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Research papers, University of Canterbury Library

The earthquake sequence has resulted in significant physical and reputational damage to the Canterbury tourism industry. Eighteen months after the earthquakes inbound tourism data is still below pre-earthquake levels, with Canterbury operators reporting that the industry has not bounced back to where it was before September 2010. Outcomes of the earthquakes on business performance highlight there were winners and losers in the aftermath. Recovery of inbound tourism markets is closely tied to the timeframe to rebuild the CBD of Christchurch. Reinstating critical tourism infrastructure will drive future tourism investment, and allow tourism businesses to regenerate and thrive into the future. A blueprint for rebuilding the CBD of Christchurch was released by the Christchurch City Council in July 2012, and has been well received by tourism stakeholders in the region. The challenge now is for city officials to fund the development projects outlined in the blueprint, and to rebuild the CBD as quickly as possible in order to help regenerate the tourism industry in Christchurch, Canterbury and the rest of the South Island

Audio, Radio New Zealand

One of New Zealand's most celebrated authors, Kate De Goldi's short fiction, novels and picture books engage children, teenagers and adults alike. Novel The 10pm Question was published to critical acclaim, quickly becoming an iconic piece of New Zealand literature. Her latest, Eddy, Eddy is being met with similar excitement.

Research papers, University of Canterbury Library

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.

Research papers, University of Canterbury Library

Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.