Search

found 880 results

Images for earthquake art; more images...

Images, Alexander Turnbull Library

A crowd of rather sad people queue for jobs and work at the Christchurch rebuild; all around them are signs that read 'Pike River', 'leaky buildings', 'Chch quake rebuild', 'EQC levy hike', '200,000 children in poverty', 'food prices up', 'deficit', and 'GST hike'. Prime Minister John Key in the centre of the crowd yells 'Hey everyone - look up there!' as he kicks a rugby ball into the sky. Context: John Key attempts to divert the attention of people from New Zealand's current woes. Quantity: 1 digital cartoon(s).

Research papers, The University of Auckland Library

To address the provocation provided by the editors I wish to reflect upon the ongoing civic and artistic responses to the earthquakes in Christchurch, New Zealand, 2010-11, in which 185 people lost their lives (largely due to poor engineering and construction practices). Whilst the example is very different in character from that of efforts to memorialize July 22, 2011, I wish to use the case to briefly respond to the issue of temporality as raised by Jacques Rancière in his critique of the ‘endless work of mourning’ produced by testimonial art. The orientation of this mourning, he argues, is always backward-looking, characterized by, ‘a reversal of the flow of time: the time turned towards an end to be accomplished – progress, emancipation or the Other – is replaced by that turned towards the catastrophe behind us.’ How might memorial practices divide their gaze between remembered pasts and possible futures? AM - Accepted Manuscript

Audio, Radio New Zealand

Tina, the debut feature film of Miki Magasiva is a love letter to both Samoan culture and how choral music, across cultures, can assist people in change. The way art can enable acceptance of the richness of our difference. But Tina is also centrally about how Pasifika women are leaders in taking culture forward. The title translates in English as mother, or female elder. And in the lead role Anapela Polata'ivao plays Mareta, a mother struggling after the death of her daughter in the 2011 Christchurch Earthquake. Taking on a job as a teacher at a wealthy Pakeha-dominated private school, Mareta connects with kids who it turns out also really need support. She takes them all the way to the Big Sing National Choir Competition. Anapela Polata'ivao gives a remarkable performance. She is the constant, complex beating heart of this movie. As a director and actor Anapela has long played a significant leadership role in bringing Pacific voices to stage and screen, and last year became an officer of the New Zealand Order of Merit in recognition of her service. We welcomed her to Culture 101 to play 'Fast Favourites' where her choices were Lindah Lepou, Jordyn with a Why and writer directors Arianne Mnouchkine, Vela Manusaute and Nina Nawalowalo.

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, Victoria University of Wellington

For some people, religion, spirituality and faith (RSF) serves an important function, helping them deal with difficult everyday life challenges. This qualitative ethnographic study examines how and in what ways a group of Cantabrians engaged with RSF in dealing with diverse forms of significant trauma – from moments of crisis through to more extended processes of recovery. The research is located within the context of post-earthquake Christchurch, and is based on fieldwork undertaken in 2012–2013. It explores the experiences of respondents representing traditional Christian and non-orthodox, non-Christian faith paths. The thesis draws on data from participant stories to emphasise the subjective experience of RSF and trauma. It argues that in times of crisis, some people draw on RSF to help them address difficult life challenges. The study demonstrates the breadth, diversity and significance of such resourcing, as well as the sometimes surprising, unanticipated forms that this engagement with RSF may take. Contrary to theories that emphasise the marginalisation of religion during times of intense distress, the thesis shows that in varying moments of crisis, people for whom RSF is important, may draw on diverse forms of RSF as a matter of priority to help them.

Images, Alexander Turnbull Library

In the top frame someone unseen (Murray McCully) in the Beehive says 'John! - There's been a bad reaction to us taking special powers to fix problems in Auckland!' Prime Minister John Key says 'What Murray?' In the lower frame Minister for the Rugby World Cup, Murray McCully, says 'The worst hit parts of Christchurch have declared themselves Fan Zones!' and the PM says 'Oh S..t!' The little Evans man says 'Sounds better than Red Zone!' Context: Refers to the chaos over transport and crowd control in the fanzone when much larger numbers of people flocked to the Rugby World Cup opening and revelry than expected. The government used special powers to take over the management of Queens Wharf fanzone spaces previously managed by an Auckland Council group, thus rather undermining the Mayor, Len Brown and the Auckland City Council. A new plan was signed off under special powers by Murray McCully directly after the fiasco. The Christchurch comment refers to the areas worst hit by the earhquakes. Colour and black and white versions available Quantity: 2 digital cartoon(s).

Audio, Radio New Zealand

Rocket Lab's Electron rocket launch today on the Mahia Peninsula has been scrubbed again, sadly. A power fault this time. Kaikoura residents and businesses are celebrating the re-opening of State Highway 1 north following a year of earthquake repairs. The coastal highway link between Picton and Christchurch was badly damaged during the November 2016 quake but will now re-open during the day from 7am. It will close at 8:30 each night so more repairs and assesments can be done. Kaikoura Top Ten Holiday Park co-owner Ed Nolan tells us what this means for his business and others in the town. The Prime Minister Jainda Ardern says the Government's new families package will reduce child poverty in the country by 48 per cent. We ask the panellists whether this is realistic or if there are other, more entrenched imprediments to lowering poverty in New Zealand. The panellists also discuss the state of the books, and discuss if they worry about national debt iincreasing, as the opposition has warned. The Prime Minister says wealthy New Zealanders can opt out of the Government's Winter Energy Payment, which will see those on a benefit, NZ Superannuation or a Veterans Pension get an extra boost due the winter season. Many are doubtful that will happen though. The panellists discuss why some wealthy people have missed out on tax cuts only to be able to reap the reward of this package. We also ask if they suspect this money will be used for heating purposes. The University of Otago has a new degree which brings science and art together, the BaSc. It aims to break down barriers between the two disciplines. Two students are graduating the degree this week. We talk to Eirenie Taua'i who has been studying Pacific Studies and Neuroscience. We aslk her what careers she is considering now and what it was like to study to very different courses. The families of those who died in the CTV building collapse in Christchurch's 2011 earthquake say they will continue to fight for justice. Police announced earlier this month they won't be prosecuting the engineers of the building after a three-year long investigation. The families met with police to ask and why say they aren't convinced all has been done. We ask panellist, barrister Jonathan Krebs, if other charges could and should be laid.

Research papers, Victoria University of Wellington

The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.

Research papers, University of Canterbury Library

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.

Research papers, Victoria University of Wellington

Museums around the world are often affected by major catastrophes, and yet planning for these disasters is an often neglected aspect of museum practice. New Zealand is not immune from these events, as can be seen in the recent series of serious earthquakes in Christchurch in 2010 and 2011. This dissertation considers how prepared the New Zealand museum sector is to handle unexpected events that negatively affect its buildings, staff, operations and treasured collections. The central research question was: What is the overall state of emergency planning in the New Zealand museum sector? There was a significant gap in the literature, especially in the local context, as there has been only one other comparable study conducted in Britain, and nothing locally. This dissertation makes a valuable contribution to the field of museum studies by drawing on theory from relevant areas such as crises management literature and by conducting original empirical research on a topic which has received little attention hitherto. The research employed a number of methods, including a review of background secondary sources, a survey and interviews. After contextualising the study with a number of local examples, Ian online survey was then developed an which enabled precise understanding of the nature of current museum practices and policies around emergency planning. Following this I conducted several interviews with museum professionals from a variety of institutional backgrounds which explored their thoughts and feelings behind the existing practices within the industry. The findings of the research were significant and somewhat alarming: almost 40% of the museum and galleries in New Zealand do not have any emergency plan at all, and only 11% have what they considered ‘complete’ plans. The research revealed a clear picture of the current width and depth of planning, as well as practices around updating the plans and training related to them. Within the industry there is awareness that planning for emergencies is important, but museum staff typically lack the knowledge and guidance needed to conduct effective emergency planning. As a result of the analysis, several practical suggestions are presented aimed at improving emergency planning practices in New Zealand museums. However this study has implications for museum studies and for current museum practice everywhere, as many of the recommendations for resolving the current obstacles and problems are applicable anywhere in the world, suggesting that New Zealand museums could become leaders in this important area.