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.
The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future.
This thesis seeks to examine how the integration of play, small toys specifically, and the use of solution-focused brief therapy techniques can affect the outcomes for primary school aged children undergoing counselling. The setting is a counselling agency in Christchurch, New Zealand. A qualitative research approach is used and the data analysed using a narrative inquiry approach. The context of this study is the counselling service of an agency where young children, adolescents and their families are helped and supported through a variety of life issues. The counselling the participants are offered uses a combination of a solution-focused and play therapy where the purpose is to encourage clients to find exceptions to their presenting problems and identify their preferred future. The aim of this study is to help the children navigate their problem through a better understanding of and the gaining of personal skills and strengths. Participants were invited to be part of this study through the agency waiting list. The four included presented with a variety of reasons for coming to counselling yet these proved similar to that which the agency has been routinely presented with in the aftermath of the Canterbury earthquakes from 2011 to present day. Each participant had the consent of their parents or caregivers to engage in this project. The participants themselves separately agreed to engage in a solution- focused counselling process where the counsellor also integrated the use of small toys as part of the course. Counselling sessions were audiotaped, aspects photographed and analysed with a specific focus on client engagement. Four key themes emerged as the participants explored their personal narrative. Firstly, the “I’m OK” theme depicted in their first scaling activity, secondly a recognition that things could indeed be better and they needed help. Thirdly, a realisation of their own strengths and skills and finally that the future was an optimistic place to look forward to. These themes are described and explained through descriptions of the participant’s stories as well as self-reflection by the researcher. Transcriptions of sessions are included as are excerpts from the research journal and photographs of the use of the small toys by the children.
This thesis explores the discussions and perspectives of Christchurch secondary school students in regards to their particular experiences and engagement with Anzac. In this thesis I seek to rigorously and robustly examine these viewpoints through semi-structured focus group interviews and thematic analysis. I seek to situate these youth perspectives within wider debates around Anzac mythology and Anzac resurgence in New Zealand which often do not represent the youth outlook. These debates are seen, on the one hand, to present a resurgence of youth engagement with Anzac and, on the other hand, to present the idea that Anzac has become an exclusionary myth which distorts Australians’ and New Zealanders’ understanding of wider Anzac experiences and educates them in a narrow, militarised way. Youth engagement with Anzac was not something which could be solely situated under either of these debates and, instead, it was seen to be multifaceted and made up of unique ideas and elements. The youth in my study acknowledged that their Anzac education did have mythic elements which made it hard for them to engage with Anzac despite the fact that they were actually interested in learning and understanding it. These mythic elements were the idea that Anzac is taught as a ‘simple narrative’ which does not allow room for critique, that it emphasises a link between Anzac and national identity, that it disregards many alternative Anzac experiences and that it presents a particular New Zealand identity to internalise. These students responded to their mythic Anzac education in a very active way, and instead of accepting it as truth, they were able to have constructive and critical conversations about their education and push against parts of it which they found to be too narrow or skewed in particular directions based on gender, ethnicity and national identity. The students were not passive vessels which internalised their Anzac education as fact; instead, they were able to acknowledge the mythic elements of their education and its negative influence in the classroom. This thesis went further in exploring what factors were seen to enhance this active process of critique and provide students with alternative knowledge and perspectives about Anzac. These factors were ancestral ties to Anzac, research into personal Anzac stories and experiences, unassessed educational units, centenary discussions, an understanding of hardship through the earthquakes and alternative perspectives of the Anzac experience through access to the internet. These factors presented a broader understanding of Anzac perspectives and experiences and students believed that if the mythic elements of their education could be revised and these elements encouraged then their engagement with Anzac would continue long into the future.
