In this paper Paul Millar outlines the development of the University of Canterbury Quakebox project, a collaborative venture between the UC CEISMIC Canterbury Earthquakes Digital Archive and the New Zealand Institute of Language Brain and Behaviour to preserve people’s earthquake stories for the purposes of research, teaching and commemoration. The project collected over 700 stories on high definition video, and Millar is now looking at using the corpus to underpin a longitudinal study of post-quake experience.
This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.
This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.
For the people of Christchurch and its wider environs of Canterbury in New Zealand, the 4th of September 2010 earthquake and the subsequent aftershocks were daunting. To then experience a more deadly earthquake five months later on the 22nd of February 2011 was, for the majority, overwhelming. A total of 185 people were killed and the earthquake and continuing aftershocks caused widespread damage to properties, especially in the central city and eastern suburbs. A growing body of literature consistently documents the negative impact of experiencing natural disasters on existing psychological disorders. As well, several studies have identified positive coping strategies which can be used in response to adversities, including reliance on spiritual and cultural beliefs as well as developing resilience and social support. The lifetime prevalence of severe mental health disorders such as posttraumatic stress disorder (PTSD) occurring as a result of experiencing natural disasters in the general population is low. However, members of refugee communities who were among those affected by these earthquakes, as well as having a past history of experiencing traumatic events, were likely to have an increased vulnerability. The current study was undertaken to investigate the relevance to Canterbury refugee communities of the recent Canterbury Earthquake Recovery Authority (CERA) draft recovery strategy for Christchurch post-earthquakes. This was accomplished by interviewing key informants who worked closely with refugee communities. These participants were drawn from different agencies in Christchurch including Refugee Resettlement Services, the Canterbury Refugee Council, CERA, and health promotion and primary healthcare organisations, in order to obtain the views of people who have comprehensive knowledge of refugee communities as well as expertise in local mainstream services. The findings from the semi-structured interviews were analysed using qualitative thematic analysis to identify common themes raised by the participants. The key informants described CERA’s draft recovery strategy as a significant document which highlighted the key aspects of recovery post disaster. Many key informants identified concerns regarding the practicality of the draft recovery strategy. For the refugee communities, some of those concerns included the short consultation period for the implementation phase of the draft recovery strategy, and issues surrounding communication and collaboration between refugee agencies involved in the recovery. This study draws attention to the importance of communication and collaboration during recovery, especially in the social reconstruction phase following a disaster, for all citizens but most especially for refugee communities.
Disasters can create the equivalent of 20 years of waste in only a few days. Disaster waste can have direct impacts on public health and safety, and on the environment. The management of such waste has a great direct cost to society in terms of labor, equipment, processing, transport and disposal. Disaster waste management also has indirect costs, in the sense that slow management can slow down a recovery, greatly affecting the ability of commerce and industry to re-start. In addition, a disaster can lead to the disruption of normal solid waste management systems, or result in inappropriate management that leads to expensive environmental remediation. Finally, there are social impacts implicit in disaster waste management decisions because of psychological impact we expect when waste is not cleared quickly or is cleared too quickly. The paper gives an overview of the challenge of disaster waste management, examining issues of waste quantity and composition; waste treatment; environmental, economic, and social impacts; health and safety matters; and planning. Christchurch, New Zealand, and the broader region of Canterbury were impacted during this research by a series of shallow earthquakes. This has led to the largest natural disaster emergency in New Zealand’s history, and the management of approximately 8 million tons of building and infrastructure debris has become a major issue. The paper provides an overview of the status of disaster waste management in Christchurch as a case study. A key conclusion is the vital role of planning in effective disaster waste management. In spite of the frequency of disasters, in most countries the ratio of time spent on planning for disaster waste management to the time spent on normal waste management is extremely low. Disaster waste management also requires improved education or training of those involved in response efforts. All solid waste professionals have a role to play to respond to the challenges of disaster waste management.
Background: We are in a period of history where natural disasters are increasing in both frequency and severity. They are having widespread impacts on communities, especially on vulnerable communities, those most affected who have the least ability to prepare or respond to a disaster. The ability to assemble and effectively manage Interagency Emergency Response Teams (IERTs) is critical to navigating the complexity and chaos found immediately following disasters. These teams play a crucial role in the multi-sectoral, multi-agency, multi-disciplinary, and inter-organisational response and are vital to ensuring the safety and well-being of vulnerable populations such as the young, aged, and socially and medically disadvantaged in disasters. Communication is key to the smooth operation of these teams. Most studies of the communication in IERTs during a disaster have been focussed at a macro-level of examining larger scale patterns and trends within organisations. Rarely found are micro-level analyses of interpersonal communication at the critical interfaces between collaborating agencies. This study set out to understand the experiences of those working at the interagency interfaces in an IERT set up by the Canterbury District Health Board to respond to the needs of the vulnerable people in the aftermath of the destructive earthquakes that hit Canterbury, New Zealand, in 2010-11. The aim of the study was to gain insights about the complexities of interpersonal communication (micro-level) involved in interagency response coordination and to generate an improved understanding into what stabilises the interagency communication interfaces between those agencies responding to a major disaster. Methods: A qualitative case study research design was employed to investigate how interagency communication interfaces were stabilised at the micro-level (“the case”) in the aftermath of the destructive earthquakes that hit Canterbury in 2010-11 (“the context”). Participant recruitment was undertaken by mapping which agencies were involved within the IERT and approaching representatives from each of these agencies. Data was collected via individual interviews using a semi-structured interview guide and was based on the “Critical Incident Technique”. Subsequently, data was transcribed verbatim and subjected to inductive analysis. This was underpinned theoretically by Weick’s “Interpretive Approach” and supported by Nvivo qualitative data analysis software. Results: 19 participants were interviewed in this study. Out of the inductive analysis emerged two primary themes, each with several sub-factors. The first major theme was destabilising/disruptive factors of interagency communication with five sub-factors, a) conflicting role mandates, b) rigid command structures, c) disruption of established communication structures, d) lack of shared language and understanding, and e) situational awareness disruption. The second major theme stabilising/steadying factors in interagency communication had four sub-factors, a) the establishment of the IERT, b) emergent novel communication strategies, c) establishment of a liaison role and d) pre-existing networks and relationships. Finally, there was a third sub-level identified during inductive analysis, where sub-factors from both primary themes were noted to be uniquely interconnected by emergent “consequences” arising out of the disaster context. Finally, findings were synthesised into a conceptual “Model of Interagency Communication at the Micro-level” based on this case study of the Canterbury earthquake disaster response. Discussion: The three key dimensions of The People, The Connections and The Improvisations served as a framework for the discussion of what stabilises interagency communication interfaces in a major disaster. The People were key to stabilising the interagency interfaces through functioning as a flexible conduit, guiding and navigating communication at the interagency interfaces and improving situational awareness. The Connections provided the collective competence, shared decision-making and prior established relationships that stabilised the micro-level communication at interagency interfaces. And finally, The Improvisations i.e., novel ideas and inventiveness that emerge out of rapidly changing post-disaster environments, also contributed to stabilisation of micro-level communication flows across interagency interfaces in the disaster response. “Command and control” hierarchical structures do provide clear processes and structures for teams working in disasters to follow. However, improvisations and novel solutions are also needed and often emerge from first responders (who are best placed to assess the evolving needs in a disaster where there is a high degree of uncertainty). Conclusion: This study highlights the value of incorporating an interface perspective into any study that seeks to understand the processes of IERTs during disaster responses. It also strengthens the requirement for disaster management frameworks to formally plan for and to allow for the adaptive responsiveness of local teams on the ground, and legitimise and recognise the improvisations of those in the role of emergent boundary spanners in a disaster response. This needs to be in addition to existing formal disaster response mechanisms. This study provides a new conceptual model that can be used to guide future case studies exploring stability at the interfaces of other IERTs and highlights the centrality of communication in the experiences of members of teams in the aftermath of a disaster. Utilising these new perspectives on stabilising communication at the interagency interfaces in disaster responses will have practical implications in the future to better serve the needs of vulnerable people who are at greatest risk of adverse outcomes in a disaster.
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.
Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
On 15 August 1868, a great earthquake struck off the coast of the Chile-Peru border generating a tsunami that travelled across the Pacific. Wharekauri-Rekohu-Chatham Islands, located 800 km east of Christchurch, Aotearoa-New Zealand (A-NZ) was one of the worst affected locations in A-NZ. Tsunami waves, including three over 6 metres high, injured and killed people, destroyed buildings and infrastructure, and impacted the environment, economy and communities. While experience of disasters, and advancements in disaster risk reduction systems and technology have all significantly advanced A-NZ’s capacity to be ready for and respond to future earthquakes and tsunami, social memory of this event and other tsunamis during our history has diminished. In 2018, a team of scientists, emergency managers and communication specialists collaborated to organise a memorial event on the Chatham Islands and co-ordinate a multi-agency media campaign to commemorate the 150th anniversary of the 1868 Arica tsunami. The purpose was to raise awareness of the disaster and to encourage preparedness for future tsunami. Press releases and science stories were distributed widely by different media outlets and many attended the memorial event indicating public interest for commemorating historical disasters. We highlight the importance of commemorating disaster anniversaries through memorial events, to raise awareness of historical disasters and increase community preparedness for future events – “lest we forget and let us learn.”
