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.
Natural hazards continue to have adverse effects on communities and households worldwide, accelerating research on proactively identifying and enhancing characteristics associated with resilience. Although resilience is often characterized as a return to normal, recent studies of postdisaster recovery have highlighted the ways in which new opportunities can emerge following disruption, challenging the status quo. Conversely, recovery and reconstruction may serve to reinforce preexisting social, institutional, and development pathways. Our understanding of these dynamics is limited however by the small number of practice examples, particularly for rural communities in developed nations. This study uses a social–ecological inventory to document the drivers, pathways, and mechanisms of resilience following a large-magnitude earthquake in Kaikōura, a coastal community in Aotearoa New Zealand. As part of the planning and implementation phase of a multiyear project, we used the tool as the basis for indepth and contextually sensitive analysis of rural resilience. Moreover, the deliberate application of social–ecological inventory was the first step in the research team reengaging with the community following the event. The inventory process provided an opportunity for research partners to share their stories and experiences and develop a shared understanding of changes that had taken place in the community. Results provide empirical insight into reactions to disruptive change associated with disasters. The inventory also informed the design of targeted research collaborations, established a platform for longer-term community engagement, and provides a baseline for assessing longitudinal changes in key resilience-related characteristics and community capacities. Findings suggest the utility of social–ecological inventory goes beyond natural resource management, and that it may be appropriate in a range of contexts where institutional, social, and economic restructuring have developed out of necessity in response to felt or anticipated external stressors.
