Our Board of Trustees comprises prominent members of the Wellington music sector.
Catherine Cradwick has been a Stroma trustee since 2017 and board chair since 2020. She is a marketing and communications professional with extensive experience in shaping content for digital and print channels and managing international campaigns. She currently works as International Marketing Manager for Victoria University of Wellington. Previous roles include Content Editor for the 2018 New Zealand Festival and Senior Editor at Te Papa Press. Catherine has a strong background in the arts, events and publishing. She worked for more than 10 years for leading Melbourne publishers, in collaboration with prestigious arts institutions, including the National Gallery of Victoria and Heide Museum of Modern Art. Catherine is a keen musician, and studied Music and English Literature at Victoria University of Wellington.
Sarah Chesney has a strong background in the arts and education sectors. Most recently, she has worked at the Tertiary Education Commission, Victoria University of Wellington and the New Zealand Symphony Orchestra. In her work with the NZSO, Sarah has collaborated with other national arts organisations, and she currently advises on research quality in New Zealand tertiary institutions for the Tertiary Education Commission. Sarah’s own research and teaching centres on the intersections between music, politics and cultural identity. As a freelance writer for various arts organisations, Sarah enjoys the challenge of providing material that is accessible and relevant to classical music newcomers and aficionados alike. Sarah studied musicology and clarinet at the New Zealand School of Music and the University of Oxford.
Michelle Davis has been a trustee on Stroma’s board since 2014 and has also previously worked as Stroma’s Ensemble Manager. She has 15 years of experience in arts management both in the UK and New Zealand, including with top arts organisations such as the New Zealand Symphony Orchestra and the Royal New Zealand Ballet, as well as more recently working in project management for New Zealand Rugby. Michelle’s passion is in bringing quality artistic performances to the public. She has a particular interest in contemporary music and her final dissertation for her Bachelor’s Degree in Music was focused on Birmingham Contemporary Music Group. Michelle continues to enjoy participating in the development of Stroma to ensure future audiences can enjoy a world-class contemporary music group based in Aotearoa.
Cellist Ken Ichinose is a graduate of the Royal Academy of Music, London, having studied with Paul Watkins. He has performed numerous solo and chamber music recitals across Europe including venues in the UK, Italy, Holland, France, Spain, Portugal, Germany and Switzerland, as well as the USA and New Zealand. Ken was a founding member of the Galitzin String Quartet with whom he performed for ten years, building an extensive repertoire and winning numerous awards and prizes in England and abroad. The quartet were first prize winners at the 2007 Charles Hennen Competition in Holland. Ken is also an experienced orchestral musician, having performed extensively with the Philharmonia Orchestra and Academy of Saint Martin in the Fields in the UK and abroad. Ken was appointed Associate Principal Cello of the New Zealand Symphony Orchestra in October 2014 and is also currently a member of Kiwa String Quartet and the contemporary music ensemble Stroma.
Marcus Jackson is an artist and composer based in Wellington, New Zealand. He likes to collaborate with performers, creating work that interrogates the links between physical gesture and sound production, often with uncanny results. His musical training was geared towards contemporary classical music, creative technology, and ethnomusicology.
Marcus won First Equal Prize in the Asian Composers’ League Young Composers Competition in 2018, was the Sound Artist in Residence at New Zealand School of Music/Toi Pōneke in 2020–2021, and was Performance Facilitator at play_station Gallery in 2021.
Some recent projects include SLIME INHERITANCE, Toi Pōneke, Wellington (2020–2021); like some kind of residue, Wellington (2019 and 2021); expectation of a sensory event is enough to induce ownership over a fake hand, Performance Art Week Aotearoa, Wellington (2018); like speaking into each others’ mouths, Taipei and Wellington (2018 and 2021) and the way a smile fades, MEANWHILE, Wellington (2018).