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.
We present ground motion simulations of the Porters Pass (PP) fault in the Canterbury region of New Zealand; a major active source near Christchurch city. The active segment of the PP fault has an inferred length of 82 km and a mostly strike-slip sense of movement. The PP fault slip makes up approximately 10% of the total 37 mm/yr margin-parallel plate motion and also comprises a significant proportion of the total strain budget in regional tectonics. Given that the closest segment of the fault is less than 45 km from Christchurch city, the PP fault is crucial for accurate earthquake hazard assessment for this major population centre. We have employed the hybrid simulation methodology of Graves and Pitarka (2010, 2015), which combines low (f<1 Hz) and high (f>1 Hz) frequencies into a broadband spectrum. We have used validations from three moderate magnitude events (𝑀𝑤4.6 Sept 04, 2010; 𝑀𝑤4.6 Nov 06, 2010; 𝑀𝑤4.9 Apr 29, 2011) to build confidence for the 𝑀𝑤 > 7 PP simulations. Thus far, our simulations include multiple rupture scenarios which test the impacts of hypocentre location and the finite-fault stochastic rupture representation of the source itself. In particular, we have identified the need to use location-specific 1D 𝑉𝑠/𝑉𝑝 models for the high frequency part of the simulations to better match observations.
The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.
