The Canterbury earthquakes and the rebuild are generation-defining events for twenty-first century Aotearoa/ New Zealand. This article uses an actor network approach to explore 32 women’s narratives of being shaken into dangerous disaster situations and reconstituting themselves to cope in socially innovative ways. The women’s stories articulate on-going collective narratives of experiencing disaster and coping with loss in ‘resilient’ ways. In these women’s experiences, coping in disasters is not achieved by talking through the emotional trauma. Instead, coping comes from seeking solace through engagement with one’s own and others’ personal risk and resourcefulness in ways that feed into the emergence of socially innovative voluntary organisations. These stories offer conceptual insight into the multivalent interconnections between resilience and vulnerabilities and the contested nature of post-disaster recovery in Aotearoa/New Zealand. These women gave voice to living through disasters resiliently in ways that forged new networks of support across collective and personal narratives and broader social goals and aspirations for Aotearoa/New Zealand’s future.
War and natural disasters share many features including great loss of life, traumatised populations and haunting memories. The Christchurch earthquakes were the third most costly event of 2011 with total costs of up to $NZ30 billion. Many homes, communities, families and an established way of life have gone for ever. The paper comes from the Women’s Voices project that documents women’s narratives of earthquake trauma and loss and examines their profiles of emotional expression associated with coping. For these women in Christchurch, solace is not about talking experiences of suffering but by doing practical things that inform and are shaped by existing personal narratives. As they relayed this common arc, they also entered into national (and gendered) narrative themes of being practical, stoic, independent and resourceful in the face of tragedy and loss and so embody communal aspects of coping with loss and grief particular to the New Zealand even ‘the South Island settler’ identity narrative. These narratives suggest it useful to rethink key concepts that inform our understanding of coping with disaster and loss.
This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.
Blended learning plays an important role in many tertiary institutions but little has been written about the implementation of blended learning in times of adversity, natural disaster or crisis. This paper describes how, in the wake of the 22 February Canterbury earthquake, five teacher educators responded to crisis-driven changing demands and changing directions. Our narratives describe how blended learning provided students in initial teacher education programmes with some certainty and continuity during a time of civil emergency. The professional learning generated from our experiences provides valuable insights for designing and preparing for blended learning in times of crisis, as well as developing resilient blended learning programmes for the future.
Social media have changed disaster response and recovery in the way people inform themselves, provide community support and make sense of unfolding and past events online. During the Canterbury earthquakes of 2010 and 2011 social media platforms such as Facebook and Twitter became part of the story of the quakes in the region, as well as a basis for ongoing public engagement during the rebuild efforts in Christchurch. While a variety of research has been conducted on the use of social media in disaster situations (Bruns & Burgess, 2012; Potts, Seitzinger, Jones, & Harrison, 2011; Shklovski, Palen, & Sutton, 2008), studies about their uses in long-term disaster recovery and across different platforms are underrepresented. This research analyses networked practices of sensemaking around the Canterbury earthquakes over the course of disaster response, recovery and rebuild, focussing on Facebook and Twitter. Following a mixed methodological design data was gathered in interviews with people who started local Facebook pages, and through digital media methods of data collection and computational analysis of public Facebook pages and a historical Twitter dataset gathered around eight different earthquake-related events between 2010 and 2013. Data is further analysed through discursive and narrative tools of inquiry. This research sheds light on communication practices in the drawn-out process of disaster recovery on the ground in connecting different modes of discourse. Examining the ongoing negotiation of networked identities through technologically mediated social practices during Canterbury’s rebuild, the connection between online environments and the city of Christchurch, as a physical place, is unpacked. This research subsequently develops a new methodology to study social media platforms and provide new and detailed information on both the communication practices in issue-based online publics and the ongoing negotiation of the impact of the Canterbury earthquakes through networked digital means.
This thesis examines the opportunities for young citizens in Christchurch to be engaged in city planning post-disaster. This qualitative study was conducted eight years after the 2010-2011 earthquakes and employed interviews with 18 young people aged between 12-24 years old, 14 of whom were already actively engaged in volunteering or participating in a youth council. It finds that despite having sought out opportunities for youth leadership and advocacy roles post-disaster, young people report frustration that they are excluded from decision-making and public life. These feelings of exclusion were described by young people as political, physical and social. Young people felt politically excluded from decision-making in the city, with some youth reporting that they did not feel listened to by decision-makers or able to make a difference. Physical exclusion was also experienced by the young people I interviewed, who reported that they felt excluded from their city and neighbourhood. This ranged from feeling unwelcome in certain parts of the city due to perceived social stratification, to actual exclusion from newly privatised areas in a post-quake recovery city. Social exclusion was reported by young people in the study in regard to their sense of marginalisation from the wider community, due to structural and social barriers. Among these, they observed a sense of prejudice towards them and other youth due to their age, class and/or ethnicity. The barriers to their participation and inclusion, and their aspirations for Christchurch post-disaster are discussed, as well as the implications of exclusion for young people’s wellbeing and sense of belonging. Results of this study contribute to the literature that challenges the sole focus on children and young peoples’ vulnerability post-disaster, reinforcing their capacity and desire to contribute to the recovery of their city and community (Peek, 2008). This research also challenges the narrative that young people are politically apathetic (Norris, 2004; Nissen, 2017), and adds to our understandings of the way that disasters can concentrate power amongst certain groups, in this case excluding young people generally from decision-making and public life. I conclude with some recommendations for a more robust post-disaster recovery in Christchurch, in ways that are more inclusive of young people and supportive of their wellbeing.
There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.
When the devastating 6.3 magnitude earthquake hit Christchurch, Aotearoa New Zealand, at 12.51pm on 22nd February 2011, the psychological and physical landscape was irrevocably changed. In the days and weeks following the disaster communities were isolated due to failed infrastructure, continuing aftershocks and the extensive search and rescue effort which focussed resources on the central business district. In such moments the resilience of a community is truly tested. This research discusses the role of grassroots community groups in facilitating community resilience during the Christchurch 2010/11 earthquakes and the role of place in doing so. I argue that place specific strategies for urban resilience need to be enacted from a grassroots level while being supported by broader policies and agencies. Using a case study of Project Lyttelton – a group aspiring towards a resilient sustainable future who were caught at the epicentre of the February earthquake – I demonstrate the role of a community group in creating resilience through self-organised place specific action during a disaster. The group provided emotional care, basic facilities and rebuilding assistance to the residents of Lyttelton, proving to be an invaluable asset. These actions are closely linked to the characteristics of social support and social learning that have been identified as important to socio-ecological resilience. In addition this research will seek to understand and explore the nuances of place and identity and its role in shaping resilience to such dis-placing events. Drawing on community narratives of the displacement of place identity, the potential for a progressive sense of place as instigated by local groups will be investigated as an avenue for adaptation by communities at risk of disaster and place destabilisation.
Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
