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Images for Crafts; more images...

Images, UC QuakeStudies

A photograph of the As Far As Eye Can See exhibition. On the left is a crocheted image of an eye, created by a group of women from Adelaide, and on the right are woven fabric artworks created by Christchurch craft artists in response.

Research papers, University of Canterbury Library

This article reports on research conducted in Christchurch, New Zealand, after the 22 February 2011 earthquake. This quake and thousands of subsequent aftershocks have left the city of Christchurch with serious infrastructure damage to roads, sewage supply, housing and commercial buildings. The emergence of a vibrant art and craft movement in the Christchurch region post earthquake has been an unexpected aspect of the recovery process. The article begins with a review of the literature on traditional responses to disaster recovery illustrating how more contemporary approaches are community-focused. We review the links between crafting and well-being, and report on qualitative research conducted with five focus groups and nine individuals who have contributed to this movement in Christchurch. The findings illustrate the role crafting has played post earthquake, in terms of processing key elements of the disaster for healing and recovery, creating opportunities for social support; giving to others; generating learning and meaning making and developing a vision for the future. The data analysis is underpinned by theory related to post-traumatic growth and ecological concerns. The role of social work in promoting low-cost initiatives such as craft groups to foster social resilience and aid in the recovery from disaster trauma is explored. This discussion considers why such approaches are rare in social work.

Articles, UC QuakeStudies

An entry from Maxine Bennett's blog, "Blackbird Has Spoken: Having a go at this blogging lark" (http://www.blackbirdhasspoken.com). The entry for 12 February 2013 is titled "Of sorrow and salvage. Op-Shop Show-Off Feb 12th 2013". Maxine writes, "I’m Max, an English girl in, and in love with New Zealand, and the New Zealander husband. In an almost forgotten previous life I worked as a psychotherapist and psychiatric nurse; now I’m the contented stay at home mother of Claudine who's almost 3, and the baby-boy-currently-gestating. We live a quiet life in a small rural town in our arts and crafts house, but dream of moving out to some land one day, to build our own home and enjoy a long view. I like to laugh, be outside, craft, grow, op-shop, read and cook. My little Kiwi family, learning new things, quiet, beauty and reading blogs make me the happiest of all. My blog is a record of my enthusiasms, fleeting and enduring, and a means of communication with you kindred spirits near and far." Note that the blog post has been converted to PDF format for archiving, which may have resulted in changes to the formatting and layout of the page.

Audio, Radio New Zealand

Over the summer on The Weekend we've been talking to recyclers and upcyclers, people who like the Wombles, are making good use of the things that they find, things that the everyday folks leave behind. This is true of Christchurch builder, artist and furniture maker, Tim McGurk. He says he works with whatever junk and materials he can find. Tim crafted several items from the materials salvaged from an earthquake damaged Christchurch house, as part of the Whole House Reuse project. He also made the news when he made a Star Wars inspired X-wing sculpture/lamp out of salvaged rimu.

Research papers, University of Canterbury Library

This analysis employs both qualitative and quantitative approaches to identify how young adults in New Zealand aged 18-25 years old have engaged with All Right? campaign material. A survey targeting young adults returned 51 viable out of 117 responses due to participation prerequisites. From the survey, five participants elaborated on their thoughts in an in-depth interview voluntarily. Interviews were conducted with key personnel from All Right? to craft broader understanding of the initiative whilst enhancing knowledge of mental health frameworks and their application. Ciaran Fox, Lucy Daeth and Sara Epperson, who have been imperative to the success of the campaign, shared their working experience in the community and public health sector and how this intertwines to their current roles at All Right?. Discussions of key frameworks, community conversations, the development of communication strategies and how All Right? approached Canterbury publics in a post-earthquake setting provided insight to the importance of understanding community circumstance in initial crisis and the correlated secondary stressors.

Research papers, Victoria University of Wellington

The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.