DOCSLIB.ORG

Moana Performance from the University of the South Pacific, Unveiled Already at Our First Conference in Suva in 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moana Performance from the University of the South Pacific, Unveiled Already at Our First Conference in Suva in 2013 No 4, December 2015 Newsletter 4th and Final Newsletter Dear Reader, The final ECOPAS Newsletter is in your hands, but do not despair! After three years with high levels of activity at the crossroads of Europe and the Pacific, the EU-funded ECOPAS project has come to an end. We will stay alive, however, through our Facebook page where stories about climate change and Oceania will still be shared from our ever growing network. In this Newsletter you can read about some activities through our last year of work. A particular focus has been the Moana performance from the University of the South Pacific, unveiled already at our first conference in Suva in 2013. In 2015 Moana: the Rising of the Sea has brought the Pacific to Europe, giving an emotional and deeply human dimension to climate change. With soaring voices and spectacular choreography, the Moana artists even performed deep in the European Parliament, as well as to all who attended the Brussels ESfO conference (subject of Newsletter No. 3). The contributions to this Newsletter are joint efforts of ECOPAS participants. Make sure you follow us on Facebook and make good use of our Pacific research database at pacific-studies.net! Meanwhile new side activities arise from our platform, including “Understanding Gender Inequality Actions in the Pacific”, an EU-funded interdisciplinary effort of 14 ECOPAS scholars, bringing new case studies from 10 Pacific nations. Eilin Holtan Torgersen Newsletter Editor and Designer ECOPAS at SIDS Apia, Samoa September2014 The Third International Conference Crook and Doctoral Fellow Camilla place during the conference were on Small Island Developing States A. Borrevik, were present at the con- of particular interest to ECOPAS as was held in September 2014 in Apia, ference and participating in some they provided insights into global Samoa, with the overarching theme of the many events that took place. policy and decision making arenas being “The sustainable development Allan Alo from the ECOPAS Creative with focus on climate change and of small island developing States Team also choreographed the cul- sustainable development. The con- through genuine and durable part- tural ceremony at the opening night ference also brought together rep- nerships”. 115 States and the Euro- in front of a high level audience in- resentatives from all Pacific coun- pean Union were represented at the cluding the Prime Minister of Sa- tries and states which opened up conference, as well as a large amount moa, Hon Tuilaepa Lupesoliai Aiono for deep and valuable dialogue. The of intergovernmental organizations, Sailele Malielegaoi, Mr Ban Ki Moon, conference is only hosted every ten commissions, agencies, United Na- Secretary-General of the United Na- years and was as such a great op- tions offices, non-governmental -or tions, and Mr Wu Hong-bo, Under portunity for ECOPAS to participate ganisations and many more. Mem- Secretary-General of the United Na- in important discussions regard- bers from the ECOPAS team, Dr. Tony tions. Many of the events that took ing the future for all island nations. www.ecopas.info No 4, December 2015 Newsletter “Resources, boundaries and governance: What future for fisheries in the Pacific?” Third Problem-based Workshop in Marseille and Pacific Connections Roundtable in Brussels The third and final problem-based stand the current state of fisheries in scholars from Europe and from the workshop of the ECOPAS project, or- the Pacific, it is necessary to deal si- Pacific Islands, and between these ganised by WP2 in collaboration with multaneously with deeply entangled experts and the various stakehold- WP3, was held in Marseille on 13 -14 international, regional, sub-regional ers and policy-making institu- October, 2014. Discussions centred and local processes. This point was tions involved in the Pacific region. around the future role of fisheries in particularly well illustrated with re- After the workshop in Mar- the Pacific with regard to resources, gard to Overseas Countries and Ter- seille, discussions continued at the boundaries and govern- European External Ac- ance. The workshop tion Service in Brussels included participants on October 16 with a Pa- and presentations from cific Connections event WPs 1, 2, 3, 4 and 5 and organised by WP3. The associate experts from roundtable included the Pacific and Europe. participants and pres- The presenta- entations from WPs 1, tions and discussions 2, 3, 4 and 5 and asso- of the workshop exam- ciate experts from the ined multiple aspects Pacific and Europe. A of coastal and oceanic panel debate included Photo by Edvard Hviding fisheries in the Pacific. Pacific diplomats and They showed that fisheries do not ritories (OCTs) through several case officials from EEAS, DG-MARE, DG- raise economic and ecological issues studies focusing on French Polynesia DEVCO and DG-RTD. Pacific fisheries only: fisheries reveal and are embed- and New Caledonia. The workshop and marine resources constitute a ded in significant social changes, also highlighted the importance particularly complex field of debate (geo)political asymmetries, geostra- of establishing a constructive and between the region and Europe, and tegic rationales, developments in ongoing dialogue around fisher- the workshop and roundtable were legislation, customary dynamics, etc. ies between social scientists and timely and forwards-looking. It was also suggested that to under- environmental scientists, between ECOPAS at ANU in Canberra, Australia The ECOPAS coordinator visited the to an ANU audience (followed by mats was generously hosted for the Australian National University in panel discussion) and to diplomats ECOPAS coordinator by HE Charles March 2015 as a guest of the ANU of Pacific and Nordic countries. A fi- Lepani, High Commissioner of Pap- Pacific Institute and the chair of the nal agreement between the ANU’s ua New Guinea to Australia; separate ECOPAS Advisory Board Professor Pacific Manuscripts Bureau and the meetings were held at the Solomon Margaret Jolly. A master-class on University of Bergen was signed, Islands High Commission and the long-term anthropological fieldwork giving PMB its first European mem- Royal Norwegian Embassy, and ad- and a public lecture entitled “Living ber library. Meetings were held with vice on Pacific matters of climate in the Ring of Fire” were given. The Canberra-based representatives of change and governance was given 2013 film version of “Moana: the Ris- PACE-Net and climate change NGOs, in special meetings with Labour MPs ing of the Sea” was screened twice, a lunch with Pacific and Nordic diplo- at the Australian Parliament. www.ecopas.info No 4, December 2015 Newsletter Moana: the Rising of the Sea The European Tour Photo by Edvard Hviding In 2015 ECOPAS has had the good European Tour for “Moana” (with co- soni Hereniko, choreographer Peter fortune of cooperating with coordi- ordinator Edvard Hviding as execu- Rockford Espiritu, composer Igelese nator host institution, the University tive producer and Nora Haukali of Ete and lead actor Allan Alo – the of Bergen (UiB), on an ambitious and the Bergen team as tour manager). professional dancers and singers Between 7 and 26 June, “Moana” from the University of the South Pa- was staged a total of 10 times at St cific’s Oceania Centre took on a dedi- Andrews, Scotland; Copenhagen, cated identity also as climate change Denmark; and Brussels, Belgium. The warriors. The artistic power and po- Scotland residence followed imme- litical impact of the European Tour diately after the Bergen Internation- attests to, as Vilsoni Hereniko writes al Festival and provided for smaller- in the stage programme, the power scale shows in close touch with the Photo by Tammy Tabe local community; and in Copenha- large-scale effort to raise the pres- gen “Moana” was performed twice at ence in Europe of the Pacific, with the international CPH Stage festival. particular attention to the climate Brussels saw “Moana” performed first change challenges currently facing in the heart of the European Parlia- Oceania. UiB provided a substantial ment (invited by member of parlia- budget for the travel between Fiji ment Maurice Ponga and attend- Photo by Edvard Hviding and Europe of the 32-member cast ed by parliamentarians and their for “Moana: the Rising of the Sea” teams), and finally to a large and di- of the arts to “move the debate of the Oceania Dance Theatre and the verse audience at the 500-seat Viage climate change from your head to Pasifika Voices choir) and for their Theatre as part of the conference of your heart”. Never before has Europe residence 25 May-7 June at the Ber- the European Society for Oceanists seen such a Pacific presence. At the gen International Festival. A series (see ECOPAS Newsletter 3). Directed conclusion of the Tour this presence of high-profile performances, in- by some of Oceania’s leading crea- was further expanded by the gather- cluding two packed theatre shows tive forces – writer and producer Vil- ing in Brussels – for the conference of “Moana”, and for the were given in performance Bergen. UiB’s – of large generosity numbers of provided a Pacific dip- unique op- lomats, dig- portunity for nitaries and the ECOPAS scholars, as coordina- well as Pa- tor team to cific Islanders organise a resident in subsequent Photo by Edvard Hviding Europe. www.ecopas.info No 4, December 2015 Newsletter Moana Rua A film about climate change and sea level rise in the Pacific “Moana” in Suva in 2013. At the COP21 conference in Paris, On 18 November 2015, “Moana “Moana Rua” was invited to play a Rua: the Rising of the Sea” had its key role of the main side event of 4 world premiere at the Damodar Cin- December, Oceans Day. A high-level ema in Suva, Fiji. The premiere was full-day programme with state lead- kindly sponsored by the Delegation ers and diverse dignitaries was con- of the European Union for the Pacif- cluded with the screening of a some- ECOPAS, in association with the Uni- Photo by USP versity of Bergen and the Bergen In- Photo by COP21/IISD ternational Festival, proudly presents ic, and was attended by the “Moana” a new film of the stage performance cast with family and friends and by what shortened version of “Moana “Moana: the Rising of the Sea”.
Load more

Recommended publications
  • The Indigenous Body As Animated Palimpsest Michelle Johnson Phd Candidate, Dance Studies | York University, Toronto, Canada
    CONTINGENT HORIZONS The York University Student Journal of Anthropology VOLUME 5, NUMBER 1 (2019) OBJECTS “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest Michelle Johnson PhD candidate, Dance Studies | York University, Toronto, Canada Contingent Horizons: The York University Student Journal of Anthropology. 2019. 5(1):45–62. First published online July 12, 2019. Contingent Horizons is available online at ch.journals.yorku.ca. Contingent Horizons is an annual open-access, peer-reviewed student journal published by the department of anthropology at York University, Toronto, Canada. The journal provides a platform for graduate and undergraduate students of anthropology to publish their outstanding scholarly work in a peer-reviewed academic forum. Contingent Horizons is run by a student editorial collective and is guided by an ethos of social justice, which informs its functioning, structure, and policies. Contingent Horizons’ website provides open-access to the journal’s published articles. ISSN 2292-7514 (Print) ISSN 2292-6739 (Online) editorial collective Meredith Evans, Nadine Ryan, Isabella Chawrun, Divy Puvimanasinghe, and Katie Squires cover photo Jordan Hodgins “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest MICHELLE JOHNSON PHD CANDIDATE, DANCE STUDIES YORK UNIVERSITY, TORONTO, CANADA In 1995, Disney Studios released Pocahontas, its first animated feature based on a historical figure and featuring Indigenous characters. Amongst mixed reviews, the film provoked criti- cism regarding historical inaccuracy, cultural disrespect, and the sexualization of the titular Pocahontas as a Native American woman. Over the following years the studio has released a handful of films centered around Indigenous cultures, rooted in varying degrees of reality and fantasy.
    [Show full text]
  • UIB Ocean Conference MOANA Poster (Hviding) 4 Red
    MOANA: THE RISING OF THE SEA With leading Pacific artists from the University of the South Pacific, an EU-funded Europe-Pacific climate change Bergen Pacific Studies Group Department of Social Anthropology project produced a world class drama performance. Moana: The Rising of the Sea toured Europe in 2015. University of Bergen Professor Edvard Hviding, Executive Producer of Moana: [email protected] The Global Challenge: Climate Change and the Ocean Scientific scenarios of global climate change and sea level rise tell us that although the islanders of the tropical Pacific contribute the least to global warming, they are set to suffer the most from its effects. For anyone who lives on an island, surrounded by the deep, beautiful yet dangerous sea, it is a cruel thought that one day the island will be swallowed by the ocean, that ancient nurturing realm called Moana Nui in Oceania. How does it feel when the ocean forces you to abandon all that you hold dear? With Moana: the Rising of the Sea, islanders themselves set the scene for thought-provoking questions, answered in part by them through the accumulated wisdom of generations, while also calling Islanders are drowning as the sea invades the shore, and their families try to rescue them on the world to act on climate change. A performance of beauty, fear, hope and challenge, Moana: The Rising of the Sea addresses these questions in ways not seen on stage before. Invited to major international art festivals and to political fora such as the European Parliament and COP21, Moana: the Rising of the Sea has proved its potential for changing mind-sets concerning global The Making of Moana Ocean and Climate: Research Collaboration and Dissemination climate change and its effects on the Moana: The Rising of the Sea is created by Under a Memorandum of Understanding, the University of Bergen (UiB) and the Pacific Ocean, its islands and islanders.
    [Show full text]
  • Walt Disney's Moana
    Walt Disney’s Moana “We are Polynesia” A CDA of Disney’s representation of the Polynesian culture inside Moana COURSE: Master Thesis in Media and Communication Science with Specialization in International Communication PROGRAMME: International Communication AUTHOR: Melanie Nauta TUTOR: Florencia Enghel SEMESTER: VT 18 JÖNKÖPING UNIVERSITY Master thesis, 15 credits School of Education and Communication Course: Master Thesis in Media and Communication Box 1026, SE-551 11 Jönköping, Sweden Science with Specialization in International +46 (0)36 101000 Communication Term: Spring 2018 ABSTRACT Writer: Melanie Nauta Title: Walt Disney’s Moana. “We are Polynesia”. Subtitle: A CDA of Disney’s representation of the Polynesian culture inside Moana Language: English Pages: 54 Disney is known for their family animation movies with a non-western or indigenous cultural background. Nevertheless, Disney is basically very influential for the perception of cultures by a global audience. Many studies have proven that Disney’s depiction of a certain represented culture has not always been that clean. Of course two side notes are that Disney does make movies from an American dominant perspective and second, there is no such thing as a ‘real’ or ‘correct’ culture. Now, with the movie Moana freshly released in 2016, Disney took a step in the indigenous Polynesian culture. This research uses a thorough Critical Discourse Analysis to analyse how Disney portrays Polynesia and the Polynesian culture inside four selected samples of the movie Moana. This analysis is combined with the theories and concepts of Americanisation, Disneyfication and cultural appropriation to find out mixtures of the portrayed Polynesian culture with American and Disney values.
    [Show full text]
  • An Analysis of Stereotype in Zootopia Movie
    e-ISSN 2549-7715 | Volume 4 | Nomor 1 | Januari 2020 | Hal: 49-62 Terakreditasi Sinta 4 AN ANALYSIS OF STEREOTYPE IN ZOOTOPIA MOVIE Widya Atillah1,*, M. Bahri Arifin2, Nita Maya Valiantien3 1,2,3English Literature Department, Faculty of Cultural Sciences Mulawarman University *Email: [email protected] ABSTRACT Stereotypes are preconceptions about individuals of group. Stereotypes are the common phenomena that happen in the daily activities of language use where sometimes people do not realize that they are stereotyping others. It is caused by a diversity of issues among the society. People tend to build some general perspectives that include the positive and negative things about a group of people. As a reflection of the real life, movies can also contain the phenomenon of stereotype such as in Zootopia movie. This research is aimed to describe the categories of stereotype and also to analyze the function of stereotype that were performed by several characters in Zootopia movie. This research was conducted by using descriptive method and qualitative approach. Data were taken from movie script in the form of utterances. The results of this research show that there are forty three data which are indicated as stereotyping utterances from eleven characters in Zootopia movie. In addition, the researchers identified six out of eight stereotype categories that have been used in this movie, namely Gender, Race, Physical Features, Occupation and Socioeconomic Status, National Groups and Other Category. Moreover, the researchers identified two stereotype functions in the movie, they are individual function and social or collective function. Key words: Sociolinguistic, Stereotype, Zootopia. ABSTRAK Stereotip adalah prasangka tentang individu pada kelompok.
    [Show full text]
  • “I'm Not a Princess”: Moana's Ecofeminist Heroine
    Undergraduate Dissertation Trabajo Fin de Grado “I’m not a princess”: Moana’s Ecofeminist Heroine Author Raquel Solana Marín Supervisor Marimar Azcona FACULTY OF ARTS 2019-2020 1 CONTENTS: 1. Introduction…………………………………………………………… 3 2. Female Characters in Disney Films……………..……………….……. 5 3. Moana...………………………………………………….……………. 9 3.1. Moana as Disney heroine………………………………...…... 11 3.2. Moana as an emblem for ecofeminism...…………………….. 15 3.3. Solidarity between women and the ‘monstrous feminine’…… 18 4. Conclusion……………………………………………………………. 22 5. Works Cited…………………………………………………………… 23 6. Films Cited……………………………………………………………. 25 1. INTRODUCTION Moana is a Disney film released in 2016. It tells the story of Moana, a teenage girl and the daughter of the chief of a Polynesian village called Motunui. She is supposed to inherit the position of her father in the near future and, in order to be ready for that role, she needs to take part into the activities of her community. Yet, Moana is not interested in these activities. She wants to sail away, which she is not allowed to do because of a law enforced by her father that prohibits any inhabitant of Motunui from sailing past the reef. When the natural landscape of the village starts to deteriorate due to external forces (crops become infertile and fish disappear from the area), Moana feels that she needs to go on a trip beyond the reef to restore the natural order. The film had an overall positive critical reception. Most reviewers agree on the fact that Moana breaks from the Disney princess tradition and its
    [Show full text]
  • Movie Review: 'Moana'
    Movie Review: ‘Moana’ By Joseph McAleer Catholic News Service NEW YORK – The same tropical setting that provided the backdrop for the 1949 musical “South Pacific” now lends its exotic flavor to the animated feature “Moana” (Disney). As for the feminism-friendly story of the movie’s eponymous heroine, well, as Rodgers and Hammerstein’s lovelorn Seabees so famously declared, “There is nothing like a dame.” The spunky heroine of Disney’s 56th animated film is a 16-year-old Polynesian princess (voice of Auli’i Cravalho) who seeks not a boyfriend but a grand adventure on the high seas, all to save her world from destruction. There’s no mistaking the entertainment value of “Moana,” gloriously rendered in 3- D, with a delightful array of characters and toe-tapping songs co-written by Lin- Manuel Miranda of Broadway’s “Hamilton.” The film also offers good lessons about family, friendship and the need to be responsible. But Christian parents may be concerned to find that Jared Bush’s screenplay is steeped in indigenous mythology. “Moana” presents a view of creation at odds with the biblical account, and could confuse impressionable minds. Well-catechized teens, however, will likely slough these elements off as mere fantasy. As “Moana” tells it, in the beginning was not God but a comely goddess named Te Fiti, who commanded the oceans and brought life to the world. Te Fiti was joined by a demigod (half -god, half-human) named Maui (voice of Dwayne Johnson). Maui had a nifty talent of pulling islands up from the sea with his trusty fishhook.
    [Show full text]
  • Disney's Gender Messaging Gressi Lopez Johnson County Community College, [email protected]
    JCCC Honors Journal Volume 8 Article 1 Issue 1 Fall 2016 2016 Disney's Gender Messaging Gressi Lopez Johnson County Community College, [email protected] Follow this and additional works at: http://scholarspace.jccc.edu/honors_journal Recommended Citation Lopez, Gressi (2016) "Disney's Gender Messaging," JCCC Honors Journal: Vol. 8 : Iss. 1 , Article 1. Available at: http://scholarspace.jccc.edu/honors_journal/vol8/iss1/1 This Article is brought to you for free and open access by the Honors Program at ScholarSpace @ JCCC. It has been accepted for inclusion in JCCC Honors Journal by an authorized editor of ScholarSpace @ JCCC. For more information, please contact [email protected]. Disney's Gender Messaging Abstract Gender in Disney is defined differently through various forms of characterization. The tudys focuses around the messages Disney portrays about gender. Through gender messaging, Disney has left three common recurring themes (Notions of Romance, The Real Housewives of Disney, Is what’s on the outside what’s on the inside?). Disney also has undergone transitions within these themes throughout different time periods (labeled as Classical, Transitional, Contemporary). The changes that have occurred throughout these time periods have been recorded and are valuable in looking at the gender-related cultural scripts of the past. For Disney has changed its interpretation of gender only as much as society let it. Cover Page Footnote Brian Zirkle, Sociology, was the faculty mentor for this Honors contract. This article is available in JCCC Honors Journal: http://scholarspace.jccc.edu/honors_journal/vol8/iss1/1 Lopez: Disney's Gender Messaging Introduction This study focused around finding the messages that Disney was sending about gender through the years.
    [Show full text]
  • Moana by Jared Bush (Review) Mārata Ketekiri Tamaira, Vilsoni Hereniko, Tagi Qolouvaki, J Uluwehi Hopkins, Candice Elanna Steiner
    Moana by Jared Bush (review) Mārata Ketekiri Tamaira, Vilsoni Hereniko, Tagi Qolouvaki, J Uluwehi Hopkins, Candice Elanna Steiner The Contemporary Pacific, Volume 30, Number 1, 2018, pp. 216-234 (Review) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/cp.2018.0016 For additional information about this article https://muse.jhu.edu/article/683746 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 216 the contemporary pacific • 30:1 (2018) Māui and Moana. Still image from the feature animated film Moana, © Disney 2016. Reproduced with permission. Moana. Computer-animated feature opened up a valuable opportunity film, 107 minutes, color, 2016. In for people in the Pacific to wrestle English, translated into numerous with a complex set of concerns that languages. Written by Jared Bush; are not often discussed in such public directed by Ron Clements and and candid ways and from so many John Musker. Original story. Pro- perspectives. This forum attempts duced by Walt Disney Animation to maintain the momentum of those Studios, distributed by Walt Disney discussions in order to enable us to Studios Motion Pictures. 3d Blu-ray, continue thinking through the film us$34.95. in ways that are reflexive, balanced, and open-minded. Although the four Few films have stimulated as much reviews included here represent but passion and difference of opinion a small sample of the much larger as Disney’s Moana, which opened discourse surrounding Moana, I hope to global audiences in 2016. In the they offer readers not grand answers Pacific context in particular, vibrant so much as rich and varied insights and vigorous debates about the merits that can help generate deeper ques- of the film and Islander participation tions and continuing conversations.
    [Show full text]
  • Disney Princess Formula Undergoing Much-Needed Transformation by Megan Lunny, Central Bucks East High School
    Disney Princess Formula Undergoing Much-needed Transformation By Megan Lunny, Central Bucks East High School I, like most people my age, was raised on a diet of baby formula and Disney movies, and, as a learned veteran of tiaras and glass slippers, I would like to consider myself something of an expert as far as princesses are concerned. Growing up, a veritable portion of my wardrobe consisted of tiny princess ball gowns, and it is entirely possible that I have cemented the lyrics of "Beauty and the Beast" into my memory — even now, I could quote verbatim any number of show tunes sung by lamps and clocks. But time turned, and I grew out of princess ball gowns and into a new frame of mind. Singing along like a puppet in a tiara had never proved particularly hard, and I began to wonder if I really knew the lyrics I sang, if I understood at all the movies that had sculpted me. Belle wants an adventure, she treks through the woods, she meets a guy, she loves the guy; it’s a story as old as time, cue the credits. Ariel wants to be a human, she loses her voice, she meets a guy, she loves the guy, blank screen. Cinderella is a little less ambitious than Belle or Ariel — she mostly just dreams of being free from the auspices of a domineering stepmother and two preening stepsisters. She puts on the shoes, she meets a guy, she loves the guy, she loses a shoe, she finds the shoe, she meets the guy again, happily ever after ..
    [Show full text]
  • “Moana” Educator's Guide
    Created in partnership with the Educational Team GRADES 2–6 hree thousand years ago, the greatest sailors in the world voyaged across the vast Pacific, discovering the many islands of Oceania. But then, for a millennium, Ttheir voyages stopped – and no one knows why. From Walt Disney Animation Studios comes “Moana,” a sweeping, CG-animated feature film about an adventurous teenager who sails out on a daring mission to save her people. During her journey, Moana (voice of Auli’i Cravalho) meets the once mighty demigod Maui (voice of Dwayne Johnson), who guides her in her quest to become a master wayfinder. Together, they sail across the open ocean on an action-packed voyage, encountering enormous monsters and impossible odds, and along the way, Moana fulfills the ancient quest of her ancestors and discovers the one thing she’s always sought: her own identity. Directed by the renowned filmmaking team of John Musker and Ron Clements (“The Little Mermaid,” “Aladdin,” “The Princess & the Frog”), produced by Osnat Shurer (“Lifted,” “One Man Band”), and featuring music by Lin-Manuel Miranda, Mark Mancina and Opetaia Foa’i, “Moana” sails into U.S. theaters on November 23, 2016. CONTENTS Standards Alignment Chart.....................3 Teacher’s Background Information.....................4 Resources................................................................11 What You Can Do........................................................12 Lesson 1: The Hero’s Journey.........................................13 Lesson 2: Music and Rhythm of the Ocean......................19 Lesson 3: Wayfinding using Earth’s Natural Elements..........................................24 Lesson 4: Caring for Sea Turtles.........................31 Glossary.........................................40 ACKNOWLEDGEMENTS The Walt Disney Studios would like to take this opportunity to thank Further Explore Moana’s World the amazing teams that came together to develop the “Moana” Educator’s Guide.
    [Show full text]
  • Contextual Meaning on Deixis Used by Protagonist Character in the Film Moana
    CONTEXTUAL MEANING ON DEIXIS USED BY PROTAGONIST CHARACTER IN THE FILM MOANA SKRIPSI Submitted in Partial Fulfillment of the Requirements For Degree of Sarjana Pendidikan (S.pd) English Education Program By: SISKA WULANDARI NPM.1402050147 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2018 ABSTRACT Siska Wulandari. 1402050147, Contextual Meaning on Deixis used by Protagonist Character in the Film Moana. Skripsi. English Department of Faculty of Teacher Training and Education, University of Muhammadiyah Sumatera Utara. Medan. 2018 The aim of this study is to figure out the types of deixis found in contextual meaning used by protagonist character in the film Moana, to describe the realization of deixis found in contextual meaning,and the reason why the types of deixis most dominantly found in contextual meaning. This study using descriptive qualitative method in analyzing the data. The data was taken from Moana Film Script. The script consisted of 20 pages and 2 protagonist character were taken as the data (Moana and Maui). The data were 230 utterances which consist of 147 Moana’s utterances and 83 Maui’s utterances that consist of 875 deixis. From the data obtained, it was found that Personal deixis, 614 times (70.17%), Social deixis 65 times (7.42%), Textual deixis, 45 times (5.14%), Spatial deixis 135 times (15.42%), and Temporal deixis 16 times ( 1.82%). In this research, person deixis is the most dominantly types of deixis used by protagonist character in the film Moana. The realization of deixis, occured because the story have grammatical and sytematical reason.
    [Show full text]
  • AN ANALYSIS of EDUCATIONAL VALUE in MOANA MOVIE a Thesis
    AN ANALYSIS OF EDUCATIONAL VALUE IN MOANA MOVIE A Thesis Submitted as a Partial Fulfillment of the Requirements for S1-Degree By: VISKA TRI CAHYA 1511040168 Study Program : English Education Advisor : Dewi Kurniawati, M.Pd Co-Advisor : Fithrah Auliya A, M.Hum TARBIYAH AND TEACHER TRAINING FACULTY STATE ISLAMIC UNIVERSITY OF RADEN INTAN LAMPUNG 2019 AN ANALYSIS OF EDUCATIONAL VALUE IN MOANA MOVIE A Thesis Submitted as a Partial Fulfillment of the Requirements for S1-Degree By: VISKA TRI CAHYA 1511040168 Study Program : English Education Advisor : Dewi Kurniawati, M.Pd Co-Advisor : Fithrah Auliya A, M.Hum TARBIYAH AND TEACHER TRAINING FACULTY STATE ISLAMIC UNIVERSITY OF RADEN INTAN LAMPUNG 2019 ABSTRACT Nowadays, a decline of educational value has occurred in our environment especially in the college students. It happens when parents do not give the value education to the children from an early age. Moreover, most teachers or educators are too focused on the subject matter and do not pay attention to the morals or character of children which causes a decline in educational value of children. To minimize the problem, teacher needs media that can help them to teach the subject while at the same time delivering educational value to students. One of the media is movie. Therefore, this research discussed about the educational value in Moana movie. The objective of this research was to find out types of educational value in movie and to describe the educational value presented in the movie. The researcher used theory of semantic by Davies and SPEAKING model by Hymes to analyze the educational value in the movie.
    [Show full text]