Background and methodology The Mw 7.8, 14th November 2016 earthquake centred (item b, figure 1) in the Hurunui District of the South Island, New Zealand, damaged critical infrastructure across North Canterbury and Marlborough. We investigate the impacts to infrastructure and adaptations to the resulting service disruption in four small rural towns (figure 1): Culverden (a), Waiau (c), Ward (d) and Seddon (e). This is accomplished though literary research, interviews and geospatial analysis. Illustrating our methods, we have displayed here a Hurunui District hazard map (figure 2b) and select infrastructure inventories (figures 2a, 3).
Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
