Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
Prior to the devastating 2010 and 2011 earthquakes, parts of the CBD of Christchurch, New Zealand were undergoing revitalisation incorporating aspects of adaptive reuse and gentrification. Such areas were often characterised by a variety of bars, restaurants, and retail outlets of an “alternative” or “bohemian” style. These early 20th century buildings also exhibited relatively low rents and a somewhat chaotic and loosely planned property development approach by small scale developers. Almost all of these buildings were demolished following the earthquakes and a cordon placed around the CBD for several years. A paper presented at the ERES conference in 2013 presented preliminary results, from observation of post-earthquake public meetings and interviews with displaced CBD retailers. This paper highlighted a strongly held fear that the rebuild of the central city, then about to begin, would result in a very different style and cost structure from that which previously existed. As a result, permanent exclusion from the CBD of the types of businesses that previously characterised the successfully revitalised areas would occur. Five years further on, new CBD retail and office buildings have been constructed, but large areas of land between them remain vacant and the new buildings completed are often having difficulty attracting tenants. This paper reports on the further development of this long-term Christchurch case study and examines if the earlier predictions of the displaced retailers are coming true, in that a new CBD that largely mimics a suburban mall in style and tenancy mix, inherently loses some of its competitive advantage?
This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.
On 15 August 1868, a great earthquake struck off the coast of the Chile-Peru border generating a tsunami that travelled across the Pacific. Wharekauri-Rekohu-Chatham Islands, located 800 km east of Christchurch, Aotearoa-New Zealand (A-NZ) was one of the worst affected locations in A-NZ. Tsunami waves, including three over 6 metres high, injured and killed people, destroyed buildings and infrastructure, and impacted the environment, economy and communities. While experience of disasters, and advancements in disaster risk reduction systems and technology have all significantly advanced A-NZ’s capacity to be ready for and respond to future earthquakes and tsunami, social memory of this event and other tsunamis during our history has diminished. In 2018, a team of scientists, emergency managers and communication specialists collaborated to organise a memorial event on the Chatham Islands and co-ordinate a multi-agency media campaign to commemorate the 150th anniversary of the 1868 Arica tsunami. The purpose was to raise awareness of the disaster and to encourage preparedness for future tsunami. Press releases and science stories were distributed widely by different media outlets and many attended the memorial event indicating public interest for commemorating historical disasters. We highlight the importance of commemorating disaster anniversaries through memorial events, to raise awareness of historical disasters and increase community preparedness for future events – “lest we forget and let us learn.”
