Tina, the debut feature film of Miki Magasiva is a love letter to both Samoan culture and how choral music, across cultures, can assist people in change. The way art can enable acceptance of the richness of our difference. But Tina is also centrally about how Pasifika women are leaders in taking culture forward. The title translates in English as mother, or female elder. And in the lead role Anapela Polata'ivao plays Mareta, a mother struggling after the death of her daughter in the 2011 Christchurch Earthquake. Taking on a job as a teacher at a wealthy Pakeha-dominated private school, Mareta connects with kids who it turns out also really need support. She takes them all the way to the Big Sing National Choir Competition. Anapela Polata'ivao gives a remarkable performance. She is the constant, complex beating heart of this movie. As a director and actor Anapela has long played a significant leadership role in bringing Pacific voices to stage and screen, and last year became an officer of the New Zealand Order of Merit in recognition of her service. We welcomed her to Culture 101 to play 'Fast Favourites' where her choices were Lindah Lepou, Jordyn with a Why and writer directors Arianne Mnouchkine, Vela Manusaute and Nina Nawalowalo.
Artist and landscape architect Bridget Allen wouldn't have known how appropriate the name of her gardening business was to be when she set it up, out of Ilam art school and working at the Christchurch Botanic Gardens.
The name Regenerative Gardening Maintenance was prophetic given her city and its landscape was about to start regenerating.
The 2010-2011 Canterbury earthquakes saw not only buildings turned to rubble, large tracts of land, including an area around Ōtākaro Avon River the size of two New York Central Parks, started to turn from suburbia back to nature. The red zone has been turning green ever since.
In the wake of tragedy artists and gardeners came together to innovate and create new public spaces, with an eye on sustainability and community connection. Allen cofounded New Brighton sewing charity Stitch-o-Mat and retrained as a landscape architect.
Since 2023 she has been the director of The Green Lab, which began after the quakes as Greening the Rubble, creating urban green spaces and events for connection, while also working with residents to make their own backyards more sustainable.
Ever busy with working and planting bees, workshops to build habitats for plants and nature, and consultations to help people make their backyards more sustainable, on August 16 Bridget is running with The Green Lab Birds of Brighton printmaking workshops. It's at the Make Station in New Brighton Mall at 11am and 1pm. No experience is needed.
She joined Culture 101's Mark Amery.
In the bringing together of art and mental health, Kim Morton is a champion. Following the Christchurch earthquakes, Kim founded Otautahi Creative Spaces, a busy creative community in inner city suburb Philipstown.
Natural disasters are highly traumatic for those who experience them, and they can have an immense and often lasting emotional impact (Cox et al., 2008). Emotion has been studied in linguistics through its enactment in language, and this field of research has increased over the past decades. Despite this, the expression of emotion in post-disaster narratives is a largely unexplored field of research. This thesis investigates how emotion is expressed in narratives taken from the QuakeBox corpus (Walsh et al., 2013), recorded, following the Christchurch earthquakes, in 2012 and rerecorded in 2019. I take a mixed methods approach, combining computer-based emotion recognition software and discourse analytic techniques, to explore the expression of emotion at both a broad and narrow level. Two emotion recognition programs, Empath (Fast et al., 2016) and Speechbrain (Ravanelli et al., 2021), are employed to measure the levels of positive and negative emotion detected in a wide dataset of participants, which are investigated in relation to the gender and age of participants, and the temporal difference between the first and second QuakeBox recordings. In a second phase, a subset of these participants’ narratives was analysed qualitatively, exploring the co-construction of emotion and identity through a social constructionist lens and examining the societal Discourses present in the earthquake narratives. The findings highlight the relevance of gender in the expression of emotion. Female speakers have higher levels of positive emotion than non-female speakers in the findings of both emotion recognition programs, and there is a clear gendered difference in the construction of identity in the narratives, influencing the expression of emotion. The expression of emotion also appears to be mediated by New Zealand culture. Within this, a Discourse of the Christchurch earthquakes emerges, with motifs of luck, gratitude, and community, which reflects the values of the people of Christchurch at the time. Findings reinforced in both phases of the analysis also indicate differences between the lexical content and acoustic features in the emotion expressions, supporting previous research that argues that the expression of emotion, as a performative act, does not reflect the speaker’s inner state directly. This research adds a new dimension to (socio)linguistic research on emotion, as well as providing insight into how crisis survivors display emotion in their post-disaster narratives.
