Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
An image used as a Facebook tile to share a person's top strength upon completion of a VIA personality survey. The image reads, "Psst.. my secret super power is: Creativity".
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.
A video of an address by Russell Stanners, CEO of Vodafone, at the 2015 Seismics and the City forum. This talk focuses on smart buildings and new ways of working.
A video of an address by Corrine Haines, Managing Director of Trimble, at the 2015 Seismics and the City forum. This talk focuses on smart buildings and new ways of working.
A video of an address by Kevin Lynn, General Manager of Commercial Operations at Schneider Electric NZ, at the 2015 Seismics and the City forum. This talk focuses on smart buildings and new ways of working.
A PDF copy of a personalised Hidden Strengths certificate from the All Right? website. The certificate reads, "Amy's Top Strengths! Creativity, Kindness, Apprec. Of Beauty & Excellence," and provides descriptions of each of these.
The Canterbury earthquakes have provided the opportunity to reconsider the Christchurch CBD - and arts and culture have often led the discussion. No more so than during the bold biennial weekend celebration of urban creativity which is Festa, which first gave the public access to the red zone back in in 2012. FESTA returns this Labour weekend and joining Mark Amery this week are festival director and architectural historian Doctor Jessica Halliday and Kairaranga or weaver Benita Wakefield, who is part of FESTA project Kono for Kai.
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.
As part of the Canterbury Earthquake Digital Archive, this thesis documents the effects of the earthquakes on the musical life of Christchurch. It concentrates, primarily, on the classical music scene. The thesis examines the difficulties experienced by musical organisations, individual musicians, and teachers as they sought to bring music to the broken city, together with the measures that were necessary in order to overcome those difficulties. It examines how those organisations have worked to re-establish themselves in their particular musical fields. It charts the progress made, to date, along the path to recovery and offers suggestions regarding precautionary measures which, if instituted, could reduce the after-effects of a future disaster. Recognising that not all of the difficulties encountered were directly related to the earthquakes, this thesis also examines the effects on music and musicians, of decision making associated with the recovery effort. The thesis also demonstrates how a destructive event can provide the inspiration for creativity. It recognises the importance of music in maintaining a sense of normality for people, whether they realise it or not, as well as its influences in providing emotional relief in times of stress. Hopefully, it may become a useful guide to which other cities that may be faced with some natural disaster, could refer.
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.
“much of what we know about leadership is today redundant because it is literally designed for a different operating model, a different context, a different time” (Pascale, Sternin, & Sternin, p. 4). This thesis describes a project that was designed with a focus on exploring ways to enhance leadership capacity in non-government organisations operating in Christchurch, New Zealand. It included 20 CEOs, directors and managers from organisations that cover a range of settings, including education, recreation, and residential and community therapeutic support; all working with adolescents. The project involved the creation of a peer-supported professional learning community that operated for 14 months; the design and facilitation of which was informed by the Appreciative Inquiry principles of positive focus and collaboration. At the completion of the research project in February 2010, the leaders decided to continue their collective processes as a self-managing and sustaining professional network that has grown and in 2014 is still flourishing under the title LYNGO (Leaders of Youth focussed NGOs). Two compelling findings emerged from this research project. The first of these relates to efficacy of a complexity thinking framework to inform the actions of these leaders. The leaders in this project described the complexity thinking framework as the most relevant, resonant and dynamic approach that they encountered throughout the research project. As such this thesis explores this complexity thinking informed leadership in detail as the leaders participating in this project believed it offers an opportune alternative to more traditional forms of positional leadership and organisational approaches. This exploration is more than simply a rationale for complexity thinking but an iterative in-depth exploration of ‘complexity leadership in action’ which in Chapter 6 elaborates on detailed leadership tools and frameworks for creating the conditions for self-organisation and emergence. The second compelling finding relates to efficacy of Appreciative Inquiry as an emergent research and development process for leadership learning. In particular the adoption of two key principles; positive focus and inclusivity were beneficial in guiding the responsive leadership learning process that resulted in a professional learning community that exhibited high engagement and sustainability. Additionally, the findings suggest that complexity thinking not only acts as a contemporary framework for adaptive leadership of organisations as stated above; but that complexity thinking has much to offer as a framework for understanding leadership development processes through the application of Appreciative Inquiry (AI)-based principles. A consideration of the components associated with complexity thinking has promise for innovation and creativity in the development of leaders and also in the creation of networks of learning. This thesis concludes by suggesting that leaders focus on creating hybrid organisations, ones which leverage the strengths (and minimise the limitations) of self-organising complexity-informed organisational processes, while at the same time retaining many of the strengths of more traditional organisational management structures. This approach is applied anecdotally to the place where this study was situated: the post-earthquake recovery of Christchurch, New Zealand.
