Throughout 2010 and 2011, the city of Christchurch, New Zealand, suffered a series of devastating earthquakes that caused serious damage to the city. This study examines the effect these earthquakes have had on the sport of swimming in Christchurch. It specifically focuses on three different aspects of the swimming industry: indoor competitive swimming, open water swimming and learning to swim. It reports on the industry prior to the earthquakes before examining the developments subsequent to the shakes. The effects on both facilities and participation numbers were examined. Results showed that many indoor swimming facilities were lost which had significant flow-on effects. In addition, many beaches were out of bounds and almost half of the schools in Canterbury lost the use of their own swimming pools. In terms of participation numbers, results showed that while there was a decrease in the number of indoor competitive swimmers, Canterbury clubs were still highly competitive and their rankings at events either remained similar or bettered during and after the period of the earthquakes. On the other hand, an increase in the number of participants was seen in swimming lessons as temporary pools were constructed and subsidies were offered to cover transport and lesson costs. Open water swimming, however, seems to have been relatively unaffected by the earthquakes.This report was made possible through Lincoln University’s Summer Scholarship programme. The authors would also like to acknowledge those anonymous interviewees who provided some valuable insight into the swimming industry in Christchurch.
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.
Worldwide turbidity is a huge concern for the health of aquatic ecosystems. Human activities on the land such as construction, deforestation, agriculture, and mining all have impacts on the amount of particulate solids that enter the world’s waterways. These particulate solids can pose a number of risks to aquatic life, but primary among them is the turbidity that they create in the water column. The way suspended solids interact with light creates cloudiness in the water which interferes with the vision, and visually mediated behaviours of aquatic organisms, particularly fish. The Avon-Heathcote estuary of Christchurch, New Zealand, is one such body of water that is subject to tremendous variation in turbidity, no doubt exacerbated by the destruction of Christchurch in the 2010 and 2011 earthquakes, as well as the subsequent ongoing rebuild. The yellow eyed mullet, Aldrichetta Forsteri, is one species that is common with the estuary, and uses it as a habitat for breeding. Though very common throughout New Zealand, and even a part of the catch of commercial fisheries, the yellow eyed mullet is a largely unstudied organism, with virtually no published scientific enquiry based on the species. The present work assesses how several behaviours of the yellow eyed mullet are effected by acute turbidity at 10, 50, 90, 130 and 170 NTU, finding that: 1) The optomotor response of mullet to 2.5 mm stripes drops to insignificant levels between 10 and 50 NTU, 2) The swimming activity of the yellow eyed mullet is highest at 10 NTU and drops to a significantly lower level at higher turbidities, 3) The grouping behaviour of small groups of yellow eyed mullet are unchanged by increasing turbidity levels, 4) that yellow eyed mullet do not exhibit significantly different behavioural response to a simulated predator at any of the tested turbidities, and 5) that yellow eyed mullet to do significantly alter their oxygen consumption during exposure to the turbidities in an increasing series. The results presented in these studies indicate that turbidites above 50 NTU pose a significant risk to the lifestyle of the yellow eyed mullet, potentially impacting their ability to perceive their surroundings, feed, school, and avoid predation. Future work has a lot of ground to cover to more precisely determine the relationship between yellow eyed mullet behaviour and physiology, and the turbidity of their environment. In particular, future work should focus more closely on the turbidities between 10 and 50 NTU, as well as looking to field work to see what the predominant predators of the mullet are, and specifically whether turbidity increases or decreases the risk of mullet being subject to avian predation. There is also considerable scope for studies on the effects of chronic turbidity upon mullet, which will add understand to the predicament of escalating turbidity and its effects upon this common and yet mysterious native fish.
