DOCSLIB.ORG

The Eel and Sina Activity Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eel and Sina Activity Pack Mr Nancy MYTHMAKERS a sin e eel and th y activ it 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. © ATC Creative Learning 2018 1 THE EEL AND SINA ACTIVITY PACK 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 N IO 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? © ATC Creative Learning 2018 2 THE EEL AND SINA ACTIVITY PACK 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: 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 M A sequence to retell different parts of the story. Add sounds to your freeze frames to R D create mood and set the scene. © ATC Creative Learning 2018 3 THE EEL AND SINA ACTIVITY PACK 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. M 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. © ATC Creative Learning 2018 4 THE EEL AND SINA ACTIVITY PACK IVITY CT A G N transformation stories I T I 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 E 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 A 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. © ATC Creative Learning 2018 5 THE EEL AND SINA ACTIVITY PACK 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 M A you make together? R D © ATC Creative Learning 2018 6 THE EEL AND SINA ACTIVITY PACK 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 N 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] © ATC Creative Learning 2018 7 THE EEL AND SINA BY JONATHAN SOO CHOON 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..
Load more

Recommended publications
  • XIV. Appendices
    Appendix 1, Page 1 XIV. Appendices Appendix 1. Vertebrate Species of Alaska1 * Threatened/Endangered Fishes Scientific Name Common Name Eptatretus deani black hagfish Lampetra tridentata Pacific lamprey Lampetra camtschatica Arctic lamprey Lampetra alaskense Alaskan brook lamprey Lampetra ayresii river lamprey Lampetra richardsoni western brook lamprey Hydrolagus colliei spotted ratfish Prionace glauca blue shark Apristurus brunneus brown cat shark Lamna ditropis salmon shark Carcharodon carcharias white shark Cetorhinus maximus basking shark Hexanchus griseus bluntnose sixgill shark Somniosus pacificus Pacific sleeper shark Squalus acanthias spiny dogfish Raja binoculata big skate Raja rhina longnose skate Bathyraja parmifera Alaska skate Bathyraja aleutica Aleutian skate Bathyraja interrupta sandpaper skate Bathyraja lindbergi Commander skate Bathyraja abyssicola deepsea skate Bathyraja maculata whiteblotched skate Bathyraja minispinosa whitebrow skate Bathyraja trachura roughtail skate Bathyraja taranetzi mud skate Bathyraja violacea Okhotsk skate Acipenser medirostris green sturgeon Acipenser transmontanus white sturgeon Polyacanthonotus challengeri longnose tapirfish Synaphobranchus affinis slope cutthroat eel Histiobranchus bathybius deepwater cutthroat eel Avocettina infans blackline snipe eel Nemichthys scolopaceus slender snipe eel Alosa sapidissima American shad Clupea pallasii Pacific herring 1 This appendix lists the vertebrate species of Alaska, but it does not include subspecies, even though some of those are featured in the CWCS.
    [Show full text]
  • The Eel and Sina by AUCKLAND THEATRE COMPANY TE PAPA
    The Eel and Sina BY AUCKLAND THEATRE COMPANY TE PAPA For further information please contact: Harriet Newman Phone: 04 913 3742 [email protected] What is this pack for? This information pack is to help prepare you for your visit. 1 Front of venue Te Papa is on Cable Street. The front entrance faces out onto the Te Papa forecourt and has large glass doors and a blue glass ceiling. Above the entrance is a white and grey sign that says, “Museum of New Zealand, Te Papa Tongarewa”. There will be a very large poster above the entry way of other museum exhibits and you will be able to see the gift shop window on your left. 2 Inside In the foyer of Te Papa, there is a set of stairs. Go up the stairs, escalators, or in the elevator to the first floor and walk past the customer service desk. To the right and behind the customer service desk, there is a ramp. Walk up the ramp and at the top turn right and walk along a corridor into the Marae. 3 Where are the toilets? By the Greenstone, turn right and the toilets are down the hall on the left. 4 Inside Te Marae There will be mats on the floor and some chairs facing a stage which is at the front. This is where the show will happen! Other adults and children will be there too, everybody is there to watch the show and have a good time. Once everyone has found their seats, music will begin to play.
    [Show full text]
  • Native American Samoan Youth Livelihood Project: Respectful of Culture & Environment
    NATIVE AMERICAN SAMOAN YOUTH LIVELIHOOD PROJECT: RESPECTFUL OF CULTURE & ENVIRONMENT 0 Table of Contents Introduction ......................................................................................................................................... 2 Our Project ........................................................................................................................................... 3 TRADITIONAL SAMOAN OVEN & COOKING: THE UMU ....................................................................... 4 A Group Essay about the UMU ........................................................................................................ 5 How to Make Fa’ausi ........................................................................................................................ 6 Natural Resources ................................................................................................................................ 7 A Group Essay about Our Natural Resources ................................................................................... 8 Fale Samoa (Samoan Shelter) ............................................................................................................ 11 Building Faleo’o Can Benefit our Community ................................................................................ 13 How a Faleo’o is Built ..................................................................................................................... 13 Go Back to Faleo’o .........................................................................................................................
    [Show full text]
  • 50 CFR Ch. VI (10–1–14 Edition) § 665.102
    § 665.102 50 CFR Ch. VI (10–1–14 Edition) § 665.102 [Reserved] § 665.105 At-sea observer coverage. All fishing vessels subject to §§ 665.100 § 665.103 Prohibitions. through 665.105 must carry an observer In addition to the general prohibi- when directed to do so by the Regional tions specified in § 600.725 of this chap- Administrator. ter and § 665.15, it is unlawful for any person to fish for American Samoa §§ 665.106–665.119 [Reserved] bottomfish MUS using gear prohibited under § 665.104. § 665.120 American Samoa coral reef ecosystem fisheries. [Reserved] § 665.104 Gear restrictions. § 665.121 Definitions. (a) Bottom trawls and bottom set As used in §§ 665.120 through 665.139: gillnets. Fishing for American Samoa American Samoa coral reef ecosystem bottomfish MUS with bottom trawls management unit species (American and bottom set gillnets is prohibited. Samoa coral reef ecosystem MUS) means (b) Possession of gear. The possession all of the Currently Harvested Coral of a bottom trawl or bottom set gillnet Reef Taxa and Potentially Harvested within the American Samoa fishery Coral Reef Taxa listed in this section management area is prohibited. and which spend the majority of their (c) Poisons and explosives. The posses- non-pelagic (post-settlement) life sion or use of any poisons, explosives, stages within waters less than or equal or intoxicating substances for the pur- to 50 fathoms in total depth. pose of harvesting bottomfish is pro- American Samoa Currently Har- hibited. vested Coral Reef Taxa: Family name Samoan name English common name Scientific name Acanthuridae (Surgeonfishes) afinamea ...............................
    [Show full text]
  • Workshop on South Pacific Freshwater Eels, Suva, Fiji, 13–15 June 2016: Current Knowledge and Future Research
    Workshop on South Pacific freshwater eels, Suva, Fiji, 13–15 June 2016: Current knowledge and future research T.D. Pickering and P. Sasal Suva, Fiji • 13-15 j une 2016 Suva, Fiji • 13-15 j une 2016Suva, Fiji • 13-15 j une 2016 Workshop on South Pacific freshwater eels, Suva, Fiji, 13–15 June 2016: Current knowledge and future research T.D. Pickering and P. Sasal Noumea, New Caledonia, 2017 i © Copyright Pacific Community 2017 All rights for commercial/for profit reproduction or translation, in any form, reserved. SPC authorises the partial reproduction or translation of this material for scientific, educational or research purposes, provided that SPC and the source document are properly acknowledged. Permission to reproduce the document and/or translate in whole, in any form, whether for commercial/for profit or non-profit purposes, must be requested in writing. Original SPC artwork may not be altered or separately published without permission. Published by the Pacific Community, 2017 BP D5 98848, Noumea cedex, New Caledonia www.spc.int [email protected] The Workshop on South Pacific Freshwater Eels, Suva, Fiji, 13-15 June 2016, was supported by the Australian Government,The French Pacific Fund, the Centre National de la Recherche Scientifique, The University of the South Pacific, the Ministry of Fisheries of the Government of Fiji, and the Pacific Community. Cover: Photo: A giant marbled eel Anguilla marmorata on sale in Suva Market, Fiji Islands. Y. Aoki Illustration: Depiction of a scene from the famous Polynesian legend, ‘Hina and the Tuna’, about the origin of coconuts. Boris Colas, SPC.
    [Show full text]
  • WCPTOC3.CHP:Corel VENTURA
    click for previous page INDEX OF SCIENTIFIC AND VERNACULAR NAMES Explanation of the System Italics : Valid scientific names (genera and species). Italics : Synonyms (genera and species), misidentifications. ROMAN : Family names. ROMAN : Names of divisions, classes, subclasses, orders, suborders, and subfamilies. Roman: FAO and local names. 2040 The Living Marine Resources of the Western Central Pacific A Alepocephalids ...................1895 Alepocephalus agassizii ............1888 abbotti, Notacanthus .............. 1628 Alepocephalus australis ............1888 abbreviata, Harengula .............1796 Alepocephalus bairdii ............. 1888 abbreviatus, Gonorynchus ...........1826 Alepocephalus longiceps ............1888 abei, Chaunax .................. 2020 Alfonsinos ......................1578 abnormis, Ilisha ................. 1758 See also Vol. 4 ACANTHURIDAE ..............1610, 1967 Alicefranche....................1712 See also Vol. 6 Alice taches d’or ..................1709 ACANTHUROIDEI.................1609 Allenbatrachus grunniens ...........2001 See also Vol. 6 Allenbatrachus reticulatus...........2001 Acetes .......................1753 Alosa alburnus .................. 1816 ACROPOMATIDAE ................1584 Alosa brevis ................... 1802 See also Vol. 4 Alosachata.....................1791 acuta, Dussumieria............ 1792-1793 Alosa malayana ................. 1802 acutus, Arius ...................1839 Aloseàgrosyeux..................1763 ADRIANICHTHYIDAE ...............1573 Aloseàmuseaucourt................1791 See
    [Show full text]
  • RACE Species Codes and Survey Codes 2018
    Alaska Fisheries Science Center Resource Assessment and Conservation Engineering MAY 2019 GROUNDFISH SURVEY & SPECIES CODES U.S. Department of Commerce | National Oceanic and Atmospheric Administration | National Marine Fisheries Service SPECIES CODES Resource Assessment and Conservation Engineering Division LIST SPECIES CODE PAGE The Species Code listings given in this manual are the most complete and correct 1 NUMERICAL LISTING 1 copies of the RACE Division’s central Species Code database, as of: May 2019. This OF ALL SPECIES manual replaces all previous Species Code book versions. 2 ALPHABETICAL LISTING 35 OF FISHES The source of these listings is a single Species Code table maintained at the AFSC, Seattle. This source table, started during the 1950’s, now includes approximately 2651 3 ALPHABETICAL LISTING 47 OF INVERTEBRATES marine taxa from Pacific Northwest and Alaskan waters. SPECIES CODE LIMITS OF 4 70 in RACE division surveys. It is not a comprehensive list of all taxa potentially available MAJOR TAXONOMIC The Species Code book is a listing of codes used for fishes and invertebrates identified GROUPS to the surveys nor a hierarchical taxonomic key. It is a linear listing of codes applied GROUNDFISH SURVEY 76 levelsto individual listed under catch otherrecords. codes. Specifically, An individual a code specimen assigned is to only a genus represented or higher once refers by CODES (Appendix) anyto animals one code. identified only to that level. It does not include animals identified to lower The Code listing is periodically reviewed
    [Show full text]
  • 50 CFR Ch. VI (10–1–20 Edition)
    Pt. 665 50 CFR Ch. VI (10–1–20 Edition) PART 665—FISHERIES IN THE Subpart C—Hawaii Fisheries WESTERN PACIFIC 665.198 Management areas. 665.199 Area restrictions [Reserved] Subpart A—General 665.200 Hawaii bottomfish and seamount groundfish fisheries [Reserved] Sec. 665.201 Definitions. 665.1 Purpose and scope. 665.202 Management subareas. 665.2 Relation to other laws. 665.203 Permits. 665.3 Licensing and registration. 665.204 Prohibitions. 665.4 Annual catch limits. 665.205 Notification. 665.5–665.11 [Reserved] 665.206 Gear restrictions. 665.12 Definitions. 665.207 At-sea observer coverage. 665.13 Permits and fees. 665.208 Protected species conservation. 665.14 Reporting and recordkeeping. 665.209 Fishing moratorium at Hancock 665.15 Prohibitions. Seamount. 665.16 Vessel identification. 665.210 [Reserved] 665.17 Experimental fishing. 665.211 Annual Catch Limits (ACL). 665.18 Framework adjustments to manage- 665.212 Non-commercial bag limits. ment measures. 665.213–665.219 [Reserved] 665.19 Vessel monitoring system. 665.220 Hawaii coral reef ecosystem fisheries 665.20 Western Pacific Community Develop- [Reserved] ment Program. 665.221 Definitions. 665.222 Management area. Subpart B—American Samoa Fisheries 665.223 Relation to other laws. 665.224 Permits and fees. 665.98 Management area. 665.225 Prohibitions. 665.99 Area restrictions. 665.226 Notifications. 665.100 American Samoa bottomfish fish- 665.227 Allowable gear and gear restrictions. eries [Reserved] 665.228 Gear identification. 665.101 Definitions. 665.229–665.239 [Reserved] 665.102 [Reserved] 665.240 Hawaii crustacean fisheries [Re- 665.103 Prohibitions. served] 665.104 Gear restrictions.
    [Show full text]
  • Maf Annual Report 2016-2017
    Ministry of Agriculture & Fisheries Annual Report July 2016 - June 2017 MAF ANNUAL REPORT 2016-2017 P.O. Box 1874 Apia Samoa Tel: (685) 22561, 22562, 22563, 22564 Please address all correspondence Fax: (685) 24576 to the 21865 Chief Executive Officer Website: www.maf.gov.ws Government of Samoa Ministry of Agriculture and Fisheries 09 February 2018 The Honorable Speaker House of the Legislative Assembly Pursuant to Section 14(2) of the Agriculture, Forests and Fisheries Ordinance 1959, I have the honour of submitting the Annual Report of the Ministry of Agriculture and Fisheries for the Financial Year from 1st of July 2016 to the 30th of June 2017 Respectfully, Honorable Lepao’o Natanielu Mu’a MINISTER ~ ii ~ MAF ANNUAL REPORT 2016-2017 TABLE OF CONTENTS Page Vision: …………………………………………………………………………………….. iv Our Values and Principles:…………………………………….……………………....... v Executive Summary……………………………………………………………………… 6 SECTION ONE: QUARANTINE DIVISION …………………………… …………. 8 SECTION TWO: CROPS DIVISION ……………………….................................... 14 SECTION THREE: ANIMAL PRODUCTION AND HEALTH DIVISION ………….. 37 SECTION FOUR: FISHERIES DIVISION ……………………………………… …... 43 SECTION FIVE: POLICY, PLANNING & COMMUNICATION DIVISION……...... 64 SECTION SIX: CORPORATE SERVICES DIVISION………….… …………….. 66 ~ iii ~ MAF ANNUAL REPORT 2016-2017 OUR VISION A sustainable agriculture and fisheries sector for food security, health, prosperity, job creation and resilience. OUR GOAL To increase food, nutrition and income security OUR THEME Enhancing partnerships to develop and sustain agriculture and fisheries ~ iv ~ MAF ANNUAL REPORT 2016-2017 OUR VALUES AND PRINCIPLES Our Clients To serve our clients professionally, diligently, impartially and with respect. To support the primary sector through our traditions and culture. Our Organization To manage our organization honestly, efficiently and with full commitment, accountability and transparency.
    [Show full text]
  • Phylogenetic Relationship of the Anguilliformes (Teleostei: Elopomorpha) with an Emphasis in Cephalic Morphology
    Vinícius Corrêa Espíndola Phylogenetic relationship of the Anguilliformes (Teleostei: Elopomorpha) with an emphasis in cephalic morphology Relações filogenéticas em Anguilliformes (Teleostei: Elopomorpha) com ênfase na morfologia cefálica São Paulo 2019 Vinicius Corrêa Espíndola Phylogenetic relationship of the Anguilliformes (Teleostei: Elopomorpha) with an emphasis in cephalic morphology Relações filogenéticas em Anguilliformes (Teleostei: Elopomorpha) com ênfase na morfologia cefálica Original Version Thesis presented to the Post-Graduate Program of the Museu de Zoologia da Universidade de São Paulo to obtain the degree of Doctor of Science (Systematics, Animal Taxonomy and Biodiversity). Advisor: Mario César Cardoso de Pinna, PhD. São Paulo 2019 I do not authorize the reproduction and dissemination of this work in part or entirely by any electronic or conventional means. Serviço de Biblioteca e Documentação Museu de Zoologia da Universidade de São Paulo Cataloging in Publication Espíndola, Vinícius Corrêa Phylogenetic relationship of the Anguilliformes (Teleostei: Elopomorpha) with an emphasis in cephalic morphology = Relações filogenéticas em Anguilliformes (Teleostei: Elopomorpha) com ênfase na morfologia cefálica / Vinícius Corrêa Espíndola; Orientador Prof. Dr. Mário César Cardoso de Pinna. — São Paulo, 2019. 312 p. Tese (Doutorado) - Programa de Pós-Graduação em Sistemática, Taxonomia e Biodiversidade, Museu de Zoologia, Universidade de São Paulo, 2019. Versão original. 1.Enguias – osteologia. 2. Enguias – musculatura. 3. Anguilliformes (Teleostei: Elopomorpha). I. Pinna, Mário César Cardoso de, orient. II. Título. CDU 597.535 ESPÍNDOLA, Vinicius Corrêa Phylogenetic relationship of the Anguilliformes (Teleostei: Elopomorpha) with an emphasis in cephalic morphology Relações filogenéticas em Anguilliformes (Teleostei: Elopomorpha) com ênfase na morfologia cefálica Tese apresentada ao Programa de Pós-Graduação do Museu de Zoologia da Universidade de São Paulo para obtenção do título de Doutor em Ciências (Sistemática, Taxonomia Animal e Biodiversidade).
    [Show full text]
  • Fishery Ecosystem Plan for the American Samoa Archipelago
    Fishery Ecosystem Plan for the American Samoa Archipelago Western Pacific Regional Fishery Management Council 1164 Bishop Street, Suite 1400 Honolulu, Hawaii 96813 December 1, 2005 Cover Artwork Courtesy of: Henry M. Ventura, Simon Sanchez High School Yigo, Guam EXECUTIVE SUMMARY This American Samoa Archipelago Fishery Ecosystem Plan (FEP) was developed by the Western Pacific Regional Fishery Management Council and represents the first step in an incremental and collaborative approach to implement ecosystem approaches to fishery management in American Samoa. Since the 1980s, the Council has managed fisheries throughout the Western Pacific Region through separate species-based fishery management plans (FMP) – the Bottomfish and Seamount Groundfish FMP, the Crustaceans FMP, the Precious Corals FMP, the Coral Reef Ecosystems FMP and the Pelagic FMP. However, the Council is now moving towards an ecosystem-based approach to fisheries management and is restructuring its management framework from species-based FMPs to place-based FEPs. Recognizing that a comprehensive ecosystem approach to fisheries management must be initiated through an incremental, collaborative, and adaptive management process, a multi-step approach is being used to develop and implement the FEPs. To be successful, this will require increased understanding of a range of issues including, biological and trophic relationships, ecosystem indicators and models, and the ecological effects of non-fishing activities on the marine environment. This FEP, in conjunction with the Council's Hawaii Archipelago, Mariana Archipelago, Pacific Remote Island Areas and Pacific Pelagic FEPs, reorganizes and amends the Council's existing Bottomfish and Seamount Groundfish, Coral Reef Ecosystems, Crustaceans, Precious Corals and Pelagic Fishery Management Plans. The American Samoa Archipelago FEP establishes the framework under which the Council will manage fishery resources, and begin the integration and implementation of ecosystem approaches to management in American Samoa.
    [Show full text]
  • Eve, the Serpent, and a Samoan Love Story: a Fāgogo Reading of Genesis 3:1-19 and Its Implications for Animal Studies
    THE BIBLE & CRITICAL THEORY Eve, the Serpent, and a Samoan Love Story: A Fāgogo Reading of Genesis 3:1-19 and Its Implications for Animal Studies Books & Culture Brian F. Kolia, University of Divinity (Australia) Editor’s Note: Regular readers of the Bible & Critical Theory journal are aware that the “Books & Culture” essay in the Review section of each issue takes on a complex cultural item or process not typically treated in scholarly book reviews and reads it through the lens of biblical text and criticism (particularly as mediated via critical theory). Previous essays have focused on British politics, zombies, literary fiction, comic books, and the Museum of the Bible. This issue’s essay intentionally complicates our idea of both “book” and “culture” (and, to a degree, theory, in this case, Animal Studies), as well as moving attention away from US and European cultural productions by offering a re-reading of Genesis 3 from the perspective of Samoan oral folk lore. RS Picture this: It is night-time, and the owls are hooting from a distance as you are sitting in a traditional Samoan Fale—an open house consisting of a thatched roof held up by strong wooden poles that allows the cool Oceanic breeze to pass. You have just finished supper, and now you are relaxing, awaiting a story known as Fāgogo. Fāgogo is the art of Samoan storytelling that involves a space where sprits roam and animals possess human-like qualities, a space where animals have conversations with humans and, in some stories, have relations with humans. Such ancient tales spring to life through talanoa.
    [Show full text]