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The joke's on us

New Zealand-ness is in demand. So why are we importing it?

[Point …]

The idea of Americans lapping up the deadpan Kiwi humour of the Flight of the Conchords might baffle many New Zealanders. But why the duo wasn’t funded at home is a bigger puzzle.

In a fitting twist of irony, the Conchords—Wellingtonians Jemaine Clement and Bret McKenzie—overcame TVNZ rejection and went on to turn their folk-parody act into a hugely successful export of Kiwi talent with both a BBC radio slot and an HBO television series; a second series has also been commissioned. Now, both the radio and TV series have been imported back to Enzed, by Radio New Zealand and Prime respectively.

It’s a bit like exporting merino wool and then importing woollen jumpers. In New Zealand, we have a creative trade deficit: that is, we buy in more creative stock than we send overseas. With the incessant talk of the importance of value-added exports, it seems we have sold off our comedic raw materials when we should have been selling a series of ‘boutique entertainment products’.

American audiences have welcomed the self-effacing Kiwis into their living rooms. New York Times reviewer Alessandra Stanley noted that the pair’s musical parodies are clever, “but part of the series’ appeal is the sheer novelty of New Zealanders as comic heroes”. The fact that ten years ago most Americans had never heard of New Zealand is one of the show’s recurring jokes. As one character chirps: “New Zealand—there’s Vikings there, right?”

The Conchords’ path to overseas success has been steamrolled by The Lord of the Rings (and corresponding government milking). In the US, viewers have recently been educated on satirical comedy by Ricky Gervais’ Office and Extras series.

It’s disappointing the Conchords’ comedic genius wasn’t recognised by TVNZ, but their overseas success proves that the world is ready for New Zealand talent—as is, where is. The Conchords have proved that Kiwi content is internationally palatable; it doesn’t need to be repackaged, mainstreamed, watered-down or overdubbed to succeed.

Their success is more important than just dollars and cents. New Zealand Trade and Enterprise has identified the creative industries as a crucial key to economic transformation because the creative sector has great potential to influence global perception and brand New Zealand as a nation of innovation and talent. The sector, NZTE describes as ten industries ranging from advertising to fashion to performing arts, currently contributes about $2.86 billion to the New Zealand economy. While that’s just over three percent of our GDP, NZTE publications show the creative industry is growing at an annual rate of nine percent—twice the rate of the economy as a whole.

NZTE insists there is no shortage of export opportunities, only a shortage of companies capable of taking up these opportunities. Though there is some support through NZTE and Creative New Zealand, which has listed international success as one of four strategic priorities in its 2007–2010 strategic plan, it will largely be up to individuals to make it happen.

New Zealand’s creative sector will reach critical mass by having enough collective successes to put it on the global radar. Each success smoothes the path to international success for others. Peter Jackson’s hard work created opportunities for fellow New Zealanders in The Lord of the Rings. Likewise, two of HBO’s Flight of the Conchords episodes were directed by Eagle vs Shark director Taika Waititi. Clement has said he hopes Kiwi writers and directors will also be involved in the second season.

It took a good dose of confidence for the Conchords to take their creative capital overseas. While confidence on a world stage is not something Kiwis are particularly known for, there is hope that the national confidence may be cumulative and slightly contagious. Jackson was brave enough to bring the world Lord of the Rings. Niki Caro proudly followed with Whale Rider. Bro’Town is engaging Australian audiences and now the Conchords have captured the small screen. It’s a nice development from mainstream (LOTR) to universally digestible Kiwiana (Whale Rider) and into the more obscure corners of Kiwi comedy.

New Zealand’s creative output is hugely varied. Some will be relevant only within these shores, others will fit better overseas. The challenge—as always—is to create great content that is original and authentic. If it’s done well, then someone, somewhere will love it. Successful Kiwis will be confident enough to believe in their work and tenacious enough to find their audience.

Freelance writer Kris Herbert was born in the US but has been observing and enjoying Kiwi creative culture from her Lyttelton home for the past decade

1 comment

christian

2007-12-27 08:25:54

goood

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