Turmoil At Writers Week and emergence of new board
By Lucy Caulkett-
In a dramatic sequence of events that unfolded in Adelaide this January, the Adelaide Festival has entered a new chapter with a newly appointed board and chair following intense controversy and the cancellation of a major component of its cultural program. The change came after weeks of public debate and mounting pressure surrounding decision making within the organisation.
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The catalyst for this upheaval was the cancellation of Adelaide Writers’ Week 2026, once a cornerstone of the broader Adelaide Festival. The decision to remove an invitation extended to acclaimed writer Dr Randa Abdel-Fattah from the program sparked an unprecedented backlash.
More than 180 authors, commentators, and public figures withdrew their participation in protest, citing concerns about artistic freedom and cultural expression. Writers such as Jacinda Ardern and Zadie Smith were among those who withdrew, an unprecedented level of withdrawal for an event of this scale.
The fallout was swift, and within days the entire board, including chair Tracey Whiting, resigned amid deepening criticism and organisational paralysis.
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Official statements from the outgoing board expressed regret about the distress caused to audiences, writers, staff, and other stakeholders and acknowledged that the division created through their decision had made Writers’ Week untenable as scheduled.
Amid the crisis, the South Australian government acted quickly to ensure that the Adelaide Festival itself could proceed under new stewardship. Arts Minister Andrea Michaels announced the appointment of a refreshed board with extensive arts, cultural, and governance experience.
Central to that announcement was the return of Judy Potter as chair of the Adelaide Festival Board. Potter, a respected leader with a strong track record in arts governance, previously chaired the board for a number of years and brings institutional memory and leadership continuity at a moment of urgent need.
Joining Potter are several new board members representing a breadth of expertise across arts leadership, media, finance, and governance. Rob Brookman AM, known for his extensive work with cultural organisations and past roles within the Adelaide Festival structure, was welcomed to the board.
Jane Doyle OAM, a prominent media figure with deep ties to arts and community sectors, also joined, bringing communication strengths and public engagement experience. John Irving AM, with a professional background in accounting, legal frameworks, and corporate governance, adds financial and organisational insight to the board’s renewed direction.
The new leadership team faces a complex environment as they settle into their roles. Potter’s priorities, as articulated in early briefings, focus on restoring trust, strengthening governance protocols, and supporting the hard-working staff committed to delivering a vibrant Adelaide Festival program.
With the main festival’s opening date approaching, early actions will aim to stabilise operations, reaffirm public confidence, and create space for respectful dialogue across artistic and community voices.
The rapid changes at the Adelaide Festival mark a critical point in the event’s history. For more than six decades, the festival has been a beacon of cultural engagement and international artistic exchange.
It draws artists, audiences, and creators from across Australia and around the globe, celebrated not just for its artistic offerings but also for its role in facilitating conversations about ideas, identity, and society. With the cancellation of Writers’ Week echoing widely across arts communities, the festival’s reputation faced significant strain.
Those concerns now converge on the work of the new board as it seeks to navigate what many commentators describe as both an internal and public reckoning. Potter’s leadership, backed by colleagues with deep cultural sector experience, positions the festival to undertake necessary reviews of planning and decision-making processes.
A renewed emphasis on transparency and engagement with artists and audiences has emerged from messages accompanying the appointments.
Central to rebuilding trust is the conversation surrounding freedom of expression and inclusion of diverse voices. Critics of the previous board’s decision argued that it undermined artistic freedom and compromised the festival’s cultural mission, particularly in the context of contentious political issues.
Supporters argued that sensitivity to community contexts was important, but the magnitude of the backlash highlighted a disconnect between leadership decisions and broader community expectations. As the new board settles in, engagement with these themes will be essential to shaping programming and organisational culture.
Financial sponsors, cultural partners, and community advocates are closely watching developments. In the wake of the controversy, many stakeholders have expressed a desire to contribute to a constructive path forward that honours the festival’s legacy while safeguarding its future.
Potter and her board will be expected to build consensus across a wide range of interests, ensuring that the festival remains a platform where creative expression can thrive across genres and perspectives.
The timing of the transition offers a narrow window for planning and preparation, with the Adelaide Festival scheduled to run from late February into March. Organisers are tasked with finalising programming details, addressing public relations challenges, and reassuring participants that the festival environment is inclusive and welcoming.
The newly appointed board will hold its first formal meeting shortly, where early decisions will begin to shape the operational and cultural direction of the event.
Public engagement has already been significant, with community members expressing hopes that the festival can emerge stronger and more resilient. Discussions around freedom of expression, cultural balance, and artistic inclusion remain vibrant across media and social platforms.
Many commentators have urged a thoughtful approach that honors diverse perspectives while upholding rigorous artistic standards. Amid these debates, there is shared recognition of the Adelaide Festival’s deep importance to South Australia’s cultural identity and economic vitality.
Looking ahead, the new board, under Judy Potter’s leadership, will have the dual task of overseeing the immediate festival delivery and charting a long-term strategic vision.
Establishing trust with creative communities, formal partners, and audiences will likely take time, but the swift appointments signal a commitment to restoring stability and credibility. The situation ahead is shaping up as a test of organisational resilience, cultural leadership, and community engagement.
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