The coordination of actors has been a major focus for much of the research in the disaster relief humanitarian logistics discipline. While much of this literature focuses on the initial response phase, little has been written on the longer term recover phase. As the response phase transitions into the longer term recover phase the number and types of actors change from predominantly disaster relief NGOs to more commercial entities we argue that humanitarian values should still be part of the rebuild phase. It has been noted that humanitarian actors both cooperate and compete at the same time (Balcik, Beamon, Krejci, Muramatsu and Ramirez, 2010), in a form of behavior that can be described as ‘co-opetition’ (Nalebuff and Brandenburger, 1996). We use a case study approach to examine an organizational model used to coordinate civil and commercial actors for the rebuild of the civil infrastructure for Christchurch, New Zealand following a series of devastating earthquakes in 2010/11. For the rebuild phase we argue that ‘co-opetition’ is a key behaviour that allows the blending of humanitarian and commercial values to help communities rebuild to a new normal. While at this early stage our contribution is limited, we eventually hope to fully elaborate on an organisational model that has been created specifically for the tight coordination of commercial actors and its relevance to the rebuild phase of a disaster. Examining the behaviour of co-opetition and the structures that incentivise this behaviour offers insights for the humanitarian logistic field.
Homeless earthquake victims arrive in Hobbiton with their bags when it seems that New Zealand is going to lose The Hobbit to another country. Refers to the dispute between Warner Brothers, represented by Peter Jackson, and NZ Actors Equity over a union demand for negotiations over the terms and conditions offered in the contracts for actors and others working on the film very nearly caused the film to be made somewhere else. The battle, which was eventually resolved successfully after meetings between PM John Key and Warner Brothers representatives, divided New Zealanders. Refers also to the Canterbury earthquake of 4th September and its aftershocks that have left many houses uninhabitable.
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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.
Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.
Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.
Canterbury, New Zealand, was struck by two major earthquakes in 2010 and 2011. Using a dyadic and developmental perspective, the current thesis first aimed to determine how the experience of earthquake-related stressors (including loss of material resources, trauma exposure, and ongoing earthquake-related stressors) and stress (posttraumatic stress symptoms) impacted individuals’ intimate relationship quality (Part 1). Data were collected from a sample of 99 couples at four time points over a period of approximately 15 months, with Time 1 completed 14 months after the 2010 earthquake (eight months post the 2011 earthquake). Data were analysed using moderated growth curve modelling in an Actor-Partner Interdependence Model framework. In line with expectations, posttraumatic stress symptoms were the strongest predictors of relationship quality. More specifically, individuals’ (actor) posttraumatic stress symptoms and their partner’s posttraumatic stress symptoms had an adverse effect on their relationship quality at Time 1. Demonstrating the importance of taking a developmental perspective, the effect of partner posttraumatic stress symptoms changed over time. Although higher partner posttraumatic stress symptoms were associated with worse relationship quality in individuals (actors) at Time 1, this was no longer the case at Time 4. Differences were also found between men and women’s actor posttraumatic stress symptom slopes across time. Using the same data and analyses, Part 2 built on these findings by investigating the role of a possible posttrauma resource available within the relationship – support exchanges. Overall, results showed that individuals were protected from any adverse effects that posttraumatic stress symptoms had on relationship quality if they had more frequent support exchanges in the relationship, however, differences between men and women and slopes across time were found. Although not the case initially, individuals’ relationship quality was worse in the longer-term if their partner reported receiving lower support from them when they were experiencing high posttraumatic stress symptoms. Results also suggested that although women coped better (as evidenced through slightly better relationship quality) with higher symptoms and lower support than men initially, these efforts diminished over time. Furthermore, men appeared to be less able to cope (i.e., had worse relationship quality) with their partner’s stress when they were not receiving frequent support. Contrary to expectations, negative exchanges in the relationship did not exacerbate any adverse effects that posttraumatic stress symptoms (experienced by either individuals or their partner) had on an individuals’ relationship quality. The theoretical and practical implications and applications of these findings are discussed.
Actor Tony Robinson at the "I hope Christchurch will..." blackboard, a mural on the corner of Colombo and Tuam Streets. Members of the public were invited to fill in the gaps with what they would like to see in the rebuilt city. Messages can be seen, such as, "I want sun!", "Embrace the new", "Retain its unique character", "Rise, and rise, and rise", "Rebuild to be better and stronger than before!" and "Environmentally friendly".
Depicts spoof poster of new Zealand television series 'Hope and Wire' starring American actors as Bob Parker, Christchurch Mayor, Gerry Brownlee, Canterbury Earthquake Recovery Minister, Roger Sutton, CERA CEO, Andrew Holden, Editor The Press. Context: a six part television series will be set in Christchurch in the aftermath of the earthquakes (Stuff 11 September 2012).
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The movie that won splatterking Peter Jackson mainstream respectability was born from writer Fran Walsh's long interest in the Parker-Hulme case: two 1950s teens who invented imaginary worlds, wrote under imaginary personas, and murdered Pauline Parker's mother. Jackson and Walsh's vision of friendship, creativity and tragedy was greeted with Oscar nominations, deals with indie company Miramax, and rhapsodic acclaim for newbie actors Melanie Lynskey and Kate Winslet. Time magazine and 30 other publications named it one of the year's 10 best films. Read more about Heavenly Creatures here.
This study explores the role and value of urban community gardens following a major crisis: the 2010/11 earthquakes in Christchurch, New Zealand.
An experiment to see if the cast of a play can make friends with their audience in just an hour is the latest project by the country's only theatre company involving people who are - or have been - homeless. As part of the Auckland Fringe Festival, the Hobson Street Theatre Company is working with the Street Choir on That's What Friends Are For.: It's directed by Dr Peter O'Connor from the University of Auckland. He's worked with survivors of natural disasters like the Christchurch earthquakes to help people - especially children - work through the trauma. Lynn Freeman talks with Peter, and with one of the actors, Richard. That's What Friends Are For premieres on Tuesday at the Basement Theatre as part of the Auckland Fringe, before heading to the fringe festivals in Wellington and Dunedin.
Purpose - The purpose of this paper is to identify through the application of Actor Network Theory (ANT) the issues and impediments to the implementation of mandatory seismic retrofitting policies proposed by the New Zealand Government. In particular the tension between the heritage protection objectives contained in the Resource Management Act 1991 and the earthquake mitigation measures contained in the Building Act 2004 are examined.
Design/methodology/approach - The paper uses a case study approach based on the Harcourts Building in Wellington New Zealand and the case law relating to attempts to demolish this particular building. Use is made of ANT as a 'lens' to identify and study the controversies around mandatory seismic retrofitting of heritage buildings. The concept of translation is used to draw network diagrams.
PM John Key sits at a large desk in a very large chair looking disconcerted as a messenger says 'after your display in the charity match - John Wright wants you on standby for India. Context - The charity match for Christchurch played at the Basin reserve on Sunday 9 March 2011. The prime minister played along with actors Russell Crowe and James Nesbitt, who were opposing coaches with the match being refereed by Ian McKellen in Sunday's match starting at 4pm. Key will face an over from the Australian spin king during the innings break at the Basin, which Cricket Wellington expects could sell out as early as today.
Quantity: 1 digital cartoon(s).
The Canterbury earthquakes and the rebuild are generation-defining events for twenty-first century Aotearoa/ New Zealand. This article uses an actor network approach to explore 32 women’s narratives of being shaken into dangerous disaster situations and reconstituting themselves to cope in socially innovative ways. The women’s stories articulate on-going collective narratives of experiencing disaster and coping with loss in ‘resilient’ ways. In these women’s experiences, coping in disasters is not achieved by talking through the emotional trauma. Instead, coping comes from seeking solace through engagement with one’s own and others’ personal risk and resourcefulness in ways that feed into the emergence of socially innovative voluntary organisations. These stories offer conceptual insight into the multivalent interconnections between resilience and vulnerabilities and the contested nature of post-disaster recovery in Aotearoa/New Zealand. These women gave voice to living through disasters resiliently in ways that forged new networks of support across collective and personal narratives and broader social goals and aspirations for Aotearoa/New Zealand’s future.
This section considers forms of collaboration in situated and community projects embedded in important spatial transformation processes in New Zealand cities. It aims to shed light on specific combinations of material and semantic aspects characterising the relation between people and their environment. Contributions focus on participative urban transformations. The essays that follow concentrate on the dynamics of territorial production of associations between multiple actors belonging both to civil society and constituted authority. Their authors were directly engaged in the processes that are reported and conceptualised, thereby offering evidence gained through direct hands-on experience. Some of the investigations use case studies that are conspicuous examples of the recent post-traumatic urban development stemming from the Canterbury earthquakes of 2010-2011. More precisely, these cases belong to the early phases of the programmes of the Christchurch recovery or the Wellington seismic prevention. The relevance of these experiences for the scope of this study lies in the unprecedented height of public engagement at local, national and international levels, a commitment reached also due to the high impact, both emotional and concrete, that affected the entire society.
Creative temporary or transitional use of vacant urban open spaces is
seldom foreseen in traditional urban planning and has historically been
linked to economic or political disturbances. Christchurch, like most
cities, has had a relatively small stock of vacant spaces throughout
much of its history. This changed dramatically after an earthquake and
several damaging aftershocks hit the city in 2010 and 2011; temporary
uses emerged on post-earthquake sites that ran parallel to the “official”
rebuild discourse and programmes of action. The paper examines
a post-earthquake transitional community-initiated open space (CIOS)
in central Christchurch. CIOS have been established by local community
groups as bottom-up initiatives relying on financial sponsorship,
agreements with local landowners who leave their land for temporary
projects until they are ready to redevelop, and volunteers who build
and maintain the spaces. The paper discusses bottom-up governance
approaches in depth in a single temporary post-earthquake community
garden project using the concepts of community resilience and social
capital. The study analyses and highlights the evolution and actions of
the facilitating community organisation (Greening the Rubble) and the
impact of this on the project. It discusses key actors’ motivations and
values, perceived benefits and challenges, and their current involvement
with the garden. The paper concludes with observations and recommendations about the initiation of such projects and the challenges for those wishing to study ephemeral social recovery phenomena.
This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.
Recovery from disasters is a significant issue faced by all countries in the world at various times. Governments, including central and local governments, are the key actors regarding post-disaster recovery because they have the authority and responsibility to rescue affected people and recover affected areas (Yang, 2010). Planning is a critical step in the recovery process and provides the basis for defining a shared vision for recovery, clear objectives and intended results. Subsequently, the concept of collaborative planning and ‘build back better’ are highly desirable in recovery planning. However, in practice, these concepts are difficult to achieve. A brief description of the recovery planning in Christchurch City following the Canterbury earthquakes 2011 is provided as an example and comparison. This research aims to analyse the planning process to develop a post-disaster recovery plan in Indonesia using Mataram City’s recovery plan following the Lombok Earthquakes 2018 as the case study. It will emphasise on the roles of the central and local governments and whether they collaborate or not, and the implications of decentralisation for recovery planning. The methodology comprised a combination of legislation analysis and semi-structure interviews with the representatives of the central and local governments who were involved in the planning process. The results indicate that there was no collaboration between the central and local governments when developing the recovery plan, with the former tend to dominate and control the planning process. It is because there are regulatory and institutional problems concerning disaster management in Indonesia. In order to improve the implementation of disaster management and develop a better recovery plan, some recommendations are proposed. These include amendments the disaster management law and regulations to provide a clear guideline regarding the roles and responsibilities of both the central and local governments. It is also imperative to improve the capacity and capability of the local governments in managing disaster.
On 14 November 2016, a magnitude (Mw) 7.8 earthquake struck the small coastal settlement of Kaikōura, Aotearoa-New Zealand. With an economy based on tourism, agriculture, and fishing, Kaikōura was immediately faced with significant logistical, economic, and social challenges caused by damage to critical infrastructure and lifelines, essential to its main industries. Massive landslips cut offroad and rail access, stranding hundreds of tourists, and halting the collection, processing and distribution of agricultural products. At the coast, the seabed rose two metres, limiting harbour-access to high tide, with implications for whale watching tours and commercial fisheries. Throughout the region there was significant damage to homes, businesses, and farmland, leaving owners and residents facing an uncertain future. This paper uses qualitative case study analysis to explore post-quake transformations in a rural context. The aim is to gain insight into the distinctive dynamics of disaster response mechanisms, focusing on two initiatives that have emerged in direct response to the disaster. The first examines the ways in which agriculture, food harvesting, production and distribution are being reimagined with the potential to enhance regional food security. The second examines the rescaling of power in decision-making processes following the disaster, specifically examining the ways in which rural actors are leveraging networks to meet their needs and the consequences of that repositioning on rural (and national) governance arrangements. In these and other ways, the local economy is being revitalised, and regional resilience enhanced through diversification, capitalising not on the disaster but the region's natural, social, and cultural capital. Drawing on insights and experience of local stakeholders, policy- and decision-makers, and community representatives we highlight the diverse ways in which these endeavours are an attempt to create something new, revealing also the barriers which needed to be overcome to reshape local livelihoods. Results reveal that the process of transformation as part of rural recovery must be grounded in the lived reality of local residents and their understanding of place, incorporating and building on regional social, environmental, and economic characteristics. In this, the need to respond rapidly to realise opportunities must be balanced with the community-centric approach, with greater recognition given to the contested nature of the decisions to be made. Insights from the case examples can inform preparedness and recovery planning elsewhere, and provide a rich, real-time example of the ways in which disasters can create opportunities for reimagining resilient futures.
