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Research papers, University of Canterbury Library

INTRODUCTION: After the 2011 Canterbury earthquake, the provision of school social work was extended into a larger number of schools in the greater Christchurch region to support discussions of their practice priorities and responses in post-earthquake schools. FINDINGS: Two main interpretations of need are reflected in the school social workers’ accounts of their work with children and families. Firstly, hardship-focused need, which represented children as adversely influenced by their home circumstances; the interventions were primarily with parents. These families were mainly from schools in low socioeconomic areas. Secondly, anxiety-based need, a newer practice response, which emphasised children who were considered particularly susceptible to the impacts of the disaster event. This article considers how these practitioners conceptualised and responded to the needs of the children and their families in this context. METHOD: A qualitative study examining recovery policy and school social work practice following the earthquakes including 12 semi-structured interviews with school social workers. This article provides a Foucauldian analysis of the social worker participants’ perspectives on emotional and psychological issues for children, particularly those from middle-class families; the main interventions were direct therapeutic work with children themselves. Embedded within these practice accounts are moments in which the social workers contested the predominant, individualising conceptualisations of need to enable more open-ended, negotiable, interconnected relationships in post-earthquake schools. IMPLICATIONS: In the aftermath of disasters, school social workers can reflect on their preferred practice responses and institutional influences in schools to offer children and families opportunities to reject the prevalent norms of risk and vulnerability.

Research papers, University of Canterbury Library

INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context. METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes. FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways. IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.

Research papers, The University of Auckland Library

In 2010 and 2011, Aotearoa New Zealand was hit by a number of major disasters involving loss of human life and severe disruption to social, ecological and economic wellbeing. The Pike River mine explosions were closely followed by a sequence of major earthquakes in Christchurch, seismic events that have permanently altered the lives of thousands of people in our third largest city, the closure of the central business district and the effective abandonment of whole residential areas. In early October 2011, the ship, Rena, grounded on a reef off the port of Tauranga and threatened a major oil spill throughout the Bay of Plenty, where local communities with spiritual and cultural connections to the land depend on sea food as well as thrive on tourism. The Council for Social Work Education Aotearoa New Zealand (CSWEANZ), representing all the Schools of Social Work in New Zealand, held a ‘Disaster Curriculum’ day in November 2011, at which social workers and Civil Defence leaders involved in the Christchurch earthquakes, the Rena Disaster, Fiji floods and the Boxing Day tsunami presented their narrative experience of disaster response and recovery. Workshops discussed and identified core elements that participants considered vital to a social work curriculum that would enable social work graduates in a range of community and cultural settings to respond in safe, creative and informed ways. We present our core ideas for a social work disaster curriculum and consider a wide range of educational content based on existing knowledge bases and new content within a disaster framework. http://www.swsd-stockholm-2012.org/

Research papers, University of Canterbury Library

This chapter will draw on recent literature and practice experience to discuss the nature of field education in Aotearoa New Zealand. Social work education in this country is provided by academic institutions that are approved by the Social Workers Registration Board. The field education curriculum is therefore shaped by both the regulatory body and the tertiary institutions. Significant numbers of students undertake field education annually which places pressure on industry and raises concerns as to the quality of student experience. Although the importance of field education is undisputed it remains poised in a liminal space between the tertiary education and social service sectors where it is not sufficiently resourced by either. This affects the provision of practice placements as well as the establishment of long-term cross-sector partnerships. Significant events such as the 2010 and 2011 Christchurch earthquakes and recent terrorist attacks have exposed students to different field education experiences signalling the need for programmes to be responsive. Examples of creative learning opportunities in diverse environments, including in indigenous contexts, will be described. Drawing upon recent research, we comment on student and field educator experiences of supervision in the field. Recommendations to further develop social work field education in Aotearoa New Zealand relate to resourcing, infrastructure and quality, support for field educators, and assessment.

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.

Images, UC QuakeStudies

A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission. CERA Draft Transition Recovery Plan. 5. In your opinion, is there a better way to report on these recovery issues? We believe that, as regards residential recovery, monitoring should extend to code compliance certificates. According to figures published in 2014, only factions of repairs/rebuilds are completed with the issue of a code compliance certificate. To conclude the work to the required standard, someone must pay for the code compliance. Leaving things as they are could have serious negative consequences for the recovery and for the city as a whole. We suggest an investigation of number of outstanding code compliance certificates and that responsible parties are made to address this outstanding work. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable residents."

Videos, UC QuakeStudies

A video of a presentation by Dr Sarah Beaven during the Social Recovery Stream of the 2016 People in Disasters Conference. The presentation is titled, "Leading and Coordinating Social Recovery: Lessons from a central recovery agency".The abstract for this presentation reads as follows: This presentation provides an overview of the Canterbury Earthquake Recovery Authority's Social Recovery Lessons and Legacy project. This project was commissioned in 2014 and completed in December 2015. It had three main aims: to capture Canterbury Earthquake Recovery Authority's role in social recovery after the Canterbury earthquakes, to identify lessons learned, and to disseminate these lessons to future recovery practitioners. The project scope spanned four Canterbury Earthquake Recovery Authority work programmes: The Residential Red Zone, the Social and Cultural Outcomes, the Housing Programme, and the Community Resilience Programme. Participants included both Canterbury Earthquake Recovery Authority employees, people from within a range of regional and national agencies, and community and public sector organisations who worked with Canterbury Earthquake Recovery Authority over time. The presentation will outline the origin and design of the project, and present some key findings.

Videos, UC QuakeStudies

A video of a presentation by Jane Morgan and Annabel Begg during the Social Recovery Stream of the 2016 People in Disasters Conference. The presentation is titled, "Monitoring Social Recovery in Greater Christchurch".The abstract for this presentation reads as follows: This presentation provides an overview of the Canterbury Earthquake Recovery Authority's Social Recovery Lessons and Legacy project. This project was commissioned in 2014 and completed in December 2015. It had three main aims: to capture Canterbury Earthquake Recovery Authority's role in social recovery after the Canterbury earthquakes, to identify lessons learned, and to disseminate these lessons to future recovery practitioners. The project scope spanned four Canterbury Earthquake Recovery Authority work programmes: The Residential Red Zone, the Social and Cultural Outcomes, the Housing Programme, and the Community Resilience Programme. Participants included both Canterbury Earthquake Recovery Authority employees, people from within a range of regional and national agencies, and community and public sector organisations who worked with Canterbury Earthquake Recovery Authority over time. The presentation will outline the origin and design of the project, and present some key findings.

Audio, Radio New Zealand

Christchurch has its own social superhero and he's gone cap in hand to the council for funding. The self-styled lycra-clad superhero, known only at 'Flat Man', has been dropping care packages to people since the 2011 Canterbury earthquake. He also wants to be able to help schoolkids and anxious and stressed residents through their troubles. And to do this, he's now asking the Christchurch City Council for funding. He joins us now, and says "a cape is a must".

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.

Audio, Radio New Zealand

Little is known about The Wizard of New Zealand who took centre stage in Christchurch's Cathedral Square from the 70s until the Christchurch earthquakes in 2011, which saw the city in a state of disrepair. A man who challenged political, social and cultural ideology, The Wizard posed provocative questions in this public space, much to the delight, and sometimes dismay, of passersby. But the background to why The Wizard was there in the first place has been something of a mystery... until now. Sonia Yee finds out more in this episode of Eyewitness.

Images, Canterbury Museum

One red and black fabric quilt comprised of pieced and appliquéd block work with both hand and machine stitching; machine quilted with embellishments and a one piece bordered back; an image of the ChristChurch Cathedral is in the centre and features pen work. Designed and quilted by the Coast Quilters of Whangaroa from fabric sent in by listener...

Research Papers, Lincoln University

While there are varying definitions of the term ‘social cohesion’, a number of common themes regularly surface to describe what cohesive societies look like. Previous studies using known indicators of social cohesion have often been conducted at the international level for cross-country comparison, while there has been less focus on social cohesion within countries. The purpose of this research is to identify if indicators of social cohesion can be used to map trends at the city level in order to draw meaningful conclusions, particularly in the aftermath of a natural disaster. Using known indicators of social cohesion and Christchurch City as the basis for this study, variations in social cohesion have been found within the city wards, that preceded but were affected by the events of the Canterbury earthquakes during 2010/11. These findings have significant policy implications for the future of Christchurch, as city leaders work towards the recovery of and subsequent rebuilding of communities.

Images, Canterbury Museum

Plastic and wood model of three liquefaction volcanoes. The working model pumps water over the grey surface which is decorated with a basket of laundry, a bucket of pegs and a football. The model is surrounded by artificial green grass and rests atop a black wooden base.

Images, Canterbury Museum

One green and yellow soft sculpture kakapo with wire feet, stuffed body and black plastic eyes. Has an attached card naming the bird Little Ra and explaining it is part of the 'Journey - The Kakapo of Christchurch' project by artist Sayraphim Lothian.

Images, Canterbury Museum

One model of the Temple for Christchurch with a rectangular base of Jarrah and solid silver conical shapes and wave like walls representing the movement of the 22 February 2011 earthquake. Based on the Temple for Christchurch sculpture that was designed by Hippathy Valentine.

Images, Canterbury Museum

An aero-modelling quadricopter device used by Opus International Consultants to assess the structural integrity of the interior of the Cathedral of the Blessed Sacrament, Christchurch. The drone is comprised of a central hull with high definition video recording capability surrounded by four circles of grey foam, each containing a smaller black ...

Images, Canterbury Museum

One cylindrical copper time capsule with soldered ends containing rolled copies of the Christchurch Times and The Press from 25 March 1931, along with a document detailing the placement of the time capsule by the then North Canterbury Hospital Board; one end of the capsule has been removed to allow access. The North Canterbury Hospital Board pl...

Images, Canterbury Museum

One metal backed plastic sign, circa 1970s, for Cokers Hotel, Manchester Street, Christchurch detailing hotel services and featuring a map of the central city. The Cokers Hotel was located in central Christchurch at 52 Manchester Street. First licensed by John Etherdan (Jack) Coker in 1867, in 1890 the lease was taken over by Captain Popham, wh...