Creative freelancers dominated the Pōneke sample: More respondents reported being a creative freelancer (59%) than any other role in the creative sector. This was followed unpaid creative individuals (24%), and leaders of a creative not-for-profit (18%).

Performing and visual arts were strongly represented in Pōneke respondents: Pōneke respondents were active in many creative areas. Performing arts was the most prominent area reported (53%), followed by visual arts (40%) and music (28%).

Pōneke respondents have shifted to become even more pessimistic about their financial position: Respondents rated their outlook on whether their creative work would support their financial position in the next 12 months (from 1 meaning very pessimistic to 6 meaning very optimistic). Compared to the September-October survey, pessimism increased from 64% to 71% and optimism fell from 33% to 26%, indicating a declining trend in optimism since the initial June-July survey.

Fewer respondents expected to either increase their current staff or contractor numbers, compared to the previous survey: The number of respondents who expect to take on new staff or contractors had decreased (from 33% to 26%) and those who expect staff or contractor numbers to stay the same or reduce had increased (from 42% to 45% and 10% to 15% respectively).

Pōneke respondents view on achieving their creative goals shifted to become more pessimistic: Respondents rated their outlook on whether they would achieve their own or their organisations’ creative goals in the next 12 months (from 1 meaning very pessimistic to 6 meaning very optimistic). Compared to the September-October survey, pessimism increased from 49% to 64%, and optimism fell from 47% to 34%. This indicates a declining trend in optimism since the initial June-July survey.

More Pōneke respondents reported that audience appetite for their creative work had decreased: With 42% reporting audience appetite being less than usual, 25% reporting that it was the same and 20% reporting that it was more than usual. Overall, the average rating was 1.8 out of 3 (from 1 meaning less than usual to 3 meaning more than usual). This is slightly lower than the average rating for September-October (2.1).

In this survey respondents shared the things they were most worried about in 2022 in relation to their creative work or the work of their organisations. The most commonly raised concerns were:

• The impacts of the pandemic on their creative work and/or the creative sector more broadly.
• Whether they would have enough money to live on and/or whether their organisations or businesses would survive.
• The extent to which there was enough financial support for the creative sector and about how funding was allocated.
• The impacts of COVID-19 restrictions such as limits on audience numbers, border restrictions, vaccination mandates and passes as well as worries about keeping themselves and others safe.
• Ongoing cancellation of events with people reporting both the financial and emotional costs.
• The ability to connect with audiences and potential buyers of creative work; Some were worried that audiences will not return and that low visitor numbers meant few purchasers of art and other creative works.
• Not being able to do creative work because they needed to do other paid work to make ends meet or because there were few opportunities for performing.
• The loss of highly skilled people from the creative sector.
• How the stress of the pandemic was impacting on their well-being, particularly mental well-being, and of others around them.
• Systemic issues such as which groups are in decision-making positions in the creative sector and the design of funding structures.
• Other themes included: the lack of value placed on the creative sector; the difficulty with trying to develop a career in the creative sector and venues closing.

Respondents shared the things they were feeling most positive about in 2022 in relation to their creative work or the work of their organisation. The following themes were identified:

• Their creative practice and/or their ability to at least do some work.
• The lifting of COVID-19 related restrictions, for example, after the Omicron wave and returning to normal.
• Community connections and support within the creative sector plus opportunities for partnering and collaboration.
• Having the time and space to develop new works, explore ideas or study.
• The potential for innovation and creativity and the creative sectors’ role to engage with diverse communities.
• Audience enthusiasm for the creative industries including international interest.
• Financial and government support they had received and their ability to keep creating.
• Some people shared that they had nothing that they felt positive about.
• The resilience of creative people and the sector.
• Other themes included: any opportunities for performing; the intrinsic value of artists and creative activities and the opportunities created by digital platforms.