"The nuclear meltdown at Fukushima ... the Fonterra botulism scare ... the Christchurch earthquakes – in all these recent crises the role played by scientists has been under the spotlight. What is the first duty of scientists in a crisis – to the government, to their employer, or to the wider public desperate for information? And what if these different objectives clash? In this penetrating BWB Text, leading scientist Shaun Hendy finds that in New Zealand, the public obligation of the scientist is often far from clear and that there have been many disturbing instances of scientists being silenced. Experts who have information the public seeks, he finds, have been prevented from speaking out. His own experiences have led him to conclude that New Zealanders have few scientific institutions that feel secure enough to criticise the government of the day." - Publisher information. http://librarysearch.auckland.ac.nz/UOA2_A:Combined_Local:uoa_alma21259423940002091
A video of the 2016 Civic Earthquake Memorial Service, held to mark the fifth anniversary of the 22 February 2011 earthquake. The service was held on the Archery Lawn in the Christchurch Botanic Gardens at midday on 22 February 2016. The service was filmed for the Christchurch City Council by Alan Radford of Multicam TV.
An audio recording of a mayoral debate hosted by Generation Zero in partnership with 350 Christchurch. The event was titled Mayoral Debate: a climate-smart Christchurch. It was held on campus at the University of Canterbury on Thursday 22 September, 2016 and was moderated by Catarina Gutierrez of the Ministry of Awesome. The debate was structured as follows: Section 1: Candidates answered set questions sent prior to the event Section 2: Candidates answered set questions they have not seen before Interval Section 3: Candidates answered written questions from the audience (climate-related questions were submitted during the interval and a selection of these were given to the moderator). The audio recording was taken through the University's Echo system.
A video of the keynote presentation by Sir John Holmes, during the first plenary of the 2016 People in Disasters Conference. Holmes is the former United Nations Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinator, the current Director of Ditchley Foundation, and the chair of the Board of the International Rescue Committee in the UK. The presentation is titled, "The Politics of Humanity: Reflections on international aid in disasters".The abstract for this presentation reads as follows: As United Nations Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinate from 2007-2010, Sir John Holmes was heavily involved in the coordination of air provision to countries struck by natural and man-made disasters, raising the necessary funds, and the elaboration of humanitarian policy. The international humanitarian system is fragmented and struggling to cope with rising demands from both conflicts such as that in Syria, and the growing effects of climate change. Sir John will talk about what humanitarian aid can and cannot achieve, the frustrations of getting aid through when access may be difficult or denied, and the need to ensure that assistance encompasses protection of civilians and efforts to get them back on their feet, as well as the delivery of essential short term items such as food, water, medical care and shelter. He will discuss the challenges involved in trying to make the different agencies - UN United Nations, non-government organisations and the International Red Cross/Crescent movement - work together effectively. He will reveal some of the problems in dealing with donor and recipient governments who often have their own political and security agendas, and may be little interested in the necessary neutrality and independence of humanitarian aid. He will illustrate these points by practical examples of political and other dilemmas from aid provision in natural disasters such as Cyclone Nargis in Myanmar in 2009, and the Haiti earthquake of 2010, and in conflict situations such as Darfur, Afghanistan and Sri Lanka in the past, and Syria today. He will also draw conclusions and make recommendations about how humanitarian aid might work better, and why politicians and others need to understand more clearly the impartial space required by humanitarian agencies to operate properly.
A copy of a letter from Seamus O'Cromtha which was sent to the Chief Executive of the Ministry of Business, Innovation and Employment (MBIE) on 3 September 2016. The letter was sent on behalf of Empowered Christchurch. In the letter, O'Cromtha calls on the Chief Executive to instruct the Christchurch City Council to stop issuing building consents in areas such as the Avon River floodplain until stop banks have been erected along the river. O'Cromtha comments, "Properties that should be protected by stop banks currently have no protection against flooding".
This paper reports on a service-learning public journalism project in which postgraduate journalism students explore ways to engage with and report on diverse communities. Media scholars have argued that news media, and local newspapers in particular, must re-engage with their communities. Likewise, journalism studies scholars have urged educators to give journalism students greater opportunities to reflect on their work by getting out among journalism’s critics, often consumers or citizens concerned about content and the preparation of future journalists. The challenge for journalism educators is to prepare students for working in partnership with communities while also developing their ability to operate reflectively and critically within the expectations of the news media industry and wider society. The aim of this project has been to help students find ways to both listen and lead in a community, and also reflect on the challenges and critiques of community journalism practices. The project began in 2013 with stories about residents’ recovery following the devastating 2011 Canterbury earthquakes, and aimed to create stories that could contribute to community connection and engagement, and thereby resilience and recovery. The idea was inspired by research about post-disaster renewal that indicated that communities with strong social capital and social networks were more resilient and recovered more quickly and strongly. The project’s longer-term aim has been to explore community journalism practices that give greater power to citizens and communities by prioritising listening and processes of engagement. Over several months, students network with a community group to identify subjects with whom they will co-create a story, and then complete a story on which they must seek the feedback of their subject. Community leaders have described the project as a key example of how to do things “with people not to people”, and an outstanding contribution to the community-led component of Canterbury’s recovery. Analysis of student reflections, which are a key part of each year’s project, reveals the process of engaging with communities has helped students to map community dynamics, think more critically about source relationships, editorial choices and objectivity norms, and to develop a perspective on the diverse ways they can go about their journalism in the future. Each year, students partner with different groups and organisations, addressing different themes each time the project runs. For 2016, the programme proposes to develop the project in a new way, by not just exploring a community’s stories but also exploring its media needs and it aims to work with Christchurch’s new migrant Filipino community to develop the groundwork for a community media and/or communication platform, which Filipino community leaders say is a pressing need. For this iteration, journalism students will be set further research tasks aimed at deepening their ‘public listening’: they will conduct a survey of community members’ media use and needs as well as qualitative research interviews. It is hoped that the data collected will strengthen students’ understanding of their own journalism practice, as well as form the basis for work on developing media tools for minority groups who are generally poorly represented in mainstream media. In 2015, the journalism programme surveyed its community partners and held follow-up interviews with 13 of 18 story subjects to elicit further feedback on its news content and thereby deepen understanding of different community viewpoints. The survey and interview data revealed the project affected story subjects in a number of positive and interesting ways. Subjects said they appreciated the way student reporters took their time to build relationships and understand the context of the community groups with which they were involved, and contrasted this with their experience of professional journalists who had held pre-conceived assumptions about stories and/or rushed into interviews. As a direct consequence of the students’ approach, participants said they better trusted the student journalists to portray them accurately and fairly. Most were also encouraged by the positive recognition stories brought and several said the engagement process had helped their personal development, all of which had spin-offs for their community efforts. The presentation night that wraps up each year’s project, where community groups, story subjects and students come together to network and share the final stories, was cited as a significant positive aspect of the project and a great opportunity for community partners to connect with others doing similar work. Community feedback will be sought in future projects to inform and improve successive iterations.
In 2013 Becca Wood, Spatial Performance Practitioner, and Molly Mullen, Applied Theatre Practitioner, collaborated to create a short ambulatory performance with audio score for a group of drama educators attending a conference workshop on the possibilities of walking as performance. The performance was created remotely from the intended site: Rangi Ruru Girls’ School, in Christchurch, New Zealand. Following the destruction of the 2012 earthquake, this site was in a state of transformation and recovery. The performance walk attended to the histories, geographies and politics of this place, somatically, architecturally and socially. This paper engages with three critical questions: How might mediated listening and walking activate the coming together of bodies and place? What performative shifts occurred for the participants in the walk and workshop? How might we come to our senses? Through a performative practice of mediated site-based listening and walking, this paper is a reflection on the creative process and performance. We consider the potential for technologically mediated performance to offer new modes for learning and creative practice through interdisciplinary and evolving intermedial practices. http://www.tandfonline.com/toc/crde20/current AM - Accepted Manuscript
Creative temporary or transitional use of vacant urban open spaces is
seldom foreseen in traditional urban planning and has historically been
linked to economic or political disturbances. Christchurch, like most
cities, has had a relatively small stock of vacant spaces throughout
much of its history. This changed dramatically after an earthquake and
several damaging aftershocks hit the city in 2010 and 2011; temporary
uses emerged on post-earthquake sites that ran parallel to the “official”
rebuild discourse and programmes of action. The paper examines
a post-earthquake transitional community-initiated open space (CIOS)
in central Christchurch. CIOS have been established by local community
groups as bottom-up initiatives relying on financial sponsorship,
agreements with local landowners who leave their land for temporary
projects until they are ready to redevelop, and volunteers who build
and maintain the spaces. The paper discusses bottom-up governance
approaches in depth in a single temporary post-earthquake community
garden project using the concepts of community resilience and social
capital. The study analyses and highlights the evolution and actions of
the facilitating community organisation (Greening the Rubble) and the
impact of this on the project. It discusses key actors’ motivations and
values, perceived benefits and challenges, and their current involvement
with the garden. The paper concludes with observations and recommendations about the initiation of such projects and the challenges for those wishing to study ephemeral social recovery phenomena.
This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.
