The Eel and Sina Activity Pack

Mr N ancy

MYTHMAKERS e the el and sina

activ it y PACK THE EEL AND SINA ACTIVITY PACK

Sina and the Eel is a creation story known all over Polynesia. In Tonga, the story is Hina and the Eel, in Samoa it is called Sina ma le Tuna, (Tuna is the Samoan word for ‘eel’), and in the Cook Islands the story is about a beautiful woman named ‘Ina-moe- Aitu who lived in a cave. Samoan playwright and performer Jonathan Soo Choon tells his version of this traditional story about the origins of the coconut tree from the naughty eel’s point of view so that it becomes The Eel and Sina.

“An important part of Samoan culture is the passing on of ancient stories and traditions. Stories live on from generation to generation in myths and legends. Usi lau silasila ma lou mai moa”

At the beginning of the play four actors are trying to tell the story of sina and the eel, but they are interrupted by the appearance of a coconut tree who tells them their version is incorrect. He then invites them to listen to his version of the story. Afterwards they argue about the story’s origins. Is it from the Cook Islands? From Tonga? Or Samoa? What can you remember about the plot (what happens in the story) of the play? What events or characters stood out for you? Make some notes here and compare your thoughts with a partner.

SINGING A SCENE…

In this play there’s a lot of singing to set the scene but also because it’s an integral part of Samoan and Pacific culture. As Jonathan says “We tell stories through singing and dancing”.

Songs and music are used in plays for lots of reasons.

To set the scene – where in the world are we? To set the mood – is this scene happy? Sad? Scary? Exciting? To tell us about the characters – what are they like? What matters to them? To move the story along – to give us information

Here are the words (lyrics) to one of the songs. When the prince appears the villagers sing this song. Mua ia Mua ia, Mua O Mua ia Mua ia, Mua O Mua ia, Mua ia, Mua O

ION How did this song help to “set the scene” and tell you where the story was SS U C happening? S I

D What mood did it create? What did you notice about this song, or the way it was presented? What were some of the other songs in The Eel And Sina? Choose one song you remember. What did it add to the story?

N TIO C E F L

E R … AND SHOWING A SCENE

The performers used their bodies to create strong stage pictures and show what was happening. Sometimes the cast moved in unison (doing the same thing at the same time). Sometimes they worked as a group of individuals, with characters each doing something different. What do you see happening in each of these stage pictures? Describe them here.

I see: I see: I see:

VITY TI C Now get into groups and try making some freeze frames of your own from The Eel A A and Sina story! Share your freeze frames with your class. Put them together in a

A sequence to retell different parts of the story. Add sounds to your freeze frames to R

D create mood and set the scene.

DRAMATIC DANCE

ION SS Sina asks the Eel to sing to her while she dances a Siva Samoa. U C S What other sorts of dancing do you remember from the show? Different I D rhythms? Types of movement? Did you recognise any other traditional Samoan dances? Talk about what you noticed from the movements you remember. How did they help to tell the story? Did the performers’ movements help you understand the meaning and mood of each piece even if you didn’t understand the words of the songs?

VITY TI C In a circle, take turns to share one movement you remember. A

A After each person shows, everyone repeats that movement.

A Try moving in unison (all doing the same movement at the same time) and then R

D moving together individually (all doing the same movement but each person in their own time and style). How does it feel to perform each way?

What does the movement in this picture remind you of? Make a sound that matches this movement.

IVITY CT A G N transformation stories

R W

FROM AN EEL TO A TREE Many myths and legends often have transformations – things turning into other things. In this story, a man turns into an eel who turns into a coconut tree.

How many different examples of transformations can you think of in other stories you know?

What is an eel like? Write some adjectives What is a coconut tree like? (describing words) for an eel… Write some adjectives for a coconut tree…

How are they SIMILAR? How are they DIFFERENT?

In the show, they chose two very different ways to show the eel through movement. Can you remember them? Describe them here: 1. 2.

N TIO C E F Which choice had the most impact on you? Why? L

R How did each movement choice show different things about the eel? Which of your describing words could you see in the different types of movement?

Your turn! In a small group, make an eel. Use your bodies and voices too. Try moving VITY TI around the room, staying together as a group in your eel shape. Do an “eel activity” like C A catching a fish or going into a narrow cave. How does your movement change? A

M Now change your eel into a coconut tree. What stayed the same? What did you have

R D to change? Share your eel transformation with the rest of your class. After you’ve seen each other’s eels, have a go at moving like the other groups too.

PROPS AND COSTUMES

Jonathan plays the coconut tree, the Prince and the eel. He wears a Tongan tapa cloth (ngatu), a Samoan tattoo (tatau) and a lavalava as a cape. At various times other cast members wear a pale or pare - a Cook Island’s headdress and an overskirt (titi) to represent the various islands in the Pacific that have their own Sina story. DID YOU KNOW? DID YOU KNOW? In Samoan, ‘ie lavalava means ‘cloth that wraps around.’

In The Eel And Sina, the performers make some of the costumes and props out of lavalava. What do you remember them using the lavalava for?

What other props or costumes do you remember?

VITY TI C A A Try it! Get into groups and give each person a lavalava. How many different things can

A you make together? R D

A SCENE FROM the eel and SINA

Choose one moment that stood out for you from the show, and draw a picture of it here. What were the most interesting things happening in the scene, and how can you show these in your image?

EXTENSION

IVITY We want to hear from you! Write a review of The Eel and Sina and send it to us. Tell us CT A G about your favourite part of the play and why it stood out for you. Was it the way the

I performers moved, the props they used, the songs they sang or the story they told?

T I

R Is there anything you are still wondering about? Ask us! W Send your review to: [email protected]

director ------GABY SOLOMONA

DRAMATURG ------Lynne Cardy

Touring Team ------Stage Manager - GABY SOLOMONA Production Designer − RUBY READ Cast − JONATHAN SOO CHOON, CASSANDRA DE LA CROIX, JOACHIM ALEKI KORO, VAIARI IVIRANGI AND MISSY PELU

Education Pack ------Writers − AMBER McWILLIAMS AND LYNNE CARDY Editor − LYNNE CARDY Design − WANDA TAMBRIN

Bookings ------Nicole Arrow 09 309 0390 x278 [email protected]

Auckland Theatre Company would like to thank the following for their help with this production: Amo Ieriko, Kataina Junior Kaokao, Balmoral School, Joe Teague, Leki Jackson-Bourke, Tanya Muagututi’a, Haanz Fa’avae Jackson, Valentino Maliko and Emilio Tuala.

Supported by

Auckland Theatre Company receives principal and core funding from: C O R E FUNDERS FUNDERS P R I N C I PA L

ATC Creative Learning thanks the ATC Patrons and the ATC Supporting Acts for their ongoing generosity.