What Is The Future Of Auckland Pride Festival? How Its Organisers Are Redefining Its Legacy

Pride month kicks off this month with close to 200 community events on the official Auckland Pride Festival programme. Dan Ahwa talks to key figures from this year’s festival – executive director Hāmiora Bailey, executive producer Katharine ‘Katty’ Atafu-Mayo and three of the festival’s headline acts, theatre performers Brady Peeti and Jonjon Tolovae; and contemporary dancer Xin Ji.

For the past 12 years, the Auckland Pride Festival has gone through what can only be described as a rollercoaster of circumstances.

What began in the early 90s as the Hero Parade, wrapped up in 2001 due to budgetary overspending, before its return in 2013 with fresh funding from Auckland Tourism, Events, and Economic Development (Ateed) and a range of supporting sponsors.

Along with any event’s evolution, it has had to confront various issues. These include everything from its complicated and divisive inclusion of Corrections officers and police in its parades, the growing concern around the involvement of rainbow-washing corporations and the way in which complex LGBTQIA+ issues get tied up with the realities of mainstream commercialism and virtue signalling.

Addressing this and many more conversations around what the event stands for now is a committed team behind the scenes led by executive director Hāmiora Bailey (Ngāti Porou Ki Harataunga, Ngāti Huarere), who is tasked with delivering a festival of the future.

For the first time since the event’s inception, it now has a dedicated fulltime team of five staff members too.

“As I took on the role of executive director, I inherited an organisation with an incredible history and legacy,” says Hāmiora, “but also one that needed to shift its structure to keep pace with the evolving needs of our community. One of the first things I recognised was the need for a more sustainable and strategic approach to our programming and operations.”

With the help of its core partners Foundation North and Creative NZ and a full list of collaborators, Hāmiora and the team are committed to making Auckland Pride Festival its biggest and most successful celebration yet under this year’s theme Tētahi Ki Tētahi, a theme its organisers say “reflects the dynamic relationships that connect us: to place, to each other, to our shared histories and to the future”.

“Together our small but mighty team has created a space for our members and communities to thrive, and with our renewed strategy, we’re bringing the first inceptions of our vision four years ago to life in a way that’s true to our roots - forward-thinking, always evolving and responsive to the needs of our membership and our place in Tāmaki Makaurau.

One of its more successful examples of legacy-building programmes is its Pride Elevates initiative, designed to empower artists through a committed programme that focuses on growth before, during and beyond the festival. This includes free venues for artists to showcase their work, a $10,000 artist fee, a dedicated venue operator and technician, marketing resource and an immersive artist experience designed to nurture creativity, wellbeing, and connection.

This year’s recipients include Brady Peeti’s What Happened to Mary Anne? a solo show that explores whakawāhine identity; Jonjon Tolovae’s Mā, an autobiographical exploration of fa’afafine identity and motherhood; and Xin Ji’s Body Story, dance-fulled storytelling centred around self-discovery and the queer migrant experience.

“We believe in the creative potential of these artists and have been intentional in selecting those who can build rigorous excellent work within the intimate context of Pride Elevates,” explains executive producer Katharine ‘Katty’ Atafu-Mayo, who plays a pivotal role in uniting the festival’s diverse programme of events.

“Upon wrap up of the festival, our artists will still be a part of the artist experience,” says Katty, “where we will host another wānanga to reflect on their journeys and the impact of their work, as well as continue to support them with future opportunities.

“This is a rare opportunity within a festival model and shows that Auckland Pride is committed to ensuring that artists are supported in their creative processes to develop their works and are remunerated fairly for their cultural contributions to our identity as a city.”

Hāmiora Bailey, executive director (Ngāti Porou Ki Harataunga, Ngāti Huarere)

The executive director of Auckland Pride is also an accomplished artist and curator whose vision for Auckland Pride is an evolving response to building on the festival’s legacy.

I’ve been part of Auckland Pride since 2021, to create a Māori pop-up offering and an opening event for the 2022 festival. It’s been an incredible journey. What started as a small idea soon blossomed into Te Tīmatanga - a project that became central to the festival and the heart of our kaupapa.

Four years ago, I was able to find my footing in this ecology alongside a team of dreamers and strategists like Grayson Goffe, Robyn Pryor, Te Rangimārie Akena, Elysia Wilson Heti, Meghan Collins and Alex Marris.

My first year I collaborated with Blaise Clotworthy, who was at the time a Rainbow organisation partner through Burnett Foundation, and is now our partnership manager at Auckland Pride; and Victoria Walsh, who was once the major event producer on a six-month contract and is now our fulltime operations manager. We set our intentions since then, and it’s been amazing to see how we’ve grown alongside each other within the arts and social sector, and how Auckland Pride has evolved into the organisation we are today.

What I’m most proud of is the way this team has evolved, with Vic and Blaise returning time and again to help nurture Auckland Pride. These two are the steady hands that have been with me from the beginning, always dreaming big and thinking ahead. As we’ve grown, Katty Atafu-Mayo and Bunty Bou have stepped in as executive producer and digital producer respectively. It is through their adaptability as visionaries and organisers, each bringing their unique perspective that helps push our long-term vision forward.

As a visual artist and curator, you have a strong understanding in seeing the direction that the event needed to go in terms of engaging with the arts community. Some might see it as more of an arts festival now. What is the future of Auckland Pride in your opinion?

I’ve always felt that Auckland Pride’s evolution has been about more than just celebration - it’s about creating spaces for meaningful, sustained engagement within the arts community. Over time, our festival has increasingly integrated with the arts scene, and in my opinion, that shift has opened up incredible opportunities for both emerging and established artists. But the future of Auckland Pride is not just about showcasing art; it’s about nurturing a space where artists, especially those from underrepresented communities, can develop, learn, and refine their practices over time.

Our Owned Programmes - such as Pride Develops, Pride Elevates, Te Tīmatanga, the Vector Lights for Auckland Pride Residency, Praise The Lord - The Robert Lord Year Long Playwright Residency, and Waimahara - are designed to provide key learning environments for artists. These programmes are spaces where artists can explore their practice within the container of the festival, testing their ideas, learning how to budget, plan, and apply for funding. This is crucial, as it’s not just about having a creative idea; it’s about the professional skills needed to bring that vision to life in a sustainable way.

Developing a practice over time is at the core of what we do. Through the resources we provide and the support we offer, artists can interrogate their work in a safe, iterative space. The festival becomes both the grounding and the testing environment for their practice, allowing them to push boundaries while having a supportive team behind them. At Auckland Pride, artists are often their most vulnerable, and it is our role to incubate that vulnerability. We offer both festival support and ongoing mentorship, standing alongside them as they build their careers and navigate the wider arts ecosystem.

Within Te Tīmatanga we reflect from models like Te Tumu Toi The Art Foundation Springboard in our commitment to the tuakana-teina relationship - where those with more experience help guide and nurture those coming up behind them. Within Pride Elevates we honour Q Matchbox, where we support access to spaces like Life Q Loft, enabling artists to use high-quality theatre spaces while also learning from industry expertise. Our site-responsive works like Waimahara are particularly important, as they tie us back to the land and acknowledge the contributions of local iwi, particularly as our membership is made up of Mātāwaka (migrant Tangata Whenua) who live outside of their own rohe (ancestral lands). This grounding in place and gratitude to the local community is essential to how we move forward.

Our role in the arts is to support underrepresented and emerging artists, to apply for the CNZ Early Careers Fund, the CNZ Fellowship Fund, and the Rule Foundation Foundation North Fund as these are vital pathways to securing funding and advancing their careers. We’ve seen first-hand how these funds have supported artists who’ve showcased their work through Auckland Pride, and it’s something we’re deeply committed to. As an organisation, we help artists strengthen their applications to these funds by providing resources, guidance, and the opportunity to work within a high-profile platform like Auckland Pride. By collaborating with us, artists can gain experience and mentorship that bolsters their applications, ensuring they are well-equipped to apply for funding that can propel their practice forward.

We’re in a unique position here in Tāmaki Makaurau, where our work is deeply rooted in indigenous knowledge systems. These frameworks are not just about culture; they’re about affirming identity and asserting power. Te Moana Nui a Kiwa, the vast Pacific Ocean, has long been a site of connection and exchange, and the arts have always played a central role in that. Through Kaupapa Māori frameworks like those offered by Linda Tuhiwai Smith and the teachings of Te Aho Matua within the kura kaupapa movement, we ground our festival in a way that speaks to the strength and resilience of our communities. These frameworks affirm identity, offer space for vulnerability, and empower artists to assert their voice.

At Auckland Pride, we see ourselves as part of a larger movement one that not only celebrates Pride in Aotearoa but connects us back to Hawaiiki as members of the global diaspora. Our role as a Pride festival in Aotearoa, grounded in Kaupapa Māori, is to use the power of the arts to assert our collective mana, create meaningful impact. This is what drives us forward, knowing that the work we do is tied to a much larger story that connects across generations and geographies.

What are some of the things that you inherited as executive director that you’ve felt you had to change to ensure that it continues to move forward?

Auckland Pride has always been a platform for our Takatāpui and rainbow communities, but as the organisation grew, it became clear that we needed to strengthen our internal systems. For instance, I focused on refining how we manage our owned programmes - like Te Tīmatanga, Pride Elevates, and Pride Develops - to make sure that we’re not just delivering events but that we’re doing so in a way that’s healthy, sustainable, and impactful in the long term. This required changes to the way we approach budgeting, planning, and evaluation, ensuring that our programmes align with the strategic direction set forth by both our leadership and community needs.

Another priority change was improving our organisational culture and operations. Having a fulltime, dedicated team was a huge shift, and I’ve worked hard to foster an environment where everyone has the support they need to thrive. I made a conscious effort to adapt our processes to ensure that they are more collaborative, responsive, and adaptable, aligning with our long-term strategy while respecting the deep roots of kaupapa Māori and community-led work that Auckland Pride was built on.

In terms of priorities, it was important to increase the focus on our partnerships - both with funding bodies like Foundation North, Tindall Foundation, and AMI, as well as our venue partners like Q Theatre and Auckland Live. Strengthening these relationships allowed us to access the resources and support necessary to grow. But even with this, we recognised that continued growth requires ongoing engagement with our members and regular donors. That’s been a key area of focus for me: ensuring we have a more robust membership base that supports our work consistently.

Ultimately, these changes were about setting up the infrastructure and strategy to ensure that Auckland Pride not only continues to grow but thrives in the face of ever-changing challenges.

Tell me more about the organisation’s commitment to the manaakitanga and the holistic wellbeing of the artists involved?

You’ve touched on something really important. Manaakitanga and the holistic wellbeing of our creatives are at the core of how we do our work. We are a membership organisation, and our primary role is to support our members and the communities they belong to. That means offering a platform for them to grow, create, and thrive, and ensuring that their voices are heard in a way that isn’t extractive but rather collaborative and reciprocal. It’s about creating sustainable and meaningful relationships that honour the contributions of everyone involved.

At Auckland Pride, we celebrate our members, and we have over 75,000 people attending our events annually, with an impressive 70% attendance rate. However, when we look at our actual membership base, we currently only have 103 members, with just two who donate regularly. Despite our membership being free, and the festival attracting large crowds, we’re not seeing a strong uptake in membership as a result of the festival. That’s a hard truth for us to confront, especially given how much work our team puts into making the festival happen and supporting the wider community.

The reality is that it’s our team that often gets extracted from, not just in terms of workload but in emotional labour as well. We pour so much into creating a festival that uplifts our communities, and while we see a large number of people benefiting from our work, it’s not always reflected in terms of support for the organisation itself. This lack of membership uptake and the low level of regular donations challenge us to think about how we connect with our community on a deeper level.

As an organisation, there are larger questions we must address with our event organisers and attendees who are yet to become members: What does it mean to truly be a part of this movement? What does it look like for our communities to not just benefit from our work but to actively support it and help sustain it? How do we move beyond a transactional relationship where people show up for the events but aren’t invested in the ongoing work that makes those events possible?

I think the answer lies in us continuing to nurture our relationships with our members, building trust and mutual respect, and demonstrating the real value of being part of Auckland Pride beyond just the festival. It’s about creating a space where people understand that their membership - whether in terms of time, support, or donations - helps build the foundation for what we can offer in the future. This process takes time, but it’s essential if we want to continue growing and creating with integrity. Ultimately we want to reflect that the work we do for Takatāpui and rainbow communities is not just about benefiting from the festival itself - it’s about being part of a movement that centres the values of manaakitanga, whanaungatanga, and kaitiakitanga. This is the foundation we’re building on, and it is through these principles that we will continue to create meaningful, sustainable change for future generations.

Katharine Atafu-Mayo, executive producer (Malie and Falelatai, Samoa; Mackenzie family, Scotland)

The activation artist and community leader has developed and implemented the Artist Experience program to uplift underrepresented and emerging creatives.

What has this been like for you in terms of working on the Artist Experience programme?

Leading this year’s Artist Experience programme has truly been a dream come true. I feel privileged to develop and implement a programme that places care at the forefront, supporting artists not just in their creative journeys but as individuals, honouring their vision, voices, and stories.

At its heart, the programme draws on our theme Tētahi Ki Tētahi. It’s about building relationships, creating authentic connections, and nurturing the vā, the system of relation. Though the practice of vā may look different here than in my homeland, the core intentions align: we all have our roles, whether kaimahi or artists, and we actively practice mutual respect, trust, and genuine connection.

By nurturing these relationships, we create spaces where artists and our communities feel heard, seen, and valued, not just in their creativity but in their whole, authentic selves. And that’s literally on Tētahi Ki Tētahi, to one another. Period!

The artist experience is more than professional development; it’s deeply personal. I’m grateful to be in a position where I can contribute to supporting these artists, and I’m eager to listen and learn, continuously refining and expanding what our artist experience can offer. I hope this approach will inspire others in the creative sector to consider embedding similar practices, ensuring that the care, connection, and respect we cultivate today can shape a more inclusive and nurturing environment for future Moananui creative generations.

As an artist with roots in the ballroom community, what are some of the things you’ve experienced that you have tried to be aware of when it comes to developing the artist experience programme?

My approach to developing and implementing an artist experience throughout Auckland Pride’s Owned Programming is deeply informed by my lived experiences in the ballroom community, as a multidisciplinary creative, from indigenous ancestral knowledge, commitment to place-based practices and attempting to meet the needs of underrepresented and emerging artists. At the heart of this approach is the wisdom of Moananui, which emphasise the interconnectedness of all things, people, place, spirit, and our natural environment. This wisdom reminds us of our resilience, adaptability, intelligence and the importance of living in harmony with our surroundings.

The ballroom community has nurtured so many of us, serving not only as a space for self-expression but as a vital means of survival, healing, and connection. The ballroom scene, and especially my chosen families, the House of Sistrahs and House of Iman, are spaces where resilience is forged through vulnerability. It’s an environment that helps solidify our ever-evolving identities, a place where our communities have found liberation after trauma and sexual violence, a stage where we can live out our ultimate fantasies, where we fiercely fight for ourselves and each other and a space full of moments of katas and joy.

As a founding member (alongside my incredible people Grayson Goffe and Tuputau Lelaulu) and leader of Mauwai, an indigenous creative and wellbeing platform, one of our goals is to make indigenous wisdoms accessible to rangatahi and educators who may not have had the opportunity to engage with these teachings within conventional educational frameworks. One of our key offerings is the Moananui meditations, which we have written, produced, and recorded. These meditations serve as a vital resource in our artist experience programme, providing a foundation for reflection, grounding, and healing. In addition to the meditations, we offer wānanga, workshops, and activities designed to help artists reconnect with their ancestral knowledge, assert their own agency, and reflect on their place within the broader collective.

There is a link here between the ballroom community and the work we do at Mauwai, both provide sanctuary and tools for underrepresented and marginalised communities to heal, affirm their identities and remember their power. Through our lived experiences and the wisdom of our ancestors, we are able to find solutions that not only encourage self-determination but also contribute to building a stronger, more connected community. By weaving these Indigenous ways of being into our artist experience, we open pathways for ritual, healing, exploration, and offer a more holistic alternative to the often limited frameworks of care in our creative sector.

The many learning environments that I have been privileged to lead, contribute and belong to, has taught me how to create spaces where manaakitanga and tautua are prioritised, where every artist feels empowered to explore and expand their potential. It’s about cultivating a framework of support that allows artists to feel safe in their vulnerability, to engage deeply with their work, and to grow in a community that both challenges and uplifts them. The lessons from each of these learning environments have instilled in me the importance of holding space for healing, joy, and transformation, elements that are essential to nurturing artistic and personal growth.

Meet this year’s Auckland Pride Elevates artists for 2025

Jonjon Tolovae

An original member of No.3 Roskill Theatre collective, Jonjon’s solo debut Mā is an exploration of motherhood from the lens of queer motherhood or being a chosen mother. She began her arts career in 2019 with the award-winning Odd Daphne by the Odd Fam collective. As a prominent figure in the LGBTQIA+/MVPFAFF+ arts scene, Jonjon is an active commentator, chanter and MC in the Aotearoa Ballroom Scene.

Mā is also ... Is a love letter to my own mother and how the relationship between her and me as mother and daughter has informed the way in which I mother my chosen children. Audiences can expect to see something that is very gentle, something that feels like the warmth of someone’s palm against your palm - in a literal sense I can explain what you’ll actually see like movement, poetry, pese (songs) but on a deeper level I hope our audiences can see through the lens of their inner child.

Being a Pride Elevates Artist ... Is a great honour and responsibility as a queer brown artist to really uphold and amplify the communities I represent. To be quite honest with you a lot of it hasn’t sunk in too much, the imposter syndrome is real!

I’ve been dealing with this notion of ‘Omg, wait ... I’ll be in Viva? These people want to interview me?!’

This state of what is my life atm? I’m used to my very manatee life, I just sort of float on by and do my thing. But to be honoured with Pride Elevates means that what I have to offer is highly regarded and favoured and that I have worked my big back off in this industry doing other people’s gigs, being the funny girl in other shows but now this truly feels like a moment that is mine. I’m just glad I get to bring my children and my village along too.

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During the rehearsal process ... There have been many moments where I’ve taken a step back, taken a breath and told myself ‘wow, that was healing’.

On the other hand I, alongside my cast and crew have also had some very vast talanoa (discussion) about our own experiences, so we’ve done a lot of grounding within the concept of this work. We’ve done a lot of hugging too. The intention and the body of work is something that has been kept flexible as we devise it so it has been nice to discover some new things about ourselves.

A song I am looking forward to performing ... I have my beautiful and talented son Lijah Mavaega (of which you can stream his music) who is our music director and has already made some stunning pieces of music for the show. One that I’m looking forward to is an original song in our show called Luga le Mauga (on top of the mountain) written by me and composed by Lijah Mavaega, which is a song about one’s journey through a mountain to find a place of calm and rest. It is also an anthem that celebrates the tenacity and strength of fa’afafafine and fa’atama people.

Oh I love me some gooooood fashion! ... Fashion has helped largely in the way that I identify myself as a fa’afafine woman and that has fed through into my artistry as well. Fashion has allowed me to just be authentically myself and really has become my shield and armour. I truly feel most myself when the fashion is correct, the hair is bald, the earrings are on, nails are did and then voilaaaaa! The artistry is a breeze.

Xin Ji

Trained in Chinese classical ballet, Xin has toured with Japan’s Shiki Theatre Company and developed his skills in contemporary dance at Unitec in Auckland and has worked with several leading contemporary dance companies including Footnote, Okareka, Muscle Mouth, Movement of The Human and Borderline Arts Ensemble. Body Story is his debut solo work that uses the body as a platform to explore the complexities of identity, heritage, and bodily expression.

Body Story ... Intertwines personal experiences with universal themes, inviting audiences to engage with the embodiment of identity through movement. It offers new perspectives on how our bodies can serve as vehicles for resistance and transformation.

Being recognised as a Pride Elevates artist ... Is incredibly meaningful to me on a personal level. It feels like an acknowledgement of my journey and the stories I want to tell through my art. This recognition not only validates my experiences but also connects with my community, which values diversity and expression. It inspires me to continue creating work that resonates with others and promotes understanding and acceptance. Ultimately, it’s a reminder that art has the power to uplift and empower both individuals and communities, and I’m grateful to be part of that movement.

This is my debut solo work ... And it has been a new experience for me to spend a lot of time rehearsing alone. Thanks to the incredible support from my fellow collaborators, this ‘solo’ journey has truly been a joy. I can’t wait to share what we’ve created together with everyone! Don’t forget to grab your tickets before they sell out - you won’t want to miss it!

My experience with physically and mentally preparing for a show ... Involves maintaining a consistent routine. It’s incredible how even small, daily efforts can lead to significant achievements over time. Whether it’s my short and sweet abs workouts or documenting my creative journey through photos, videos, or voice recordings, those consistent small actions gradually build a solid foundation that I can reflect on and rely on. I find it incredibly helpful to be patient and invest time in developing this routine, as it ultimately benefits me in the long run. In my case, it helps me achieve presentable abs and bring great behind-the-scenes material to share with my audience.

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Working with other creatives to bring my dream show to life has been an incredibly rewarding experience ... It’s fascinating to see how different perspectives and talents come together to create something unique.

I’m truly fortunate to be surrounded by an amazing group of artists, which makes this experience feel more like an intimate art residency than just rehearsals. Each collaborator brings something unique to the table, enriching the process and adding immense joy to our journey together. You definitely need to come to check out this cool show we created for you - especially Steven Park’s costumes.

Fashion significantly enhances my artistry and identity in several ways ... Inviting Steven Park on board as a costume designer has already showcased how serious I am about creating my visual identity for this work. To me, fashion isn’t just about aesthetics; it’s an empowering form of self-expression that creates meaningful connections within diverse communities. It’s thrilling how it brings together those who share my passion, fostering a sense of belonging and collaboration. Together, we can celebrate creativity and individuality!

Brady Peeti, (Te Āti Haunui-a-Pāpārangi, Ngāti Maniapoto)

Brady is the first trans actress to take a leading role in the hit musical Jekyll & Hyde. As a graduate of the National Academy of Singing and Dramatic Art, Brady’s theatre credits include Fever: Return of the Ula, Black Ties, Astroman, The Wizard of Otāhuhu, and Larger Than Life. Beyond the stage, Brady has left her mark on television with appearances in the Māori bilingual web series Ahikāroa, her role in Mika’s, GURL and most notably the New Zealand Herald video series TransGenerations. Her show What Happened to Mary-Anne? is a character she has developed described by her as a ‘church-going, god-fearing night nurse’ who is a caregiver for her ailing father and the youngest of eight siblings. “In a very specific time in 1994, Mary-Anne made four bad decisions that changed the trajectory of her life Forever. What. Did. She. Do? Come find out.”

Audiences can expect to see ... Every extreme possible. You will laugh, you will cry, you may even want to sing along and rock out! This show is completely filled to the brim with your favourite classic rock songs so expect to be blown away.

Rehearsals ... Have been an absolute joy because I’m getting to work with my dream team every day. Every single person is at the top of their game which only Pride Elevates me to do better! (See what I did there?).

My voice is definitely getting a workout because you can’t just sing rock music at 50%, you really have to go hard or go home.

I’m looking forward to performing all the songs in the show ... They equally hold special value to me.

Fashion and self-expression ... I don’t specifically know what works for me, only that I love tulle and a lot of it. I believe all bodies of all shapes and sizes deserve to be adorned by a statement piece that can be seen from the moon! It should be a human right.

For me, fashion is about elevating from an already elevated place so if you are right within yourself, you can rock anything that you want to wear.

Being recognised as a Pride Elevates artist ... I wear it as a badge of honour. This is definitely a full-circle moment coming back to work with these wonderful people.

For a full list of events and to purchase tickets, Aucklandpride.org.nz.

Photographer / Matt Hurley. Fashion director / Dan Ahwa. Hair + Make-up / Tallulah McLean.

Dan Ahwa is Viva’s fashion and creative director and a senior premium lifestyle journalist for the New Zealand Herald, specialising in the intersections of style, luxury, art and culture.

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