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Images for youth; more images...

Images, eqnz.chch.2010

Band Together - Concert for Canterbury www.bandtogetherforcanterbury.co.nz 23rd October 2010 Free concrete in Hagley Park following the 4th September 2010 earthquake

Images, UC QuakeStudies

The Youth Shop, parth of the emerging Youth Hub on Barbadoes Street. The Youth Hub aims to be a one-stop-shop for youth to address their health, education, employment, volunteering, justice and welfare needs. On the front is a sign that says ' Canterbury Youth Shop, 294 Barbadoes Street, CHCH. 10am-4pm. Come mee the crew. Job Searching. Study Options. Youth Employment Advisors' and 'Hire me' in the background.

Audio, Radio New Zealand

Our last guest is one half of the duo known in Christchurch as the Brilliant Bagshaws Dr Sue Bagshaw has worked in the youth health sector for 30 years. She's set up and been involved in so many organisations benefitting young people it would make your head spin. She chairs the Korowai Youth Well-Being Trust running the Youth One Stop Shop 298 Youth Health, where she runs teaching clinics and is in the process of setting up the Christchurch Youth Hub - Te Hurihanga o Rangatahi, a collaboration of health and social services and transitional housing for youth. Dr Bagshaw established the 198 youth one stop shop in 1995 and helped run it for 15 years. She's advised a network of similar organisations around the country, now known as the Network of Youth One Stop Shops. Following the Christchurch earthquakes, she brought together 16 youth organisations to form the first youth hub in Barbadoes Street in 2012. Colin: Dr Bagshaw is now Dame Susan Bagshaw. I asked her if she thinks she'll ever get used to being called Dame Susan

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.

Research papers, University of Canterbury Library

This community-partnered thesis explores the impact of ReVision Youth Audits in promoting youth-friendly community spaces in Christchurch, a city undergoing long-term urban transformation following the 2010–2011 earthquakes. In partnership with ReVision, a not-for-profit organisation facilitating youth-led audits of public and community spaces, this research examines how audit recommendations have been implemented by organisations responsible for 23 previously audited sites. Using a mixed-methods approach, including an online stakeholder survey (n = 16) and semi-structured interviews (n = 2), the study identified variation in implementation outcomes, with non-profit organisations reporting higher adoption levels than local government entities. Stakeholders reported that commonly implemented recommendations included enhanced lighting, inclusive signage, additional seating, and youth-focused amenities such as murals, free Wi-Fi, and gender-neutral toilets. The average youth-friendliness score increased from 4.7 to 7.5 out of 10 following implementations, reflecting tangible improvements in accessibility, inclusivity, and youth engagement. Despite these gains, several barriers limited full implementation. Local government stakeholders cited procedural delays, regulatory frameworks, and funding cycles tied to long- term planning. At the same time, non-profits stakeholders faced constraints such as property ownership and limited influence over shared spaces. Challenges related to timing, staffing capacity, and the absence of follow-up mechanisms were also reported. Stakeholders recomended integrating youth input in the design process earlier, as several audits occurred after key planning phases. Feedback on the audit process was largely positive, with high ratings for the clarity of recommendations and the tool's credibility. However, stakeholders advocated for refinements when recording the audit recommendations to capture young people's lived experiences better and sustain youth involvement beyond the initial audit phase. The research demonstrates that the ReVision Youth Audit framework contributes to meaningful improvements in public spaces especially for youth and reinforces the value of youth-informed urban design. This research provides practical guidance for enhancing youth engagement in urban planning and improving the long-term utility of participatory audit frameworks, based on an analysis of both the factors that enabled and those that constrained the implementation of audit recommendations.