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Research papers, University of Canterbury Library

The Civil Defense understanding of the role of radio in disaster tends to focus on its value in providing essential information during and after the event. However this role is compromised when a station’s premises are destroyed, or rendered inaccessible by official cordons. The Radio Quake study examines how radio stations in Christchurch managed to resume broadcasting in the aftermath of the earthquake of February 22, 2011. In New Zealand’s heavily networked and commercialised radio environment there is a significant disparity between networked and independent stations’ broadcast commitments and resourcing. All Christchurch radio broadcasters were forced to improvise new locations, complex technical workarounds, and responsive styles of broadcasting after the February 22 earthquake, but the need to restore, or maintain, a full on air presence after the earthquake, rested entirely on often financially tenuous, locally owned and staffed independent radio: student, Iwi, community access, and local commercial stations. This paper will explore the resourcefulness and resilience of broadcasters riding out the aftershocks in hotels, motels, bedrooms, and a horse truck, using digital technologies in new ways to reimagine the practice of radio in Christchurch.

Images, UC QuakeStudies

An image used to promote the All Right? Buskers festival competition for the 2014 SCIRT World Buskers Festival. The image reads, "The Press: Bringing you the Buskers and a little All Right." The competition was a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'.

Images, UC QuakeStudies

An image used to promote the All Right? Buskers festival competition for the 2014 SCIRT World Buskers Festival. The image reads, "Click here to win with All Right and Buskers." The competition was a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'.

Research papers, The University of Auckland Library

This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.

Videos, UC QuakeStudies

A video showing brass players from the Christchurch Symphony Orchestra performing an impromptu concert at PAK'nSAVE Wainoni on March 27 2014. The video captures customers' reactions as the players set up and perform. Customers are also shown receiving PAK'nSAVE shopping vouchers, donated by PAK'nSAVE, by three dancing 'All Righties'. The video and impromptu concert were organised for the 'Outrageous Burst of All Right: BYO CSO'. All Right? encouraged their Facebook followers to share the video on social media and enter the prize-draw for eight $250 PAK'nSAVE vouchers. The Press published the video on 28 March 2013 at 5:45pm. All Right? uploaded the video to their YouTube account on 31 March 2014. The video was shared more than 400 times on social media by the time of the prize-draw on 8 April 2014.

Images, UC QuakeStudies

An image featuring a man in a suit with accessories made from pink straws, which reads, "Win with All Right and Buskers!" The image advertises a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'. All Right? posted the image on their Facebook Timeline on 17 January 2014 at 3:52pm.

Research Papers, Lincoln University

Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.

Research papers, University of Canterbury Library

This paper reports on a service-learning public journalism project in which postgraduate journalism students explore ways to engage with and report on diverse communities. Media scholars have argued that news media, and local newspapers in particular, must re-engage with their communities. Likewise, journalism studies scholars have urged educators to give journalism students greater opportunities to reflect on their work by getting out among journalism’s critics, often consumers or citizens concerned about content and the preparation of future journalists. The challenge for journalism educators is to prepare students for working in partnership with communities while also developing their ability to operate reflectively and critically within the expectations of the news media industry and wider society. The aim of this project has been to help students find ways to both listen and lead in a community, and also reflect on the challenges and critiques of community journalism practices. The project began in 2013 with stories about residents’ recovery following the devastating 2011 Canterbury earthquakes, and aimed to create stories that could contribute to community connection and engagement, and thereby resilience and recovery. The idea was inspired by research about post-disaster renewal that indicated that communities with strong social capital and social networks were more resilient and recovered more quickly and strongly. The project’s longer-term aim has been to explore community journalism practices that give greater power to citizens and communities by prioritising listening and processes of engagement. Over several months, students network with a community group to identify subjects with whom they will co-create a story, and then complete a story on which they must seek the feedback of their subject. Community leaders have described the project as a key example of how to do things “with people not to people”, and an outstanding contribution to the community-led component of Canterbury’s recovery. Analysis of student reflections, which are a key part of each year’s project, reveals the process of engaging with communities has helped students to map community dynamics, think more critically about source relationships, editorial choices and objectivity norms, and to develop a perspective on the diverse ways they can go about their journalism in the future. Each year, students partner with different groups and organisations, addressing different themes each time the project runs. For 2016, the programme proposes to develop the project in a new way, by not just exploring a community’s stories but also exploring its media needs and it aims to work with Christchurch’s new migrant Filipino community to develop the groundwork for a community media and/or communication platform, which Filipino community leaders say is a pressing need. For this iteration, journalism students will be set further research tasks aimed at deepening their ‘public listening’: they will conduct a survey of community members’ media use and needs as well as qualitative research interviews. It is hoped that the data collected will strengthen students’ understanding of their own journalism practice, as well as form the basis for work on developing media tools for minority groups who are generally poorly represented in mainstream media. In 2015, the journalism programme surveyed its community partners and held follow-up interviews with 13 of 18 story subjects to elicit further feedback on its news content and thereby deepen understanding of different community viewpoints. The survey and interview data revealed the project affected story subjects in a number of positive and interesting ways. Subjects said they appreciated the way student reporters took their time to build relationships and understand the context of the community groups with which they were involved, and contrasted this with their experience of professional journalists who had held pre-conceived assumptions about stories and/or rushed into interviews. As a direct consequence of the students’ approach, participants said they better trusted the student journalists to portray them accurately and fairly. Most were also encouraged by the positive recognition stories brought and several said the engagement process had helped their personal development, all of which had spin-offs for their community efforts. The presentation night that wraps up each year’s project, where community groups, story subjects and students come together to network and share the final stories, was cited as a significant positive aspect of the project and a great opportunity for community partners to connect with others doing similar work. Community feedback will be sought in future projects to inform and improve successive iterations.

Research papers, The University of Auckland Library

This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.

Audio, Radio New Zealand

Academics have done some number crunching and decided where 10, 000 words sit on a happiness index. What the Panelists Tim Watkin and Selwyn Manning have been thinking about. Ros Rowe of the Leg Up Trust talks about funding cuts which are affecting her horse therapy business which helps disadvantaged young people. The Cathedral has been in a state of limbo since the Christchurch earthquakes. Now roosting pigeons are adding to the damage. Are you keen on the Pokemon Go craze? Pakistani social media celebrity Qandeel Baloch has been killed by her brother in a so-called honour killing.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 6th April. This week... we look at the commercial deals some media personalities are making these days, a documentary on the history of New Zealand's psychiatric hospitals, a new social phenomenon - the increasing number of people who choose to live alone, a new book and interesting findings about our national icon the kiwi, With the aid of advanced functional MRI scanners, scientists are getting closer to being able to read your mind, the opening of a public art project by the Christchurch Art Gallery to try and ensure art continues to have a presence in the earthquake hit city.

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.

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.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Research papers, University of Canterbury Library

Developing a holistic understanding of social, cultural, and economic impacts of disasters can help in building disaster risk knowledge for policy making and planning. Many methods can help in developing an understanding of the impacts of a disaster, including interviews and surveys with people who have experienced disaster, which may be invasive at times and create stress for the participants to relive their experiences. In the past decade, social media, blog posts, video blogs (i.e. “vlogs”), and crowdsourcing mechanisms such as Humanitarian OpenStreetMap and Ushahidi, have become prominent platforms for people to share their experiences and impacts of an event from the ground. These platforms allow for the discovery of a range of impact information, from physical impacts, to social, cultural, and psychological impacts. It can also reveal interesting behavioural information such as their decision to heed a warning or not, as people tend to share their experiences and their reactions online. This information can help researchers and authorities understand both the impacts as well as behavioural responses to hazards, which can then shape how early warning systems are designed and delivered. It can also help to identify gaps in desired behavioural responses. This poster presents a selection of cases identified from the literature and grey literature, such as the Haiti earthquake, the Christchurch earthquake, Hurricane Sandy, and Hurricane Harvey, where online platforms were widely used during and after a disaster to document impacts, experiences, and behavioural responses. A summary of key learnings and areas for future research is provided.

Research papers, University of Canterbury Library

This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.

Research papers, University of Canterbury Library

On 15 August 1868, a great earthquake struck off the coast of the Chile-Peru border generating a tsunami that travelled across the Pacific. Wharekauri-Rekohu-Chatham Islands, located 800 km east of Christchurch, Aotearoa-New Zealand (A-NZ) was one of the worst affected locations in A-NZ. Tsunami waves, including three over 6 metres high, injured and killed people, destroyed buildings and infrastructure, and impacted the environment, economy and communities. While experience of disasters, and advancements in disaster risk reduction systems and technology have all significantly advanced A-NZ’s capacity to be ready for and respond to future earthquakes and tsunami, social memory of this event and other tsunamis during our history has diminished. In 2018, a team of scientists, emergency managers and communication specialists collaborated to organise a memorial event on the Chatham Islands and co-ordinate a multi-agency media campaign to commemorate the 150th anniversary of the 1868 Arica tsunami. The purpose was to raise awareness of the disaster and to encourage preparedness for future tsunami. Press releases and science stories were distributed widely by different media outlets and many attended the memorial event indicating public interest for commemorating historical disasters. We highlight the importance of commemorating disaster anniversaries through memorial events, to raise awareness of historical disasters and increase community preparedness for future events – “lest we forget and let us learn.”

Research papers, Victoria University of Wellington

Located on the edge of two tectonic plates, New Zealand has numerous fault lines and seismic risk across the whole country. The way this risk is communicated affects whether people prepare effectively or at all. Research has shown that perceptions of risk are affected by slight changes in wording, and that probabilities commonly reported by experts and media are often interpreted subjectively based on context. In the context of volcanoes, research has found that given a certain probability of a volcano in a specific time window, people perceive risk as higher in later time intervals within that window. The present study examines this pattern with regard to earthquakes and aftershocks in the New Zealand context. Participants in both Wellington (N = 102) and Christchurch (N = 98) were presented an expert statement of earthquake risk within a given time window in Wellington and aftershock risk in Christchurch, and asked to rate their perception of risk in specific intervals across the time window. For a Wellington earthquake, participants perceived risk as incrementally higher toward the end of the 50 year time window whereas for a Christchurch aftershock, risk perception increased slightly for the first three intervals of the 12 month time window. Likelihood of preparing was constant over the time windows, with Wellington citizens rating themselves more likely than Christchurch citizens to prepare for either an earthquake or aftershock, irrespective of current level of preparedness. These findings suggest that people view earthquakes as more likely later toward the end of a given time window and that they view aftershocks very differently to scientific predictions.

Research papers, University of Canterbury Library

Rising disaster losses, growth in global migration, migrant labour trends, and increasingly diverse populations have serious implications for disaster resilience around the world. These issues are of particular concern in New Zealand, which is highly exposed to disaster risk and has the highest proportion of migrant workers to national population in the OECD. Since there has been no research conducted into this issue in New Zealand to date, greater understanding of the social capital used by migrant workers in specific New Zealand contexts is needed to inform more targeted and inclusive disaster risk management approaches. A New Zealand case study is used to investigate the extent and types of social capital and levels of disaster risk awareness reported by members of three Filipino migrant workers organisations catering to dairy farm, construction and aged care workers in different urban and rural Canterbury districts. Findings from (3) semi-structured interviews and (3) focus groups include consistently high reliance on bonding capital and low levels of bridging capital across all three organisations and industry sectors, and in both urban and rural contexts. The transitory, precarious residential status conveyed by temporary work visas, and the difficulty of building bridging capital with host communities has contributed to this heavy reliance on bonding capital. Social media was essential to connect workers with family and friends in other countries, while Filipino migrant workers organisations provided members with valuable access to industry and district-specific networks of other Filipino migrant workers. Linking capital varied between the three organisations, with members of the organisation set up to advocate for dairy farm workers reporting the highest levels of linking capital. Factors influencing the capacity of workers organisations to develop linking capital appeared to include motivation (establishment objectives), length of time since establishment, support from government and industry groups, urban-rural context, income levels and gender. Although aware of publicity around earthquake and tsunami risk in the Canterbury region, participants were less aware of flood risk, and expressed fatalistic attitudes to disaster risk. Workers organisations offer a valuable potential interface between CDEM Group activities and migrant worker communities, since organisation leaders were interested in accessing government support to participate (with and on behalf of members) in disaster risk planning at district and regional level. With the potential to increase disaster resilience among these vulnerable, hard to reach communities, such participation could also help to build capacity across workers organisations (within Canterbury and across the country) to develop linking capital at national, as well as regional level. However, these links will also depend on greater government and industry commitment to providing more targeted and appropriate support for migrant workers, including consideration of the cultural qualifications of staff tasked with liaising with this community.

Research papers, University of Canterbury Library

This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.

Research papers, University of Canterbury Library

Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.

Research papers, University of Canterbury Library

The 2010-2011 Canterbury Earthquakes brought devastation to the city of Christchurch and has irrevocably affected the lives of the city’s residents. Years after the conclusion of these earthquakes, Christchurch and its residents are well on the path to recovery. Crime has proven an ongoing topic of discussion throughout this period, with news reports of increased burglary and arson in areas left largely abandoned by earthquake damage, and a rise in violent crime in suburban areas of Christchurch. Following the body of research that has considered the reaction of crime to natural disasters, this research has sought to comprehensively examine and understand the effects that the Canterbury Earthquakes had on crime. Examining Christchurch-wide offending, crime rates fell over the study period (July 2008 to June 2013), with the exception of domestic violence. Aside from a momentary increase in burglary in the days immediately following the Christchurch Earthquake, crime rates (as of 2013) have remained largely below pre-earthquake levels. Using Dual Kernel Density Estimation Analysis, a distinct spatial change in pre-earthquake crime hotspots was observed. These changes included an enormous decrease in central city offences, a rise in burglary in the eastern suburbs, and an increase in assault in areas outside of the central city. Logistic regression analysis, using a time-compensated dependent variable, identified a number of statistically-significant relationships between per CAU crime rate change and factors measuring socio-demographic characteristics, community cohesion, and the severity of disaster effects. The significance of these findings was discussed using elements of Social Disorganisation Theory, Routine Activity Theory, and Strain Theory. Consistent with past findings, social order was largely maintained following the Canterbury Earthquakes, with suggestion that increased collective efficacy and therapeutic communities had a negative influence on crime in the post-earthquake period. Areas of increased burglary and assault were associated with large population decreases, suggesting a link with the dissolution of communities and the removal of their inherent informal guardianship. Though observed, the increase in domestic violence was not associated with most neighbourhood-level variables. Trends in crime after the Canterbury Earthquakes were largely consistent with past research, and the media’s portrayal.

Audio, Radio New Zealand

Questions to Ministers 1. GARETH HUGHES to the Minister for Primary Industries: Will he extend the Taranaki set net ban after the recent death of a Maui's dolphin in a fishing net? 2. DAVID BENNETT to the Minister for Economic Development: What actions is the Government taking to boost economic linkages with China? 3. GRANT ROBERTSON to the Prime Minister: Does he stand by his statement that his hour-long show on Radio Live on 30 September 2011 was an "election free zone"? 4. Dr PAUL HUTCHISON to the Minister of Health: What improvements, if any, have been made to the Government's national health targets? 5. Hon LIANNE DALZIEL to the Minister for Canterbury Earthquake Recovery: Did he discuss with the Christchurch City Mayor reported claims that there had been overtures from within The Treasury that there was scope for the city's rates to be increased or for assets to be sold to pay for the quake recovery, and that this could be done under the Canterbury Earthquake Recovery Act before he called him a clown; if not, why not? 6. JACQUI DEAN to the Minister of Local Government: What reports has he received on increases in local government council debt since the Local Government Act 2002 was enacted? 7. DARIEN FENTON to the Minister of Labour: Does she stand by her statement that the new minimum wage announced yesterday "strikes the right balance between protecting low paid workers and ensuring that jobs are not lost."? 8. PESETA SAM LOTU-IIGA to the Minister of Consumer Affairs: What recent announcements has the Government made on protecting consumers from loan sharks? 9. CLARE CURRAN to the Minister of Broadcasting: Is he aware that Stephen McElrea is part of a working group within NZ On Air, which includes a representative of MediaWorks, and which is determining details of a documentary about Whānau Ora? 10. TIM MACINDOE to the Minister for the Community and Voluntary Sector: What recent announcement has she made in her portfolio that will benefit communities? 11. HOLLY WALKER to the Minister for Social Development: Does she consider low family incomes to be a major contributor to childhood vulnerability? 12. Rt Hon WINSTON PETERS to the Prime Minister: Does he still have confidence in all his Ministers?

Research Papers, Lincoln University

Aotearoa New Zealand’s population has grown rapidly from 3.85 million in 2000, to 5 million in 2020. Ethnic diversity has consequently increased. Territorial Authorities (TAs) undertaking statutory consultation and wider public engagement processes need to respond to increased diversity and foster inclusivity. Inclusivity is necessary to facilitate a greater understanding of TA statutory functions, as well as to encourage awareness and participation in annual planning processes, and resource management plans and consents. We examined perceptions, and experiences, of planning within the ethnic Chinese immigrant population of Christchurch. The Chinese ethnic group is a significant part of the city’s population and is in itself derived from diverse cultural and language backgrounds. We surveyed 111 members of this community, via social media and in person, to identify environmental and planning issues of concern to them. We sought to ascertain their previous engagement with planning processes and to gauge their willingness for future involvement. We also undertook a small number of semi-structured interviews with Chinese immigrants to explore their experiences with planning in more detail. Results showed only 6% of respondents had been engaged in any planning processes, despite only 20% being unwilling to participate. We analysed these responses by gender, age, visa category, and length of time resident in Christchurch. Notwithstanding the low level of reported engagement, earthquake recovery (70% of respondents) along with water quality, transport, and air quality were the most important issues of concern. However, there was a general lack of awareness of the ability to make public submissions on these and other issues, and of the statutory responsibilities of TAs. We discuss possible explanations and provide several suggestions for TAs to increase awareness and to improve engagement. This includes further research to assist in identifying the nature of barriers as well as the effectiveness of trialling different solutions.