Niho taniwha: Communicating tsunami risk - A site-specific case study for Tūranganui-a-Kiwa - Jo Bailey
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Niho taniwha: Communicating tsunami risk A site-specific case study for Tūranganui-a-Kiwa An exegesis presented in partial fulfilment of the requirements for the degree of Masters of Design at Massey University, Wellington, New Zealand. Harmony Repia 2018
Whakapapa Ko wai au I te taha o toku papa Ko Titirangi te Maunga Ko Uawanui-a-Ruamatua te Awa Ko Horouta te Waka Ko Te Aitanga-a-Hauiti te Marae Ko Ruakapanga te Whare Ko Ngati Porou te Iwi Ko Harmony Repia toku ingoa. Figure. 1 Uawa 06
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Acknowledgements Acknowledgements Specials thanks to my supervisors Jo Bailey and Tristam Sparks for your guidance and immense support. I will value the knowledge you have shared with me for the rest of my design practise. I would also like to acknowledge my whanau and friends who encouraged me every step along the way. And lastly thank you to all of the participants who shared your knowledge and expertise with me, aroha nui. Terms that are italicised are explained in the Glossary section of this exegesis on page 89. 09
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Contents 13 Abstract 83 Conclusion Introduction 87 Speculation 17 A joint venture 89 Glossary 17 Cultural context 18 Research aims 91 References 95 Appendix Risk communications 21 What is risk communication? 22 Risk communications in Aotearoa Human-Centred Design 27 What is Human-Centred Design? 27 Methodology Kaupapa Māori Theory 31 Indigenous knowledge 33 Mātauranga Māori Design Process 37 Section one: Discover 41 Section two: Define 54 Section three: Develop 71 Section four: Deliver 00 Deliver 11
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Abstract Abstract For some people living in Tūranganui-a- Disaster Research (JCDR) have identified Kiwa, tsunami are recognised as a natural that the population needs to respond hazard that could threaten the entire East with urgency to natural warning signs (one Cape region at any time. However for most, being an earthquake) rather than assuming an ethnographic study of local residents an official warning will come through reveals high levels of complacency within formal Civil Defence channels. There is the Gisborne urban community when it also a need to raise tsunami awareness by comes to being aware and prepared for understanding what influences tsunami tsunami risk. preparedness in communities. A recent study by Dhellemmes, Leonard The tangata whenua of Tūranganui-a-Kiwa & Johnston (2016) was conducted along hold various bodies of knowledge that the East Coast of the North Island of can contribute to our society and future Aotearoa to explore the changes of risk management . Māori oral traditions tsunami awareness and preparedness are often mapped to the whenua and between 2003–2015. Results from this anchored in our genealogies, which as study revealed coastal communities King, Goff & Skipper (2007) explain including Tūranga had low levels of enables the transfer of knowledge tsunami awareness and high expectations down through the generations. The of receiving a formal warning before method of acknowledging the contextual evacuation (Dhellemmes, et al. 2016). location of Tūranga is crucial in understanding the community’s need to As a result Geological and Nuclear raise tsunami awareness for their own iwi, Sciences (GNS) with the Joint Centre for hapū and whanau. 13
Abstract This process proposes that by allowing the community to share responsibility for their response to an unfolding crisis, it opens up new opportunities to raise awareness. This design-led research explores how Human- Centred-Design (HCD) methodology underpinned by Mātauranga Māori principles can contribute new ways of designing novel tsunami communications for Tūranganui-a-Kiwa. This project intends to create a site-specific work based on an extensive community-based design process. Figure. 2 Tūranga 14
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Introduction Figure. 3 (Top) Figure. 4 (Bottom) Tūranga Waikane beach Tūranganui river 16
Introduction Introduction A joint venture In 2017, scholars from the Joint Centre for that have been triggered by local and Disaster Research (JCDR) and Geological distant earthquakes. An example of this and Nuclear Sciences (GNS) identified was the Kaikoura 2016 earthquake that that the public do not sufficiently triggered a tsunami warning for the East understand tsunami risk. In particular, Cape. While the community of Tūranga there is little awareness regarding the live with the awareness of our vulnerability three different types of tsunami; local, to tsunami, often we expect the warnings regional and distant and that each type sent by Civil Defence and the media will requires a differing response and warning provide us with enough information and communication method. For example the notice to protect our whanau, hapū and iwi. shake is the warning for a local tsunami Therefore I have a huge appreciation for and immediate action should be taken to systems that communicate warnings across get to higher ground. In response to these Aotearoa. I was selected as the Master of findings, JCDR and GNS set up a research Design candidate to carry out this research project where a Master of Design student and embraced the opportunity to focus on and a Master of Communication student my own community, Tūranga, which is a could both explore new communications part of the wider region Tūranganui-a-Kiwa, of tsunami risk and warning systems for a place I consider my tūrangawaewae. Aotearoa. This is the Masters of Design response to that project. I was drawn to this research because of my own experiences with tsunami warnings. Over the years Turanganui-a-Kiwa has experienced multiple tsunami warnings 17
Introduction Cultural context Tūranganui-a-Kiwa is the original place own iwi, hapū and whanau. Research into name for the Gisborne area, otherwise the nature of our whenua, particularly known as Poverty Bay. There are different the Hikurangi Subduction Zone, strongly explanations of how Tūranganui-a-Kiwa indicates the severity in which a tsunami derived its name, but according to Tūpara may affect Tūranga, and the importance (2005) one account refers to Kiwa, an of understanding and preparing for this ancestor from the Tākitimu waka, who potential event. waited for the arrival of the Horouta. The arrival took so long that Kiwa named the final landing place the “long waiting place Research aims of Kiwa” or “the standing place of Kiwa”. The four main iwi that occupy this area King, Goff & Skipper (2007) suggest are Te Aitanga-a-Māhaki, Rongowhakaata, that by allowing the community to Ngai Tāmanuhiri and my own iwi Te share responsibility for their response Aitanga-a-Hauiti. It is important to to an unfolding crisis, it opens up new understand the specificness of this whenua opportunities to raise awareness. I because the tangata whenua who live here see huge potential to bring together hold various bodies of knowledge that government entities, JCDR and GNS could inform a risk management strategy with the community of Tūranga into a and design response pertinent to the local meaningful and collectively-oriented context, thereby contributing to our society project. My research aims to uncover a solution more likely to resonate with the this potential, and perhaps also offer community. The method of acknowledging approaches and working methods for other the contextual location of Tūranga is researchers in the future. I am interested crucial in understanding the community’s in exploring traditional Mātauranga Māori needs to raise tsunami awareness for their 18
Introduction and Māori values to improve natural hazard Section 3.0 A Māori cultural base that communications for Tūranga. This project underpins the project’s key values, and aims to respond to the research question: principles that have informed the decisions made through the design process. How can Mātauranga Māori produce a meaningful and relevant narrative to Section 4.0 The design process and the enhance community conversations that final design outcome. raise awareness of tsunami risk and inform new tsunami communications for Tūranganui-a-Kiwa? In order to unpack this question, this thesis has been broken down into four key components that informed the project's scope, methods and context. The design- led research will explore: Section 1.0 Risk communications in Aotearoa to develop an understanding of current communication methods. Section 2.0 Human-Centred Design methodology and the process of co-design that was used to build empathy with my community and reveal the underlying problems affecting tsunami awareness and preparedness in Tūranga. 19
Risk communication Figure. 5 Wallace, L,. (2014). Tectonic setting of the Hikurangi Subduction Zone 20
Risk communication Risk communication What is risk communication? Risk communication is the intersecting using scientific methods of analysis and point where practical management, then communicate the risk directly to the policy making and social communication public (Boholm, 2008). But the problem meet (Boholm, 2008). The aim of risk with this approach is the disconnect communication is: between how the public interpret and analyse risk information which forms their “To inform and educate the public about own perceptions about any identified risks risk and risk management” (Boholm, around them. This in turn contributes to 2008). their decision making and behaviour. Slovic (p. 5-8, 1986) describes four key problems Such communication is used to build that affect public risk perceptions: knowledge and awareness around specific risks in order to influence attitudes 1. People’s perceptions of risk are often and behaviours of the public that inaccurate inform decision making required within 2. Risk information may frighten and emergency situations. frustrate the public Traditionally risk communication was 3. Strong views are hard to modify perceived to be a distinction between the expert and the public, scientific data 4. Naive views are easily manipulated versus social values and people who make through presentation decisions as opposed to those affected by them (Boholm, 2008). Experts in this Together these risk perceptions highlight scenario are the regulators, and scientific the need to shift away from a technocratic experts who assess the risk of disaster approach to a collaborative learning 21
Risk communication approach by interacting with the public • Reduction: The first stage aims to (Boholm, 2008). Ortwin Renn (2006) as reduce the likelihood and potential cited by Kellens, Terpstra, & De Maeyer impact of a disaster occurring. (2013) discusses that risk communication has evolved to focus on enhancing • Readiness: The second stage conversations between experts and the encourages people to undertake public to develop a shared understanding activities to prepare for a disaster e.g. and response toward risk. This strategic having a survival kit or emergency shift can be applied to a diverse range plan. of risk management activities during • Response: The third stage refers to large scale natural events that may affect actions taken immediately before, human settlements. Therefore, this unified during or after an emergency event approach has become a crucial lens to to work with people who have been explore how risk communication can inform affected. risk management in Aotearoa. • Recover: The final stage refers to a coordinated effort between Risk communication in Aotearoa government, emergency organisations and communities to rebuild and work together from the immediate event. The Ministry for Civil Defence and Emergency Management (MCDEM) has a risk management framework for dealing Risk communication plays an essential with natural hazards in New Zealand. This role across all four stages within risk approach is described as the ‘4Rs’ (New management . The stage of the crisis event Zealand & Department of Internal Affairs, is relative to the response and should 2008) see Figure 6: influence which choice of communication should be used. 22
Risk communication In CDEMAotearoa, Act 2002 there are multiple information sources the strategy the act: and channels for realising being the vision of Resilient used New Zealand tofrom the act. derives communicate • promotes sustainable risk for the management public. For of hazards; example tsunami education can • encourages communities to achieve acceptable levels consist of risk; • provides for planning and preparation for (civil defence) emergencies, and 3 of evacuation maps, tsunami ‘safer for for response and recovery; schools’ • requires programmes, local authorities to co-ordinate annual reduction,exercises, readiness, response and recovery activities through regional groups; brochures, • provides a basis information for the integration ofboards and national and local CDEM; national and advertising. Brenkert-Smith, Dickinson, that • encourages coordination across a wide range of agencies, recognising (civil defence) emergencies are multi-agency events. 4 Champ, the act requires& thatFlores, (2013) a risk management explain approach be taken whenthat it with dealing is hazards. the new Zealand integrated approach to cdem can be described by the important four areas of activity,to known integrate expert as the ‘4rs’, as shown in figureknowledge 3 opposite. sources with the strategy’s vision informal is based on four goalssocial interactions, reflecting the 4rs and the provisions of the act outlined above. the goals are outlined in figure 5 and detailed on pages which 10-14. can be seen through communicating emergency updates from MCDEM or local the strategy provides the vision and strategic direction. the Plan, the guide and cdem group plans support the strategy. authorities via mass media and informal communications such as hearing about 3 For the purposes of the Strategy: a neighbour’s actions through social Civil defence emergency refers to the civil defence aspects of any emergency managed under the CDEM Act. Under the CDEM Act, emergency means a situation that: media. A great example of this is how Te a. is the result of any happening, whether natural or otherwise, including, without limitation, any explosion, earthquake, eruption, tsunami, land movement, flood, storm, tornado, cyclone, serious fire, leakage or spillage of any dangerous gas or substance, technological failure, infestation, plague, epidemic, failure of or disruption to an emergency service or a lifeline Tairāwhiti Civil Defence uses social media utility, or actual or imminent attack or warlike act; and b. causes or may cause loss of life or injury or illness or distress or in any way endangers the safety of the public or property in New Zealand or any part of New Zealand; and to post updates about natural hazards c. cannot be dealt with by emergency services, or otherwise requires a significant and co-ordinated response under the Act. [CDEM Act 2002 s4] that in turn provide a platform for the CDEM Act 2002 s3 (a-f) 4 national civil defence emergency management strategy 5 community to share, discuss and engage with crisis information. The importance of Figure. 6 doing this recognises that local sources of (New Zealand & Department of Internal Affairs, information like one-to-one interactions 2008). The ‘4Rs’ — New Zealand’s integrated are valued more because they offer a approach to CDEM. personalised experience as opposed to 23
Risk communication mass media sources (Brenkert-Smith et al., 2012). Each communication channel employs different levels of information and messages which are determined by factors including understanding audiences, availability of power, time and resources (Sheehan, 2015). In this project, I propose to test the process of integrating risk communication focussed on the exchange of information between experts and the public that responds to the ‘4Rs’ risk management approach. Because each communication channel employs different levels of risk information relating back to the ‘4Rs’ management approach there are multiple factors that determine what those communication should consist of. This project aims to unpack these understandings by using a Human-Centred Design methodology underlined with principles of Mātauranga Māori. Figure. 7 Quake Core conference 2017 Wairakei, New Zealand 24
Risk communication Conference connecting experts across the natural hazards fields with an emphasis on earthquakes. By attending this conference I built a larger appreciation for the science involved in natural hazards research especially in relation to tsunami. 25
Human-Centred Design Figure. 8 Nga Aho wānanga The Nga aho wānanga brought together a range of different 2017 Māori artists to co-design with whanau for whanau at Omaka Omaka Marae Marae. This was the moment I realised I wanted to co-design with my community Tūranga. 26
Human-Centred Design Human-Centred Design What is Human-Centred Design? Human-Centred Design is a unique Each project brings different perspectives, approach to problem solving and is context and knowledge that in turn grounded in understanding the needs and navigates its own contours and character. insights of the people that the designer IDEO call this process ‘diverging and is designing for. Empathising with people converging’ which is a very similar concept can help to reveal the underlying problems to Design Council’s (n.d.) ‘Double Diamond’ affecting their communities or the situation design process model. that an individual may inhabit. This provides the opportunity for designers exercising a Human-Centred approach to Methodology drive creative thinking and offer innovative proposals relative to the situation being The ‘Double Diamond’ model is the considered. The core value of Human- method I used to inform my design Centred Design recognises that; process (see Figure 9). However as mentioned above the process was not “The people who face those problems straightforward and at times challenged my everyday are the ones who hold the key decision making (see Figure 10). In Figure to the answer” — (IDEO, 2015) 10 I mapped my own process alongside the ‘Double Diamond’ method and highlighted IDEO (2015) recommend that by focussing areas of reflection where my design on what a designer may learn from process changed its course. My decisions individuals and asking them the right were influenced by the need to better questions will enable them, to more likely understand my audience by taking the arrive at a suitable proposal together. time to build relationships and connections Human-Centred Design is not a one size with them. fits all process, nor is it perfectly linear 27
Human-Centred Design Discover Define Develop Deliver Reflect Future community work Discover Define Develop Deliver Develop Figure. 9 (Top) Figure. 10 (Bottom) Design Council Harmony’s design process ‘Double diamond’ 28
Human-Centred Design This methodology has kept me grounded converges, synthesising all of the in believing that what I have heard and possible opportunities and design observed from my own people will guide ideas generated in the discovery phase. me to arrive at solutions that meet my The aim is to filter through the mass of community’s needs. ideas by analysing them into a reduced set of problem statements, personas The model has four phases, Discover, and pain-points that frames the design Define, Develop and Deliver. The model challenge. shows how the design process diverges • Develop: One of the qualities that sets where thinking and possibilities are broad Human-Centred Designers apart is the to converging and focussing on distinct belief that there will always be more objects (Design Council’s, n.d.). Below is a ideas. Develop is the phase where breakdown of these four phases. designers have the opportunity to think big, prototype and test. This is often • Discover: The first part of the model is a generative process of discarding a period of discovery that encourages bad ideas and nurturing the gems to designers to look at the world from refine a solution for the people you are a new perspective, seek information designing for. and gather insights. The exploration involves empathising with people • Deliver: In this phase the design and can utilise both qualitative concept is finalised and sent out into and quantitative research methods. the world. This is an important time Gathering data and insights builds a to consider capturing feedback. This rich bank of knowledge that will inform is also an important time to feed back the rest of the design process. lessons learnt with the people you are designing for. • Define: During this phase the model 29
Māori Kaupapa approach Figure. 11 Quake Core In this moment I felt a huge appreciation for the power of conference: Huka Falls water. The weight of this moment can be understood through a 2017 indigenous lens. Wairakei, New Zealand 30
Māori Kaupapa approach Māori kaupapa approach Indigenous knowledge This research embraces a shift from as science, art and religion. Within these Western traditional knowledge frameworks bodies, disciplines are disconnected again towards an Indigenous knowledge from each other and privileged for this approach, as it became clear to me that specificity, individualised authorship and Māori values, customs and indigenous stratified within distinctly western values. perspectives must inform the basis of research that involves indigenous peoples. Indigenous knowledge springs out of the Indigenous peoples share a long standing integration of those areas and maintains connection to their lands, community and inter-relationships that reflect a holistic natural environment that is maintained understanding of the world. Pihama, through an understanding of practices of Southey, & Tiakiwai (2015, pp.6-16) give belonging, knowledge and responsibility an example from their own cultural (Wilson, 2008). ‘Indigenous’ describes a knowledge base that indicates science collective who share an understanding and culture are not separated. Pihama of the underlying natural knowledge et al, (2015, pp.6-16) describes that the structures that inform fundamental values navigational expertise of tupuna Māori and practices, and, who share recent who travelled across the Pacific Ocean histories of subjection to imperial and highlights a strong understanding of colonial enterprises and their ongoing water related sciences like ocean swells, impacts including marginalisation of tides and sea movements. Māori have indigenous knowledge systems (Puke, K. generated different names for these personal communication, March 6, 2018). phenomena that tells people about the The work of Cordero (as cited in Wilson, myriad characteristics, shapes and nature 2008) explains that Western knowledge of an energy that can uphold life but also is separated into distinct categories such bring destruction (Royal, 2006). 31
Māori Kaupapa approach This energy with all of its forms, moods interconnections, and interrelationships, and expressions is known as Tangaroa. and that binds the group... But it’s more Through narrativised knowledge Tangaroa, than human relationships. And maybe the kaitiaki of the ocean is considered an the basis of that relationship among atua. Atua have personality, a spiritual self, indigenous people is the land. It’s our and a genealogical network, where aspects relationship to the land. There’s a spiritual are employed for describing relationships, connection to the land. So it’s all of those situations and events in order to transmit things”. — (Wilson, 2008, p. 80) knowledge in memorable ways. These stories assist in passing on information to Thinking through research as relational tasks at hand, such as fishing, navigation entails understanding not only some of and seasonal planning. Within a wider these interrelationships, but how research underlying understanding, these are questions are formed, planned and carried narratives that bind, link, inter-relate to out. This requires protocols that ensure both the land (the underlying sea beds, the research meets the requirements continental shelves), all marine life, bird relevant to indigenous peoples. This is life, to the environment and wider again not an extensive review of an Indigenous into the cosmos. Therefore an indigenous knowledge approach but it has set paradigm comes from the fundamental some principles to explore how Māori belief that knowledge is relational (Wilson, Indigenous knowledge can inform a 2008). cultural base when conducting Indigenous research. “It’s collective, it’s a group, it’s a community. And I think that’s the basis for rationality. That is, it’s built upon the 32
Māori Kaupapa approach Mātauranga Māori The notion of being connected through rangatiratanga where the people are able wairua and mauri to the land is crucial to exercise their ongoing responsibilities to to this research. As I described in my their people and environment. In terms of Cultural Context section, the method of people having meaningful participation, acknowledging the contextual location ownership and control of their own disaster of my tūrangawaewae affirms my identity management, how does the community and whakapapa to Tūranga. Therefore gain that involvement to a culturally and whakapapa is one of the core principles socially relevant level? They gain it through that underpins the cultural base of this education and understanding through research. Wilson (2008) writes about the knowledge sharing within the relevant importance of relationships and why it is forms and modes. fundamental to an understanding of an indigenous framework. In Mātauranga My research that began on the premise Māori this is referred to as whakapapa; of relationality, revealed that this would occur most effectively through their “Identity is also inextricably bound to own local narratives, the use of Te Reo whanau and whenua relationships, to the and acknowledging the diversity of marae and the value system and language perspectives within whanau, iwi and which holds these things together”. hapū. This method considers ethical — Pihama et al, (2015, p. 49) considerations such as the process of forming clear relationships with people. In this research whakapapa extends Pihama et al, (2015, pp.47-53) makes the to the responsibility of communities, point that simply being Māori does not kaitiakitanga, manaakitanga, grant you access to be an insider in terms whanaungatanga and wairuatanga to tino of a researcher. In my community, my 33
Māori Kaupapa approach engagement was very much dependant on my relationships and connections through my Ngāti Porou whakapapa. Even this kinship requires strengthening, ongoing engagement in the forming of healthy and strong relationships with Māori in my community beyond the scope of this project. Figure. 12 Nga Aho wānanga 2017 Omaka Marae 34
Māori Kaupapa approach Whakawhanuangatanga, Manaakitanga — Connecting through sharing stories and showing respect and support for each other as a group which became an integral part of this design process. 35
Design process Figure. 13 Semi_structured interviews Interview analysis 2017 Tūranga 36
Design Process Design process Discover Regardless of my previous experience the East Cape with a group of scientists, within different design processes in the emergency managers and experts from past, from the start I realised I had much to Niwa, GNS, JCDR and East Coast Lab. discover. I needed to discover and collect The group delivered a presentation that as much information and data about described a range of initiatives to better tsunami risk as possible. This sparked an understand hazards posed by the Hikurangi investigation of how tsunami risk affects Subduction Zone. Some activities include my community in Tūranganui-a-Kiwa. My seafloor pressure monitoring, offshore Discover phase can be broken down into drilling, seismic surveys and others. At three main parts: this point I had a low understanding of the risk posed by the subduction fault, • Understanding the Hikurangi Plate so this was an excellent opportunity for Boundary me to learn through listening, observing and participating in the activities and • Mātauranga Māori perspectives: conversations demonstrated in the Understanding tsunami risk presentations. This was where I learnt • Examination of data collected in the that Tūranganui-a-Kiwa is home to the 2015 Preparedness survey shallowest slow earthquakes in the world. This makes the East Coast of the North Island highly susceptible to tsunami risk. Understanding the Hikurangi Plate “Slow slip” events are also known as ‘silent Boundary earthquakes’ — fault movements that are not felt as they occur over a long period of My research began with an invitation to time e.g. days, weeks, months see Figure 5 attend a hui with coastal communities on (L, Wallace, personal communication, June 22, 2017). 37
Design process Mātauranga Māori perspectives: The Hikurangi Subduction Zone is the As I discussed in my Indigenous name for the active condition of the Pacific Knowledge section, narratives are used Plate, as it is thrust beneath the North to explain the interconnections and Island of New Zealand by the Australian interrelationships indigenous peoples Plate’). Currently these two plates are have with the land. For Māori, ancient locked, leading to the building up of elastic narratives in the form of pūrakau can be energy which will eventually be released in used to examine tsunami. King, & Goff future large subduction earthquakes (2010) talk about written records that tell of (Wallace, L. personal communication, June destructive waves caused by taniwha that 22, 2017). These subduction earthquakes endanger the lives of people in coastal are similar to the ones that caused the communities. Although taniwha in these Indian Ocean tsunami in the in 2004 and stories appear to be hostile, McFadgen the 2011 tsunami in Japan. (2007) considers them to be neutral and only aggressive when described in pūrakau Because of the close proximity of Tūranga involving events that kill people or cause to the Hikurangi trench, the risk of a major damage. King & Goff (2010) talk about earthquake could result in a “Local source” taniwha being governed to the laws of tsunami which could hit the shores of the tapu. Taniwha were usually associated with East Coast within minutes (Dhellemmes, et areas of risk and were recorded to give an al. 2016). Research into the nature of our explanation to natural hazards like a rapid whenua indicates that Tūranga is highly in a river. These pūrakau function as a exposed to tsunami. It is crucial to this warning or place to avoid. research that my community understand this hazard and that it is communicated in The experiences contained within these ways that are relevant and meaningful. stories fascinated me so much, that I 38
Design Process began to look into the history of my own understand the process of collecting iwi in search of pūrakau that communicated indigenous narratives. As a result I decided tsunami risk. In my search I came across to stay open to the idea of pūrakau but the well known narrative ‘Te tai o Ruatapu’. steered towards understanding new This pūrakau talks about how Ruatapu sent narratives that could be developed by a great waves to destroy his half brother community to understand tsunami risk. Paikea after being shamed by his father Uenuku (Taumaunu, 2001). However, as much as I enjoyed researching this pūrakau 2015 Preparedness survey in academic texts, I felt the need to talk to local people to acknowledge their It was important in the Discover phase to specific perspectives relevant to their iwi’s understand how my community perceives understanding of the narrative. I sought tsunami risk and risk management in to connect with local experts about ‘Te Tūranga. In the Tsunami Awareness and Tai o Ruatapu’ using my own whakapapa Preparedness report 2015 (Dhellemmes, connections but found that, because I was Leonard & Johnston, 2016) the survey still in the discovery stage of my research, I revealed coastal communities on the East hadn’t laid a strong enough foundation to Coast of Aotearoa, including Tūranga, start building relationships with locals. had low levels of tsunami awareness and high expectations of receiving a formal This may highlight the notion that just warning before evacuation. Quantitative because I am Māori and whakapapa and qualitative data from the Tsunami back to Tūranga does not mean I will Awareness and Preparedness Report be immediately accepted to research (2015) survey highlighted that even iwi pūrakau, nor at the right level to 39
Design process Figure. 14 Tsunami Awareness and Preparedness Survey report (2015) (Dhellemmes, et al. 2016). 40
Design Process Define though residents understood they lived From the information and data collected in a coastal community prone to tsunami in the previous section, the Define phase risk, they were not necessarily prepared aims to synthesise those learnings to for a tsunami situation (Dhellemmes, et al. define how tsunami risk is understood 2016). in my community, Tūranga. I decided to use kanohi ki te kanohi semi-structured I decided to look at the survey results, in interviews as my method of approach particular the data collected from Wainui, a to collect qualitative data that might be suburb in Tūranga. In table 18 (see Figure compared and contrasted against the 14) it is clear that a good number of quantitative data found in the Tsunami residents expect an earthquake to warn Awareness and Preparedness report them of a local tsunami, however there is (2015) (Dhellemmes, et al. 2016). Gray still a large proportion of residents who rely (2014) explains interviewing to be a skill of on a mixture of communication methods building rapport with interviewees while like radio and TV announcements, word of being objective by observing and listening mouth and warning sirens. I found this part in order to keep control of the interviews. of the survey interesting as it echoes back Building rapport with my interview to risk communication and the different participants reflects back on the principle methods and messages used to alert of whakapapa that underpins this research. people of an impending danger. The next Whakapapa connections were used to find step of my design process should engage potential interview participants. Ethical with community residents to uncover considerations were made to ensure my their needs and gain insights to address participants felt respected and trusted the problem whilst understanding what through the choice of interview location, communication method works best for the types of questions asked, the recording them. 41
Design process and collecting of information and consent areas are heavily reliant on help to come of using information in my research. from emergency services rather than preparing for an event on their own. This can be heard in the information collected Target audience in the interviews where one participant described: The target audience for this research originally included all of Te Tairāwhiti , “When we had the power cut, it was but through conversations with Te three days without power and it was TairāwhitiCivil Defence, I found that crazy in town. The line up for Pak’N’Save smaller communities along the East Coast was ridiculous, everyone was trying to were seen as exemplars for self policing get money out from the ATM because themselves in relation to preparing for they weren’t prepared — The petrol tsunami (Stuart, P. personal stations were all full coming into town, it communication, 2017). Rural communities was just crazy, you could see just how ill- are exposed to natural disasters more prepared Gisborne was.” often than the urban communities because — Rāwiri Participant 2017 of their distance from central amenities. This means rural communities need to be For this reason I chose to narrow the prepared for events like road closures, scope of my research to those people flooding or being cut off from power due living in the urban community so that I to severe storms, that had required them could emphasise learning about the to take extra steps for being prepared for different levels of awareness and such events. As opposed to the urban preparedness. In order to do this I sent out Tūranga community, people living in urban a survey through my own whakapapa channels, social media, email and with the 42
Design Process help of Te Tairāwhiti Civil Defence. The • How prepared are you if a Natural survey was titled ‘Local Hazards in your Hazard in your local area was to occur? Local Area’ as to not prompt tsunami as the initial discussion. The survey was used From the survey results see Figures (15, 16 to collect an overarching view of my & 17) a clear trend suggested that people community’s perspectives on natural felt a varied amount of knowledge and hazards and was used to compile a list of preparedness regarding natural hazards participants for my semi-structured in their local area with need or interest to interviews. By using this method of know more. From these results I selected selection I ensured a range of different 12 participants to interview with me in variables like levels of awareness and Tūranga. preparedness, demographics, geographic locations and ethnicity was included in my interview range. Survey questions; The survey consisted of three natural hazard questions; • How much do you know about Natural Hazards that might occur in your local area? • How important is it for you to know about Natural Hazards in your local area? 43
Design process Figure. 15 (Top) Figure. 16 (Bottom) Questions one: Natural Hazards Questions: two: Natural Hazards in in your local area survey your local area survey 2017 2017 Tūranga Tūranga 44
Design Process Figure. 17 (Top) Questions three: Natural Hazards in your local area survey 2017 Tūranga 45
Design process Semi-structured interviews I planned my semi-structured interviews to be 60-90 minutes long and I held them at an outdoor café close to one of Tūranga’s well known beaches see Figure 19. I felt the location of my interviews was important when it came to providing a space that was comfortable and familiar for my interviewees but also had relevant meaning to my interview questions. The common themes that came out of the interviews were things like: • Low understanding between the three different types of tsunami • Confusion between how strong a earthquake needs to be before evacuating for tsunami • Strong emphasis on waiting for a formal warning before evacuating — mostly from Ngati Porou Radio station, Te Tairāwhiti CDEM, or the ‘siren’. Figure. 18 Semi_structured nterviews: • National messaging like the ‘Long, 2017 Tūranga 46
Design Process 47
Design process Figure. 19 (Top) Figure. 20 (Bottom) Semi-structured nterviews: Semi-structured nterviews: Interview Interview location drawing map with whiteboard marker 2017 2017 Tūranga Tūranga 48
Design Process strong, get gone’ campaign did not These key themes marry up with the data resonate with respondents because collected in the Tsunami Awareness and it lacked context to Tūranga. When Preparedness report 2015 (Dhellemmes, presented with images of the et al. 2016). A strong emphasis on the campaign, participants wanted to know contextual location of Tūranga and the more about the effects tsunami could relationship people build with the whenua have on their own region and what they became evident in the following statements needed to do to prepare. They were from these interviews: more interested in local knowledge as opposed to general messages on the “In their oral histories tsunami has hit TV. Local narratives could provide them here and they have done something with their own way of understanding about it to save their people. The tsunami risk that felt more meaningful community used to live on the coast but to them. they moved inland because of a tsunami. These are the stories that the old people • Local narratives provide a great way of tell. So we’ve got history within memory understanding natural hazards to this and when you’ve got that you have to specific community, land and place. listen to those stories and think about • There is lack of complacency to react what do we need to do?” — Ashleigh, to tsunami warnings because of Interview participant, 2017 past warnings that have issued false reports. “We live in a coastal community. Obviously the possibility of tsunami feels more real” — Gina, Interview participant, 2017 49
Design process Figure. 21 (Top) Figure. 22 (Bottom) Semi-structured nterviews: Semi-structured nterviews: Interview analysis Interview analysis 2017 2017 Tūranga Tūranga 50
Design Process Figure. 23 (Top) Semi-structured nterviews: Post it notes capture the thoughts of my community in Tūranga Interview analysis about Natural Hazards in their local area. 2017 Tūranga 51
Design process Personas and problem statements One way of analysing the information collected during my interviews was to create ‘personas’. Personas are used to identify user types and acknowledges that every person has different needs, experiences and behaviours (Open Design kit, n.d). I used personas to present an overview of the different people living in Tūranga and what their needs and insights Gina are toward tsunami risk in their community. Gina needs a way to feel empowered that By understanding these differences the she is making the right decisions for her personas helped me to identify with family. But surprisingly, the connections the people I am designing for, and also that she keeps with her friends does not revealed key problem statements for each. expose her the information that she needs. From the 12 interviews conducted, three personas were created to represent the Needs and insights: Tūranga community overall. • Equip me with practical tools to share/ Reflecting on the Define phase, I have discuss with my friends and family identified my key target audience and • Build a relationship with me through learnt about their needs and insights my work or hapū/iwi for communicating tsunami risk in their community. The personas provide a • Tell me what I need to do and where to rich understanding of the people I go in a natural disaster am designing for which informed the process of developing ideas for tsunami communications contextual to Tūranganui- a-Kiwa. 52
Design Process Rāwiri Ashleigh Rāwiri needs a way to feel enlightened Ashleigh needs a way to participate in about preparing for a natural disaster but tsunami education that is fun for her and unfortunately the exposure that he’s had her family as well as connecting her to with tsunami awareness fails to relate to people alike. But what puzzles her is that him personally which leaves him feeling no one in her community wants to share disengaged. their experiences and she worries if people know what to do. Needs and insights Needs and insights • Visualise for me scenarios of how to evacuate and where to go • Educate me and my children about natural disaster information in a fun • Interact with me in person through interactive environment community events or school • Connect me with people in my • Share with me new innovative ways community who are interested in of being prepared step by step via a natural hazard preparedness digital platform • Explain/Involve me in how you are going to help people in my community prepare and plan. 53
Design process Develop The Develop phase in my research looks to explore a range of ideas to suit my community’s needs identified in the Define phase. One way of doing this was to co-design with the community to come up with new ideas for tsunami communication for their own community. I decided to do this through a workshop where I encouraged people to share their stories and experiences by mapping them to their local environments. I printed a series of posters and story cards that encouraged participants to draw, write and talk about tsunami and earthquakes in their community. Exercise 1: Participatory asset mapping Participatory asset mapping is a combination of participatory mapping (community members identifying their own people, places and experiences based on their community onto a map) with asset mapping (identifying community assets Figure. 24 like behaviour, knowledge and skills that Participatory workshop support resources for individuals and 2017 collective groups in a community (Janice, Tūranga 54
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Design process Figure. 25 (Top) Figure. 26 (Bottom) Participatory workshop :Assets maps Participatory workshop :Assets maps 2017 2017 Tūranga Tūranga 56
Design Process Burns, Dagmar & Silvia, 2012). Together research. The dialogue consisted of their these terms create participatory asset own personal experiences and how they mapping which was an activity I used to planned to prepare for such an event. I map a scenario of a tsunami risk situation then asked the participants to transfer with members of my community in their own individual asset maps on to one Tūranga. large map see Figures 27 and 28. This created an immense amount of discussions The centre circle see Figures 25 and 26 is between participants that visualised areas where the participant places themselves of importance in their community but also and as the circles radiate outwards they whanau structures in regards to how they begin to place the most important things needed to plan for a tsunami emergency. they consider in their lives to the less likely experiences they have within the community. I gave my participants the task of completing their own individual asset maps by identifying on the map their important locations, people and places that could inform their decision making regarding a tsunami risk situation. From those individual maps the participants were asked to share their assets maps in a group of four people to discuss how they would respond to a tsunami event. The conversations between the workshop participants were enlightening to this 57
Design process Figure. 27 (Top) Figure. 28 (Bottom) Participatory workshop: Coloured Participatory workshop: Placing coloured dots to dots signify different assets match the asset maps made in last exercise 2017 2017 Tūranga Tūranga 58
Design Process Exercise 2: Sharing stories In the second exercise I invited the I found this approach enriched the community to share their experiences with experience as people moved through the earthquakes and tsunami warnings using different maps to locate and generate story cards see Figure 29. The story cards conversation about their suburb or local were separated into four groups using a areas in their community. colour coding system: Blue = Tsunami, Green = Earthquakes, Red = Time, Yellow This provided the opportunity for the entire = Response (see Figure 31). The colour workshop group to reflect on the main system was used as a way to break down themes highlighted in their stories. One of the information collected during the those themes underlined the behaviour of sharing process but also in the analysis waiting for a formal warning in a tsunami phase where I could step back and see the event before evacuating for safety. I used coloured trends. this theme to transition into the final exercise which involved building their own The purpose of this exercise was to share forms of tsunami communications. people’s responses to earthquakes and tsunami and whether or not they were aware of the idea that a local tsunami could be triggered by an earthquake and that the response time could be less than 20 -15 minutes for evacuation. Everyone was encouraged to share their stories and put their cards onto a map of Tūranga see Figure 32. The map acted as a canvas for contextualising my participants stories. 59
Design process Figure. 29 Participatory workshop: Story cards 2017 Tūranga 60
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Design process Figure. 30 (Top) Figure. 31 (Bottom) Participatory workshop: Participant’s Participatory workshop: story about tsunami. Different types of story cards 2017 2017 Tūranga Tūranga 62
Design Process Figure. 32 (Top) Participatory workshop: Mapping story cards to large maps of Tūranga on the walls 2017 Tūranga 63
Design process Figure. 33 (Top) Figure. 34 (Bottom) Participatory workshop: Word Participatory workshop: Building narratives prompts 2017 2017 Tūranga Tūranga 64
Design Process Exercise 3: Building narratives The last exercise used boxes, words, the method of building structures out papers and pens to build new tsunami of cardboard boxes and using tangible communications for Tūranga. When I methods of making to form the basis of conducted my interviews I learnt that this workshop. having practical tools like the laminated map and coloured pens enabled Participants were split into groups of conversations to flow freely without the four and asked to build new tsunami need for directing the conversation at communications for Tūranga. The process me. This led me to think about new ways of making tsunami communication of collecting information in preparation structures took 40 minutes and consisted for my participatory workshop. I reflected of each group, using pre-made words back on my research in the Discover phase to prompt conversations about design, and utilised the idea of core drilling briefly science, tsunami and local knowledge mentioned in my ‘Discover; Understanding combined with boxes to build levels. the Hikurangi Plate boundary’ section. The It was fascinating to watch each group scientific method of drilling into the earth discuss, negotiate and input ideas toward to collect data about paleotsunami can building their own tsunami communication also reflect my principle of whakapapa, structures. Each structure was unique and I see the layers of the earth collected in specific to the group that made them. drilling as the whakapapa of previous tsunami in Tūranga. As the facilitator I encouraged the teams to utilise the data collected in the previous Therefore the idea of creating layers exercises to drive the rationale behind their of information to build narratives of designs. At the end of the exercise each place gave reasoning behind utilising 65
Design process team reflected back to the group their • Team Four: Educational structure own ideas. These are the main concepts with science information. Use that were captured in their tsunami light as a beacon and the idea of communication structures. sound connected to the cracking of Rūaumoko was discussed (See Figure • Team One: Different stages of 38). responding to a tsunami event Collaborating with my community representative in the different levels of through the method of co-design enabled the structure. Confusion > Organised > this research to develop meaningful Connected (see Figure 35 ). new narratives that are relevant to my • Team Two: Navigation by sounding community. More importantly the outcome an alert and showing directions plus of this workshop enhanced community community engagement through conversations about raising tsunami risk schools and acknowledging local in Tūranga and generated new ideas for knowledge (see Figure 36). tsunami communication in Tūranganui-a- Kiwa. • Team Three: Communicating information by using the structures to talk to one another. The use of colour is important to identify which area of risk you are in e.g. safe or danger zones (see Figure 37). 66
Design Process Figure. 35 (Top) Figure. 36 (Bottom) Participatory workshop: Participatory workshop: Team one Team one 2017 2017 Tūranga Tūranga 67
Design process Figure. 37 (Top) Figure. 38 (Bottom) Participatory workshop: Participatory workshop: Team three Team four 2017 2017 Tūranga Tūranga 68
Design Process Figure. 39 (Top) Fig.40 (Bottom) Participatory workshop: Placing where the Participatory workshop: Important principles to structures should go on the map consider in the design 2017 2017 Tūranga Tūranga 69
Design process Figure. 41 Pouwhenua: Light installation 2017 70
Design Process Deliver The final stage of the design process is Delivery where the final design output can emerge in response to everything I have learned in my research. During the Development phase I talked about the idea of understanding the whakapapa of the whenua. One way that this can be understood is using the scientific method of drilling for paleotsunami samples. The core used to drill for these samples is an elongated shape that made me think of other forms within Mātauranga Māori that could give meaning to this understanding. This led me to explore pouwhenua. Pouwhenua Pouwhenua resonated with me because it can reflect a boundary marker or land post symbolising areas or territory in the whenua. Automatically I thought of safe and unsafe zones for tsunami risk and reflected back on the materials created 71
Design process in the development workshop exercises. ocean. These atua are reflected in the Participants in the workshop wanted to narrative of my pouwhenua that recognise utilise local knowledge, beacons of light earthquakes are the warning for tsunami. and atua in their structures to communicate tsunami risk. The participants in my Papatūanuku is represented in the pressure workshop continued to talk about the plate that turns the pouwhenua on (see importance of the whenua in Tūranga and Figure 41. Papa’s relationship with the they mentioned kaitiakitanga as a principle earth moving may refer to the Hikurangi for investigating tsunami communication. Subduction Zone where the two plates This can be seen in their ideas to illuminate are currently locked. When the energy structures with light (beacons) that navigate and pressure is built up over time the you to safety just like a kaitiaki would or an release of that energy may be seen in large atua. I believe my participants connection subduction earthquakes that could trigger to the land and their own whakapapa a local tsunami for Tūranga. Rūaumoko and understanding of kaitiakitanga are is represented in the shelf that sits at the embedded in the structures they created. bottom half of the pouwhenua and is Therefore I used local knowledge, beacons adorned with the pattern ‘niho taniwha’ of light and atua as the conceptual drive to see Figure 42. design my own pouwhenua prototype. As a result the concept of this design heavily In my initial research I came across pūrakau reflects back on my design process and that tell of taniwha being a metaphorical acknowledges indigenous knowledge understanding of tsunami risk in coastal perspectives. communities. This led me to decide to use the notch pattern/’niho taniwha’ (see Figure 42 ) as a way of embedding this Mātauranga Māori Mātauranga into the pouwhenua. The upper half of the pou is Tangaroa’s domain The continental shelf is Papatūanuku, where I have used a wave pattern (see Rūaumoko, atua of earthquakes is within Figure 45) to signify the water carving into her and Tangaroa is the kaitiaki of the the land as a tsunami might do. 72
Design Process Figure. 42 Pouwhenua: Relationship between Rūaumoko and Tangaroa, see niho taniwha pattern. 2017 73
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