This thesis explores the intricate relationship between dance and trauma, focusing on how embodied practices facilitate psychological recovery. Dominant narratives often prioritise cognitive experiences, limiting our understanding of healing. By employing a qualitative, post-positivist and critical autoethnographic approach, I reflect on my journey through trauma following the Christchurch earthquakes, utilising journal entries from the point of view of my younger self to illustrate the transformative power of movement and dance. The key themes of this research are structure and routine, socialisation, and alleviation of anxious thoughts, demonstrating how engaging with the body challenges conventional notions of recovery. Furthermore, it highlights the complementary role of Dance Movement Therapy in trauma- informed practices, advocating for a holistic approach that recognises the mind-body connection. The findings underscore the necessity of viewing trauma as an embodied experience and propose a shift toward movement-based therapeutic practices that empower individuals through their lived experiences. Ultimately, this research calls for reimagining therapeutic frameworks, emphasising dance's potential to complement current trauma- informed therapies and promote a bottom-up approach to recovery.
This literature review uses research informed by disasters including the Christchurch Earthquakes, Hurricane Katrina, Red River floods, War in Israel and natural disasters in Indonesia to identify key aspects within teacher-student relationships which result in an increase in the emotional stability of our students. These aspects include prior knowledge of students and their development, psycho-social interventions and incorporation of the disaster into the curriculum. Teacher-student relationships are highlighted as vital to a child’s healing and resilience after experiencing disaster trauma.
Indigenous Peoples retain traditional coping strategies for disasters despite the marginalisation of many Indigenous communities. This article describes the response of Māori to the Christchurch earthquakes of 2010 and 2012 through analyses of available statistical data and reports, and interviews done three months
and one year after the most damaging event. A significant difference between Māori and ‘mainstream’ New Zealand was the greater mobility enacted by Māori
throughout this period, with organisations having roles beyond their traditional catchments throughout the disaster, including important support for non-Māori.
Informed engagement with Indigenous communities, acknowledging their internal diversity and culturally nuanced support networks, would enable more efficient
disaster responses in many countries.
Mechanistic and scientific approaches to resilience assume that there is a “tipping point” at which a system can no longer absorb adversity; after this point, it is liable to collapse. Some of these perspectives, particularly those stemming from ecology and psychology, recognise that individuals and communities cannot be perpetually resilient without limits. While the resilience paradigm has been imported into the social sciences, the limits to resilience have often been disregarded. This leads to an overestimation of “human resourcefulness” within the resilience paradigm. In policy discourse, practice, and research, resilience seems to be treated as a “limitless” and human quality in which individuals and communities can effectively cope with any hazard at any time, for as long as they want and with any people. We critique these assumptions with reference to the recovery case in Ōtautahi Christchurch, Aotearoa New Zealand following the 2010-11 Canterbury earthquake sequence. We discuss the limits to resilience and reconceptualise resilience thinking for disaster risk reduction and sustainable recovery and development.
Memorial design in the West has been explored in depth (Stevens and Franck, 2016; Williams, 2007), and for landscape architects it presents opportunities and challenges. However, there is little in the English language literature about memorial design in China. How have Chinese designers responded to the commemorative settings of war and disaster? This study will adopt the method of case study to analyse two of the most representative memorials in China: Nanjing Massacre Memorial Hall (war) and Tangshan Earthquake Memorial Hall (disaster). Both landscapes have undergone three or four renovations and extensions in the last four decades, demonstrating the practical effects of the Chinese landscape theory. These examples of responses to trauma through memorial landscape interventions are testimonies to the witnesses, victims, abusers, ordinary people, youth and the place where the tragedy took place. This study will explore the reconstruction and expansion of the two memorials under the background of China's policies on memorial landscapes in different periods, as well as their functions of each stage. The research will examine how existing Chinese memorial theories exhibit unique responses at different times in response to the sadness and needs experienced by different users.
Key Words：memorial landscape; memorial language; victims; descriptive; architecture; experence; disaster; memorial hall; landscape development; Chinese memorial; war.
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 project looks at how destroyed architecture, although physically lost, fundamentally continues to exist within human memories as a non-physical entity. The site chosen is Avonside Girls’ High School in Christchurch, New Zealand, a school heavily damaged during the February 22nd earthquake in 2011. The project focuses on the Main Block, a 1930s masonry building which had always been a symbol for the school and its alumni. The key theories relevant to this are studies on non-material architecture and memory as these subjects investigate the relationship between conceptual idea and the triggering of it. This research aims to study how to fortify a thought-based architecture against neglect, similar to the retrofitting of physical structures. In doing so, the importance of the emotive realm of architecture and the idea behind a building (as opposed to the built component itself) is further validated, promoting more broadminded stances regarding the significance of the idea over the object. A new method for disaster recovery and addressing trauma from lost architecture is also acquired. Factors regarding advanced structural systems and programmes are not covered within the scope of this research because the project instead explores issues regarding the boundaries between the immaterial and material. The project methodology involves communicating a narrative derived from the memories alumni and staff members have of the old school block. The approach for portraying the narrative is based on a list of strategies obtained from case studies. The final product of the research is a new design for the high school, conveyed through a set of atmospheric drawings that cross-examines the boundaries between the physical and non-physical realms by representing the version of the school that exists solely within memories.
