Photograph captioned by BeckerFraserPhotos, "WINZ building, High Street".
An example of a checklist used by SCIRT traffic management teams to perform site checks.
A photograph of street art near Fitzgerald Avenue. The artist is Benjamin Work.
A photograph of street art near Fitzgerald Avenue. The artist is Benjamin Work.
INTRODUCTION: After the 2011 Canterbury earthquake, the provision of school social work was extended into a larger number of schools in the greater Christchurch region to support discussions of their practice priorities and responses in post-earthquake schools. FINDINGS: Two main interpretations of need are reflected in the school social workers’ accounts of their work with children and families. Firstly, hardship-focused need, which represented children as adversely influenced by their home circumstances; the interventions were primarily with parents. These families were mainly from schools in low socioeconomic areas. Secondly, anxiety-based need, a newer practice response, which emphasised children who were considered particularly susceptible to the impacts of the disaster event. This article considers how these practitioners conceptualised and responded to the needs of the children and their families in this context. METHOD: A qualitative study examining recovery policy and school social work practice following the earthquakes including 12 semi-structured interviews with school social workers. This article provides a Foucauldian analysis of the social worker participants’ perspectives on emotional and psychological issues for children, particularly those from middle-class families; the main interventions were direct therapeutic work with children themselves. Embedded within these practice accounts are moments in which the social workers contested the predominant, individualising conceptualisations of need to enable more open-ended, negotiable, interconnected relationships in post-earthquake schools. IMPLICATIONS: In the aftermath of disasters, school social workers can reflect on their preferred practice responses and institutional influences in schools to offer children and families opportunities to reject the prevalent norms of risk and vulnerability.
A photograph of unfinished art work using Māori motifs at the Community Law Centre located on Madras Street.
A report which details the archaeological investigations carried out during the course of SCIRT projects 11115 and 11159, wastewater renewal work and storm water repair work on Ferry Road.
A best practice traffic management guideline, produced in February 2014, which helps traffic management team members slow motorists through road work sites safely.
A former Civil Defence controller for Canterbury says years of planning to reduce the impact of a major earthquake in Christchurch has proven its worth.
Is Canterbury Earthquake Recovery Minister Gerry Brownlee pleased with the initial response to the plan?
For the latest on the damage caused by Monday's earthquakes, we're joined by the Christchurch City Council's water and waste unit manager, Mark Christison.
There's growing frustration over the government's work to match it's promise to tackle the country's suicide rates. A Mental Health Commission report describes frustration over the pace of change - and points to an urgent need for an overarching action plan. Mental health advocates are also criticising the lack of progress in helping people in Canterbury, with many still severely affected by ongoing trauma from earthquakes and the 2019 Mosque shootings. Eleisha Foon reports.
Christchurch is preparing to welcome the first refugees to settle in the city since the 2010 earthquake, but it needs more volunteers to help them transition into their new lives.
A remote-operated digger has started work on Christchurch Cathedral removing rubble from the historic building. It's a job project managers are describing as a world first - and a significant breakthrough in the clean up of Christchurch's earthquake damaged Cathedral. Adam Burns reports.
Fleur Beale is one of New Zealand's most prolific authors and the winner of many awards for children and young adult books. Her latest work is a novel that tells the story of a young girl who experienced the February 2011 Christchurch earthquake. It's part of an international series called Through my Eyes - Natural Disaster Zones, which is a series written by different authors focusing on war zones and disasters throughout the world. Fleur's book is based on real accounts of what happened in Christchurch told through the eyes of a young girl, Lyla. Fleur, who has won the Margaret Mahy Medal for her outstanding contribution to children's writing, and was awarded the New Zealand Order of Merit for services to literature, joins Kathryn to talk about her latest work, and why young adult fiction is the best and the process of getting a story right.
A PDF copy of a frequently asked question page from the union.org.nz website, answering the question, "What does the law say about health and safety at work after an earthquake?".
A video of an interview with stonemason Ben West about his work in the Canterbury rebuild. West talks about the work that he has done on the Magistrates Court.
An entry from Deb Robertson's blog for 24 September 2015 entitled, "Journalists at Work {Part 3(3) COMS 304}".The entry was downloaded on 3 November 2016.
A photograph of the Butterfly fence located on Ferry Road. The artwork on the fence shows a monarch butterfly, along with several other smaller butterflies.
Photograph captioned by BeckerFraserPhotos, "Some CBD worker with a great sense of humour has put this together outside the Work and Income office in High Street".
An article from Army News, March 2011 titled, "Making it Work: Teaching civilians the army way".
A photograph of street art on the side of the former Novus building on Ferry Road. The photographer attributes the work to Cinzah Merkens. The work is titled "Seekayem".
A landmark court settlement two months ago has led to a growing workload for the Earthquake Commission in Christchurch. Conan Young reports.
More repairs to the infrastructure as a result of the 2010 & 2011 earthquakes. Boat ramp at New Brighton. Avon River.
More repairs to the infrastructure as a result of the 2010 & 2011 earthquakes. Hardy Street/Owles Terrace corner (beside the boat launching ramp), New Brighton
More repairs to the infrastructure as a result of the 2010 & 2011 earthquakes. Boat ramp at New Brighton. Avon River.
Construction work seen from Gloucester Street.
A worker in a high visibility vest and a hard hat repairing and strengthening the outside of a building at the University of Canterbury. The photograph has been captioned by BeckerFraserPhotos, "The repair work on the buildings at the University of Canterbury looks similar to the scenes in the CBD".
A photograph of a workbench and a bucket of joint compound in the lift foyer of the Diabetes Centre on Hagley Avenue.
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.