On the move – quick links
Te Ahurei Toi o Tāmaki Auckland Arts Festival farewells Kaiwhakahaere Matua Chief Executive
The board and team at Te Ahurei Toi o Tāmaki Auckland Arts Festival have extended their heartfelt thanks and congratulations to Kaiwhakahaere Matua Chief Executive Robbie Macrae, as he announces his retirement from the festival at the end of April.
Macrae has served as Chief Executive since August 2022. A respected leader and long-standing advocate for the arts, he has guided the festival through the post-Covid period with care and steadiness, working alongside two board Chairs, John Judge and Sarah Judkins, and two Artistic Directors, Shona McCullagh and Bernie Haldane.
‘Robbie has made a significant contribution to arts organisations across New Zealand and Australia during his long career. On behalf of the board I would like to thank Robbie for his leadership of the festival over the last few years and wish him many adventures in his retirement,’ said Auckland Festival Trust Board Chair Sarah Judkins.
Announcing his decision to retire from full-time work, Macrae said: ‘I have been very fortunate to have had a wonderful career across many aspects of performing arts, which has always been my passion, working with the most amazing people who have supported me as much as I hope I have nurtured others along the way.
‘I certainly plan to be around the industry in the future but also have time to pursue some other keen interests as we go Dancing through Life (Wicked).’
Macrae is a veteran of the Australian and Aotearoa New Zealand arts industries, having begun his career at the age of 19.
His experience spans major national and international organisations including Arts Centre Melbourne, Opera Australia and Perth Theatre Trust. He joined The Edge in 2003 as Director of Theatre Programming and Development, later becoming Director of Performing Arts for Auckland Live and the Interim Director of Entertainment and Events for Auckland Unlimited during the 2021 merger of Regional Facilities Auckland and Auckland Tourism, Events and Economic Development.
During his tenure, Macrae played a pivotal role in strengthening the Auckland Arts Festival’s national standing and international reputation. He led the delivery of landmark partnerships and touring relationships, including bringing Sydney Theatre Company’s The Picture of Dorian Gray to Aotearoa.
Internationally, his leadership helped position Tāmaki Makaurau as a trusted destination for exclusive seasons by world-class companies, including Scottish Ballet (2025) and an upcoming visit by the Shanghai Symphony Orchestra (2026), reinforcing the festival’s network, credibility and respect on the global stage.
He also championed expanded social equity through creative learning, growing access for schools and communities through free ticket initiatives and other engagement opportunities.
Macrae is recognised for his strategic leadership, passion for the arts and commitment to ensuring that both artists and audiences are central to organisational strategy.
Reflecting on his career, Macrae said he is looking forward to a few more ‘go-go years’ before his ‘slow-go years’, noting that the quote from The History Boys, ‘Take it, feel it and pass it on’ captures the spirit of his journey perfectly.
Co3 welcomes new board members
Two new members have joined the board of Co3, Western Australia’s state contemporary dance company. Chair Margrete Helgeby Chaney announced the appointments of Andrew Stephens and Derry Simpson as Non-Executive Directors of the board, following a board vote on 17 February.
‘On behalf of the board, I am so excited to welcome Derry and Andrew to Co3,’ Chaney said. ‘They are bold, thoughtful leaders who bring exceptional capability and a genuine passion for the role Co3 plays in the community.
‘Their arrival strengthens our ambition and signals our drive to confidently expand what is possible for Co3. We are thrilled to welcome them on our journey to inspire and enrich lives through contemporary dance.’
Simpson is the CEO of Youth Focus and a champion for youth mental health, dedicated to improving wellbeing outcomes for young people across Western Australia. Prior to joining Youth Focus, she held senior executive roles including at Telethon Kids Institute and as Managing Director of award-winning advertising agency 303.
Simpson is passionate about fostering and celebrating creativity in Western Australia, and has held numerous arts leadership roles, including Director and Chair of Awesome Arts (2015-2021), Director on the board of FORM (2008-2016), and Patron of the Perth Advertising and Design Club.
A facilitator, coach and leader, she also currently serves on the board of Western Australian Council of Social Service, mentors many young women in WA and was a 2018 Telstra WA Business Woman of the Year Finalist.
Simpson said: ‘Co3 represents the strength and ambition of contemporary dance in WA. I am excited to support an organisation that champions creativity, collaboration and opportunity for artists and audiences alike.’
Stephens is a senior property and operations leader with over two decades of experience working with major Australian organisations including Bunnings, Subway, Automotive Holdings Group and Colliers.
His expertise spans strategic asset acquisition and management, multi-site operational leadership and the delivery of large-scale commercial development projects.
In his role managing the Bunnings property portfolio across WA and the Northern Territory, Stephens oversees long-term strategy, investment and development across a growing network.
His career reflects a strong foundation in place-making, economic uplift and community connection, alongside significant experience in governance, financial oversight and stakeholder engagement.
He brings a values-led perspective aligned with Co3’s commitment to artistic excellence, sustainability and community enrichment.
Stephens said: ‘I am honoured to join the board of Co3. The company plays a vital role in the cultural life of Western Australia, and I look forward to contributing to its continued growth and impact.’
Force Majeure appoints new Artistic Director
Dance theatre company Force Majeure has appointed b*boy and choreographer Nick Power as its new Artistic Director and CEO, marking a significant milestone in the company’s history. Power is the third Artistic Director to lead the company in its more than 20 year history.
Founded in 2002 by Kate Champion, Force Majeure broke new ground in Australian contemporary dance and theatre, redefining the relationship between movement and storytelling through works including The Age I’m In and Never Did Me Any Harm.
From 2015 to 2025, Danielle Micich continued to expand this legacy, establishing Force Majeure as a company renowned for its storytelling, performances and artist development programs.
A recognised pioneer of devised hip hop dance that integrates contemporary choreographic practice and brings street styles into the theatre, Power will advance Force Majeure’s legacy of collaborative creation, experimentation and support of emerging artists.
Chair Julieanne Campbell said the appointment reflects both continuity and evolution. ‘Force Majeure has been shaped by extraordinary artistic leaders who push the boundaries of movement-based performance.
‘Nick brings a rare combination of artistic rigour, cultural breadth and deep community-based practice. His vision aligns strongly with Force Majeure’s values while opening new possibilities for how, where and with whom the company creates work.
‘The board is excited by the bold, thoughtful future Nick offers for Force Majeure,’ she said.
Power’s practice draws on the rituals and culture of hip hop to create contemporary performance works that cross boundaries of place, culture, language and form. His work spans from remote Aboriginal communities to major international dance festivals across Europe and Asia.
His seminal work Cypher brought the audience into the performance space with the dancers and helped bridge the cultural gap between the street and the theatre. Power’s long history of intercultural work includes Between Tiny Cities, a duet forged through cultural exchange between hip hop artists from Cambodia and Australia which went on to tour extensively throughout Australia, Asia and Europe and received Green Room and Australian Dance Award nominations.
Other major works include Two Crews, featuring the all-female Parisian crew Lady Rocks and Western Sydney’s Riddim Nation, commissioned by Sydney, Adelaide and Brisbane Festivals and his most recent work, Deejay x Dancer, which premiered at Sydney Opera House in 2022. Power is the recipient of the 2018 Sidney Myer Creative Fellowship and 2024 Creative Australia Dance Fellowship.
Power said he was honoured to step into the role and embark on a new chapter in the company’s history: ‘I see Force Majeure as an iconic Australian company whose work has told important, vital and, at times, difficult stories. I was inspired by Force Majeure’s early works under Kate Champion, particularly The Age I’m In, and I have deep respect for Danielle’s 10-year legacy of creating work and nurturing artists across the country.
‘Force Majeure has held a key place in the Australian cultural landscape, producing important works grounded in the pressing issues of our time, while mentoring and platforming emerging and vital artistic voices.’
This is the first time a dedicated hip hop artist has led an established company in this country, elevating Australia alongside other international hip hop dance theatre counterparts and foregrounding the artform in the work seen on local stages.
ArtsHub: Street dance: from community to the stage
‘Hip hop culture is a great conduit for meaningful cultural exchange and connection. Hip hop is a community dance form,’ Power said. ‘The work I create is forged through deeply collaborative, community-embedded processes, and I feel my practice aligns strongly with the values that Force Majeure holds.
‘I look forward to respectfully building on this legacy and shaping the next chapter of the company.’
Late last year, the Force Majeure Board initiated an open Expression of Interest process, inviting creative leaders from across the arts community to propose models of artistic leadership that might guide the company into its next phase.
The rigorous process led by REA arts + culture sought ambitious, forward-thinking approaches to sustaining and growing Force Majeure, and elicited an overwhelming response from the sector.
Chair Julieanne Campbell said: ‘The Board was inspired by the breadth of experiences, the diversity of applicants and the remarkable innovation that came forward from our sector. We extend our thanks to all the creative leaders who shared their artistry and vision with us.’
From a highly competitive field, Power was unanimously selected by the board to lead the company into its new era. He started as Artistic Director and CEO of Force Majeure in mid-February.
Artistic Director farewells Party In The Paddock after 15 years
Jesse Higgs, who founded Party In The Paddock in Tasmania/Lutruwita at just 21 years of age with a rogue birthday party, local musicians and a hay bale stage, has announced he will step away from his role as Festival/Artistic Director after 15 years at the music festival’s helm.
Higgs played a significant role in shaping Tasmania’s music and arts scene through his role at the festival, and leaves PITP in the hands of his business partners and Co-Festival Directors of the last 11 years, Alec McLelland and Ryan Limb.
He plans to explore international touring circuits with his band, and also intends to write a book about his time at the festival to bookend his tenure.
Launched in regional Tasmania as a grassroots event built by friends and community, Party In The Paddock was created to bring people together through live music, creativity, celebration and connection. Over the years, it has grown from a small paddock party into a significant Tasmanian festival, attracting audiences from across the state, mainland Australia and the globe.
PITP’s 2026 edition, held from 5 to 9 February at Quercus Park in Liffey River, attracted a record number of festival-goers, up 1000 from 2025 to 14,000 people. PITP’s 13th edition featured headliners including Sophie Ellis-Bextor, The Veronicas, Ball Park Music, The Temper Trap, Flight Facilities and Peking Duk.
‘From 400 people and a hay bale stage in 2012 to 14,000 in 2026 – across the 15 years of grit and magic – this beautiful festival has weathered industry challenges, evolved spectacularly, and continued to defy the odds, whilst staying true to its values and ethos. I could not be prouder of the teams we have led over the years,’ Higgs said in a statement.
‘And I could not be more grateful to the thousands of people that have come through the gates at Burns Creek, White Hills and now Quercus Park [over the years] – together we have brought a uniquely Tasmanian vision to life. From the deepest part of my heart, thank you for coming on this incredible ride with us and not only believing in my creativity, but your own.’
While stepping away from the position, Higgs expressed confidence in the festival’s future. ‘This festival has always been bigger than any one person. It’s powered by an incredible team, many talented artists, volunteers and a community that shows up year after year.
‘I’m excited to see Party In The Paddock continue to evolve and thrive.’
Party In The Paddock will continue as planned, with Directors Ryan Limb and Alec McLelland at the helm to guide future editions of the festival, building on and celebrating the foundations the trio has established.
The Party In The Paddock team thanked Higgs for his vision, passion and years of dedication, and wished him every success and happiness in his next chapter.
