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Audio, Radio New Zealand

Regional civil defence says listen to national centre, not pacific; Pacific Tsunami Warning Centre - "warning" too confusing; Union plans legal action against Earthquake Commission; Auckland DHB avoids possible legal action over smoking complaint; 7.6 quake triggered near Kermadec Islands; NIWA says National Oceans Strategy urgently needed; and 27 Christchurch bakers lose their jobs.

Audio, Radio New Zealand

158 other buildings may share CTV construction flaw; US defence chief lifts ban on NZ vessels in US ports; first snapshot of national standards data published today; Korean fishing boat officers fined more than $400,000; and SFO starts investigation into Christchurch earthquake insurance fraud.

Audio, Radio New Zealand

Police prosecutor jailed for dealing drugs;Sharebrokers getting late rush of MRP investors;Pressure mounts on MP Aaron Gilmore;Police rule out anyone else being at risk;Mother of electrocuted son is pleased that electricians been named and shamed;NZ Post signals to Government it will need to invest in KiwiBank in two years;Judge says young killer could have made something of himself;Elderly in Christchurch say they are low on priority list for earthquake repairs and payouts.

Research papers, University of Canterbury Library

Effective management of waste and debris generated by a disaster event is vital to ensure rapid and efficient response and recovery that supports disaster risk reduction (DRR). Disaster waste refers to any stream of debris that is created from a natural disaster that impacts the environment, infrastructure, and property. This waste can be problematic due to extensive volumes, environmental contamination and pollution, public health risks, and the disruption of response and recovery efforts. Due to the complexities in dealing with these diverse and voluminous materials, having disaster waste management (DWM) planning in place pre-event is crucial. In particular, coordinated, interagency plans that have been informed by estimates of waste volumes and types are vital to ensure management facilities, personnel, and recovery resources do not become overwhelmed. Globally, a priority when formulating DWM plans is the robust estimation of disaster waste stream types and volumes. This is a relatively under-researched area, despite the growing risk of natural disasters and increasingly inadequate waste management facilities. In Aotearoa New Zealand, a nation-wide DWM planning tool has been proposed for local government use, and waste amounts from events such as the Christchurch Earthquakes have been estimated. However, there has been little work undertaken to estimate waste types and volumes with a region-specific, multi-hazard focus, which is required to facilitate detailed regional DWM planning. This research provides estimates of potential disaster waste volumes and types in the Waitaha-Canterbury region of the South Island (Te Waipounamu) for three key hazard scenarios: a M8.0 Alpine Fault earthquake with a south-to-north rupture pattern, a far-sourced tsunami using a maximum credible event model for a Peru-sourced event, and major flooding using geospatial datasets taken from available local government modelling. Conducted in partnership with Environment Canterbury and Canterbury CDEM, this estimation work informed stakeholder engagement through multi-agency workshops at the district level. This research was comprised of two key parts. The first was enhancing and extending a disaster waste estimation model used in Wellington and applying it to the Canterbury region to quantify waste volumes and types. The second part was using this model and its estimates to inform engagement with stakeholders in multi-agency, district-level workshops in Kaikōura, Hurunui, and Waimakariri. In these workshops, the waste estimates were used to catalyse discussion around potential issues associated with the management of disaster waste. Regionally, model estimates showed that the earthquake scenario would generate the highest total volume of disaster waste (1.94 million m³), compared to the tsunami scenario (1.89 million m³) and the flood scenario (173,900 m³). Flood waste estimates are likely underrepresented due to limited flood modelling coverage, but still provide a valuable comparison. Whilst waste estimates differ significantly between districts, waste volumes were shown to be not solely dependent on building/population density. The district-level workshops showed that DWM challenges revolved around logistical constraints, public concerns, governance complexities, and environmental issues. Future work should further enhance this estimation model and apply it to other regions of Aotearoa New Zealand, to help develop a set of cohesive DWM plans for each region. The waste estimation model could also be adapted and applied internationally. The findings from this research provide a foundation for advancing DWM planning and stakeholder engagement in the Waitaha-Canterbury region. By offering region-specific waste estimates across multiple hazard scenarios, this work supports district councils and emergency managers in developing informed, proactive strategies for disaster preparedness and response. The insights gained from district-level workshops highlight key challenges that must be addressed in future planning. These outcomes contribute to a broader research agenda for DWM in Aotearoa New Zealand, and offer a framework adaptable to international contexts.

Images, UC QuakeStudies

Photograph captioned by Fairfax, "Children in Diamond Harbour and Purau who decided to try and cheer up all the sick and elderly in the community after the quake by taking them bunches of daffodils. From left are Charmaine Cameron, Alex Cameron, Liam Schmidlin-Wilson, Ruby Gilligan, Ellie Rice, Sofia Rand, Zac Cottrell-Vincent (rear), Dorothy Schmidlin-Wilson, Sky Dehne and James Rice".

Research papers, University of Canterbury Library

With origins in the South Bronx area of New York in the early 1970s, hip-hop culture is now produced and consumed globally. While hip-hop activities can be varied, hip-hop is generally considered to have four forms or “elements”: DJing, MCing, b-boying/b-girling, and graffiti. Although all four elements of hip-hop have become a part of many youth work initiatives across the globe, public debate and controversy continue to surround hip-hop activities. Very little research and literature has explored the complexities involved in the assembling of hip-hop activities in youth work sites of practice using these hip-hop elements. This study attends to the gap in hip-hop and human service literature by tracing how hip-hop activities were assembled in several sites of youth work activity in Christchurch, New Zealand. Actor-network theory (ANT) is the methodological framework used to map the assemblage of hip-hop-youth work activities in this study. ANT follows how action is distributed across both human and non-human actors. By recognising the potential agency of “things”, this research traces the roles played by human actors, such as young people and youth workers, together with those of non-human actors such as funding documents, social media, clothing, and youth venue equipment. This ethnographic study provides rich descriptions or “snapshots” of some of the key socio-material practices that shaped the enactment of hip-hop-youth work activities. These are derived from fieldwork undertaken between October 2009 and December 2011, where participant observation took place across a range of sites of hip-hop-youth work activity. In addition to this fieldwork, formal interviews were undertaken with 22 participants, the majority being youth workers, young people, and youth trust administrators. The ANT framework reveals the complexity of the task of assembling hip-hop in youth work worlds. The thesis traces the work undertaken by both human and non-human actors in generating youth engagement in hip-hop-youth work activities. Young people’s hip-hop interests are shown to be varied, multiple, and continually evolving. It is also shown how generating youth interest in hip-hop-youth work activities involved overcoming young people’s indifference or lack of awareness of the hip-hop resources a youth trust had on offer. Furthermore, the study highlights where hip-hop activities were edited or “tinkered” with to avoid hip-hop “bads”. The thesis also unpacks how needed resources were enlisted, and how funders’ interests were translated into supporting hip-hop groups and activities. By tracing the range of actors mobilised to enact hip-hop-youth work activities, this research reveals how some youth trusts could avoid having to rely on obtaining government funds for their hip-hop activities. The thesis also includes an examination of one youth trust’s efforts to reconfigure its hip-hop activities after the earthquakes that struck Christchurch city in 2010 and 2011. Working both in and on the world, the text that is this thesis is also understood as an intervention. This study constitutes a deliberate attempt to strengthen understandings of hip-hop as a complex, multiple, and fluid entity. It therefore challenges traditional media and literature representations that simplify and thus either stigmatise or celebrate hip-hop. As such, this study opens up possibilities to consider the opportunities, as well as the complexities of assembling hip-hop in youth work sites of practice.

Audio, Radio New Zealand

Poetica is a series of large-scale paintings of 20 different poems in twenty different languages, paying tribute to the different nationalities lost in the Christchurch earthquake.