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.
A photograph of Erin Simpson interviewing volunteers who have been constructing the Four Corners youth space.
A PDF copy of pages 204-205 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Four Corners Youth Space'. Page 204 photos: Irene Boles. Page 205 photos: Peter Walker, Three Chairs Photography. With permission from Student Volunteer Army Foundation.
A photograph of the entrance to the Re:Entry event.
A photograph of a musician performing at the Re:Entry event.
A PDF copy of pages 184-185 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Re:Entry'. Photos: Gap Filler
Meeting the Sustainable Development Goals by 2030 involves transformational change in the business of business, and social enterprises can lead the way in such change. We studied Cultivate, one such social enterprise in Christchurch, New Zealand, a city still recovering from the 2010/11 Canterbury earthquakes. Cultivate works with vulnerable youth to transform donated compost into garden vegetables for local restaurants and businesses. Cultivate’s objectives align with SDG concerns with poverty and hunger (1 & 2), social protection (3 & 4), and sustainable human settlements (6 & 11). Like many grant-supported organisations, Cultivate is required to track and measure its progress. Given the organisation’s holistic objectives, however, adequately accounting for its impact reporting is not straightforward. Our action research project engaged Cultivate staff and youth-workers to generate meaningful ways of measuring impact. Elaborating the Community Economy Return on Investment tool (CEROI), we explore how participatory audit processes can capture impacts on individuals, organisations, and the wider community in ways that extend capacities to act collectively. We conclude that Cultivate and social enterprises like it offer insights regarding how to align values and practices, commercial activity and wellbeing in ways that accrue to individuals, organisations and the broader civic-community.
A PDF copy of pages 352-353 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Breaking Wonderful'. Photos by Jesse Roscoe
The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
