The question of whether forced relocation is beneficial or detrimental to the displaced households is a controversial and important policy question. After the 2011 earthquake in Christchurch, the government designated some of the worst affected areas as Residential Red Zones. Around 20,000 people were forced to move out of these Residential Red Zone areas, and were compensated for that. The objective of this paper is twofold. First, we aim to estimate the impact of relocation on the displaced households in terms of their income, employment, and their mental and physical health. Second, we evaluate whether the impact of relocation varies by the timing of to move, the destination (remaining within the Canterbury region or moving out of it) and demographic factors (gender, age, ethnicity). StatisticsNZ’s Integrated Data Infrastructure (IDI) from 2008 to 2017, which includes data on all households in Canterbury, and a difference-in-difference (DID) technique is used to answer these questions. We find that relocation has a negative impact on the income of the displaced household group. This adverse impact is more severe for later movers. Compared to the control group (that was not relocated), the income of relocated households was reduced by 3% for people who moved immediately after the earthquake in 2011, and 14% for people who moved much later in 2015.
This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined.
Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment.
A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks.
Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances.
Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions.
Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.
