This report forms part of a research project examining rural community resilience to natural hazard events, with a particular focus on transient population groups. A preliminary desktop and scoping exercise was undertaken to examine nine communities affected by the Kaikoura earthquake and to identify the variety of transient population groups that are commonly (and increasingly) found in rural New Zealand (see Wilson & Simmons, 2017). From this, four case study communities – Blenheim, Kaikoura, Waiau and St Arnaud – were selected to represent a range of settlement types. These communities varied in respect of social, economic and geographic features, including the presence of particular transient population groups, and earthquake impact. While the 2016 Kaikoura earthquake provided a natural hazard event on which to focus the research, the research interest was in long-term (and broad) community resilience, rather than short-term (and specific) response and recovery actions which occurred post-earthquake.
The city of Christchurch, New Zealand, was until very recently a “Junior England”—a small city that still bore the strong imprint of nineteenth-century British colonization, alongside a growing interest in the underlying biophysical setting and the indigenous pre-European landscape. All of this has changed as the city has been subjected to a devastating series of earthquakes, beginning in September 2010, and still continuing, with over 12,000 aftershocks recorded. One of these aftershocks, on February 22, 2011, was very close to the city center and very shallow with disastrous consequences, including a death toll of 185. Many buildings collapsed, and many more need to be demolished for safety purposes, meaning that over 80 percent of the central city will have gone. Tied up with this is the city’s precious heritage—its buildings and parks, rivers, and trees. The threats to heritage throw debates over economics and emotion into sharp relief. A number of nostalgic positions emerge from the dust and rubble, and in one form is a reverse-amnesia—an insistence of the past in the present. Individuals can respond to nostalgia in very different ways, at one extreme become mired in it and unable to move on, and at the other, dismissive of nostalgia as a luxury in the face of more pressing crises. The range of positions on nostalgia represent the complexity of heritage debates, attachment, and identity—and the ways in which disasters amplify the ongoing discourse on approaches to conservation and the value of historic landscapes.
The Kaikoura earthquake in November 2016 highlighted the vulnerability of New Zealand’s rural communities to locally-specific hazard events, which generate regional and national scale impacts. Kaikoura was isolated with significant damage to both the east coast road (SH1) and rail corridor, and the Inland Road (Route 70). Sea bed uplift along the coast was significant – affecting marine resources and ocean access for marine operators engaged in tourism and harvesting, and recreational users. While communities closest to the earthquake epicentre (e.g., Kaikoura, Waiau, Rotherham and Cheviot) suffered the most immediate earthquake damage, the damage to the transport network, and the establishment of an alternative transport route between Christchurch and Picton, has significantly impacted on more distant communities (e.g., Murchison, St Arnaud and Blenheim). There was also considerable damage to vineyard infrastructure across the Marlborough region and damage to buildings and infrastructure in rural settlements in Southern Marlborough (e.g., Ward and Seddon).
This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined. Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment. A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks. Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances. Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions. Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.
