Canterbury Tales Photograph 2013:10:27 (01)
Images, UC QuakeStudies
A photograph of old-fashioned speakers installed on scaffolding in Cathedral Square, for FESTA 2013.
A photograph of old-fashioned speakers installed on scaffolding in Cathedral Square, for FESTA 2013.
A photograph of old-fashioned speakers and audio equipment near the Worcester Street bridge. The equipment will be used for the Canterbury Tales procession. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
A photograph of loudspeakers on a free-standing frame that will be used during Canterbury Tales. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
The University of Canterbury is known internationally for the Origins of New Zealand English (ONZE) corpus (see Gordon et al 2004). ONZE is a large collection of recordings from people born between 1851 and 1984, and it has been widely utilised for linguistic and sociolinguistic research on New Zealand English. The ONZE data is varied. The recordings from the Mobile Unit (MU) are interviews and were collected by members of the NZ Broadcasting service shortly after the Second World War, with the aim of recording stories from New Zealanders outside the main city centres. These were supplemented by interview recordings carried out mainly in the 1990s and now contained in the Intermediate Archive (IA). The final ONZE collection, the Canterbury Corpus, is a set of interviews and word-list recordings carried out by students at the University of Canterbury. Across the ONZE corpora, there are different interviewers, different interview styles and a myriad of different topics discussed. In this paper, we introduce a new corpus – the QuakeBox – where these contexts are much more consistent and comparable across speakers. The QuakeBox is a corpus which consists largely of audio and video recordings of monologues about the 2010-2011 Canterbury earthquakes. As such, it represents Canterbury speakers’ very recent ‘danger of death’ experiences (see Labov 2013). In this paper, we outline the creation and structure of the corpus, including the practical issues involved in storing the data and gaining speakers’ informed consent for their audio and video data to be included.