Burwood memorial in Christchurch, before and after the 22 February 2011 earthquake
War and natural disasters share many features including great loss of life, traumatised populations and haunting memories. The Christchurch earthquakes were the third most costly event of 2011 with total costs of up to $NZ30 billion. Many homes, communities, families and an established way of life have gone for ever. The paper comes from the Women’s Voices project that documents women’s narratives of earthquake trauma and loss and examines their profiles of emotional expression associated with coping. For these women in Christchurch, solace is not about talking experiences of suffering but by doing practical things that inform and are shaped by existing personal narratives. As they relayed this common arc, they also entered into national (and gendered) narrative themes of being practical, stoic, independent and resourceful in the face of tragedy and loss and so embody communal aspects of coping with loss and grief particular to the New Zealand even ‘the South Island settler’ identity narrative. These narratives suggest it useful to rethink key concepts that inform our understanding of coping with disaster and loss.
Images from the Christchurch earthquake which struck on 22 February 2011
A PDF copy of page 132 of the book Christchurch: The Transitional City Pt IV. The page documents the transitional project 'Hunters & Collectors Building'. Note that images have been removed from the page for copyright reasons.
A photograph of people watching a film projected on the side of a building. The outdoor cinema was part of Gap Filler's 'Film in the Gap' project.
A photograph of people watching a film projected on the side of a building. The outdoor cinema was part of Gap Filler's 'Film in the Gap' project.
A photograph of a film being projected on the side of a building. The outdoor cinema was part of Gap Filler's 'Film in the Gap' project.
A PDF copy of pages 68-69 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Why is This Real Not That?'. Photo: Reuben Woods
A PDF copy of pages 154-155 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Gap Filler #1'. Photos: Gap Filler
A PDF copy of pages 248-249 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Hereafter'. Photo: Bridgit Anderson
A PDF copy of pages 18-19 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Revival'. Photos: Sam Heap
A PDF copy of pages 26-27 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project '100 Days to Rebuild Democracy'. Photos used with permission: Bronwyn Hayward
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
A photograph of a musician performing at the Re:Entry event.
A PDF copy of pages 82-83 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Wonky Peterborough'. Photo: Reuben Woods
A PDF copy of pages 230-231 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Flowers on Road Cones'. Photos: Irene Boles
A photograph of the entrance to the Re:Entry event.
A short story by Shirley Eng titled, "Resolutions".
A short story by Shirley Eng titled, "Stage Fright".
A short story by Jane Seaford titled, "Shaken Apart".
A short story by Shirley Eng titled, "Haruka's Cranes".
A photograph of the seating area at the Samo Lyttelton cafe. In the background is a view of Lyttelton Harbour.
A short story by Shirley Eng titled, "Tears and Hugs".
A photograph of the interior of the Samo Lyttelton cafe. Shelves hold childrens' books and toys, a tray of condiments, and other items.
A photograph of wooden planks used in the construction of Gap Filler's temporary outdoor cinema. The boards have a crown logo painted on them.
A photograph of volunteers standing beside a fence made from wooden pallets, at the site of the Poetica Urban Poetry wall.
A photograph of people watching a performance during Gap Filler's first project.
A photograph of a chalkboard painted on the wall of a building. The chalkboard advertises upcoming Gap Filler events. A woman is chalking a message on the wall.
A photograph of volunteers painting the Poetica Urban Poetry wall.
A photograph of a woman reading poetry. She is standing in front of the Poetica Urban Poetry wall.