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Images, UC QuakeStudies

A photograph of people working at Agropolis, an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of people gathered at Agropolis, an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph submitted by Philip Broderick Willis to the QuakeStories website. The description reads, "Timaru Welfare Centre – Set up for EQ evacuees. Thought it was a little unfortunate that the only suitable venue there had a spring-loaded floor! Still, they were so welcoming and wonderful. It was such a relief to be there.".

Images, UC QuakeStudies

A photograph of compost heaps at Agropolis, an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of plants in a raised garden bed at Agropolis, an urban farm on the corner of High Street and Tuam Street. In the background, people are filling in the base of a shed with concrete. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of people standing in a pile of soil that has been placed on a white sheet, during a shed-building workshop at Agropolis. Agropolis is an urban farm on the corner of High Street and Tuam Street. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of the beginnings of a shed at Agropolis. Agropolis is an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of the beginnings of a shed at Agropolis. Agropolis is an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

A photograph of a woman with soil in her hands, before the opening of Agropolis, an urban farm on the corner of High Street and Tuam Street. Organic waste from inner-city hospitality businesses is composted and used to grow food. Agropolis was the venue for several events throughout FESTA 2013.

Images, UC QuakeStudies

In collaboration with Melbourne sound artist Malcolm Riddoch, the original recording has also been turned into an audio work entitled "Body Waves", which accentuates the lower frequency harmonics at a venue to create a piece that goes beyond the auditory system and can be felt in the body. This piece has been performed several times, including in New Zealand, Australia and Slovenia. Listen to it here: https://soundcloud.com/stanier-black-five/body-waves-i

Videos, UC QuakeStudies

A video of an interview with Danny Lee about a show put on by the Circus Trust. The show is based on a post-disaster scenario, reflecting the situation in Christchurch. Lee talks about the inspiration for the show, as well as the difficulties finding rehearsal and show venues in Christchurch after the earthquakes. The video also includes footage of the dress rehearsal for the show.

Audio, UC QuakeStudies

An audio documentary created by Kris Vavasour about the multitude of challenge the musicians, performers and venue owners in Lyttelton face in the aftermath of the Canterbury earthquakes. All songs are from the 'Harbour Union' album (2011), in alphabetical order: 'Even Keel' (Lindon Puffin); 'Ghost of this Town' (Marlon Williams); 'How Lucky You Are' (Delaney Davidson & Marlon Williams); 'Human Enough' (Lindon Puffin); 'It's So Good' (Delaney Davidson); 'Little Mountain Town' (Marlon Williams); 'Rocking Bell' (Adam McGrath); 'The Waterside' (Adam McGrath).

Videos, UC QuakeStudies

A video of an interview with Zak and Alasdair Cassels about the development of the historic tannery site in Woolston. The Cassels are developing the site into a Victorian-style arcade which will house up to 70 tenants, including bars, restaurants, a music venue, gift shops, fashion stores, a hair salon, a Pilates studio, a tattoo parlour, and an art gallery. The video also includes an interview with Sarah Odering, the manger of Dead Set.

Audio, Radio New Zealand

Sir Richard Hadlee is seeking public support to fund the final 1.6 million dollars needed to open an indoor training facility that will bear his name in Christchurch's Hagley Park. The multipurpose venue will cost close to 5 million to construct. It will be the first indoor cricket training facility in the city since the earthquakes, and Sir Richard hopes that it will be open in 100 days time - for the start of next year's women's cricket World Cup. Hadlee, who was diagnosed with Colorectal cancer in 2018, told Felicity Reid it's a project that he's proud to be involved in. And he's also got a few thoughts on how the Black Caps will fare in India when the first Test starts tomorrow.

Audio, Radio New Zealand

Christchurch's historic Theatre Royal will reopen for business in November, with bookings about to open for the first show, the Royal New Zealand Ballet season of "A Christmas Carol" The 106-year old theatre has been closed for almost four years because of earthquake damage in the 2010 and 2011 earthquakes. The $40million rebuild and restoration project will be completed over the next five months and on 17 November 2014, the 'Grand Old Lady' of New Zealand theatre will reopen her doors for performances. With so few venues for performance left in the city, including the Town Hall out of commission indefinitely, the rebuild of the Theatre Royal is very good news for Christchurch audiences Chief executive Neil Cox explains the process of getting oldest Edwardian theatre in the country back in use and mounting the large scale theatrical productions it has been famous for.

Images, Alexander Turnbull Library

A man reading a newspaper wails and sobs when he discovers that Christchurch will not be hosting any Rugby World Cup games. The newspaper is covered with real disaster news like the Japanese earthquake and potential nuclear disaster, economy problems , and 'aftershock anxiety'. Context - The Christchurch earthquakes of 4 September 2010 and 22 February 2011 that have led to the decision that because of the amount of damage to the venue plus infrastructures and accommodation for visitors the Rugby World Cup will not be played in Christchurch. Quantity: 1 digital cartoon(s).

Videos, NZ On Screen

RWP reporter/director Brent Hansen (later head of MTV Europe) visits the South Island: checking venues, talking to local luminaries, catching live bands and generally taking the pulse of the local music scene. Flying Nun is on the rise (and just starting to attract international attention) although none of the label's major acts are playing near the RWP cameras. Christchurch is in flux waiting on the next big pop act to emerge, while Dunedin is a hive of activity with a new generation of Flying Nun acts starting to come through. Then there's Crystal Zoom...

Images, Alexander Turnbull Library

The title reads 'Ellerslie Flower Show to return to Christchurch...' Below are nine cameos showing 'sinking violets', 'cracked chrysanthemums', 'pooey perrenials', 'rubble roses', 'portaloo poppies', 'munted marigolds', 'knackered natives', the 'lily of liquefaction' and 'wearable exhibits' which shows a woman wearing a toilet roll and carrying a spade. Context: The next Ellerslie International Flower Show will be staged in North Hagley Park from 7-11 March 2012. Following cancellation of the 2011 Show after the 22 February earthquake, Christchurch City Council has confirmed that the citys premier garden show will go ahead next year in the same venue as previous years. (http://www.ellerslieflowershow.co.nz/) Quantity: 1 digital cartoon(s).

Images, UC QuakeStudies

A poster advertising performers Maryrose Crook, Purple Pilgrims and Thje. The photographer comments, "Maryrose Crook, Purple Pilgrims, Thje. Saturday 26 Feb (2011). HSP 9PM $5. HSP stands for High Street Project. Here is the introduction for her concert 'Maryrose Crook's spectral voice and calenture tunes float through New Zealand giants, The Renderers' psychic country-punk and splatter rock, and emerge in her solo encounters with horripilated grace and filigree menace. Purple pilgrims' wraithish hymns evolve through a braided field of curled nautical drone and distant littoral roar, abstract thrums and change-rung celestial rustle'. She was supposed to perform on 26 February, but I am guessing the concert was cancelled due to the major earthquake in Christchurch on the 22nd. The horrendous quake made the venue at 84 Lichfield Street out of limits due to it being in the dangerous earthquake red zone. It looks like she next performed on the 17 May at the Loons in Lyttelton".

Images, Alexander Turnbull Library

Text top left reads 'A tale of two quakes' In the first frame a man runs from 'radiation leaks' yelling 'The end of the world!' and in the second frame a man runs from the notion 'No World Cup?' yelling 'The end of the world!' Context - the terrible earthquake and tsunami in Japan 11 March 2011 that have led to the overheating of several nuclear power plants that are leaking radiation and threaten a nuclear catastrophe and the Christchurch earthquakes of 4 September 2010 and 22 February 2011 that have led to the decision that because of the amount of damage to the venue plus infrastructures and accommodation for visitors the Rugby World Cup will not be played in Christchurch. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

In the first frame an excited rugby player runs across a rugby field wearing a shirt with the words 'Rugby Cup venues' printed on it and carrying a ball that represents 'extra games'. In the second frame a huge arm that represents 'extra costs' smashes into the player. Context - Christchurch cannot host the five games allocated to it. Auckland Council has agreed to pick up the $2.9 million tab it will cost to host three additional Rugby World Cup games. The government supports claims that the three bonus games could boost spending in Auckland by at least $28 million. (Stuff 31 March 2011) Colour and black and white versions of this cartoon are available Quantity: 2 digital cartoon(s).

Research papers, Lincoln University

The study contributes to a better understanding of utilisation and interaction patterns in post-disaster temporary urban open spaces. A series of devastating earthquakes caused large scale damage to Christchurch’s central city and many suburbs in 2010 and 2011. Various temporary uses have emerged on vacant post-earthquake sites including community gardens, urban agriculture, art installations, event venues, eateries and cafés, and pocket parks. Drawing on empirical data obtained from a spatial qualities survey and a Public Life Study, the report analyses how people used and interacted with three exemplary transitional community-initiated open spaces (CIOS) in relation to particular physical spatial qualities in central Christchurch over a period of three weeks. The report provides evidence that users of post-disaster transitional community-initiated open spaces show similar utilisation and interaction patterns in relation to specific spatial qualities as observed in other urban environments. The temporary status of CIOS did apparently not influence ‘typical’ utilisation and interaction patterns.

Images, Alexander Turnbull Library

Text reads 'Bad news for Christchurch playing fields'. On the left is a man wearing the Canterbury colours and carrying a flag; he looks most upset about the 'AMI Stadium' being red stickered. On the right is a woman of the night in fishnet stockings and a very short skirt who looks very upset as she hears that 'Manchester Street' has been red stickered. The little Evans man in the corner says 'Red light, red carded, from the red zone'. Context - The AMI Stadium was supposed to be the venue for the Rugby World Cup in Christchurch - a decision made on 16 March was made that Christchurch was not in a position to host the RWC. With Manchester St on the city side of Bealey Ave cordoned off, street workers have been working from the residential area between Bealey and Purchas St. and residents are furious. Colour and black and white versions of this cartoon are available Quantity: 2 digital cartoon(s).

Images, Alexander Turnbull Library

Surrounded by mud and puddles in Christchurch Prime Minister John Key puts his arm round co-leader of the Maori Party Pita Sharples and smiles happily; behind them is a brand new plastic portaloo. On the ground lies a newspaper with a headline that reads 'Govt. to fund $2m giant RWC plastic waka'. Pita Sharples says 'and to show we're not neglecting our priorities in these austere times, Christchurch will get a new plastic portaloo!' Context - The government has hit back at criticism over a $2 million venue centre in the shape of a waka for the Rugby World Cup (RWC), defending the cost as necessary to host a world-class event. Co-leader of the Maori Party Pita Sharples says the waka will promote Maori culture during the Rugby World Cup and at other events (like the America's Cup). Labour Party MP Shane Jones asks "How can Dr Sharples and Prime Minister John Key actually believe that this expensive indulgence is a positive advertisement for Maori? The truth is they don't but they're both working together in a desperate effort to keep the Maori Party afloat. Quantity: 1 digital cartoon(s).

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.