This study explores the role and value of urban community gardens following a major crisis: the 2010/11 earthquakes in Christchurch, New Zealand.
This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined. Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment. A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks. Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances. Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions. Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.
Global biodiversity is threatened by human actions, including in urban areas. Urbanisation has removed and fragmented indigenous habitats. As one of the 25 biodiversity ’hot spots’, New Zealand is facing the problems of habitat loss and indigenous species extinction. In New Zealand cities, as a result of the land clearance and imported urban planning precepts, many urban areas have little or no original native forest remaining. Urbanisation has also been associated with the introduction of multitudes of species from around the world. Two large earthquakes shook Christchurch in 2010 and 2011 and caused a lot of damage. Parts of the city suffered from soil liquefaction after the earthquakes. In the most damaged parts of Christchurch, particularly in the east, whole neighbourhoods were abandoned and later demolished except for larger trees. Christchurch offers an excellent opportunity to study the biodiversity responses to an urban area with less intensive management, and to learn more about the conditions in urban environments that are most conducive to indigenous plant biodiversity. This study focuses on natural woody plant regeneration of forested sites in Christchurch city, many of which were also surveyed prior to the earthquakes. By repeating the pre-earthquake surveys, I am able to describe the natural regeneration occurring in Christchurch forested areas. By combining this with the regeneration that has occurred in the Residential Red Zone, successional trajectories can be described under a range of management scenarios. Using a comprehensive tree map of the Residential Red Zone, I was also able to document minimum dispersal distances of a range of indigenous trees in Christchurch. This is important for planning reserve connectivity. Moreover, I expand and improve on a previous analysis of the habitat connectivity of Christchurch (made before the earthquakes) to incorporate the Residential Red Zone, to assess the importance for habitat connectivity of restoring the indigenous forest in this area. In combination, these data sets are used to provide patch scenarios and some management options for biodiversity restoration in the Ōtākaro-Avon Red Zone post-earthquake.