Destiny Bay Bob Bickerton

Transcription

1 Destiny Bay Bob Bickerton

2 Copyright Bob Bickerton 2000 All rights reserved. No part of this resource kit may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, without prior written permission from the publisher, with the exception that parts may be copied for school s internal use for educational purposes only. Permission to perform the production publicly may be obtained by forwarding the included performance agreement to the publisher. First published in 2000 by Bob Bickerton. Todd s Valley, RD1, Nelson, New Zealand. Phone Fax Mobile mail@bickerton.co.nz Website: Front Cover illustration: Charles Enderby sails for the Auckland Islands, Illustrated London News, Courtesy Alexander Turnbull Library. This production and resource kit has been made possible through the generous support of Creative New Zealand Toi Aotearoa and Sealord, the global seafood marketing company. Destiny Bay - Page 2

3 Tihei mauri ora! E nga Reo, e nga Mana, e nga Iwi! Tena koutou, tena koutou, tena koutou! Whakarongo mai ki tenei korerorero mo nga wa o mua - nga wa whakaongaonga, e pa ana ki nga mahi o nga kaimahi kai i te tohora me nga tangata whenua. Titiro mai, korero mai, mahi mai, hei akona nga taonga tuku iho. No reira, he mihi atu ki a koutou ma tou aro ki tenei whakakitenga. Haere mai, haere mai, haere mai ra! Destiny Bay - Page 3

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5 Index 6 CD Track List 7 Introduction 10 Sponsor s Message 11 Curriculum Links 11 How To Use The Kit 13 Cultural Safety 14 Historical Background 21 The Instruments 23 Making A Koauau 26 Haul Away Joe 27 He Pao 28 The Try Pot Polka 31 Kei Konei Matou - Haka 32 Come All Ye Tonguers 33 Southern Seas 34 Tititorea - Stick Game Song 35 Together 36 Hoki Mai Nei - Chant 37 Leave Her Johnny 40 Synopsis 42 Scene 1 - The Arrival 44 Scene 2 -The Welcome 48 Scene 3 - The Chase 51 Scene 4 - The Rescue 53 Scene 5 - Utu 55 Scene 6 - The Leaving 58 Glossary Of Maori Words 59 Staging Notes 63 Performance Agreement 64 Promotion Kit 66 Historical Projects Worksheet 67 Conservation Worksheet 68 Stick Game Worksheet 69 Pakeha Craft Worksheet 70 Instrument Cards Game 73 Overhead Projector Graphic 74 Further Reading 75 About The Writers 38 How To Produce Destiny Bay Destiny Bay - Page 5

6 CD Track List 1 Tumutumu 2 Porotiti 3 Koauau 4 Fiddle 5 Harp 6 Uilleann Pipes 7 Overture 8 Haul Away Joe 9 Pao 10 Polkas (with called voice over) 11 Haka 12 Come All Ye Tonguers 13 Southern Seas 14 Tititorea Recording Artists Mihi and Moteatea - Taitamariki Mihaere Shanty Leads and Come All Ye Tonguers - Bob Bickerton Pao - Tia Greenaway Together Vocals - Jacquie Hanham Tititorea and Haka - Unnamarie Tepu, Artisha Tepu, Mereana Albert, Tamate Tauwhare, Hoani Tauwhare, Shane Boyd, Tia Greenaway and Taitamariki Mihaere. 15 Together 16 Moteatea 17 Leave Her Johnny 18 Overture (Mihi-less version) 19 Scene 1/2 Bridge 20 Try Pot Polkas 21 Scene 2/3 Bridge 22 Scene 3/4 Bridge 23 Together (vocal-less version) 24 Scene 4/5 Bridge 25 Solo Porotiti (Use with Moteatea) 26 Scene 5/6 Bridge 27 Finale Note: Tracks 18 to 27 are cued for use as backing to a live performance. Shanty Team: Paul Bond, Phil Grimmett, Geert Hermsen, Fred Hickling, Richard Watson, Grant Williams and Colin Wragg All instruments and programming - Bob Bickerton except guitar on Tititorea - Taitamariki Mihaere. Production and engineering - Bob Bickerton with assistance from David Bowater, OHO Recording, on Sea Shanties and Maori songs. Destiny Bay - Page 6

7 Introduction Overview My intention with Destiny Bay was to write a music/theatre piece suitable for performance to and by primary and intermediate school students that would introduce students to aspects of New Zealand life in the mid 1800 s, with special emphasis on the positive early interaction between Maori and European whalers. Historical Research and Cultural Safety An imperative requirement of the work is that, while characters and events are fictional, it faithfully reflects typical events at that time and honours tikanga. I have used John and Hilary Mitchell s research as a base historical document and have been guided by Ian McDonald on issues of tikanga. Whilst due care has been taken to accurately emulate historical events and to honour tikanga in this work, it would be inappropriate for me, as pakeha, to write this story from a Maori perspective. Key Issues Flowing from the historical research were several key issues/concepts that I wanted to include in the work: That the interaction between Maori and Pakeha was generally very positive early on. That Pakeha would not have survived without Maori assistance. That Maori were good traders and astute business people. That Maori were enthusiastic about and excelled in education. That Maori were good seamen and fishermen. That Maori were good swimmers but some European whalers could not swim at all. That Maori had their own musical instruments. That liaisons between Maori women and Pakeha men were common. That Maori never traditionally hunted whale even though beached whales were highly prized. These are interwoven into the script and may be studied as individual issues by students after the performance. Destiny Bay - Page 7

8 The Story Rather than use actual historical events, I believed it was safer to use a fictional story line and characters. The reasons for this include that: There would be little control over the respect shown for historical characters when the work is produced in schools. To use actual historical events would inevitably require expansion on the original story line in order to achieve dramatic effect, which would be inappropriate. It would be complex to seek permission from the descendants of historical characters used. Even though the work is fictional, examples of similar events happening at that time abound. I have used generic Christian names for all characters, so as to avoid association with actual historical figures, with the exception of Mahara (Memory) whose character embodies pre-christian tikanga. Whilst the use of a fictional story-line may seem inappropriate to some, I believe this is justified for the above reasons. Destiny Bay Destiny Bay does not exist! The work could be set in any one of the many locations along the east and south coasts of New Zealand where whaling was taking place in the middle of the last century. Maori Music I have received endorsement from Hirini Melbourne, Richard Nunns and Brian Flintoff to use traditional Maori instruments in the production and for instructions on the construction and playing of these instruments to be included in this resource kit. Ian McDonald has written an original Mihi, Pao, Tititorea, Haka and Moteatea for the work. Whilst we encourage you to learn these new songs, the work has been designed so that schools who have their own Kapahaka group may substitute their own music for the Maori music provided. My Performance The narrative version of the work performed by myself in Schools is, by necessity, a much simpler version of the full production. It would be impossible to communicate the Destiny Bay - Page 8

9 concepts and characters of the full production in a solo show. However, it is hoped that my solo performance will inspire students to want to undertake further study and possibly go on to perform the production themselves. Certainly, there seems to be great interest in the subject matter and in the instruments used, especially, the traditional Maori instruments which can be constructed and played by the students themselves. Funding and Sponsorship The writing of the work has been funded by Creative New Zealand, Arts Council Of New Zealand Toi Aotearoa and the resource kit has been sponsored by The Sealord Group Limited. Acknowledgements The development of Destiny Bay has been a team effort and I acknowledge here not only the individuals who have made specific contributions to the writing of the show, but also the cultural and music traditions with which I have had the good fortune to experience in life. If just one student is inspired to go on to develop an interest in these traditions, then Destiny Bay has been worthwhile. Ian McDonald - Maori songs and lyrics, tikanga advice, Iwi consultation. Drs John and Hilary Mitchell - Historical Research and advice. Arnott Potter - Staging notes. Brian Flintoff - Maori instruments and notes on construction of instruments. Richard Nunns and Hirini Melbourne - Advice on Maori Instruments. Thanks also to Evey McAuliffe, Ceara Bickerton, Jeremy Winter, Merrill Coke, David Bowater, Ana Heinz, Sarah Lewis, Chris Lewis, Richard Carruthers, Nelson Provincial Museum, Imogen McCarthy, Picton Community Museum, Sandipa, Sambodhi, Alexander Turnbull Library, National Library Of Australia, Don Grady, Barrie McDonald, the Langford family, Lynda Gardiner, Jacquie Hanham, New Zealand Maritime Museum, New House Publishers Ltd, Reed Methuen Publishers Ltd, Lloyd Esler, Waikawa Museum, Riverton Museum. Destiny Bay - Page 9

10 Sponsor s Message Sealord Group is fifty percent owned by the Maori people of New Zealand and is delighted to support a production which highlights the close relationship and mutual respect between Maori and Pakeha in early New Zealand. Bob Bickerton and his team have created a wonderful piece of musical theatre; our role has been to sponsor the kit that will enable teachers and students to have the fun of performing the work themselves. We wish you well with your performance and are sure your audience will enjoy it as much as you do. Nelson-based Sealord Group is a global seafood marketing company with a world-wide fishing, processing and marketing network. It is known in New Zealand for its frozen and canned fish; in fact it exports more than 90 percent of its seafood to 30 countries world-wide. Sealord is one of New Zealand s largest seafood companies and the largest deep-sea quota holder. It fishes for hoki, orange roughy, oreo dories and ling - but definitely not whales! It is also a major marketer of shellfish - Sealord Shellfish is the largest Greenshell Mussel processor in the world. Destiny Bay - Page 10

11 Curriculum Links The Destiny Bay live performance and subsequent follow up through this resource kit provides strong contributions to many facets of the school curriculum which are too numerous to specify in detail. However, in terms of the Arts Curriculum, Destiny Bay makes specific contributions to the strands of Developing Practical Knowledge in Music, Communicating and Interpreting Music and Understanding Music in Context. It also makes broad contributions to the disciplines of Dance and Drama and supports the Culture and Heritage, Place and Environment and Time, Continuity and Change strands in the Social Studies Curriculum. How To Use This Resource Kit This resource kit is designed to: Provide follow up work to my Destiny Bay performance. Provide all resources necessary to enable a class or school to perform Destiny Bay as a production. The kit may be used in many different ways and may form the basis of wide ranging music, craft and social studies projects. Draw Pictures Of The Story An excellent follow up for younger students. Having drawn scenes from the story, they can discuss what happened. Write A Synopsis Write a short synopsis of the story line. Review The Performance Discuss the performance, which sections did you like, which sections didn t you like. Study some reviews from a newspaper and write your own. Younger students could make two drawings, one of the section they liked most and one of the section they liked least. Study The Words To Songs The words to the songs have been selected/written to make educational points. Notes after the words to songs give an indication of possible discussion topics, e.g. Study the translation of the Haka, was this view representative of all Maori at that time? Destiny Bay - Page 11

12 Study All Or Part Of The Script By reading or listening to part or all of the script, students can the discuss concepts referred to in the Key Issues list, e.g. Why did Maori not hunt whale? Work Sheets Undertake one of the study worksheets included at the back of the kit. Learn a song Words to songs (including melody line and chords where appropriate) are included in the kit and those songs that require accompaniment have a vocal-less version on the CD. All songs are included on the CD. Learn a dance Instructions for the Try Pot Polka are included, more advanced instrumentalists might like to learn the polkas (music and chords are included). Make the Maori instruments Instructions on making and playing the Maori instruments are included in the kit. Produce the show This kit enables a school to fully produce Destiny Bay themselves. The production could take one of the following formats: A reading of the script by a class, syndicate or school, with or with out songs/dances. A performance of the show by a class, syndicate or school without costumes/sets using CD backings. A full production of the show by a class, syndicate or school using costumes and sets using CD backings. The CD includes professional vocal-less backings to songs, as well as instrumental sections and scene change bridges and is easily cued. Production notes and staging notes give suggestions to assist with the production. Suggestions on promoting the production to your community are included in the Promotion Kit section. If you wish to perform the production publicly it is necessary to fill out and return the Performance Agreement. Please note certain conditions noted on the performance agreement must be met in order for a public performance to proceed. Destiny Bay - Page 12

13 Cultural Safety The work, as presented here, has been through a process of Iwi consultation. In providing this resource kit for use in schools the author presumes good will on behalf of schools to ensure cultural safety for the school, the students, participants and audience. We ask that the following guidelines be followed whenever a production of Destiny Bay is planned and when material from this resource kit is used in the classroom. Ensure that participation is voluntary. Ensure that Maori staff are consulted and included in planning and delivery. Ensure that the school s human resources for Maori music, arts, language/pronunciation and protocol are called on to provide appropriate, safe and accurate performances and presentation. Whenever resources are not available within the school, ensure that guidance from a Maori cultural advisor from the community is sought and followed in presenting any production or use of materials provided here. Whilst it is expected Directors will make their own artistic interpretation of the work, it is important to understand that changes to the storyline and script may have cultural safety implications and should be approved by a Maori cultural advisor. Remember cultural safety is not restricted to Maori issues. Destiny Bay - Page 13

14 Historical Background The majority of the material in this section is sourced from research undertaken by Drs John and Hilary Mitchell with some technical whaling information taken from the New Bedford Whaling Museum website. Whilst the Mitchell s research is specifically about Te Tau Ihu (top of the South Island), it gives an indication of the practices and interactions that were prevalent at that time throughout New Zealand. Destiny Bay, the production, could be set in any of the many whaling communities that were operating around New Zealand at that time. Whaleship Samuel Enderby Illustrated London News 1849 (Alexander Turnbull Library) Whaling In New Zealand Although the flesh, bones and teeth of stranded whales were highly prized by Maori, no evidence has been discovered of Maori traditions of actually hunting whales. From 1801 onwards visits by whalers to New Zealand became increasingly frequent and crews very much depended on the chief s goodwill to get by. The advent of the European whaling industry around the New Zealand coast brought with it immediate, massive, and lasting social change to those Maori tribes which were resident in the whaling districts; in turn most such tribes participated in the new way of life with vigour and enthusiasm. Interaction between Maori and whalers was generally very good, indeed Maori viewed the whaling industry as a great opportunity for trade. Destiny Bay - Page 14

15 Shore-based whaling stations were established from the late 1820 s and provided even greater opportunity for trade and employment. Many bays and coves around the New Zealand coast provided suitable anchorages and shore sites for try-works, and whaling settlements sprang up in many of these. A whale mural at the Kauaehangohia Meeting House at Whangaporoa in the Bay Of Plenty (Don Grady - Sealers and Whalers in New Zealand Waters) The Whalers Overseas whalers on the New Zealand coast included those of British, Australian, French and German extraction, with the more enterprising Americans becoming dominant after The whaleships drew their crew from men of varied racial and ethnic backgrounds. Life on board a whaleship was hard and often boring. Long hours would be spent doing scrimshaw, the carving of whale bone and teeth. Pay was often pitiful, ordinary seaman might earn only $25 for several years work and more often crew would be paid in rum and tobacco. Drunkenness and debauchery were common amongst the whalers; In 1839 the Reverend Bumby noted: some of whom present specimens of human nature in its worst estate Reverend Bumby also commented that: they practise every species of iniquity without restraint and without concealment. The very soil is polluted. The very atmosphere is tainted. Destiny Bay - Page 15

16 Whalers Wives and Partners A very large number of whalers were partnered with Maori women and many people today can trace their ancestry back to these relationships. Some relationships were fleeting and lasted only to the end of the season when the ships departed, although some of the men returned year after year and the relationships resumed. A number of couples were formally married following the arrival of missionaries. Maori As Crewmen The skills and other qualities of Maori as crew on whaling boats and whaling ships had been recognised from the earliest days in Many of the whaling ships employed a smaller complement of crew for the ocean voyages than the number required to man all of the whale boats carried on board. Therefore on arrival in New Zealand, one of the master s first tasks Whaleboats With Crew (Picton Community Museum) was to recruit a full complement of boat crews, and Maori were commonly employed. By 1837 there must have been a very large number of Maori working the fisheries. According to Captain Symonds, 1837, citing Rossiter s journal of June 1837: While we lay here at anchor we saw several whales killed, and there were not less than 30 boats out, manned by natives, with many European ones also Whilst in 1843 Ernst Diefenbach notes: During the whaling season which lasts from May to October, or during the winter, they send out every morning fifteen to eighteen boats into Cook s Straits. One third part of the crew of these boats consists of natives. In this dangerous occupation the latter have acquired in a short time so much skill, that they are perfectly equal to the Europeans, and being always ready to work, sober and frugal, the proprietors of the boats often prefer a crew of natives. Maori easily adapted their skills from the waka to the whaleboat and were highly respected as seamen by the Europeans. They delighted in racing their canoes and several accounts exist of waka races. Destiny Bay - Page 16

17 In contrast to Europeans, some of whom could not swim at all, Maori were generally regarded as excellent swimmers and many accounts exist of Maori men and women rescuing Europeans. Tonguers Workers on shore were often paid with the tongue of the whale and were known as tonguers. The tonguer would then boil down the tongue and sell the oil back to the company s agent. As well as the manual tasks of cutting in and trying out, Maori tonguers would sometimes be paid as interpreters. Trade Maori proved to be astute traders with the whaling industry. Potatoes, pigs, fish, dressed flax and other commodities were traded for muskets and gunpowder. In addition whalers were required to pay for the rights to take wood, water and to occupy land. Maori were often tough negotiators. There are also examples of whalers having to pay for information. Later Maori established their own whaling operations and would sell a caught whale to shore stations for 20 pounds. By 1834 some of the Maori inhabitants within the whaling settlements adopted various European practices including the building of wooden plank houses. Maori were often employed as carpenters to build shore stations. Christianity & Education Once the missionaries arrived in Aotearoa and began to announce their good news, the gospel assumed a life of its own and word travelled very fast. One reason for this was Maori fascination with the Bible itself, which as well as representing exciting stories of a new God of great power, held the key to the much admired new arts of reading and writing. Regular meetings for prayer and worship were taking place in remote areas long before European missionaries appeared on the scene. In 1839 the Reverend Bumby noted: The word of the Lord is precious here. We found in the possession of some lads a few fragments of the translation of the New Testament so dirty with use as to be scarcely legible but preserved with the greatest of care. Destiny Bay - Page 17

18 In a relatively short time, the most sought after item of trade by Maori changed from the nail (at the time of Cook s visit to) to the buka-buka (Bible). At the time of the whaling settlements, Maori must have viewed Europeans with some confusion. On the one hand they observed the puritanical lifestyle of the missionaries, on the other they observed the debauched lifestyle of the whalers. Maori in the whaling crews tended to avoid the raucous and drunken socialising which was a nightly occurrence among European whalers during the season. Maori, both children and adults, sought out educational opportunities with great enthusiasm. Resources were so scarce that often a whole group would learn to read from one or two pages of the bible. Accounts indicate that Maori were great scholars and often exceeded Europeans in the classroom. The Chase Whales roamed the ocean in search of food and the East Coast of New Zealand provided a plentiful resource. Lookouts were kept every day from sunrise to sunset, eyes scanning the ocean, hoping to see the spout, a vapour plume caused by the whale s breath. Under ideal conditions, a lookout might spot a whale s spout as much as eight miles away. Each species had a distinctive spout and it took an experienced hand to know whether he was seeing a prized sperm whale or a fin whale that the captain might not consider worth pursuing. There she blows the lookout would cry and all hands would launch the whaleboats in pursuit. The crews raced each other, struggling to reach the whale first. For all hands, especially the inexperienced, it was a tense moment as the small, fragile whaleboat drew up to the unpredictable and enormous mammal. As the whaleboat glided closer, the harpooner picked his weapon. The harpoon, known to crews as the whale iron, was From Harper s New Monthly Magazine, 1856 used to fasten the whale to the whaleboat, rather than to kill it. It was designed to penetrate blubber and hold securely, like a hook. The harpoon was a forged iron head mounted to a hardwood shaft five or six feet long. The blunt end was attached to a long (900ft) coil of rope in a bucket. Destiny Bay - Page 18

19 The order Give it to him was called by the boatheader and the harpoonist would plunge the weapon into the whale s back. The order Stern all! Stern all, for your lives would be called as the crew backed the boat away and the whale thrashed in pain. The jaws or tail of a 50-ton whale could smash a boat and send the crew tumbling into the water. The whale usually dived taking down the embedded harpoon. The crew allowed the line to run out to prevent the boat being dragged down with the whale. The line A comparison between whaleboat and sperm whale size - William Davis s Nimrod Of The Sea (Alexander Turnbull Library) was turned round a small post called a loggerhead, to slow down as it ran out. The line often played out so fast that it smoked from the friction. If the line became fouled, the boat could be dragged underwater. Whaleboats carried a hatchet to cut the rope if it got fowled. A seaman caught in the rushing line could be pulled from the boat. When the whale came up to breathe, it often swam on the surface at speeds of over 20 miles an hour, dragging the whaleboat behind. The light-hearted term Nantucket Sleigh Ride disguised the danger that the crew might be carried so far from the ship that it might not find them again. When the whale tired, the crew pulled on the line to draw the boat close to their prey. The boatheader then plunged a lance into a vulnerable spot, such as the heart or lungs. With each breath the whale spouted blood. The whale boat backed off again and the whale would swim violently in ever smaller circles, finally it would shudder and turn on its back. After hours of tremendous exertion the whaleboat crew would then have to tow the whale back to ship or shore. The Whaleboat Each whaleship had three to five whaleboats swinging from davits (cranes). Whaleboats were light and strong, 30ft long and 6ft wide and pointed at both ends. The oars were 6 to 10 ft long. The whaleboat had a crew of six, the boatheader (usually the captain or a mate) stood on a narrow piece of wood across the stern, handled the steering oar, and commanded the boat. The harpooner or boatsteerer pulled the bow oar up front and four crew rowed the oars. Destiny Bay - Page 19

20 Whaleboat deck plan from G B Goode s The Fisheries and Fishing Industries of the United States (National Library Of Australia) Processing Processing a whale could take several hours to several days, depending on the size of the whale. The first task was Cutting In. This entailed stripping the blubber off the whale using cutting blades on 15 foot long poles. Long pieces of blubber called blanket strips, each weighing about one ton, were divided into smaller pieces ( horse pieces and bible leaves ) Next came Trying Out or boiling the blubber to extract oil. Bible Leaves Processing in later days (Picton Community Museum) were tossed into large iron pots and cooked until the oil was rendered from the blubber. The oil was then cooled, placed in casks and later sold as lamp oil. The head of the sperm whale was particularly valuable. Up to 500 gallons of the purest oil, known as spermaceti, was scooped from the case, a chamber in the sperm whale s head. The lower half of the head contained superior oil than regular blubber and the jaw and teeth were saved for scrimshaw carving by the crew. Baleen whales use strips (called baleen) in their mouths to strain water for krill (small shrimp-like organisms). Baleen is made of keratin, the substance which nails, horns and hair is made from. Its uses included corset stays, fishing rods, hoops for women s skirts and umbrella ribs. Other by-products included margarine, soap and perfume. Destiny Bay - Page 20

21 The Instruments Three traditional Maori instruments are featured in Destiny Bay. Approval has been given to provide instructions on how to construct and play the instruments. Please bear in mind though that, unlike Pakeha instruments, Maori instruments were generally only used for special and sacred occasions. As such they should be treated with respect. It would be inappropriate, for example, to consume food when instruments are being played or handled. Tumutumu The tumutumu is a metronomic instrument that was used in the southern houses of learning - whare purakau. Rather than being made, the instruments are found and could be bone, wood and/or stone. The tumutumu used in Destiny Bay was found in a creek near Nelson. Stone tumutumu have different voices depending on where you hit them. Find one and explore its sounds! Porotiti The porotiti is a small disc that creates sound when it is spun on a cord. The instrument s function in earlier times was to accompany karakia (prayers). It was also used to set pitch for new compositions of waiata koroua and in some areas it was used for healing purposes. The porotiti was spun over the chests of sleeping children who were suffering colds or influenza. The vibrations helped loosen mucus. The porotiti was also placed in the hands of those suffering from rheumatism and arthritis. The vibrations created by manipulation of the instrument gave relief. A simple porotiti can be made from a large button. Alternatively, you could carve a piece of wood and drill two holes in the centre for the cord. Thread about 1 metre of strong cord through the holes and loop. Tumutumu found near Nelson Bone porotiti made by Brian Flintoff - Naa Hau e Wha (The Four Winds) To play, simply loop the cord around the middle three fingers of each hand, wind the disc around then pull the cord to spin. Destiny Bay - Page 21

22 Koauau The most common of a large range of traditional Maori flutes is the Koauau. To play it partially close the mouth of the flute against the lips and blown across the far edge at an angle, with the lips in a whistle position. The sound can be modulated with slight movements of the tongue and lips. The sounds from each finger hole overlap, creating a natural flowing music. The koauau has a larger, blown end, carved to represent the face of the instrument. When one blows into its open mouth its nose comes close to the player s nose, as in the traditional Maori hongi or greeting. The lips, nose and eyes are carved around the open mouth. The other end is likewise carved as a face. However, this face has two noses, one above, and one below. This is because it represents the face of the music, and it takes two breaths to make the music. The breath of the player and the breath of the koauau. The Story Of Maui and the Kokako All the flutes of the Maori come down to us from Hine Raukatauri, the Goddess of flute music. She is personified in the plain-looking Casemoth. The caterpillar of this unusual moth spins itself a bag and camouflages it with tiny leaves, then hangs from a branch for safety. Eventually the male caterpillars pupate and fly away, but the females remain within their hanging cases. They cry for a lover and this tiny sound is the touchstone for all Maori flute music. Fortunately for us, when the demigod Maui, was seeking to gain control of fire for mankind, he had to transform himself into a hawk to escape the wrath of Mahuika, his grandmother, the holder of fire. Before he could resume his shape he needed water to remove the sacred state of transformation. Naturally the birds he asked to help him were too afraid to do so, but eventually the normally shy Kokako brought water. Maui rewarded Kokako with several wishes and so the vain bird received its elegant looks and decorative wattles, like the now extinct Huia. But Kokako had another request to sing like Raukatauri and was told to eat those Casemoths, a diet it still can be seen to relish (as it squeezes them from their homes). The resulting sound has amplified the magical voice of Raukatauri and given us the touchstone for the songs of the flutes. Koauau made from wood and bone by Brian Flintoff There are usually three finger holes or wenewene, but this can range from none to five, remembering that Maori music has a very compact scale of microtones. As the carving suggests, flutes are regarded as individuals, with individual voices, and when the time is right they are given their individual names and blessed. Detail of bone koauau by Brian Flintoff Destiny Bay - Page 22

23 Making A Koauau Making a koauau is very straight-forward. Although bamboo was not available to Maori in ancient times, it nevertheless makes an excellent source material for koauau. Select dead bamboo and cut into about 150mm lengths between the nodes. (Bore diameters between 12mm and 20mm are recommended to begin with). Cut strips of 120g sandpaper approximately 20mm x 200mm and use them to round the ends of the koauau (select the larger end as the blowing end and be careful to get a sharp edge without curving into the straight cut). It is recommended to learn blowing technique at this stage as it is easier to do this without the finger holes. Bamboo koauau can be easily made Drill 2.5mm holes at about 36mm, 60mm and 82mm from the bottom end. (A 3mm drill can be used for larger bores). Countersink these to make them easier to locate while playing. Cleaning the bore of its papery lining with a round file will improve the instrument s sound and sanding the outside makes it look and feel better. A hole near the bottom end and on the other side to the finger holes will not affect the sound and will give a place to tie on a cord if you wish to wear it. Traditionally each koauau is seen as an individual with its own voice. You may find, if you experiment beyond these measurements, an instrument which has the sound that suits a personal song or a required tone effect. Construction notes by Brian Flintoff. Destiny Bay - Page 23

24 Uilleann Pipes The Uilleann Pipes (pronounced ill-en) or Irish pipes are the traditional bagpipe of Ireland and are the most sophisticated bagpipe in the world. The chanter has a two octave range and as well as having drones, a full set of uilleann pipes has a set of regulators, which are keyed chanters on which the piper can play chords with the wrist. The Irish word Uilleann means elbow. Air is blown into the bag using a bellows and the bag is squeezed to send air down the chanter where it vibrates a reed to form a sound. Different notes are achieved by fingering the holes on the chanter and for the bottom note to be played the chanter must be removed from the knee. Air also travels down into the drones where reeds vibrate to give a continuous sound. Fiddle The Fiddle is played throughout the Celtic countries and has a very strong association with Scotland and Ireland. It has four strings which are played by drawing a bow across the strings. The hair on the bow is horse hair and a sticky substance called rosin is rubbed onto the hair of the bow to create friction when the bow is drawn across the strings. The fiddle is closely associated with dance music in Ireland. Destiny Bay - Page 24

25 Harp The Harp is particularly associated with Ireland, but all the Celtic nations have a tradition of harp playing. The small harp played by Bob has 34 strings made from sheep gut. The pillar and neck are made from a hardwood called Afromosa, whereas the sound board is made from a softwood called Spruce. Some strings on the harp are different colours. This is so that notes can be identified. The red strings are the notes of C and the black strings the notes of F. The small levers at the top of each string effectively shorten the string by a semitone, thus enabling the player to change key and insert accidentals. MIDI As well as the real instruments detailed above and the vocals, the backing CD features synthesised MIDI backings. MIDI is a musical language computers and synthesizers (or sound modules) can easily understand. Instead of recording real audio onto the computer and playing back (which would take a lot of memory space and have very restricted editing capabilities) MIDI is a series of simple instructions that can be applied to sounds in a synthesizer and very easily edited. The basic information MIDI notes contain is: When the note was played. How hard (loud) it was played. Which note was played. How long the note is. Normally these instructions are entered using an electronic keyboard, although MIDI pick ups have now been developed for guitars, wind instruments and percussion instruments. This information is usually recorded by a computer using a sequencing programme. The programme instantly shows notes played, in traditional notation, in graphic form (time versus pitch) and in other ways. Notes can then be moved around at will. MIDI is an extremely powerful tool and an excellent teaching resource. Destiny Bay - Page 25

26 Haul Away Joe Traditional Sea shanties were working songs whose purpose was to aid with certain manual jobs undertaken on-board sailing ships. Generally a shantyman would lead the shanties and the crew or shanty team would join in on repeated lines. The two shanties in Destiny Bay are traditional and most likely would have been sung on sailing ships coming to New Zealand in the mid 1800 s. Lines to be sung by the shantyteam are in bold. When I was a little boy, and so my mother told me, Way, haul away, we ll haul away Joe, That if I did not kiss the girls, my lips would all grow mouldy, Way, haul away, we ll haul away Joe. Way, haul away, we ll haul away together, Way, haul away, we ll haul away Joe. King Louis was the King of France before the revolution, And then he got his head cut off, which spoiled his constitution. The cook is in the galley, making duff so handy, And the captain s in his cabin, drinking wine and brandy. Study the words: When was King Louise the king of France? What was duff? Destiny Bay - Page 26

27 He Pao - Lament Words and Music Ian McDonald 2000 This lament is heard offstage as the sailors arrive in Destiny Bay. A haunting solo, with a humorous twist, this song is for solo unaccompanied female voice. Ka tangi te tui te tui Ka tangi tuturi te kereru e Ka pouri raua, nga manu aroha e Makoha te tui te tui Ka moe hohahoha te kereru e Ka pouri raua, nga manu aroha e The tui the tui calls The pigeon cries out noisily The lovebirds are sad The tui puffs himself up The pigeon falls asleep bored The lovebirds are sad The Pao, Tititorea, Haka and Moteatea were composed by Ian McDonald. Destiny Bay - Page 27

28 The Try Pot Polka Dance Bob Bickerton 2000 The Try Pot Polka is a composed dance based on the traditional Irish Set Dance form. The only step required is the polka step described below. The various figures are also detailed below and two versions of the music are provided on the CD. Track 10 has a voice-over calling the figures, while track 20 is just music (for when the dance is learnt). Start dancing after the count of four. The Polka Step Start by saying One Two Three And, One Two Three And,... etc. along with the music. You will be stepping on the One Two Three counts and pausing on the And. Start with your right foot and step Right Left Right (Pause), Left Right Left (Pause), Right Left Right (Pause)...etc. Do it slowly to begin with saying Right Left Right (Pause) or One Two Three And as you do it. Only dance the steps to the music when you are more confident. The emphasis is on the first count ( One ) of the bar, that is when the main weight shift takes place. The Two and Three steps are secondary. The Figures Each section of the dance is called a figure and this is followed by the house. Think of the figure as being like a verse to a song and the house as being the chorus. Try and use the polka step where possible. This may be tricky to begin with, but with practice is will bring great satisfaction to the dancers as well as the audience! Form The Set You need eight people to a set (though you may have more than one set dancing at a time). Traditionally you would dance with a partner (boy/ girl) and each couple would form the side of a square, all facing towards the middle. You need to designate top couples and side couples. Top couples face each other, as do side couples and tops go first in some of the figures. Girls are on the right hand side of the boys. Boys hold the girls left hand with their right hand. Always revert to the start position after each figure and house. Sides Boys/Men Girls/Women Tops Destiny Bay - Page 28

29 First Figure - Honour Your Partner Top couples start. Holding the boy s right hand with her left, the girl dances round to face the boy. They let go hands and honour each other, boys bow, girls curtsey (on the count of four). Girls then hold the right hands of the boys with their left hands again and dance anticlockwise back into place by going under the boys right arm (for four counts). Sides copy (for eight counts). House Top couples go towards each other (for two) and back (for two). Sides copy (for four). All take ballroom hold with partner and (swinging clockwise as a couple) dance anticlockwise round the set till you get back to place (for eight). Note you will reach the position of the next couple every two counts. Figure Two - The Stars All girls (Tops and Sides) form a right-hand star in the middle of the set (all hold right hands at shoulder height) and go round (for four). Change to left-hand star and go back to place (for four). Boys copy (for eight). House (As above). Figure Three - Ladies (Girls) Chain Top girls move towards each other, pass holding right hands and give left hand to opposite boy. Go round opposite boy and return to place by passing giving right hand to opposite girl, pass and then left hand to your own partner, turn to face into the set again (for eight). Sides copy (for eight). House (As above). Figure Four - The Rose All girls hold hands (in front of boys) and move to middle of set (for two) returning to their place with hands high forming arches (for two). Boys go under arches, hold hands and do same (for four). Repeat with girls going under boys arches (for eight). House (As above to finish). Destiny Bay - Page 29

30 Try Pot Polkas Music Bob Bickerton 2000 The Try Pot Polkas are written in traditional Irish polka form. There are two tunes in the set, each tune has an A part and a B part. The A parts are repeated, but the B parts are written in full (as they have a variation on the repeat). Each tune would normally be played twice through before moving onto the next. Polkas move pretty fast, but the above tunes have been written to sit well on fiddle or tin whistle. They can be played with guitar or piano accompaniment. The phrasing of Irish music is pretty smooth. Remember you are playing for dancers, so try to give the music lots of lift. Destiny Bay - Page 30

31 Kei Konei Matou - Haka Words and Music Ian McDonald 2000 (beat) Tenei Haka! (beat) Tino toa! (beat) Tino rangatiratanga! HI AUE HI! Whakarongo whakarongo, kei kuare tonu! Mai i tawhiti kia whakapau Tangoroa! Tahaera whenua! Tahaera te mana! Rereke to tikanga - AUE AUE AUE HA! Ngaro te tikanga! Ngaro te tangata! Pouri te wairua! Mate mate tinana e! Kei konei matou! Whakapau te kaha nei! Tautoko ake, ake tonu Nga taonga tuku iho, tuku iho No nga tupuna whakamanawa e! TIHEI MAURI ORA! A dance for warriors! A dance for chiefs! INDEED! Listen, listen, or stay uninformed! You came from afar to plunder the sea! To take the land, to take authority! Your values are different - ALAS! Customs fade! People vanish! The soul is dark! The body is ill! We are here! We will prevail! Upholding forever The treasures handed down, handed down From the inspired ancestors! THE SPIRIT LIVES! Mahara s sentiments are strong from the translation of this Haka. Do you think other Maori would have agreed with his sentiments at the time? Destiny Bay - Page 31

32 Come All Ye Tonguers Traditional New Zealand Come All Ye Tonguers is a traditional New Zealand song that dates from the time of the whaling. It s an optional song in the performance as it s quite difficult to deliver. This song was collected from a recording by Graham Wilson. It also appears in print in several publications. Come all you tonguers and land loving lubbers, Here s a job cutting in and boiling down blubbers, A job for the youngster or old and ailing, The agent will take any man for shore whaling. I am paid in soap and sugar and rum, For cutting in whale and boiling down tongue, The agent s fee makes my blood so to boil, I ll PUSH him in a hot pot of oil! Go hang the agent, the company too, They are makin a packet off me and you. No chance of a passage from out of this place, And the price of livin s a bloomin disgrace. Did you know there are two theories why tonguers were called as such? One was that they were Maori interpreters, the other is that the men were paid for work with the tongue of a whale. Destiny Bay - Page 32

33 Southern Seas Words and Music Bob Bickerton 2000 Southern Seas takes the form of a rowing song, the likes of which would probably have been sung on long rowing hauls. The words to this song describe the entire hunting procedure, not a pretty thought but a stark reality of the times. Discuss each verse and refer to the whaling section of the Historical Background statement. Chorus lines are marked in bold. It s quite a long song, feel free to drop some verses to fit the performance. We re hunting for the humpback whale, Way down the southern seas, We re hunting for the humpback whale, Row me bullies, row, We re hunting for the humpback whale, In stormy seas and winter gale, Way down the southern seas, Row me bullies, row. There she blows on starboard bow... We ll row to her and show her how... We ll give it to her on the rise... Then row astern to save our lives... She ll tow us for a hundred miles... We ll sing this song until she tires... She ll dive down to the ocean floor... We ll hold our breath an hour or more... A thousand barrels of the oil... And fifty corsets for our toil... And soon when all the whales are gone... We ll be sad for what we ve done... Destiny Bay - Page 33

34 Tititorea - Stick Game Words and Music Ian McDonald 2000 This Tititorea is a delightful song and is written to be performed by all age groups. Younger students can simply sing the answers as noted below. This song is written to be sung whilst playing a stick game. See the stick game worksheet (on page 68) for details. The sticks can act as a rhythm for the song and other accompaniment is not necessary. Whakapuakina te aroha Whakahoea te aroha Manakohia te aroha Tangohia te aroha e Ka tangi te tui (older) Ka tangi te kereru (younger) Makoha te tui (older) Makoha te kereru (younger) Ka peke te tui (older) Ka peke te kereru (younger) Ka koa nga manu e (All) Repeat three times Love is declared Love is rejected Love is desired Love is accepted The tui calls The pigeon calls The tui puffs himself up The pigeon puffs herself up The tui jumps up and down The pigeon jumps up and down The birds are happy Destiny Bay - Page 34

35 Together Words and Music Bob Bickerton 2000 Together is the love song of the show and is sung by Mere after she rescues. If you learn the song, try singing it to the vocal-less backing on the CD. Will we walk along on the shore, As one together ever more? Or will the past just tear us apart? And our love will fall, like sand, through the fingers of time? Now as I hold you, I feel you, in my arms, I look for the light in your eyes. Though we ve just met, and our worlds are so distant, The love in me can t be denied. And if you live, would you love me, or hate me? Our lives are so different it seems. And what of our children, would they live for future, Or fight with the past in their dreams? Destiny Bay - Page 35

36 Hoki Mai Nei - Chant Words and Music Ian McDonald 2000 With this Moteatea Matiu calls Mere back to health after she is shot. It is most effective if performed to porotiti accompaniment. See the instructions for constructing and playing a porotiti on page 21. Ko te hine atawhai Ko te hine tino toa Ko te hine whakaora Ko te hine aroha e Hoki mai nei no tawhiti Hoki mai ki te ao marama Hoki mai ki to whanau Hoki mai ki to hoa aroha Ko te hine atawhai Ko te hine tino toa Ko te hine whakaora Ko te hine aroha e Hoki mai nei no tawhiti Hoki mai ki te ao nei Hoki mai ki to whanau Hoki mai ki to tane KIA MAURIA MAI TE HAUORA! Kind woman Warrior woman Healing woman Compassionate woman Return from afar Return to the world Return to your family Return to your partner Kind woman Warrior woman Healing woman Compassionate woman Return from afar Return to this world Return to your family Return to your husband GRASP HOLD OF LIFE! Destiny Bay - Page 36

37 Leave Her Johnny Traditional, new words Bob Bickerton 2000 I have written new words to this lovely old sea shanty to better suit the story line in Destiny Bay, but have included here the traditional words should you choose to use them. Well the whales are caught, the season s o er, Leave her Johnny, leave her, And we ll sail away for another year, And it s time for us to leave her. Leave her Johnny, leave her, Oh leave her Johnny, leave her, And we ll sail away for another year, And it s time for us to leave her. And we ll batten down as we leave the cove... And we ll say farewell to the ones we love... If the winds prove fair and the currents strong... We ll sail away and make for home... Traditional words: Oh I thought I heard the old man say, You can go ashore and draw your pay, Well the winds were foul and the ship was slow... And the grub was bad and the wages low... Well the winds were foul and the trip was long... But before we go, we ll sing this song... Lines to be sung by the shantyteam are in bold. The shantymen and sailors long ago would no doubt have made up verses to the various sea shanties, and this is how the shanties have been handed down to us today. No doubt some versions were humorous and others rather rude! Make up your own versions of this shanty and Haul Away Joe. Destiny Bay - Page 37

38 How To Produce Destiny Bay Destiny Bay is a musical production written to be performed by (senior) primary, intermediate and secondary school students. It can be used as a small scale classroom play, involving the whole class, to reinforce the ideas and concepts introduced through the music. Depending on the resources and enthusiasm available, it can also be adapted as a full musical theatre production which can be staged for school or public performances. By following the instructions in the Staging Notes section and referring to the lyrics, script and CD, staff and students can work together to perform the production. Use expertise in your community where possible, especially regarding the Maori content. Hopefully you will want to perform Destiny Bay publicly. If you do, you ll need to fill out and return a copy of the enclosed performance agreement as public performances incur royalty payments and credit provisos. To assist with promotion of your public performance a resource on how to promote the project is included. Scene Overview: Scene 1- The Arrival Early morning on the Morning Star Scene 2 - The Welcome Later that day on shore Scene 3 - The Chase The next day on board a whaleboat Scene 4 - The Rescue Later that day on shore Scene 5 - Utu Next day on shore Scene 6 - The Leaving On board the Morning Star at the end of the season Destiny Bay - Page 38

39 Actors: - A young sailor new to whaling. Mere - Daughter of a local chief. Mac - A lovable old sailor and shantyman. Huhana - Mere s Aunt and a healer, a lovable character. Captain - Captain of the Morning Star. Mate - Mate of the Morning Star. Matiu - Mere s father and chief. Mahara - A fearless young man who believes in tikanga (Maori customs). Hone - Mahara s cheeky brother Ana - A young friend of Mere. Liam - A young friend of. Vocal Soloists: Mere - Together Mac - Shanty leads and Come All Ye Tonguers Huhana - Solo Pao (derisive song). Matiu - Mihi and Moteatea (traditional song form). Performance Groups: Shanty Team Kapahaka Group (Haka) Irish Dancers Kapahaka Group (Tititorea/Stick Game) Sea and Whale Action Group Extras: Crew/Whalers Maori Residents Destiny Bay - Page 39

40 Synopsis Scene 1- The Arrival (Early morning on the Morning Star ) The whaleship Morning Star arrives at Destiny Bay at the beginning of the whaling season sometime in the mid-1800 s. Background from dialogue with Mac, Liam, and Captain includes that is young and was press-ganged into service. This is s first contact with Maori and it s through his questions and adventures that we learn about interaction between Pakeha and Maori in New Zealand in the middle of the last century. Music/Action/Dance: Mihi (Solo)/Haul Away Joe (Shanty Team) with actions/pao (Solo). Scene 2 - The Welcome (Later that day on shore) Whilst the Captain negotiates to obtain provisions and access to onshore facilities and to engage Maori as crew (dialogue suggests Maori prowess at trading and abilities as sailors and fishermen), the crew socialise with local Maori. meets Mere who is coming out of school with her Aunt Huhana. There is an Irish dance and dances with Mere. Mahara, who is pledged to Mere sees them and performs a Haka. Mac sings Come All Ye Tonguers. Music/Action/Dance: Try Pot Polka (Irish Dance Group)/ Haka (Kapahaka Group)/ Come All Ye Tonguers (Solo) Scene 3 - The Chase (The next day on board a whaleboat) is on a whale boat along with the Mate as boatheader, Hone as boatsteerer, Liam, Mac and an extra as oarsmen. They talk about what happens in the whale chase. They spot a whale and Hone harpoons it successfully, a chase follows and finally the whale dives. In the confusion Hone is pulled overboard and is killed, the boat goes down and they swim for shore. Music/Action/Dance: Southern Seas (Solo/Group) /Chase Music Destiny Bay - Page 40

41 Scene 4 - The Rescue (On shore) Mere, Ana and some other women are playing a stick game (and singing) on the shore, they talk about Mere s interest in. They see the survivors of the whale chase swimming to shore. Mere dives in to rescue a struggling swimmer who turns out to be. looks as though he might die. Mere sings a love song. He recovers. Mahara discovers in Mere s arms and this coupled with the fact that his brother has died in the whaling accident leads him to talk of utu. Music/Action/Dance: Tititorea (Kapahaka Group)/Together (Solo) Scene 5 - Utu (Next day on shore) Mere warns the crew of the Morning Star about Mahara s intentions and is urging them to leave when Mahara arrives. Mahara talks of utu for the death of his brother and threatens to shoot the Captain. interjects, he turns to shoot, but Mere jumps in front of and she is shot. holds Mere as Huhana uses the porotiti. Matiu chants a Moteatea. Matiu sees Mere s love for and decides to support their relationship. Mere awakes and (ultimately) recovers. Music/Action/Dance: Porotiti/Moteatea (Solo/Porotiti) Scene 6 - The Leaving (on board the Morning Star at the end of the season) Mere has recovered, but must leave. Matiu s men have stolen the sextant, which is then traded for in order that he may stay behind. Music/Action/Dance: Leave Her Johnny (Shanty Team)/Finale Music Destiny Bay - Page 41

42 Scene 1 - The Arrival Early morning on the Morning Star Dawn is breaking on a cold, clear winter s day at the beginning of the whaling season sometime in the mid 1800 s. An American whaling ship the Morning Star arrives in Destiny Bay after several long months at sea. Matiu off stage during overture Tihei mauri ora! E nga Reo, e nga Mana, e nga Iwi! Tena koutou, tena koutou, tena koutou! Whakarongo mai ki tenei korerorero mo nga wa o mua - nga wa whakaongaonga, e pa ana ki nga mahi o nga kaimahi kai i te tohora me nga tangata whenua. Titiro mai, korero mai, mahi mai, hei akona nga taonga tuku iho. No reira, he mihi atu ki a koutou ma tou aro ki tenei whakakitenga. Haere mai, haere mai, haere mai ra! (May spirit live! To the speakers, leaders and the people! Greetings, greetings, greetings! Listen to this story of days gone by - exciting days about the whalers and the people of the land. Watch, discuss and participate, in order to learn about your heritage. And so, greetings to you who are attending this presentation. Welcome, welcome, welcome!) Crewman Off Stage Land Ahoy! Land Ahoy! Enter Mate Mate All Hands On Deck! There s a sight for sore eyes The crew come on deck, excitement is in the air, there are asides between the sailors. Mac There you have it, just as I told you. The land of the long white cloud. You were right Mac. Listen to the birds! It s a wonderful sight, so green, it looks like paradise. Destiny Bay - Page 42

43 Liam Mac Liam Mate Liam It might look like paradise, but when you smell the rotting flesh of whale and the stink of boiling blubber you ll change your mind soon enough. Rotting whale or not Liam, it has to be better than being stuck in this rat hole of a ship for three months. Rat hole you say! You ll be longing for the rat hole, once you ve risked life and limb in the whale chase. That may be so, but it wasn t my choice to be on the ship. I was press-ganged into joining, I m no sailor. You re a land lubber sure enough, a land-lubber sure enough. All hands to the yard, haul up the main sail! Aye Mate! (To ) Come on you yard-arm furler, let s get the job done. They move to the yard arm and pull up the sail (could be mimed). Mate Who s the nightingale among yer? Are ye men or corpses? Well Mac? What ll we have? Mac sings Haul Away Joe, crew join in chorus lines. Captain Mate (To Mate) When the men sing right, the ship goes right. Now men gather round. Are you deaf? Or what? Gather round for the master you bunch of barnacled bailers. The crew gather around the Captain. Captain Crew Captain Now men, listen up. We ve had three long months at sea and you ll no doubt be wanting leave on shore. Hooray! (Crew throw their hats in the air) Listen, listen. You can have your time on shore, but careful lads, we ve some hard bargaining to do with the Maori. We need food and water, use of land, buildings and extra crew. Extra crew sir? Destiny Bay - Page 43

44 Captain Mate Captain Aye, extra crew to man the whale boats. What s more they re good reliable crew too and a damn sight better fisherman than any man here. Besides which, they can all swim, which is more than I can say for half of you lot. Anyway lads, we don t want any incidents on shore now. The Maori are tough traders and I don t want anything happening to weaken our hand. Solo Pao is heard off stage or from back of audience. Mac Mac Captain Mac Liam What was that? It s beautiful. That s a Maori song, a waiata, it s haunting alright. I thought they were savages. Not at all. Why without the Maori we wouldn t survive in this place. They strike a hard bargain all right, but they wouldn t see a man starve, and many s the time they ve saved a land-lubber like yourself from drowning in the surf. All ashore! This is what you ve been waiting for me boy, time to go ashore. Aye, and not a moment too soon if you ask me. I can t wait to get dry land under foot again. Let s go then. Exeunt Scene 2 - The Welcome Later that day on shore There is great excitement as the crew of the Morning Star go ashore and meet with Maori. Enter Captain and crew of the Morning Star, Chief Matiu, Hone and others. Matiu Tena koe, Captain, nau mai, mihi mai! Destiny Bay - Page 44

45 Captain Matiu Captain Matiu Captain Matiu Captain Matiu Tena koe Matiu (they hongi). We are very pleased to be back in your great land, you know how much we enjoy our visits here. Yes, we enjoy your visits too Captain! Our men look forward to the whaling, and our women look forward to your sailors. But first we must talk about arrangements for the winter. Aye, you ll be pleased to know we have plenty of muskets and blankets to trade. Muskets and blankets you say? What about the bible, do you have any bibles for trade? How things have changed Matiu. Why I remember being told that when Captain Cook first came here, it was the simple nail that was the most treasured item of trade. Now it appears to be the bible, but I m sorry to say I have no bibles. Then we will make do with muskets and blankets, I hope you ve got plenty. Perhaps Matiu. Ka pai! Come on, let s talk. Exit Matiu and Captain, enter and Mac who approach Hone who is standing by a try pot (pot could be offstage if not available as a prop) Liam Liam Hone Liam Liam Here we are, life onshore. At last, I can t believe it. Believe it while it lasts. (Pointing to a try-pot) What s that pot for? Hei whakarite kai! This is for boiling Pakeha my friend. Pa-ke-ha? Is that some sort of fish? No Pakeha means an outsider, a European! You mean these people are cannibals? Not any more, they re more Christian now than any man on the Morning Star. But it wasn t so long ago when human flesh was a regular feature on the menu around these parts. Destiny Bay - Page 45

46 Liam Hone Yuk! No, this is a try-pot. It s used for boiling down the blubber from whales to extract the oil. Isn t that right Hone? Ae! That s right! But don t worry, e hoa! We like our humans cooked in the earth oven! Enter Mere, Huhana and Ana, backs off and bumps into Mere who drops a book Mere Mere Mere I m so sorry, here you are. A copy of the bible? Ae! Te pukapuka we call it. It s a taonga now for Maori. You study it? Ae! We read it in school. (To Mere) You look too old for school. Not at all, Auntie Huhana here is old enough to be the teacher s mother and she goes to school too. We learn to read and write, to learn the ways of the Pakeha. (Enter Mac) Mac Huhana Mac Huhana Mac Huhana! Toku hoa! Mac, my old friend. It s been a long lonely winter! You ll not be lonely any longer Mac! Let s celebrate! Time for a dance, where s that fiddler! (Mac takes Huhana as fiddling starts) Mere (To Mere) shall we? Yes! (They dance a set to the fiddle (could be mimed by a crewman) Mahara enters with friends towards the end of dance) Mahara (To Mere) So you enjoy the Pakeha dance? And why wouldn t she? Destiny Bay - Page 46

47 Mahara Mahara She forgets her heritage, she forgets the dances of her tupuna. What s wrong with our dance, the dance of the Pa-ke-ha? You call that a dance! I ll show you a dance! Titiro! Mahara performs a Haka with his friends (though it s possible all Maori could join in) Mahara (To Mere) Come Exit Mahara, Mere and Mahara s friends Huhana Mac Huhana Mac Huhana Mac That Mahara, he is proud, but times are changing. He and Mere are so different, she changes with the wind, but Mahara, he is firm, like the mountain. And they are still pledged to each other? Ae! But I don t know for how long. Love doesn t work like that. Well, Mac. It s been a while since I heard that voice of yours. It s time you gave us a song. For you my friend, anything. Mac sings Come All Ye Tonguers (Note this song and next two lines are optional) Huhana Mac You re still a songbird after all these years. That I am, and not much use for anything else! Mac and Huhana exit Liam Hone Liam, what do you know about Mere? Now look, don t even think about it! She s the chief s daughter and she s pledged to Mahara and he is a fearless warrior, who in days gone by would eat your sort for breakfast. She might be beautiful but she s not for you! That would be my advice, e hoa. Mahara is my brother, and he s serious. His mana is great. He believes in the old ways, I would not cross him if I were you. Mate enters with other crewmen Destiny Bay - Page 47

48 Mate Crew Mate Now you ugly bunch listen up! I want every man to stay sober tonight. We ll be in the whaleboats first thing tomorrow and I want everyone on deck with a clear head. Aye sir! As for you, it ll be your first time out. I ll have you with me. We ll soon see what you re made of. Aye Sir! Exeunt Scene 3 - The Chase The next day on board a whaleboat, Liam, Mac, Hone, a crewman and Mate are on a whaleboat, Hone is the boatsteerer (harpoonist on bow), Mate is boatheader (in charge at stern), the rest are oarsman. They are rowing out to sea in search of the whale. Mac Liam Hone Hone Hone Now you re in for the ride of your life. From what I ve heard, we ll be lucky if we survive. Can you swim? Only a little. You Pakeha are strange. You spend a life at sea, but half of you can t swim. I was swimming before I could walk! Well if this boat goes down, I hope you ll swim over and rescue me. Do you think I would let a hangi go under? Tell me Hone, where is Mahara, why isn t he out hunting the whale? Mahara believes in the old ways, he is like our ancestors, they never hunted the Tohora. Sometimes Tangaroa leaves Tohora on the beach - a koha from the sea. This is a great gift. The bones and teeth are for carving and the meat for kai. But we never hunted them. But why not hunt the whale if they were so greatly prized? Destiny Bay - Page 48

49 Hone Hone Liam Mac Hone Mac Hone Mate Hone Mate Some of us believe the whale is a sacred thing, he mea tapu. We have stories of people riding on Tohora s back. Only since the arrival of the Pakeha have we hunted the whale. And you Hone, why do you hunt the whale? The world is changing and we are good fishermen, good hunters. But sometimes I m not sure. If you see the eye of the whale, there is a soul looking at you, you see the spirit of Tohora! I m not sure I m happy about killing the whale. Nonsense, without the lamp oil the whale provides, life back home could not go on. That s true and what about corsets? Ae! The Pakeha women would lose all their beauty without help from the whale! I don t see that the Maori women are any less beautiful. True. But I will tell you this. In the years I have been hunting here, I have noticed that whales are seen less and less. Soon there will be none left at all. There she blows! What is she Hone? A sperm whale, half a mile on the starboard bow. Come on lads, put your backs into it! Mac sings Southern Seas as they row, crew join in chorus lines Mate Hone Hone Mate How long now Hone? We re almost over her. What happens if she comes up beneath us? Jump! E peke! Ease back now lads we ll wait for her to come up. Check the rope round the loggerhead Liam, we don t want any accidents the first day. Mac, you take the hatchet. Destiny Bay - Page 49

50 What happens now? Mac We just wait lad, just wait. When she comes up, Hone will harpoon her. Liam Mac Liam Mac Mac Then hold on for your life, she ll thrash and fight, and we ll row astern. Then the chase will start. She ll dart off with us in tow. Miles she ll go, miles and miles and then she ll tire and we ll go in for the kill. How far can she go? I ve heard of whaleboats that were towed so far away from land, they were never found again. And if she dives? That s what the hatchet s for. If she dives, we have just a few seconds to cut the rope before we all go under. Cue chase music Mate (on drone of chase music) Steady lads, here she comes. Hone harpoons the whale Mate All astern, all astern for your lives! They row astern Mac Mate Mate Hone Mate We re away! Hold on lads, hold on. I ve never been so fast! Keep that hatchet handy! She dives! She dives! Cut the rope Mac, cut the rope! Mac drops the hatchet, Hone attempts to undo the rope, gets tangled up and is dragged overboard Hone! Hone! Destiny Bay - Page 50

51 Mate She s going down, jump for your lives! Hone! Hone! Exeunt Scene 4 - The Rescue Same time on shore Maori women are on shore teaching children a stick game and singing. Enter Ana, Mere, Huhana and some children. They perform a Tititorea (song with stick game) Ana Mere Huhana Mere Ana Mere Ana Huhana Ana Mere E Mere! You like that young sailor don t you? Ae! He s kind and likes to have fun. And Mahara? Don t you love him? No. I respect Mahara, but Mahara is so serious and I don t love him. Trouble is, my father wants us to marry. But that is the old way, to marry because it suits everyone else. You should marry who ever you love. I know. But my father and Mahara, they follow tikanga. I know my father tries to take on the ways of the Pakeha, but he is old and change is not easy for him. Look, look out to sea! People are swimming! A whaleboat must have gone down. Look there, that man is drowning, he won t make it to shore. I must help. Mere runs off stage Ana Huhana Ana Huhana Careful Mere, careful! It look s like one of the young sailors. Yes, it s. He tohu! This was meant to be. Destiny Bay - Page 51

52 Ana Huhana Come on Mere, come on! I hope he lives. Yes, but if he lives, Ana, I can see trouble ahead. Mere enters (arrives on shore) with who is unconscious Mere,, wake up. Mere sings Together Mere Where am I? Mere! It s all right, you re safe. Enter Mahara Mahara Mere Mahara Mere Mahara Mere Mahara It is not all right! Hone is dead! And while my brother drowns in the ocean you hold the Pakeha in your arms! It is not all right! Oh Mahara, I am so sorry. I care for you! No! You care for the Pakeha! I can see it! Today I have lost my brother and today I have lost you! Mahara! The crew of the Morning Star have taken my brother and they have taken my wife. The insult is too great, utu must be taken. No Mahara! That is the old way. We have a new way now, the Christian way. I do not follow the Pakeha way! This will be settled the Maori way, with Pakeha blood! Utu must be done. Justice must be done. Utu! Utu! Mahara runs off Exeunt Scene 5 - Utu Next day on shore The crew of the Morning Star are on shore, preparing for another day s whaling. Enter crew Destiny Bay - Page 52

53 Mate Mac Liam Liam Mac Liam Mac Liam Mac Mac Come on, come on, the whales will have died of old age by the time you lot are ready! I d say no one wants another day like yesterday. That s the way of whaling. If you live through a season, you ve little to show for it. You re just about better off drowned. Well I would have been drowned, if it wasn t for Mere. Aye, you were lucky yesterday, but I d watch out for that Mahara if I were you. What did he mean by utu? That s a Maori tradition, it s like revenge, but more so. It s a sort of justice, a way of balancing what has happened. An eye for an eye, a tooth for a tooth. Aye, But with utu there is no rest until it has been satisfied, even if it means someone has to be killed. And what s more, if they can t take utu on those who offended them, they ll take it on someone else. But that s not fair. It s not fair in our eyes, but it s the Maori way of justice. But what about the church, aren t most Maori Christians? Not all of them and anyway it takes time to change the customs of many generations. Enter Mere, Matiu and Huhana Mere Captain Matiu Captain Mere Captain,, all of you! You must leave! Why, what is this Matiu? It is Mahara, he is seeking utu for the death of Hone. But must we go? Mahara is fearless. You are not safe. You must leave. Enter Mahara with a musket Destiny Bay - Page 53

54 Mahara Captain Mahara Not before utu is mine! Now listen... No, you listen! My brother is dead! You have taken my brother and the Pakeha has taken my wife! He aims at the Captain, crew gather round, some with muskets. Captain Matiu Matiu, Can t you stop him? I cannot stand in the way of utu, Captain. moves in front of the Captain Mahara Mere Stop, this is not the way! This is my way! No! He aims at, fires, but Mere jumps in front, (a loud bang is heard offstage) she is shot Mahara Mere! Aiiieee! Mahara runs off, holds Mere in his arms Matiu Captain Matiu Huhana Utu has been satisfied, but here my daughter lies dying. I do not understand the Maori ways, Matiu. My daughter has shown her love. If she lives, she will choose who she takes for a husband. Huhana, will she live? We will see. Huhana uses the porotiti as Matiu chants the Moteatea, finally Mere stirs Huhana Huhana? Ae! Ka ora ia! She ll live. Exeunt Destiny Bay - Page 54

55 Scene 6 - The Leaving On board the Morning Star at the end of season Mac and Huhana are standing on the deck of the Morning Star, before anyone else rises. Enter Mac and Huhana Mac Huhana Mac Huhana Mac Huhana It doesn t seem right that the whaling season is over. Ae! Today you leave for another year. I ll miss you. Ka tangi au! Oh Huhana, I can t abide the parting. But we ve done it before, so I suppose we can do it again. It won t be easy for and Mere. No. That was a wild start to the season, but there s no doubt and Mere are made for each other, their love has blossomed. Ae! They re in love. It s for him she lived! Enter and Mere, rest of crew and Maori visitors Mere Mere It s the last day. I don t want you to leave. I can t live without you, I will not leave. I ll jump ship. No! They ll shoot you if you do that, you have to go. Enter Mate Mate Mere All hands on deck, let s set sail! All visitors on shore! I can t go! They hug, Enter Captain Captain Crew Captain Mac Mate All hands listen up! Aye Sir! It looks like we won t be sailing very far. It appears the sextant has been stolen. Aye, and without the sextant we ll get nowhere fast! Who did it? Come on! Who did it? Destiny Bay - Page 55

56 Enter Matiu with friends, one of which is concealing the sextant Matiu Captain Matiu Captain Matiu Captain Matiu Captain Matiu Captain Matiu Captain Matiu Captain, is there trouble? Matiu. Did you steal the sextant? Me? No Captain. But I have one for sale. Really? And what would you like for your sextant? Well Captain. A sextant is a precious thing, without it you can t sail. True. Worth many muskets, many blankets. Yes. But today, I am feeling generous! Go on. Today, I will trade the sextant for, let s see...just one man! Really Matiu? It would have to be a young man. Captain And did you have anyone in mind? Matiu Captain Crew, will you stay? Captain? Well you re a land lubber through and through and you re of no more use on this ship than a barnacle. Off you go! Hooray! and Mere embrace Mate Well come on you grizzly bunch of fish scalers! To the Capstan! All visitors ashore! Mac sings Leave Her Johnny with all joining in on chorus Cue Finale music Destiny Bay - Page 56

57 Maori and crew move to either side of the stage during the finale music, leaving and Mere together centre stage and Mac and Huhana front centre stage in an embrace. Mac Goodbye my love. They part, each moving to side stage Huhana Huhana (Calling to Mac) Goodbye dear friend. (on koauau entry in finale music) E rere ana taku ngakau ki a koe! THE END Curtain calls to Try Pot Polkas Destiny Bay - Page 57

58 Glossary Of Maori Words And Phrases Maori - the indigenous people of Aotearoa (New Zealand) waiata - Maori song pao - ditty, lament or derisive song Tena koe - Hello Nau mai - Welcome Mihi mai - Greetings hongi - to touch noses (and foreheads, sharing breath of life) Ka pai - That s good Hei whakarite kai - For preparing food Pakeha - New Zealander (or other person) usually of European descent E hoa - Oh friend Ae - Yes Te pukapuka - The book taonga - treasure or possession tupuna - ancestor(s) Titiro! - Look! Haka - vigorous action song mana - esteem, standing in the community (power to act and influence) hangi - food cooked in an earth oven tohora - whale Tangaroa - the name of the guardian of the sea koha - gift kai - food he mea tapu - a sacred thing Tititorea - stick game tikanga - protocol, established way to behave he tohu - a sign utu - balance, payment, price, revenge koauau - flute tumutumu - metronomic instrument porotiti - instrument spun on chord Kia ora ia - She will live Moteatea - traditional song form Ka tangi au - I will cry E rere ana taku ngakau ki a koe - my heart is flying towards you Destiny Bay - Page 58

59 Staging Notes The notes below give some suggestions for staging the performance, detailing essential props, optional set items, costume and staging techniques. We have also included notes on the music including cuing instructions. Desirable Props Length of rope Try pot - large container with cutout cauldron shape attached Bible, or suitable large book Benches or seats for row boat & oars - simple sticks will do Harpoon Hatchet Sticks for Maori stick game Musket Porotiti Sextant - doesn t have to be the actual instrument, but a box or bag which holds it Optional Scenery Trypots In Use (Picton Community Museum) Scene 1 On board the whaling ship. Items which could represent this are: a low guard rail a ship s wheel the yardarm, preferably with a sail (old sheet) to haul up with the rope Scene 2 On shore, near a Maori village. Set could include: a carved gateway (or painted to represent carving) Destiny Bay - Page 59

60 a doorway or entrance to a whare a plain wooden/rush fence Scene 3 On the smaller whaleboat. This holds six people, and can be represented by benches, stools or small chairs. A false side could be made to improve appearance and a loggerhead or small post could be attached to the seat in the bow to wind the rope around (see illustration page 20). Scene 4 On the shore - no scenery required. Scene 5 Near the village - same as scene 2. Scene 6 On board the whaling ship - same as scene 1. Destiny Bay can be staged quite effectively without the use of the scenery above, which is suggested for larger performances. If using scenery, it is not necessary to have blackouts or curtains for the scene changes. A stage crew made up of extras who are sailors or villagers can change scenery during the bridging music in full view - the audience will accept the convention! Without scenery, in a smaller production, the action in each scene will make it apparent where it takes place. Further Staging Suggestions The work has been scripted to cause as few production difficulties as possible, to enable the group to focus on the contents. A few points worth noting are: Whilst there is much potential for involvement of large numbers of children (as extras), the production is not specifically designed as a whole school production. If a junior syndicate wishes to perform Destiny Bay, they may wish to do so by listening to the script on the CD and performing their own version of it. Destiny Bay - Page 60

61 Scene 1 The behaviour of the sailors as extras should be stressed. They would be a rough crew, responding enthusiastically to shore leave; but flogging was a common form of discipline, they would obey commands from the Mate and Captain quickly and work efficiently. Using the rope to haul up the main sail could be tricky. It could be mimed with actions to the rhythm of the song; or an actual rope could be attached offstage to create tension to pull on. (Note illustration) Scene 3 Probably the hardest scene to stage. As above, the harpooning could be mimed, but it would be less effective. The harpoon does need to be thrown offstage - keeping safety in mind! The rope would be attached to it, so someone offstage needs to pull on it to give the effect of the Rigging on the Endeavour replica. The yard arms are the cross pieces from which the sails hang. Crew would have stood on the ropes below the yard. Remember, they were a long way up in the air!. whale diving. Hone needs to be rehearsed carefully to act being caught in the rope and falling overboard. Scene 4 The rescue would be best done offstage, with Mere leaving, then returning, dragging up the beach. Some masking could help but this is not essential. Scene 5 As in scene 1, the behaviour of the sailors, and the Maori, will contribute to the effectiveness of this scene. It is a tense confrontation, which nearly ends in tragedy, so the conflict can be played up. The shooting of Mere will work best if a loud bang is heard offstage. Scene 6 The end of the work needs careful rehearsal with the finale music. An effective way would be for Maori and sailors to move quietly to either side of the stage, leaving and Mere together in the middle with Mac and Huhana, who part to say their final farewell lines as they move to their own people. Destiny Bay - Page 61

62 Costume The sailors of the time would have dressed in old, rough clothes (with the exception of the Captain and Mate). Maori people at that time would have worn a mix of pakeha and traditional Maori clothes, but it s probably appropriate to have Mahara dress in traditional Maori costume. Music The songs are probably best learnt from the CD with reference to the words. A Maori woman in traditional dress and a (rather well-dressed) British sailor of the time. From Te Ao o Te Maori and Te Mana o Te Tiriti courtesy New House Publishers. Unaccompanied songs may be sung in a key best suited to the voices at hand. It may help to give start notes to begin with, but after a while this should not be necessary. Vocal-less versions of the songs are included on the CD. Consider engaging a singing teacher to work with singers in the show. It is imperative that singers have learnt songs off by heart well before rehearsals commence. Instruments could be mimed in the dance scene. Performance of the Maori songs, especially the Haka, would be best done with assistance from a Kapahaka group leader or teacher. Whilst we encourage schools to perform the Maori music included in Destiny Bay, it is possible for schools with existing Kapahaka groups to substitute their own music. There are 30 second tracks of scene change music on the CD (60 seconds between scenes 4 and 5) which should be used between scenes. These have been listed with unaccompanied versions of songs in performance order on the CD. Tracks can be easily cued and there is a 8 second gap after cued tracks before the next track starts. When playing the tracks, it s best to use the pause button rather than the stop button. You can then use the track skip button to go to and be cued ready for the next track. Destiny Bay - Page 62

63 Performance Agreement If you wish to perform Destiny Bay publicly, you will need to sign this performance agreement and fax it to us. Please note that whilst this is not necessary if the production is performed within a school (at no charge), we are still very interested in hearing from you, so that we can report back to Creative New Zealand on performance and audience numbers. Please note this agreement applies only to New Zealand schools, other performances must be contracted directly with the publisher. This agreement is between School (hereafter called the school) and Bob Bickerton (hereafter called the publisher) regarding the production Destiny Bay (hereafter called the production). School Details: Contact Person: Phone: Fax: Address: The school wishes to perform the production as follows: Performance Dates/Times: Total Number Of Performances: Admission Prices: The school agrees to: Keep accurate records of monies taken and forward a cheque for royalties being 10% of the gross door take to the publisher within 7 days of the final performance. Forward a report detailing the number of people attending the performance/s to the publisher within 7 days of the final performance. Use the name Destiny Bay and the words by Bob Bickerton in all publicity and programmes associated with the production. Credit Creative New Zealand in all media releases and programmes. The publisher agrees to the school performing the production as outlined above. Signed Date For the school Signed Date For the publisher Fax To Bob Bickerton at

64 Promotion Kit If you decide to perform the production publicly, you ll need to promote it! Whilst you would no doubt receive a reasonable response from the school s community, the production will also be of wider public interest and an interesting exercise for senior students would be to promote the production to the public using this promotion kit. Here are some ways to promote the production at little or no cost to the school: Word Of Mouth School Newsletter Posters Media Release Ticket Giveaways On Local Radio Sponsored Advertisements In Local Newspaper, Radio or Television Word of mouth and your school newsletter are self-explanatory. The basis of a poster could be a drawing or painting by a student, with text superimposed. Remember black and white images are easier to reproduce than colour. You may pick a visual theme to run through all your promotion, something like a logo. Posters could be photocopied and a reduction of this could be included in the school newsletter. A sample media release is included overleaf. Use this as a template to write your own. Send it by fax to as many newspapers, radio stations and television programmes as you can think of. Don t forget Holmes and the Television One weather announcements. Pre-print tickets and have them available for sale in advance. Send free tickets for giveaway on radio (which effectively gives you free radio advertisements). Approach local businesses to see if they will sponsor (pay for) advertising in newspaper etc. Before you commence promotion you will have made a number of decisions regarding the production: Performance Dates Performance Venue Ticket Prices Advanced Booking Details Local Sponsors All promotional material, including media releases, must include the above details as well the presenter s name, i.e. your school, the name of the production, i.e. Destiny Bay, a slogan (what it is) for the production, i.e. A Story Of Whalers And Maori In Early New Zealand, the composer s name, i.e. Bob Bickerton as well as credits for Creative New Zealand, and any local sponsors. Destiny Bay - Page 64

65 Here s a sample media release you can use as the basis for your own: There She Blows will echo around (Your School) on (Day) next when the students at the school perform Bob Bickerton s musical Destiny Bay. Set in the mid-1800 s, Destiny Bay tells the story of a young European whaler,, whose adventures paint a vivid picture of life in New Zealand at that time. Destiny Bay features original music by Bob Bickerton and Ian McDonald plus traditional music. We wanted to give schools the opportunity and resources to stage a full musical, said Bob Bickerton. Thanks to Creative New Zealand, which funded the writing, and Sealord Group which sponsored the Resource Kit and CD, we have achieved our aim. We have created a fictional story which reflects the sort of events that were happening in New Zealand at the time and a work which is entertaining and educational. By performing Destiny Bay students will learn about that time in history and experience the many facets of performing arts production. Through the eyes of, a first-time whaler, we experience the world of whaling and early life for pakeha in New Zealand. Of particular interest is the positive and mutual respect between Maori and European whalers, which is based on historical accounts at the time. (Include here quotes from the Principal and students) Destiny Bay will be performed at (Your School) on (Dates/Times Of The Production). Admission is (Prices & Categories, i.e. Adult $8 etc.) and tickets are available from (Booking Details). So here s a checklist of the information all your promotional material must contain: (Your School) Presents Destiny Bay By Bob Bickerton A Story Of Whalers And Maori In Early New Zealand (Dates/Times Of Performances) at (Your School) Admission (Prices and Price Categories) Book Now At (Booking Details Including Phone Number) Sponsor, Creative New Zealand Acknowledgements Emphasise the lines you think are most important by using larger type. Destiny Bay - Page 65

66 Historical Projects Worksheet 1) Trace the ancestry of students, draw a family tree, find out where their surnames came from. Are any descended from whalers or Maori from the mid 1800 s? 2) Mark out in the play ground the relative sizes of a whale (30 metres in length) and a whaleboat (10 metres in length). How would you feel about being in such a small boat, chasing such a large whale? Can you swim? 3) Talk about why whales were hunted. What did they use the whales for? What do they use these days instead? Why do people still hunt whales today? 4) Talk about how well the Maori and whalers got on. Why did the whalers want Maori as crew? Were Maori good at trading? 5) Talk about the life of the whalers. Why did they sing sea shanties? What did they do for entertainment? Why were they given lime juice? Would you like to have been a sailor back then? Destiny Bay - Page 66

67 Conservation Worksheet 1) Here are some websites you may like to visit: ) Find out about the International Whaling Commission by visiting: 3) Which two countries continue to hunt whale for scientific research? 4) Look at the graph under reports - whale population at: 5) How many humpback whales are estimated to be left in the world? 6) Did you know that, according to Greenpeace, you can find Humpback whale meat in Japanese supermarkets? How do you feel about this? 7) Make a list of what action you could take to assist the cause of the whale. Destiny Bay - Page 67

68 Stick Game Worksheet Stick Game (New House Publishers) Maori people had to work hard to survive but there was time for games and sports. Many of these were learning activities, giving specialist training in manual and mental skills. A favourite was Ti Rakau (Stick Game). This can be played when the Tititorea is performed in Destiny Bay or as a separate activity: Use sticks one metre long. Players kneel in a circle with two sticks in each hand. Beat sticks together, throw one then the other to the person on the right. Catch incoming sticks with empty hand. In a competition, if you drop a stick, you fall out and the winner is the last one left in the circle! Notes and illustration on stick game from Te Ao a Te Maori courtesy New House Publishers. (Note the three books Te Ao o Te Maori, Te Mana o Te Tiriti and The Tauiwi are highly recommended resources for all schools. Available from New House Publishers: , service@newhouse.co.nz) Destiny Bay - Page 68

69 Pakeha Craft Worksheet Whilst work on the whaling ships was hard, there were times when the crew didn t have much to do and they would often spend their spare time working on scrimshaw or making ships in a bottle. Example Of Scrimshaw On A Whale s Tooth (Picton Community Museum) Scrimshaw This is the craft of carving a picture onto bone or whale s tooth. There are magnificent examples of this craft around and the sailors must have spent many hours on each piece. You can make your own scrimshaw as follows: You ll need: Some white plastic (ice cream container lid), a sharp, strong object like a compass point, a biro type pen, some gladwrap and a few tissues. Use a sharp, but strong, object like a compass point to scratch or carve a picture onto some white plastic. Carefully break open a biro pen and squeeze the ink in a blob onto a piece of card or paper. Be careful this type of ink doesn t wash out very easily! Wrap some gladwrap around your finger (so that you don t get it covered in ink), dip it in the ink and then work the ink into your carving. Finally take a few tissues and clean up the surplus ink from the surface of the plastic. All going well, you will be left with your very own Scrimshaw. Ship In A Bottle You may have seen ships in a bottle and wondered how the sailors got them in. Well they would make the ship in a collapsed form and would then pull the masts and rigging into place once the ship was in the bottle. You could experiment using small pieces of wood, cocktail or barbecue sticks, cotton, glue and paint. Remember to practice erecting the ship several times before inserting and gluing it into the bottle. Destiny Bay - Page 69

70 Instrument Card Games Instructions Photocopy the next three pages of playing cards (laminate them if you wish). Students then match cards to each other and to music on the CD. Destiny Bay - Page 70

71 Instrument Card Games This Maori instrument is made from stone, wood or bone and is hit. It was used at the beginning of learning sessions. This Maori instrument is threaded onto a cord and spun. It was sometimes used for healing purposes. This Maori instrument is a hollow tube with three holes in it. It is played by blowing across one end. This Pakeha instrument has four strings and is played with a bow which has horse hair on it. It is played under the chin. This Pakeha instrument has thirty four strings made from sheep gut or nylon. It is balanced against the shoulder and plucked with the fingers of both hands. This Pakeha instrument has a bag which is blown up with a bellows. It makes its sound using reeds and has a chanter and drones. Destiny Bay - Page 71

72 Instrument Card Games Tumutumu Porotiti Koauau Fiddle Harp Irish Bagpipes Destiny Bay - Page 72

73 Overhead Projector Graphic This is a useful graphic showing various elements from Destiny Bay. Copy it onto an overhead sheet to illustrate aspects of the performance. Going On Right Whale, artist unknown. Richardson-Cox sc. [New York, 1874], from Davis, W.M. Nimrod of the Sea (New York, Harper, 1874), (Alexander Turnbull Library) Note that the whaleship is American. You can see the yard-arms clearly on the ship. Note the whaleboats with six crew, the boatheader with a harpoon, the boatsteerer with an oar. Destiny Bay - Page 73

74 Further Reading Te Ao o Te Maori - The World Of The Maori - Ruth Naumann and Frank Winiata - New House Publishers, P O Box , Takapuna, Auckland 9. service@newhouse.co.nz Te Mana Te Tiriti - The Living Treaty - Ruth Naumann, Lyn Harrison and Te Kaponga Winiata - New House Publishers, P O Box , Takapuna, Auckland. service@newhouse.co.nz Te Wharekura 41 - Learning Media Ltd, Box 3293, Wellington. Make Your Own Koauau - Richard Nunns - School Journal Part Four Number Two Learning Media Ltd, Box 3293, Wellington. Toiapiapi - Hirini Melbourne - Available from UCA, Box , Titahi Bay, Porirua. Sealers and Whalers in New Zealand Waters - Don Grady - Reed Methuen Publishers Ltd, 39 Rawene Road, Auckland 10. Ahab s Trade - The Saga Of South Seas Whaling - Granville Allen Mawer - Allen & Unwin, 9 Atchison Street, St Leonards, NSW 1590, Australia. New Bedford Whaling Museum - Website: World Wildlife Fund - Websites: and Greenpeace - Website: Destiny Bay - Page 74

75 Bob Bickerton Specialising in Celtic music, Bob Bickerton has performed at most major concert venues and folk festivals around New Zealand. He has performed to over 100,000 students in schools over the last 20 years, where he has received critical acclaim for the quality of his educational programmes as well as his ability to engage children in a positive, disciplined and inspiring way. As Director/General Manager of the Nelson School Of Music, he encouraged the Bob Bickerton (Photograph Craig Potton) development of community programmes, with particular emphasis on children. He has given workshops and classes in Irish music and has studied uilleann pipes, flute and fiddle in Ireland. He has performed with contemporary, classical and ethnic groups, and has recorded as a session musician on numerous albums, as well as for radio and television. His debut CD Music In The Glen was a finalist in the prestigious Music and Entertainment Awards. For more information on Bob, visit his website at: Ian McDonald (Photograph William McDonald) Ian McDonald Ian McDonald (M.Mus) trained in Wellington. His many works for orchestra, theatre, dance, radio and film have been performed, recorded and broadcast in New Zealand and overseas. He has lectured and run workshops in composition and creativity throughout New Zealand and received awards, residencies and fellowships. He now lives in Whakatu (Nelson), composing, tutoring and doing arts consultancy work. He works from within the iwi and is indebted to, and relies on, his kaumatua for guidance in all matters of culture and creativity. Destiny Bay - Page 75