A photograph of a stuffed tortoise that is being stored at the Canterbury Cultural Recovery Centre.
A photograph of two lecterns and other furniture being stored at the Canterbury Cultural Recovery Centre.
A photograph of furniture being stored on top of a pallet at the at the Canterbury Cultural Recovery Centre.
A close-up photograph of mannequins stacked in the storage shelves at the Canterbury Cultural Recovery Centre.
A close-up photograph of a stuffed penguin that is being stored at the Canterbury Cultural Recovery Centre.
A photograph of a model ship that is being stored in one of the stacks at the Canterbury Cultural Recovery Centre.
A photograph of a cannon and other large objects that are being stored at the Canterbury Cultural Recovery Centre.
A document outlining the history of the Townsend Telescope and Observatory at the Christchurch Arts Centre.
A photograph of CEISMIC Digital Content Analyst Alexandra King standing next a collection of furniture being stored in the Canterbury Cultural Recovery Centre.
Photograph captioned by BeckerFraserPhotos, "Armagh Street".
Photograph captioned by BeckerFraserPhotos, "Armagh Street".
A photograph of stuffed birds in the stacks of the Canterbury Cultural Recovery Centre. Writing on the shelf reads "Caution, stuffed birds may contain arsenic - wear gloves and mask".
A photograph of stuffed birds in the stacks of the Canterbury Cultural Recovery Centre. Writing on the shelf reads "Caution, stuffed birds may contain arsenic - wear gloves and mask".
A photograph of a cannon, a lantern, a marble honours board and other large objects from museum collections which are being stored at the Canterbury Cultural Recovery Centre.
A photograph of material from the Lyttelton Museum's collection being stored on the Canterbury Cultural Recovery Centre's main floor. The collection includes framed pictures and maps, and Navy memorabilia.
A photograph of CEISMIC Digital Content Analyst Alexandra King and the Canterbury Cultural Recovery Centre intern, Moya Sherriff, discussing the collections. In the background is material from the Kaiapoi Museum's collection.
A photograph of a sign attached to a chair at the Canterbury Cultural Recovery Centre. The sign reads, "Look at me... But please don't walk on me!" A object from one of the collections has been laid flat on the floor and wrapped in white linen for protection.
A photograph of Kirkwood Village, a cluster of temporary classrooms and offices constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A photograph of Kirkwood Village, a cluster of temporary classrooms and offices constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A photograph of Kirkwood Village, a cluster of temporary classrooms and offices constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A photograph of Kirkwood Village, a cluster of temporary classrooms and offices constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A photograph of one of the "pods" of temporary classrooms and offices at Kirkwood Village. The pods were constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A photograph of students outside one of the "pods" of temporary classrooms and offices at Kirkwood Village. The pods were constructed at the University of Canterbury campus following the 22 February 2011 earthquake.
A video montage of Canterbury Tales, a carnivalesque procession through the central city, led by Free Theatre Christchurch. The film depicts the construction and set up, through to the main public events. It also includes interviews with Peter Faulkenberg (Canterbury Tales and Free Theatre Christchurch Artistic Director) and George Parker (Canterbury Tales and Free Theatre Christchurch Producer).
A photograph of furniture on the site of Christchurch: A Board Game.
A photograph of a person playing hockey in a street football arena built by Student Volunteer Army volunteers.
INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context. METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes. FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways. IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.
A photograph of a sign describing the Fulton Hogan BMX Pump Track.
A photograph of a mural depicting ChristChurch Cathedral. The mural is attached to the fence on the site of Christchurch: A Board Game.
A photograph of a street football arena built by Student Volunteer Army volunteers. The walls of the arena are built from recycled timber.