Volunteers from the Student Volunteer Army sweeping the site of a demolished building. This is where Gap Filler's "Dance-O-Mat" is to be built.
Volunteers from the Student Volunteer Army sweeping the site of a demolished building. This is where Gap Filler's "Dance-O-Mat" is to be built.
A volunteer from the Student Volunteer Army sweeping the site of a demolished building. This is where Gap Filler's "Dance-O-Mat" is to be built.
An infographic containing illustrated statistics about the positive impact of dancing on wellbeing. The infographic was created to promote the Body Festival in Christchurch.
The completed sign on the side of the building in front of Gap Filler's "Dance-O-Mat". The sign was designed and painted by Jen McBride.
Volunteers from the Student Volunteer Army filing in holes on the site of a demolished building. This is where Gap Filler's "Dance-O-Mat" is to be built.
A PDF copy of an All Right? advertisement for The Body Festival 2014. The advertisement depicts an 'All Rightie' listening to music and dancing. It reads, "It's all right to dance!".
A video of interpretive dances related to the building of a shed, featuring Matt Grant and Elizabeth Guthrey. This video was made as a follow-on to 'Beneath the Layers: Wood salvaging'.
The washing machine on Gap Filler's "Dance-O-Mat". The washing machine is coin operated. When a two dollar coin is fed into the machine, it lights up the stage and plays a music device.
A video of dance and physical theatre featuring Julia Guthrey, Matt Grant, Elizabeth Guthrey, Laura and Claudia. The piece incorporates the public memorial art installation '185 Chairs' by Peter Majendie, on the corner of Madras Street and Cashel Street.
Photograph captioned by BeckerFraserPhotos, "Dance-O-Mat, corner Manchester/St Asaph Streets".
This thesis explores the intricate relationship between dance and trauma, focusing on how embodied practices facilitate psychological recovery. Dominant narratives often prioritise cognitive experiences, limiting our understanding of healing. By employing a qualitative, post-positivist and critical autoethnographic approach, I reflect on my journey through trauma following the Christchurch earthquakes, utilising journal entries from the point of view of my younger self to illustrate the transformative power of movement and dance. The key themes of this research are structure and routine, socialisation, and alleviation of anxious thoughts, demonstrating how engaging with the body challenges conventional notions of recovery. Furthermore, it highlights the complementary role of Dance Movement Therapy in trauma- informed practices, advocating for a holistic approach that recognises the mind-body connection. The findings underscore the necessity of viewing trauma as an embodied experience and propose a shift toward movement-based therapeutic practices that empower individuals through their lived experiences. Ultimately, this research calls for reimagining therapeutic frameworks, emphasising dance's potential to complement current trauma- informed therapies and promote a bottom-up approach to recovery.
A photograph of a temporary structure titled Synthesis, which was created by students from CPIT, in partnership with Dance Hall and Soda Bar. Synthesis was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.
Photograph captioned by BeckerFraserPhotos, "Dance-O-Mat, corner Manchester/St Asaph Streets, booking chalk board".
Photograph captioned by Fairfax, "Young girls dancing during the Band Together concert for Canterbury at Hagley Park".
Tap Dance', a Gap Golf course built by Gap Filler out of wooden planks and green felt.
Photograph captioned by Fairfax, "Young girls dancing during the Band Together concert for Canterbury at Hagley Park".
Photograph captioned by Fairfax, "Young girls dancing during the Band Together concert for Canterbury at Hagley Park".
Photograph captioned by Fairfax, "Young girls dancing during the Band Together concert for Canterbury at Hagley Park".
Photograph captioned by Fairfax, "Young girls dancing during the Band Together concert for Canterbury at Hagley Park".
Photograph captioned by Fairfax, "Band Together concert in Hagley Park for earthquake relief. Jordan Luck from the Dance Exponents".
The shadow mural painted by Jeremy Sauzier on the side of the building facing Gap Filler's Dance-O-Mat.
A scanned copy of a black and white photograph depicting University of Canterbury students from Bishop Julius Hall of Residence dancing the Can Can on a float. The photograph was taken during the 1960 'procesh', or annual capping parade and was sourced from archives held in Macmillan Brown Library.
From 1919 until 1963, New Zealand audiences were guaranteed ‘snappy scenes, bright singing, excellent dancing and sparkling comedy’ when attending a Stan Lawson Production.
Photograph captioned by BeckerFraserPhotos, "Dance-O-Mat, corner Manchester/St Asaph Streets, music machine built in an old washing machine".
A photograph of a sign on a cordon fence announcing that the Latin Addiction Dance Studio is open at 166 St Asaph Street.
A photograph of a sign on a cordon fence announcing that the Latin Addiction Dance Studio is open at 166 St Asaph Street.
A photograph of participants in the walk to celebrate Chinese National Day and the Moon Festival. In the foreground, there are two performers doing a lion dance. The walk was held at the Upper Riccarton Library in September 2015. It was organised by the Canterbury Migrants Centre (formerly the Christchurch Migrants Centre) and was part of the Christchurch City Council's Walking Festival.
Photograph captioned by Fairfax, "Maxi Hitterhouse dances on the shoulders of her boyfriend, Mike Riley, during the Band Together concert for Canterbury at Hagley Park".
Photograph captioned by Fairfax, "Maxi Hitterhouse dances on the shoulders of her boyfriend, Mike Riley, during the Band Together concert for Canterbury at Hagley Park".