Steph Walker is the Executive Director of WORD Christchurch. She talks to us about her creative practise and the many and varied projects she’s been an integral part of over the years…
How would you describe what you do?
I’m the Executive Director at WORD Christchurch, but with such a small team it is a very hands-on role. Essentially, I’m an enabler and a connector – I create the space and setting for artists and audiences to connect and make magic happen. My job is to take a concept and make it a reality. I also quietly advocate for collaborations and partnerships in the city so we can strengthen the arts, culture, creativity and ngā toi Māori sector to really thrive.
What was your most recent project?
WORD hosted Theia, a Māori songwriter, singer and producer, to visit kura around Ōtautahi Christchurch to korero about her craft in partnership with NZ on Air. She also performed an intimate show at The Piano while she was here. It was incredibly impactful, and the manaakitanga shown by the kura was humbling.
What project have you worked on that you’re the most proud of?
Gosh, I’ve worked on a lot of projects I’m proud of over the years! While I was at Auckland Arts Festival I approached Che Fu to see if he wanted to celebrate the 20th anniversary of his landmark album, THE NAVIGATOR. I was incredibly privileged to work together with Che to make it everything he wanted within our resources. It was touch and go whether we’d get the show up because of covid, but we did and what a show. There was a lot of aroha and joy in the room.
What is essential for creatives to have in their life?
Time and space. Time outside of their creative practise for inspiration outside of what can often be a bit of a creative sector bubble. Space to dream, think and create away from their domestic space.
What inspires you about Ōtautahi?
Much like the Ōtakaro Avon river, our city is constantly changing. It’s a dynamic place where people are unafraid of trying new things and working together. There is an energy here and the potential for the city to really become a creative beacon which I’d like to see local and central government really get behind.
What piece of advice about your creative work has served you well?
When I was 17, I was a member of the New Zealand Young Shakespeare company and we went off to the Globe in London to perform. We had a workshop with an impeccably dressed man who told us to “always ride the tiger”, otherwise the tiger could eat you right up. We giggled a lot about this at the time, but something about that stuck with me. Making a project happen can be really scary. There is always a moment, usually about 2-3 weeks out from a project, where you doubt yourself and your ability and want to jump off. I’ve now got a tiger tattoo to remind me to keep doing the scary thing.
What’s the biggest misconception about your creative work?
That Producers aren’t creative. There is often an unhealthy way of looking at producers as the ones who do all the work the artists don’t want to. Actually, we’re often incredibly creative ourselves and can offer everything from project ideas, dramaturgy or ideas of how to engage with audiences. A good producer should do just that. Having come through as an independent producer, I’ve had to do a lot of creative roles on the side to bring concepts to reality, including sound design, graphic design, stage management and prop sourcing!
What Christchurch artists do you most admire?
Juanita Hepi, without a doubt. I remember being spellbound by her performing in Mo & Jess Kill Susie at BATS Theatre in 2010, she’s electric on stage. She produces, writes, directs, and supports a range of creative projects and I love all she does with indigenous storytelling, but I really want to see her on stage again!
Tusiata Avia is a goddess, and should be treated as such. Her poetry, and the way it translates to the stage so well, is devastatingly good.
What artwork/piece of music/performance has taken your breath away?
By Heart by Portuguese artist Tiago Rodrigues is a deceptively simple performance where Tiago invites 10 audience members to come up on stage and memorise a sonnet, while he tells us about his grandmother going blind and wanting to choose a book to learn by heart. It’s a manifesto for poetry as resistance, and I think of it often as we see cultures being repressed. There is a quote from George Steiner he uses in the show that really sticks: “When ten people learn a poem by heart, there is no KGB, CIA or Gestapo that can do anything about it. The poem will survive.” I first saw the show the night of 15 March, 2019.
What do you wish you’d have known about creative work when you were younger?
When I was younger, I desperately wanted to be good at sports and be part of a winning team. What I now realise is that making creative work is the ultimate in teamwork and takes just as much practise. Our artists should be as valued as our All Blacks, in my humble opinion.
What’s your favourite hidden secret in Ōtautahi?
It’s not really a secret because I tell everyone who’ll listen, but once you have a pizza from Pizza Trap at Space Academy, you’ll never be able to order anything else ever again. All other pizza fades into oblivion. Go for the pizza, stay for a gig!
Don’t miss WORD’s special event, ‘Richard Ford Gets Frank’ on 25 February – Details in our events section.