentations happened across half the campus in the Performing Arts department (2 classrooms and the auditorium), the chapel, the common room of the boarding house (2 spaces) the foyer and school hall (this was the marketplace) with 4 sessions and 2 concerts a day – sometimes there were up to 5 workshops or presentations running concurrently. We were exceptionally lucky to have the skills and expertise of so many highly regarded harp professionals, making it possible to offer workshops at the beginner/ intermediate/advanced level, in lever and pedal harp at each of the ‘hands on’ harps sessions.
Two very special presentations were available to all harpists – “Seated Pilates for Musicians” was very popular, focusing on looking after our bodies, and presented by a trained pilates teacher, and ‘Let’s Work and Play Together’ presented by Karen Plimmer who is a blind musician but specialises in making technology accessible to visually impaired people. This workshop focused on working with students with disabilities and special needs.
From very early in the timeline we had decided we wanted to give a special priority to our young harpers by ensuring they were taught by the top teachers. We were able to do this thanks to a grant from the Margaret Neutze Legacy Fund managed by Perpetual Guardian. The Forest of Harps programme was designed for harpers under 15 years (or older harpers by discretion) and up to grade 5 in standard. This meant that we could create a safe space where parents could leave their child with police vetted supervisors, in both cases, they were trained nurses and leave their harping children to engage fully in the activities. Special classes were developed such as the Harp Art classes run each day after lunch, and the programme was closed with a certificate awarding ceremony, presented by the late Margaret’s husband Derek, and also attended by Margaret’s wee lever harp which had been purchased by Margaret in London in 1965.
Another special and unique part of our programme was a three day course taught by Professor Oscar Rodriguez do Campo, which was very specifically focussed on the development of good harp technique from beginner to advance. This was a comprehensive course called ‘Scales and Relaxation Technique for Healthy Playing and Sound Quality Improvement’. Harpists who attended this course were very impressed with their personal outcomes from Oscar’s teachings. One harp student, who didn’t have her harp at HF NZ23 noted that Oscar’s workshop was incredible to attend even as an observer, and she had learnt a huge amount.
Volunteers
We could not have done this without the huge input from our volunteers across the weekend, and a few days before and after the event. While these people didn’t pay to attend HFNZ23, we didn’t have any funds remaining to pay any of the volunteers, at any level. Our volunteers were quick thinking and engaged in making this an amazing event, going above and beyond, even when we were all just about asleep on our feet.
Some of the jobs the volunteers did:
Workshop and session hosts, concert usher, food prep in the staff room for committee, volunteers and guests, the lunch run for attendees, set up and pack down in all areas, tuning harps, moving harps, onsite nurse, Harp Fest Hub sales desk, technical help, mopping up flooded school studios, finances, art work and graphic design, venue managers, harp technician, registration desk, photographers, proofreaders, child minding, venue liaison, harp luggers... the list goes on.
Our guests and attendees repeatedly commented on how generous and kind our volunteers were, and how they were ready to help out with any request. This event would not have been possible without the huge number of volunteer hours and we couldn’t ever have guessed how much volunteer energy this would have taken before we started!
Successes
#1 Personally, I think that the engagement and relationships formed at every step along the way have been a huge success we can attribute to HFNZ23. As mentioned in other areas of this report, it was commented on at all levels that the sense of community was welcoming and heartfelt. Our student harpists, regardless of age and stage felt confident and comfortable that our guests were approachable and willing to help them at their level. This is now a benchmark for future professionals we engage to share with the harp community.
#2 Inclusivity. I believe we had every aspect available from accessible concerts for weekend attendees and members of the public to attend, and a harp petting zoo and the marketplace available afterwards for members of the public to find out more about harps. This was not age or ability exclusive. There was something for everyone.
#3 Our representation of the New Zealand harpist/musician, teachers and harpmakers and of NZ compositions at HFNZ23 was really strong. Aside from our invited international guests, 18 out of 27 of the presenters and performers were from all around NZ from Northland to Christchurch.
The Harp Competition featured grade seven level music and the entrants were asked to present one piece from a set list of three NZ compositions, and one of their own choice. The competition was only open to NZ residents and the winner, Elsa Klein played both pieces at the final concert. The final concert was presented by NZ harpists only with Michelle Velvin playing a programme NZ compositions including three of her own pieces, and one each by James Middleton and Kenneth Young. The evening performance by Nikau Harp Trio two of the five pieces performed were by NZ composers, Mark Smythe and Cathie Irons. The opening music presented by young students of NZ teachers featured Aleesha Kiing playing one of my compositions ‘Twinkling Lights’. While it wasn’t expected that the international guests would be performing NZ music, it was fantastic that so many of our NZ performers chose to play some NZ music.
#4 The Harp Fest Hub and Marketplace – this was our front facing hub for all questions, queries, artist related purchases, ticket bookings and friendly faces who were happy just to chat. On the sales tables, the artists CDs and books were displayed as well as crafts by NZ crafts people including HFNZ23 logo’d ceramic items, glass harps, NZ fingerless mittens and our own unique cross stitch pack featuring our Harp Fest logo. It was a colourful and interesting place to spend time between sessions or after a visit to the Marketplace.
The Marketplace itself was often buzzing with activity – at one point there was a tune session happening between Carolyn Mills (NZSO) and Andy Rigby (Australia), playing a couple of tunes they knew in common, and at another time, all the attending harp makers gathered for a photo together as until that time there had never been an event that had them gathered together.
A personal favourite MP place story of mine related to Carter Harps. Suneetha was keen to be at Harp Fest from the early days, but it was going to be impossible for her to bring sheet music with her to sell in the MP. So we came up with a plan to find as much of the music from her sheet music catalogue, and together, with Bronwyn and Harrison and I, we collated over 200 pieces of music (which we indexed and labelled) and created a viewing library so harpists could view what Suneetha stocked, make an order, and Suneetha shipped their music to them when she returned to Australia.
#5 The Forest of Harps programme for young harpists. This was a success due to a keen and fun loving group of young harpists aged 8-15 years. They were open to all kinds of learning, and every young harpist enjoyed the unique programme. They went away with a prepared ‘Forest of Harps Adventurer’s Handbook’ which contained background information on the teachers, the music, harp related activities and copies of music they had learnt over the weekend.
#6 Our zero waste policy. The venue, Dilworth School is very well set up with clear signage around disposing waste, and our attendees were easily able to comply with these standards. In our preparations we made handouts for workshops available in digital formats in advance of HFNZ23, relying on the attendees to access them via a device or print them out themselves. As a result, there was not a scrap of paper left at the venue, there were no excess photocopies (common at music gatherings) and everyone took responsibility for their own music.
Challenges
#1 Having spare harps available in NZ is tricky – I know at Edinburgh Harp Fest, they can call in a spare harp army of 40 or 50 harps without much effort, but even to get a dozen lever harps was hard work. We need to be prepared to ask about people loaning us their spare harps much earlier next time around.
Spare pedal harps... it’s like asking someone if you can borrow their spare BMW... pedal harps are rare and it’s difficult for travelling harpists to bring their own, which limits how they can be involved in the event.
#2 Harp storage – this was an untidy area of the common room. We need a better system for people’s harps and belongings so it is tidy, and safe to move around in whilst lugging a harp. Many people attending will be bringing a harp so we may need to consider other options for storage in different parts of the campus.
#3 We worked very successfully in collaboration with our venue and staff at Dilworth School, Newmarket, Auckland to ensure accessibility to all parts of the venue was available for those with mobility issues and pedal harps. This was a challenge for some pedal harpists, but no venue that comes with an affordable price tag will be easily pedal harp accessible, so while these issues were noted, there only practical way to minimise the issue is to limit the movement of pedal harps to one room.
#4 Vendors would have like more sales, and more people through the Marketplace, one vendor suggested making a time when the MP was open when there was nothing else on, and felt that lunchtimes and the half hour break between workshops sessions did not allow enough time for attendees to come to the MP.
#5 While we tried our best to have an indigenous perspective for the event, but this fell through with the timing for the school being difficult... as it was the end of the first week of school, the kapa haka group would not have formed, and the students were going to be busy with commitments of the first week of school, so they couldn’t welcome us onto the grounds with a powhiri. While I personally play in a harp and taonga puoro collaborative group, my band mates couldn’t commit to a performance on Waitangi Day and I’m glad I didn’t commit to it as my head was ... everywhere. Our newsletters preceding HFNZ23 used Te Reo greetings and commonly used words, and we incorporated Te Reo into our signage around the venue. This is something to pick up on for future events.
Financial
I’m not in a position to comment on the financial aspects of HFNZ23 aside from to say we need to be able to remunerate the volunteers.
I believe we should have everyone, aside from our invited guests, pay their registration fee to attend and that we pay a set fee for workshops or sessions taught, or concerts performed. This would give a different picture of our financial situation.
Our international guests need to be paid more – they all came to NZ because they really wanted to, and were not remunerated enough to cover their flights. We did everything possible to decrease their other expenses like sorting their accommodation and in several cases, loaning their our personal cars and harps for their stay, but it still wasn’t comparable to financial payment.
One attendee (Australian) commented that we would be able to easily charge more for a ticket considering how much there was on offer to the attendees
Feedback – guests and attendees
We receive a disproportionately high amount of feedback from HFNZ23. Almost 40% of attendees filled out our feedback survey, which, following the advice of harpist, President of Camac harps and mentor Jakez Francois, was kept to five straight forward questions designed to elicit information which was helpful for us moving forward. We asked what the attendees enjoyed? What was challenging? What you would like to see changed in the future? Would you attend again? Do you receive our newsletter (all said yes!)
In a nut shell, they were all very positive about the event.
Not surprisingly for some it was too short, for others too long, for some there were too many options and they didn’t like having to miss some workshops, others had suggestions for workshops and presentations to be included in the future. For some the day wasn’t long enough, for others the day was too long and they were too tired to attend the evening concert.
We also received a handful of really positive unofficial emails from guests and attendees with many saying it was the best event they had attended. For many NZ harpists, it was the first major harp event they had attended – but experienced harpists were saying it was the best of any they had ever attended.
For the future
#1 Greater promo of fundraising collection – this fundraising idea was really well received by harpists outside of those who attended HFNZ23. It would be great to push it out further into the harp world in advance of HFNZ23. Also would be good to have more NZ compositions.
#2 Visa agent – getting visas for artists was a lot of work for Bronwyn. We need to consider how we can lessen this aspect of the work through an agent status. We have to wait for three years after the Trust was formed (May 2022) before we can apply.
#3 Venue considerations – pedal harps – how do we lessen their angst at moving their instruments. Lever harps – again encourage people to bring smaller harps. From my experience, everyone thinks they need their biggest harp for the experience, but the reality is they will only have the opportunity to learn small amounts in the workshops and generally not two hands. Unless they need a larger harp for a concert or work they have previously prepared we need to encourage bringing a smaller harp!
Another venue consideration would be to have a raised stage in the chapel to improve the visibility from back of the audience.
#4 A ‘green room’ for the artists (as suggested by one artist). While there was a backstage area in the chapel, it was not the equivalent of a performance green room. This is difficult considering the venue, but we may be able to add some level of comfort to the space (comfortable seating, refreshments etc)
#5 Will endeavour to get written validations from a number of guests and attendees. Youth voice is important (especially considering note below regarding Harrison)
#6 Need to ensure good sound technician support and professional photographer
Personal Highlights
#1 – Harps Aotearoa Foundation Trustee, Derek (who’s late wife (and harpist) , Margaret was a delight and an asset to the NZ music scene) had let us know that he had a fairly busy weekend and would be popping in and out to Harp Fest as he was available.
From 5.30pm Friday evening to Monday 3pm we’re not entirely sure if Derek ever left the venue even to sleep. We took lunches to him with a cuppa to ensure he was refuelled, as he attended workshops, presentations and concerts which he said ‘Margaret would have loved’. He had cancelled all over engagements that weekend and was seen in every part of the venue enjoying every aspect of the event.
#2 – One of my teenage students (aged 15) had struggled with anxiety issues, and this was exacerbated during Covid. She had tentatively booked a weekend pass, but had Mum on call to pick her up at any stage... this never happened... apparently there were tears on Tuesday morning when there wasn’t another day of HFNZ23 to go to.
#3 – Harrison Chau had finished his degree at the School of Music at Auckland University in the previous year and was uncertain what he was going to do next. There was a lot of pressure from his harp teachers to go and study abroad, but for a number of personal and family reasons, he wasn’t ready, and he wasn’t sure if this was what he wanted to do. We persuaded Harrison that he would be a really useful person to have on hand at Harp Fest to regularly check that the pedal harps were fully strung, and if they needed moving, he would be able to move them for a guest to the correct venue. Harrison was seen everywhere, talking to everyone... this was his first experience of a harp festival, and he lapped up every aspect. As we were moving harps on the Tuesday morning, I tried to give him a DVD from one of the guests, Felice Pomeranz, who is the Professor of Jazz Harp at Berklee in Boston, USA. Harrison laughed and said he’d watched it twice since he got it on Friday, and he was now going to study jazz for his future harping.
#4 – This event not only greatly improved the relationship between the NZ and the Australian harpists/teachers/harpmakers/retailers, but also opened up the Australian harp scene to the rest of the world. While we in NZ lament that we are on two long skinny islands and that makes it challenging for touring musicians to get a tour that runs smoothly from top to bottom or zig zags around the islands, we do it and we have had many successful harpist touring NZ since 2016. This year three Harp Fest guests did extensive tours before and after Harp Fest NZ23. But... in contrast, the difficulties of touring in Australia come from it being a vast island with very little of interest in the middle, and until WE connected our Harp Fest guests with our Australian contacts, very few tours had happened. Following Harp Fest NZ two guests extended their stay and travelled back home via Australia and toured. More touring plans have been established for international harpists having connected with superhuman Australian harpist, Suneetha Carter.
Summary
This was an exceptional event which was exceeded the expectations of the committee, the sponsors, the guests, the presenters and the attendees, and raised the profile of the harp in NZ and internationally.
We should do it again.
Anna Dunwoodie
May 2023
3-6 February 2023
Artistic Director’s Report
Anna Dunwoodie
Little did we think when the first talk of Harp Fest NZ happened in March 2009, around a table at a Harp Retreat in Waipu, that 14 years later we would have successfully run an event that had the harp world talking.
HFNZ23 was the result of 100 Harps, a showcase of the Auckland harp scene which I ran in July 2018 and included 15 harp businesses – harp teachers, makers, retailer, therapists – a performance stage (6 x 30 minute performances) and a ‘harp petting zoo’ for people to try a harp. I distributed 4500 flyers around the central Auckland schools and had newspaper and social media advertising campaign. Aside from charging $50 per stall for the businesses, I covered all other expenses personally. Across the 4.5 hours the doors were open (free entry), we had 350 people through to find out more about harps, and I decided the time was ripe for holding a fully-fledged harp festival.
Planning for HFNZ23 began seriously in 2019, with June 2021 being our target date to hold the event. World events seemingly transpired against us with COVID 19 locking us up at home for months on end, but on the positive side, creatives around the world made the most of this challenging time, with new connections and collaborative projects popping up all over the globe. New Zealand, God’s own country, was a beacon of hope for many people. The positive result for us here in NZ, was that so many of the artists who eventually made it to Harp Fest NZ 2023, did so because they were following a strong desire to get away from their own countries to a place where it seemed we treated each other with kindness and respect in really tough times.
Harps Aotearoa Foundation, as a charitable trust, was formed in May 2022 to give the trustees and the event a status that would, in the future, give security to the whole concept in a way that the committee of Harp Fest NZ could not do. In retrospect, things may have been easier if the Trust had been formed several years earlier, with all official documents (bank accounts and such) in the Trust name and with a track record of our events and activities as evidence of our community engagement. To be organising a major event and trying to formalise all aspects of the Trust, while trying to apply for funding and support, was, in reality, a significant challenge. It did, however, arm our team with a ‘steely determination’ to get the job done, and with the necessary experience to tackle any new challenges and meet them head on.
In a short time we achieved the status as the leading harp organisation in New Zealand, a view acknowledged and endorsed by the rest of the world’s harp communities. We have become recognised internationally for good leadership and teamwork, sharp organisation, clever innovation, as well as our policies of deliberate and absolute inclusivity.
We have the honour of having representation on the board of the International Society for Folk Harpers and Craftsmen (USA) and the World Harp Congress.
Personally, I am grateful for the dedication and experience that the Harps Aotearoa Foundation Trustees bring to this organisation. Bronwyn McConchie, Derek Neutze and Raewynn Robertson are great supporters of the NZ harp scene and go above and beyond to ensure accessibility to the harp in NZ and to the rest of the harp world for NZ. Also a huge vote of thanks needs to go out to the Harp Fest NZ committee members and volunteers without whom this event would not have been able to happen.
2022 was a huge year with Bronwyn, Raewynn and myself spending many, many hours and weekends together planning, from scratch, an event that I had dreamed about for years. I am eternally grateful to these two amazing people, for not only the hours of work and energy they put in to this project, but also for their tolerance and open mindedness when it came to working with so much information that needed to get out of my head, onto paper, into policies and then into reality.
Bronwyn and Raewynn both have real strengths in seeing a project through. From the pencil sketches on a page, to an end result that not only fulfilled my dream, but also opened a lot of doors, and made dreams come true for other harpists both local and international. I am truly grateful for the work they have done – I’m sure they were completely unaware of how much of their time this would consume and I hope it hasn’t put them off doing it again......
Thankfully I can say that this experience has built strong friendships and an ongoing commitment from all of us to build on those friendships, and to deliver the best we can possibly do. It’s a program that will be delivered with pride and passion, now and for future generations of ‘Kiwi Harpers’.
In our preparation for HFNZ23 we drew on our international harp friendships as a way to both raise awareness of the event, and to raise some funds. By the middle of 2022 we had compiled a fundraising book called ‘Aotearoa Summer Collection’ which was a collaborative effort featuring 24 pieces of music, on loan to us, from 11 harp composers, and Harp Fest guests from around the world. Also featured were two arrangements of NZ well known songs, “Pokarekare Ana” and “The Wellerman” which I had arranged and contributed to ensure there was a New Zealand representation. Aside from that there were compositions from Italy, Wales, Scotland, England, Ireland, America, Canada and Singapore. A truly generous act of kindness from our harp friends. The book sold more than 50 copies. These were mostly to people who knew they would be unable to attend in person, but wished to have a souvenir and to show their support for the event. Due to the nature of using the intellectual property of other composers, the sale of the book was tightly wrapped up in an agreement that sales would be limited to the 6 months around the event, and then handed back to the composers after this time. We are very grateful to the generosity of the composers for the use of their music, and the funds were used to sponsor HFNZ23 workshops.
Our connections with the international harp world were strong from the start, and our Harps Aotearoa Foundation monthly (and later bi monthly) newsletters, ensured that our 400+ subscribers were regularly updated with our plans, and they were excited by this. The feedback from our newsletters is always positive, and according to our provider, Mailchimp, our uptake (the reader interaction) is above average. Our website eventually (after a bumpy start) became a solid hub for potential attendees to gather information.
As a warm up to HFNZ23, Harps Aotearoa Foundation used the Zoom Room Harp Chat space I had created in 2020, to connect internationally recognised harpists in a space to talk about their music journeys and pedagogical ideas with harp students and enthusiasts. Through these chats we immediately broke down possible barriers between ‘big names’ and the rest of us. When it came to the in-person atmosphere at Harp Fest NZ23, the resounding comment from all parts of the harp community was that it was like being part of a big family. This is an all-inclusive community – the person who collected the international guests from the airport and dropped them to their accommodation, was the same person who introduced them at the welcome concert, or put a bandaid on the finger of a young harpist between workshops.
Our small, dedicated team of Harps Aotearoa Trustees and HFNZ23 committee called on friends and family to help us out in the days leading up to HFNZ23 and over the weekend, and they were there to pick up the pieces as our houses flooded, and roads and schools closed during the two wild weather events which HFNZ23 was neatly tucked in between. More about our fabulous volunteers later.
Our Harp Fest NZ Engagement:
HFNZ23 brought together more than 150 harpists and music lovers from NZ and abroad.
HFNZ23 was enthusiastically attended by 11 (out of 12) international headline guests, with Irish harper, Mary O’Neill being unable to complete the journey to NZ after her flight from Hawaii to Auckland was cancelled due to the Auckland storms.
Our guests and some of their special skills:
Adriano Sangineto (Italy) traditional European music and dance, harp amplification, harp and voice, lever harp and composition
Amanda Whiting (Wales) jazz harp, improvisation, composition
Elizabeth Volpe Bligh (Canada) orchestral harpist, harp professor/pedagogy focus, classical and contemporary music, composition, lever and pedal harp, masterclass teacher
Esther Swift (Scotland) harp and voice, traditional Scottish music, lever and pedal harp, composition
Felice Pomeranz (USA) harp professor at Berklee/pedagogy focus, jazz harp, improvisation, pedal and lever harp, composition
Josh Layne (Canada) YouTube star ‘Harp Tuesday’, pedal and lever harp, composition, classical and contemporary music
Katryna Tan (Singapore) pedagogy focus, creative harp projects, lever and pedal harp, composition, classical and contemporary music, masterclass teacher
Oscar Rodriguez do Campo (Argentina) harp professor/pedagogy and technical focus, Harp Competition adjudicator
These amazing people injected such enthusiasm and diversity into our programme and this was complimented by workshops and presentations by:
Jakez Francois (France) Principal sponsor and presenter ‘The French Harp Through the Ages’
Andy Rigby (Australia) Latino music specialist, concert performer
Carolyn Mills (NZ) The Science and Mystery of the Harp
Adele Coles (NZ) English Tunes on the Harp
Helen Morrison (Australia) Harp Therapy specialist
Robyn Allen Gouge (NZ) The Harp in Worship
Kim Webby (NZ) Harp Technician, vendor and principal sponsor
Diana Devitt Dawson (Australia) Alexander Technique specialist
Moira Pagan (Australia) Harp Art, graphic artist
Wayne Birchall (Australia) Graphic designer
Christine Morphett (Australia) Life and Times of Turlough O’Carolan, concert performer
Helen Webby (NZ) Pedal harp demonstration, concert performer with Nikau Harp Trio
Judith West (NZ) Seated Pilates for Beginners
Karen Plimmer (NZ) Let’s Work and Play Together – working with students with disabilities and special needs
Christine Middleton (Australia) Therapeutic Harp specialist
Ingrid Bauer (NZ) Masterclass teacher, concert performer, Harp Competition MC
Suneetha Carter (Australia) Masterclass teacher and vendor (Carter Harps Australia)
Anna Christensen (NZ) Masterclass teacher, Harp Competition adjudicator
David Chisholm (NZ) Head of Music, School of Music Auckland University, Harp Competition adjudicator
Lin Zheng and Boya Guzheng (NZ) concert performers & presentation ‘The History of the Chinese Guzheng”
Michelle Velvin (NZ) concert performer, and Harp Competition host
Aleesha Kiing, Jessica MacBrayne, Luka Manley, Mandipa Mhuka, Seina Murikami (NZ) Student performers
Elsa Klein (NZ) Harp Competition 2023 winner
Lyon and Healy/Salvi Harps Principal Sponsor
The Harp Society of New Zealand sponsor of the Harp Fest Harp Competition, and NZ concert
Lewis Eady Showroom allowed the use of the venue for the Harp Fest Harp Competition
Auckland City Council provided funding for venue, security and insurance
Perpetual Guardian and Margaret Neutze Legacy Fund provided funding for the children’s programme
KBB Music and Rockshop (NZ) vendor
Oceania Harp Studio (NZ) vendor
Sigma Harps (NZ) vendor
Harpitree (NZ) vendor
HF NZ23 took place at Dilworth School, Newmarket, and the diverse programme of concerts, masterclasses, talks, workshops and presentations happened across half the campus in the Performing Arts department (2 classrooms and the auditorium), the chapel, the common room of the boarding house (2 spaces) the foyer and school hall (this was the marketplace) with 4 sessions and 2 concerts a day – sometimes there were up to 5 workshops or presentations running concurrently. We were exceptionally lucky to have the skills and expertise of so many highly regarded harp professionals, making it possible to offer workshops at the beginner/ intermediate/advanced level, in lever and pedal harp at each of the ‘hands on’ harps sessions.
Two very special presentations were available to all harpists – “Seated Pilates for Musicians” was very popular, focusing on looking after our bodies, and presented by a trained pilates teacher, and ‘Let’s Work and Play Together’ presented by Karen Plimmer who is a blind musician but specialises in making technology accessible to visually impaired people. This workshop focused on working with students with disabilities and special needs.
From very early in the timeline we had decided we wanted to give a special priority to our young harpers by ensuring they were taught by the top teachers. We were able to do this thanks to a grant from the Margaret Neutze Legacy Fund managed by Perpetual Guardian. The Forest of Harps programme was designed for harpers under 15 years (or older harpers by discretion) and up to grade 5 in standard. This meant that we could create a safe space where parents could leave their child with police vetted supervisors, in both cases, they were trained nurses and leave their harping children to engage fully in the activities. Special classes were developed such as the Harp Art classes run each day after lunch, and the programme was closed with a certificate awarding ceremony, presented by the late Margaret’s husband Derek, and also attended by Margaret’s wee lever harp which had been purchased by Margaret in London in 1965.
Another special and unique part of our programme was a three day course taught by Professor Oscar Rodriguez do Campo, which was very specifically focussed on the development of good harp technique from beginner to advance. This was a comprehensive course called ‘Scales and Relaxation Technique for Healthy Playing and Sound Quality Improvement’. Harpists who attended this course were very impressed with their personal outcomes from Oscar’s teachings. One harp student, who didn’t have her harp at HF NZ23 noted that Oscar’s workshop was incredible to attend even as an observer, and she had learnt a huge amount.
Volunteers
We could not have done this without the huge input from our volunteers across the weekend, and a few days before and after the event. While these people didn’t pay to attend HFNZ23, we didn’t have any funds remaining to pay any of the volunteers, at any level. Our volunteers were quick thinking and engaged in making this an amazing event, going above and beyond, even when we were all just about asleep on our feet.
Some of the jobs the volunteers did:
Workshop and session hosts, concert usher, food prep in the staff room for committee, volunteers and guests, the lunch run for attendees, set up and pack down in all areas, tuning harps, moving harps, onsite nurse, Harp Fest Hub sales desk, technical help, mopping up flooded school studios, finances, art work and graphic design, venue managers, harp technician, registration desk, photographers, proofreaders, child minding, venue liaison, harp luggers... the list goes on.
Our guests and attendees repeatedly commented on how generous and kind our volunteers were, and how they were ready to help out with any request. This event would not have been possible without the huge number of volunteer hours and we couldn’t ever have guessed how much volunteer energy this would have taken before we started!
Successes
#1 Personally, I think that the engagement and relationships formed at every step along the way have been a huge success we can attribute to HFNZ23. As mentioned in other areas of this report, it was commented on at all levels that the sense of community was welcoming and heartfelt. Our student harpists, regardless of age and stage felt confident and comfortable that our guests were approachable and willing to help them at their level. This is now a benchmark for future professionals we engage to share with the harp community.
#2 Inclusivity. I believe we had every aspect available from accessible concerts for weekend attendees and members of the public to attend, and a harp petting zoo and the marketplace available afterwards for members of the public to find out more about harps. This was not age or ability exclusive. There was something for everyone.
#3 Our representation of the New Zealand harpist/musician, teachers and harpmakers and of NZ compositions at HFNZ23 was really strong. Aside from our invited international guests, 18 out of 27 of the presenters and performers were from all around NZ from Northland to Christchurch.
The Harp Competition featured grade seven level music and the entrants were asked to present one piece from a set list of three NZ compositions, and one of their own choice. The competition was only open to NZ residents and the winner, Elsa Klein played both pieces at the final concert. The final concert was presented by NZ harpists only with Michelle Velvin playing a programme NZ compositions including three of her own pieces, and one each by James Middleton and Kenneth Young. The evening performance by Nikau Harp Trio two of the five pieces performed were by NZ composers, Mark Smythe and Cathie Irons. The opening music presented by young students of NZ teachers featured Aleesha Kiing playing one of my compositions ‘Twinkling Lights’. While it wasn’t expected that the international guests would be performing NZ music, it was fantastic that so many of our NZ performers chose to play some NZ music.
#4 The Harp Fest Hub and Marketplace – this was our front facing hub for all questions, queries, artist related purchases, ticket bookings and friendly faces who were happy just to chat. On the sales tables, the artists CDs and books were displayed as well as crafts by NZ crafts people including HFNZ23 logo’d ceramic items, glass harps, NZ fingerless mittens and our own unique cross stitch pack featuring our Harp Fest logo. It was a colourful and interesting place to spend time between sessions or after a visit to the Marketplace.
The Marketplace itself was often buzzing with activity – at one point there was a tune session happening between Carolyn Mills (NZSO) and Andy Rigby (Australia), playing a couple of tunes they knew in common, and at another time, all the attending harp makers gathered for a photo together as until that time there had never been an event that had them gathered together.
A personal favourite MP place story of mine related to Carter Harps. Suneetha was keen to be at Harp Fest from the early days, but it was going to be impossible for her to bring sheet music with her to sell in the MP. So we came up with a plan to find as much of the music from her sheet music catalogue, and together, with Bronwyn and Harrison and I, we collated over 200 pieces of music (which we indexed and labelled) and created a viewing library so harpists could view what Suneetha stocked, make an order, and Suneetha shipped their music to them when she returned to Australia.
#5 The Forest of Harps programme for young harpists. This was a success due to a keen and fun loving group of young harpists aged 8-15 years. They were open to all kinds of learning, and every young harpist enjoyed the unique programme. They went away with a prepared ‘Forest of Harps Adventurer’s Handbook’ which contained background information on the teachers, the music, harp related activities and copies of music they had learnt over the weekend.
#6 Our zero waste policy. The venue, Dilworth School is very well set up with clear signage around disposing waste, and our attendees were easily able to comply with these standards. In our preparations we made handouts for workshops available in digital formats in advance of HFNZ23, relying on the attendees to access them via a device or print them out themselves. As a result, there was not a scrap of paper left at the venue, there were no excess photocopies (common at music gatherings) and everyone took responsibility for their own music.
Challenges
#1 Having spare harps available in NZ is tricky – I know at Edinburgh Harp Fest, they can call in a spare harp army of 40 or 50 harps without much effort, but even to get a dozen lever harps was hard work. We need to be prepared to ask about people loaning us their spare harps much earlier next time around.
Spare pedal harps... it’s like asking someone if you can borrow their spare BMW... pedal harps are rare and it’s difficult for travelling harpists to bring their own, which limits how they can be involved in the event.
#2 Harp storage – this was an untidy area of the common room. We need a better system for people’s harps and belongings so it is tidy, and safe to move around in whilst lugging a harp. Many people attending will be bringing a harp so we may need to consider other options for storage in different parts of the campus.
#3 We worked very successfully in collaboration with our venue and staff at Dilworth School, Newmarket, Auckland to ensure accessibility to all parts of the venue was available for those with mobility issues and pedal harps. This was a challenge for some pedal harpists, but no venue that comes with an affordable price tag will be easily pedal harp accessible, so while these issues were noted, there only practical way to minimise the issue is to limit the movement of pedal harps to one room.
#4 Vendors would have like more sales, and more people through the Marketplace, one vendor suggested making a time when the MP was open when there was nothing else on, and felt that lunchtimes and the half hour break between workshops sessions did not allow enough time for attendees to come to the MP.
#5 While we tried our best to have an indigenous perspective for the event, but this fell through with the timing for the school being difficult... as it was the end of the first week of school, the kapa haka group would not have formed, and the students were going to be busy with commitments of the first week of school, so they couldn’t welcome us onto the grounds with a powhiri. While I personally play in a harp and taonga puoro collaborative group, my band mates couldn’t commit to a performance on Waitangi Day and I’m glad I didn’t commit to it as my head was ... everywhere. Our newsletters preceding HFNZ23 used Te Reo greetings and commonly used words, and we incorporated Te Reo into our signage around the venue. This is something to pick up on for future events.
Financial
I’m not in a position to comment on the financial aspects of HFNZ23 aside from to say we need to be able to remunerate the volunteers.
I believe we should have everyone, aside from our invited guests, pay their registration fee to attend and that we pay a set fee for workshops or sessions taught, or concerts performed. This would give a different picture of our financial situation.
Our international guests need to be paid more – they all came to NZ because they really wanted to, and were not remunerated enough to cover their flights. We did everything possible to decrease their other expenses like sorting their accommodation and in several cases, loaning their our personal cars and harps for their stay, but it still wasn’t comparable to financial payment.
One attendee (Australian) commented that we would be able to easily charge more for a ticket considering how much there was on offer to the attendees
Feedback – guests and attendees
We receive a disproportionately high amount of feedback from HFNZ23. Almost 40% of attendees filled out our feedback survey, which, following the advice of harpist, President of Camac harps and mentor Jakez Francois, was kept to five straight forward questions designed to elicit information which was helpful for us moving forward. We asked what the attendees enjoyed? What was challenging? What you would like to see changed in the future? Would you attend again? Do you receive our newsletter (all said yes!)
In a nut shell, they were all very positive about the event.
Not surprisingly for some it was too short, for others too long, for some there were too many options and they didn’t like having to miss some workshops, others had suggestions for workshops and presentations to be included in the future. For some the day wasn’t long enough, for others the day was too long and they were too tired to attend the evening concert.
We also received a handful of really positive unofficial emails from guests and attendees with many saying it was the best event they had attended. For many NZ harpists, it was the first major harp event they had attended – but experienced harpists were saying it was the best of any they had ever attended.
For the future
#1 Greater promo of fundraising collection – this fundraising idea was really well received by harpists outside of those who attended HFNZ23. It would be great to push it out further into the harp world in advance of HFNZ23. Also would be good to have more NZ compositions.
#2 Visa agent – getting visas for artists was a lot of work for Bronwyn. We need to consider how we can lessen this aspect of the work through an agent status. We have to wait for three years after the Trust was formed (May 2022) before we can apply.
#3 Venue considerations – pedal harps – how do we lessen their angst at moving their instruments. Lever harps – again encourage people to bring smaller harps. From my experience, everyone thinks they need their biggest harp for the experience, but the reality is they will only have the opportunity to learn small amounts in the workshops and generally not two hands. Unless they need a larger harp for a concert or work they have previously prepared we need to encourage bringing a smaller harp!
Another venue consideration would be to have a raised stage in the chapel to improve the visibility from back of the audience.
#4 A ‘green room’ for the artists (as suggested by one artist). While there was a backstage area in the chapel, it was not the equivalent of a performance green room. This is difficult considering the venue, but we may be able to add some level of comfort to the space (comfortable seating, refreshments etc)
#5 Will endeavour to get written validations from a number of guests and attendees. Youth voice is important (especially considering note below regarding Harrison)
#6 Need to ensure good sound technician support and professional photographer
Personal Highlights
#1 – Harps Aotearoa Foundation Trustee, Derek (who’s late wife (and harpist) , Margaret was a delight and an asset to the NZ music scene) had let us know that he had a fairly busy weekend and would be popping in and out to Harp Fest as he was available.
From 5.30pm Friday evening to Monday 3pm we’re not entirely sure if Derek ever left the venue even to sleep. We took lunches to him with a cuppa to ensure he was refuelled, as he attended workshops, presentations and concerts which he said ‘Margaret would have loved’. He had cancelled all over engagements that weekend and was seen in every part of the venue enjoying every aspect of the event.
#2 – One of my teenage students (aged 15) had struggled with anxiety issues, and this was exacerbated during Covid. She had tentatively booked a weekend pass, but had Mum on call to pick her up at any stage... this never happened... apparently there were tears on Tuesday morning when there wasn’t another day of HFNZ23 to go to.
#3 – Harrison Chau had finished his degree at the School of Music at Auckland University in the previous year and was uncertain what he was going to do next. There was a lot of pressure from his harp teachers to go and study abroad, but for a number of personal and family reasons, he wasn’t ready, and he wasn’t sure if this was what he wanted to do. We persuaded Harrison that he would be a really useful person to have on hand at Harp Fest to regularly check that the pedal harps were fully strung, and if they needed moving, he would be able to move them for a guest to the correct venue. Harrison was seen everywhere, talking to everyone... this was his first experience of a harp festival, and he lapped up every aspect. As we were moving harps on the Tuesday morning, I tried to give him a DVD from one of the guests, Felice Pomeranz, who is the Professor of Jazz Harp at Berklee in Boston, USA. Harrison laughed and said he’d watched it twice since he got it on Friday, and he was now going to study jazz for his future harping.
#4 – This event not only greatly improved the relationship between the NZ and the Australian harpists/teachers/harpmakers/retailers, but also opened up the Australian harp scene to the rest of the world. While we in NZ lament that we are on two long skinny islands and that makes it challenging for touring musicians to get a tour that runs smoothly from top to bottom or zig zags around the islands, we do it and we have had many successful harpist touring NZ since 2016. This year three Harp Fest guests did extensive tours before and after Harp Fest NZ23. But... in contrast, the difficulties of touring in Australia come from it being a vast island with very little of interest in the middle, and until WE connected our Harp Fest guests with our Australian contacts, very few tours had happened. Following Harp Fest NZ two guests extended their stay and travelled back home via Australia and toured. More touring plans have been established for international harpists having connected with superhuman Australian harpist, Suneetha Carter.
Summary
This was an exceptional event which was exceeded the expectations of the committee, the sponsors, the guests, the presenters and the attendees, and raised the profile of the harp in NZ and internationally.
We should do it again.
Anna Dunwoodie
May 2023