title: The life story model of identity: A bridge between two spaces

authors: Houkamau, Carla Anne

subjects: Maori

abstract: Two questions which continue to absorb Western social psychological researchers are: What is the ‘self’? And ‘What is identity in relation to self?’ At the NMPPS this year this Dr. Love’s keynote threw these matters into relief prompting us as indigenous psychologists to reflect deeply on the nature of ‘selves’. Many questions arise from her address. Do we have ensembled selves? Are we self contained? Are we a bit of both depending on the situation? How do we work within psychology while honouring Māori perspectives?

text: The life story model of identity: A bridge between two spaces Two questions which continue to absorb Western social psychological researchers are: What is the ‘self’? And ‘What is identity in relation to self?’ At the NMPPS this year this Dr. Love’s keynote threw these matters into relief prompting us as indigenous psychologists to reflect deeply on the nature of ‘selves’. Many questions arise from her address. Do we have ensembled selves? Are we self contained? Are we a bit of both depending on the situation? How do we work within psychology while honouring Māori perspectives?

year: 2008

title: Taku Rāta Tūtahi (composed 28 Oct 2013)

authors: Maxwell, Te Kahautu

abstract: Taku Rāta Tūtahi is a lament dedicated to my daughter Kaaterina Ataria Ariha Maxwell who passed away suddenly on the 23 March 2013. This composition talks about the pain of a father for his daughter and how at times life is unbearable because of this undiscribable pain. This composition was performed by Ōpōtiki Mai Tawhiti Kapa Haka at the Mātaatua Kapa Haka Regional Competition. This composition placed 2nd in the Whakaeke discipline.

text: Taku Rāta Tūtahi (composed 28 Oct 2013) Taku Rāta Tūtahi is a lament dedicated to my daughter Kaaterina Ataria Ariha Maxwell who passed away suddenly on the 23 March 2013. This composition talks about the pain of a father for his daughter and how at times life is unbearable because of this undiscribable pain. This composition was performed by Ōpōtiki Mai Tawhiti Kapa Haka at the Mātaatua Kapa Haka Regional Competition. This composition placed 2nd in the Whakaeke discipline.

year: 2014

title: Creativity, dialogue, and place: Vitebsk, the early Bakhtin and the origins of the Russian avant-garde

authors: White, Elizabeth Jayne

abstract: This paper attempts to avoid both the ‘Bakhtinology’ that has become the basis of the ‘Bakhtin industry’ in Russia and the Americanization of his work as a “a sort of New Left celebrator of popular culture” (McLemee, 1997) to argue for a radical contextual understanding a set of relationships among Bakhtin, Malevich, Chagall and others. The appreciation of a Bakhtinian notion of the inherently creative use of language is used as a basis for the idea of the creative university as the ‘dialogical university’. The paper begins by exploring the connections between Bakhtin, Malevich and Chagall to explore the ontological sociality of artistic phenomena. A small town called Vitebsk in Belorussia experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917-1922 contribution to the birth of the Russian avant-garde. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bahktin’s Circle, Malevich’s experiments, artistic group UNOVIS, all in fierce dialogue with one another made the town of Vitebsk into an artistic crucible in the early twentieth century transforming creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism and also to a social understanding of creativity itself.

text: Creativity, dialogue, and place: Vitebsk, the early Bakhtin and the origins of the Russian avant-garde This paper attempts to avoid both the ‘Bakhtinology’ that has become the basis of the ‘Bakhtin industry’ in Russia and the Americanization of his work as a “a sort of New Left celebrator of popular culture” (McLemee, 1997) to argue for a radical contextual understanding a set of relationships among Bakhtin, Malevich, Chagall and others. The appreciation of a Bakhtinian notion of the inherently creative use of language is used as a basis for the idea of the creative university as the ‘dialogical university’. The paper begins by exploring the connections between Bakhtin, Malevich and Chagall to explore the ontological sociality of artistic phenomena. A small town called Vitebsk in Belorussia experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917-1922 contribution to the birth of the Russian avant-garde. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bahktin’s Circle, Malevich’s experiments, artistic group UNOVIS, all in fierce dialogue with one another made the town of Vitebsk into an artistic crucible in the early twentieth century transforming creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism and also to a social understanding of creativity itself.

year: 2014