Download Resource Kit - Bob Bickerton

DestinyBay

Bob Bickerton

Destiny Bay - Page 2

Copyright © Bob Bickerton 2000

All rights reserved. No part of this resource kit may be reproduced or transmit-ted in any form or by any means, electronic or mechanical, including photo-copying, recording, without prior written permission from the publisher, withthe exception that parts may be copied for school’s internal use for educationalpurposes only. Permission to perform the production publicly may be obtainedby forwarding the included performance agreement to the publisher.

First published in 2000 by Bob Bickerton.

Todd’s Valley, RD1, Nelson, New Zealand.Phone 03 545-0125Fax 03 545-2030Mobile 025 384-048Email: [email protected]: www.bickerton.co.nz

Front Cover illustration: Charles Enderby sails for the Auckland Islands, Illus-trated London News, 1849. Courtesy Alexander Turnbull Library.

This production and resource kit has been made possible through the generoussupport of Creative New Zealand Toi Aotearoa and Sealord, the global seafoodmarketing company.


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 wawhakaongaonga, 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 matou aro ki tenei whakakitenga.

Haere mai, haere mai, haere mai ra!



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

38 How To Produce Destiny Bay

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


CD Track List1 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

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 asbacking to a live performance.

Recording ArtistsMihi 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, TamateTauwhare, Hoani Tauwhare, Shane Boyd,Tia Greenaway and Taitamariki Mihaere.

Shanty Team: Paul Bond, Phil Grimmett,Geert Hermsen, Fred Hickling, RichardWatson, Grant Williams and Colin Wragg

All instruments and programming - BobBickerton except guitar on Tititorea -Taitamariki Mihaere.

Production and engineering - Bob Bicker-ton with assistance from David Bowater,OHO Recording, on Sea Shanties andMaori songs.


IntroductionOverviewMy intention with Destiny Bay was to write a music/theatre piece suitable for perform-ance to and by primary and intermediate school students that would introduce studentsto aspects of New Zealand life in the mid 1800’s, with special emphasis on the positiveearly interaction between Maori and European whalers.

Historical Research and Cultural SafetyAn 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 andHilary Mitchell’s research as a base historical document and have been guided by IanMcDonald on issues of tikanga. Whilst due care has been taken to accurately emulatehistorical events and to honour tikanga in this work, it would be inappropriate for me, aspakeha, to write this story from a Maori perspective.

Key IssuesFlowing from the historical research were several key issues/concepts that I wanted toinclude in the work:

That the interaction between Maori and Pakeha was generallyvery 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 whalerscould not swim at all.

That Maori had their own musical instruments.

That liaisons between Maori women and Pakeha men were com-mon.

That Maori never traditionally hunted whale even though beachedwhales were highly prized.

These are interwoven into the script and may be studied as individual issues by studentsafter the performance.


The StoryRather than use actual historical events, I believed it was safer to use a fictional story lineand characters. The reasons for this include that:

There would be little control over the respect shown for historicalcharacters when the work is produced in schools.

To use actual historical events would inevitably require expansionon the original story line in order to achieve dramatic effect,which would be inappropriate.

It would be complex to seek permission from the descendants ofhistorical characters used.

Even though the work is fictional, examples of similar events happening at that timeabound.

I have used generic Christian names for all characters, so as to avoid association withactual historical figures, with the exception of ‘Mahara’ (Memory) whose character em-bodies pre-Christian tikanga.

Whilst the use of a fictional story-line may seem inappropriate to some, I believe this isjustified for the above reasons.

Destiny BayDestiny Bay does not exist! The work could be set in any one of the many locationsalong the east and south coasts of New Zealand where whaling was taking place in themiddle of the last century.

Maori MusicI have received endorsement from Hirini Melbourne, Richard Nunns and Brian Flintoffto use traditional Maori instruments in the production and for instructions on the con-struction 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 thework. Whilst we encourage you to learn these new songs, the work has been designed sothat schools who have their own Kapahaka group may substitute their own music for theMaori music provided.

My PerformanceThe narrative version of the work performed by myself in Schools is, by necessity, amuch simpler version of the full production. It would be impossible to communicate the


concepts and characters of the full production in a solo show. However, it is hoped thatmy solo performance will inspire students to want to undertake further study and possi-bly go on to perform the production themselves. Certainly, there seems to be great inter-est in the subject matter and in the instruments used, especially, the traditional Maoriinstruments which can be constructed and played by the students themselves.

Funding and SponsorshipThe writing of the work has been funded by Creative New Zealand, Arts Council OfNew Zealand Toi Aotearoa and the resource kit has been sponsored by The SealordGroup Limited.

AcknowledgementsThe development of Destiny Bay has been a team effort and I acknowledge here not onlythe individuals who have made specific contributions to the writing of the show, but alsothe cultural and music traditions with which I have had the good fortune to experiencein 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, DavidBowater, Ana Heinz, Sarah Lewis, Chris Lewis, Richard Carruthers, Nelson ProvincialMuseum, Imogen McCarthy, Picton Community Museum, Sandipa, Sambodhi, Alexan-der Turnbull Library, National Library Of Australia, Don Grady, Barrie McDonald, theLangford family, Lynda Gardiner, Jacquie Hanham, New Zealand Maritime Museum,New House Publishers Ltd, Reed Methuen Publishers Ltd, Lloyd Esler, Waikawa Mu-seum, Riverton Museum.


Sponsor’s Message

Sealord Group is fifty percent owned by the Maori peo-ple of New Zealand and is delighted to support a pro-duction which highlights the close relationship and mu-tual respect between Maori and Pakeha in early NewZealand. Bob Bickerton and his team have created awonderful piece of musical theatre; our role has been tosponsor the kit that will enable teachers and students tohave the fun of performing the work themselves. Wewish you well with your performance and are sure youraudience will enjoy it as much as you do.

Nelson-based Sealord Group is a global seafood market-ing company with a world-wide fishing, processing andmarketing network. It is known in New Zealand for itsfrozen and canned fish; in fact it exports more than 90percent of its seafood to 30 countries world-wide. Seal-ord is one of New Zealand’s largest seafood companiesand the largest deep-sea quota holder. It fishes for hoki,orange roughy, oreo dories and ling - but definitely notwhales! It is also a major marketer of shellfish - SealordShellfish is the largest Greenshell™ Mussel processor inthe world.


Curriculum LinksThe Destiny Bay live performance and subsequent follow up through this resource kitprovides strong contributions to many facets of the school curriculum which are toonumerous to specify in detail.

However, in terms of the Arts Curriculum, Destiny Bay makes specific contributions tothe strands of Developing Practical Knowledge in Music, Communicating and Interpret-ing Music and Understanding Music in Context. It also makes broad contributions tothe disciplines of Dance and Drama and supports the ‘Culture and Heritage’, ‘Place andEnvironment’ and ‘Time, Continuity and Change’ strands in the Social Studies Curricu-lum.

How To Use This Resource KitThis 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 per-form Destiny Bay as a production.

The kit may be used in many different ways and may form the basis of wide rangingmusic, craft and social studies projects.

Draw Pictures Of The StoryAn excellent follow up for younger students. Having drawn ‘scenes’ from the story, theycan discuss what happened.

Write A SynopsisWrite a short synopsis of the story line.

Review The PerformanceDiscuss 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 maketwo drawings, one of the section they liked most and one of the section they liked least.

Study The Words To SongsThe words to the songs have been selected/written to make educational points. Notesafter the words to songs give an indication of possible discussion topics, e.g. Study thetranslation of the Haka, was this view representative of all Maori at that time?


Study All Or Part Of The ScriptBy reading or listening to part or all of the script, students can the discuss concepts re-ferred to in the Key Issues list, e.g. Why did Maori not hunt whale?

Work SheetsUndertake one of the study worksheets included at the back of the kit.

Learn a songWords to songs (including melody line and chords where appropriate) are included inthe kit and those songs that require accompaniment have a vocal-less version on the CD.All songs are included on the CD.

Learn a danceInstructions for the Try Pot Polka are included, more advanced instrumentalists mightlike to learn the polkas (music and chords are included).

Make the Maori instrumentsInstructions on making and playing the Maori instruments are included in the kit.

Produce the showThis 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 without songs/dances.

A performance of the show by a class, syndicate or school withoutcostumes/sets using CD backings.

A full production of the show by a class, syndicate or school usingcostumes and sets using CD backings.

The CD includes professional vocal-less backings to songs, as well as instrumental sec-tions 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 Pro-motion 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 performanceagreement must be met in order for a public performance to proceed.


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 behalfof schools to ensure cultural safety for the school, the students, participants and audi-ence.

We ask that the following guidelines be followed whenever a production of Destiny Bayis 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 anddelivery.

Ensure that the school’s human resources for Maori music, arts,language/pronunciation and protocol are called on to provide ap-propriate, safe and accurate performances and presentation.

Whenever resources are not available within the school, ensure thatguidance from a Maori cultural advisor from the community issought and followed in presenting any production or use of materialsprovided here.

Whilst it is expected Directors will make their own artistic interpre-tation of the work, it is important to understand that changes to thestoryline and script may have cultural safety implications andshould be approved by a Maori cultural advisor.

Remember cultural safety is not restricted to Maori issues.


Historical Background

The majority of the material in this section is sourced from research undertaken by DrsJohn and Hilary Mitchell with some technical whaling information taken from the NewBedford 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 timethroughout New Zealand. Destiny Bay, the production, could be set in any of the manywhaling communities that were operating around New Zealand at that time.

Whaling In New ZealandAlthough the flesh, bones and teeth of stranded whales were highly prized by Maori, noevidence has been discovered of Maori traditions of actually hunting whales.

From 1801 onwards visits by whalers to New Zealand became increasingly frequent andcrews very much depended on the chief ’s goodwill to get by.

The advent of the European whaling industry around the New Zealand coast broughtwith it immediate, massive, and lasting social change to those Maori tribes which wereresident in the whaling districts; in turn most such tribes participated in the new way oflife with vigour and enthusiasm.

Interaction between Maori and whalers was generally very good, indeed Maori viewedthe whaling industry as a great opportunity for trade.

Whaleship “Samuel Enderby’Illustrated London News 1849(Alexander Turnbull Library)


Shore-based whaling stations were established from the late 1820’s and provided evengreater opportunity for trade and employment.

Many bays and coves around the New Zealand coast provided suitable anchorages andshore sites for try-works, and whaling settlements sprang up in many of these.

The WhalersOverseas whalers on the New Zealand coast included those of British, Australian, Frenchand German extraction, with the more enterprising Americans becoming dominant after1835.

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 doingscrimshaw, the carving of whale bone and teeth.

Pay was often pitiful, ordinary seaman might earn only $25 for several years work andmore often crew would be paid in rum and tobacco.

Drunkenness and debauchery were common amongst the whalers; In 1839 the ReverendBumby noted:

“some of whom present specimens of human nature in its worstestate”

Reverend Bumby also commented that:

“they practise every species of iniquity without restraint and withoutconcealment. The very soil is polluted. The very atmosphere istainted.”

A whale mural at the Kauaehangohia Meeting House at Whangaporoa in the Bay Of Plenty(Don Grady - Sealers and Whalers in New Zealand Waters)


Whalers’ Wives and PartnersA very large number of whalers were partnered with Maori women and many peopletoday can trace their ancestry back to these relationships.

Some relationships were fleeting and lasted only to the end of the season when the shipsdeparted, although some of the men returned year after year and the relationships re-sumed.

A number of couples were formally married following the arrival of missionaries.

Maori As CrewmenThe skills and other qualities ofMaori as crew on whaling boatsand whaling ships had been recog-nised from the earliest days in1790.

Many of the whaling ships em-ployed a smaller complement ofcrew for the ocean voyages than thenumber required to man all of thewhale boats carried on board.Therefore on arrival in New Zea-land, one of the master’s first taskswas 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. Ac-cording to Captain Symonds, 1837, citing Rossiter’s journal of June 1837:

“While we lay here at anchor we saw several whales killed, andthere were not less than 30 boats out, manned by natives, withmany European ones also”

Whilst in 1843 Ernst Diefenbach notes:

“During the whaling season which lasts from May to October, orduring the winter, they send out every morning fifteen to eighteenboats into Cook’s Straits. One third part of the crew of these boatsconsists of natives. In this dangerous occupation the latter haveacquired in a short time so much skill, that they are perfectly equalto 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 re-spected as seamen by the Europeans. They delighted in racing their canoes and severalaccounts exist of waka races.

Whaleboats With Crew(Picton Community Museum)


In contrast to Europeans, some of whom could not swim at all, Maori were generallyregarded as excellent swimmers and many accounts exist of Maori men and womenrescuing Europeans.

TonguersWorkers on shore were often paid with the tongue of the whale and were known astonguers. The tonguer would then boil down the tongue and sell the oil back to thecompany’s agent. As well as the manual tasks of ‘cutting in’ and ‘trying out’, Maoritonguers would sometimes be paid as interpreters.

TradeMaori proved to be astute traders with the whaling industry.

Potatoes, pigs, fish, dressed flax and other commodities were traded for muskets andgunpowder.

In addition whalers were required to pay for the rights to take wood, water and to oc-cupy land. Maori were often tough negotiators. There are also examples of whalers hav-ing to pay for information.

Later Maori established their own whaling operations and would sell a caught whale toshore stations for 20 pounds.

By 1834 some of the Maori inhabitants within the whaling settlements adopted variousEuropean practices including the building of wooden plank houses. Maori were oftenemployed as carpenters to build shore stations.

Christianity & EducationOnce the missionaries arrived in Aotearoa and began to announce their “good news”, thegospel assumed a life of its own and word travelled very fast. One reason for this wasMaori fascination with the Bible itself, which as well as representing exciting stories of anew God of great power, held the key to the much admired new arts of reading andwriting.

Regular meetings for prayer and worship were taking place in remote areas long beforeEuropean missionaries appeared on the scene.

In 1839 the Reverend Bumby noted:

“The word of the Lord is precious here. We found in the possession ofsome lads a few fragments of the translation of the New Testamentso dirty with use as to be scarcely legible but preserved with thegreatest of care.”


In a relatively short time, the most sought after item of trade by Maori changed from thenail (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 someconfusion. 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 whichwas a nightly occurrence among European whalers during the season.

Maori, both children and adults, sought out educational opportunities with great enthu-siasm. Resources were so scarce that often a whole group would learn to read from one ortwo pages of the bible.

Accounts indicate that Maori were great scholars and often exceeded Europeans in theclassroom.

The ChaseWhales roamed the ocean in search of food and the East Coast of New Zealand provideda plentiful resource.

Lookouts were kept every day from sunrise to sunset, eyes scanning the ocean, hoping tosee 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 milesaway. Each species had a distinctive spout and it took an experienced hand to knowwhether he was seeing a prized sperm whale or a fin whale that the captain might notconsider worth pursuing.

“There she blows” the lookout would cryand all hands would launch the whaleboatsin 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, fragilewhaleboat drew up to the unpredictableand enormous mammal.

As the whaleboat glided closer, the har-pooner picked his weapon. The harpoon,known to crews as the “whale iron”, wasused to fasten the whale to the whaleboat,rather than to kill it. It was designed topenetrate blubber and hold securely, like a hook. The harpoon was a forged iron headmounted to a hardwood shaft five or six feet long. The blunt end was attached to a long(900ft) coil of rope in a bucket.

From Harper’s New Monthly Magazine, 1856


The order “Give it to him” was called bythe boatheader and the harpoonist wouldplunge the weapon into the whale’s back.

The order “Stern all! Stern all, for yourlives” would be called as the crew backedthe boat away and the whale thrashed inpain. The jaws or tail of a 50-ton whalecould smash a boat and send the crewtumbling into the water.

The whale usually dived taking down theembedded harpoon. The crew allowed theline to run out to prevent the boat beingdragged down with the whale. The linewas turned round a small post called a loggerhead, to slow down as it ran out. The lineoften played out so fast that it smoked from the friction. If the line became fouled, theboat could be dragged underwater. Whaleboats carried a hatchet to cut the rope if it gotfowled. 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 20miles an hour, dragging the whaleboat behind. The light-hearted term “Nantucket SleighRide” disguised the danger that the crew might be carried so far from the ship that itmight 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 smallercircles, finally it would shudder and turn on its back.

After hours of tremendous exertion the whaleboat crew would then have to tow thewhale back to ship or shore.

The WhaleboatEach whaleship had three to five whaleboats swinging from davits (cranes). Whaleboatswere light and strong, 30ft long and 6ft wide and pointed at both ends. The oars were 6to 10 ft long.

The whaleboat had a crew of six, the boatheader (usually the captain or a mate) stood ona narrow piece of wood across the stern, handled the steering oar, and commanded theboat. The harpooner or boatsteerer pulled the bow oar up front and four crew rowed theoars.

A comparison between whaleboat and sperm whale size -William Davis’s Nimrod Of The Sea

(Alexander Turnbull Library)


ProcessingProcessing a whale could take severalhours to several days, depending on thesize of the whale.

The first task was ‘Cutting In’. Thisentailed stripping the blubber off thewhale using cutting blades on 15 footlong poles. Long pieces of blubber called‘blanket strips’, each weighing about oneton, were divided into smaller pieces(‘horse pieces’ and ‘bible leaves’)

Next came ‘Trying Out’ or boiling theblubber to extract oil. ‘Bible Leaves’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 purestoil, known as spermaceti, was scooped from ‘the case’, a chamber in the sperm whale’shead. The lower half of the head contained superior oil than regular blubber and the jawand teeth were saved for scrimshaw carving by the crew.

Baleen whales use strips (called baleen) in their mouths to strain water for krill (smallshrimp-like organisms). Baleen is made of keratin, the substance which nails, horns andhair is made from. Its uses included corset stays, fishing rods, hoops for women’s skirtsand umbrella ribs.

Other by-products included margarine, soap and perfume.

Whaleboat deck plan from G B Goode’s The Fisheries and Fishing Industries of the United States(National Library Of Australia)

Processing in later days(Picton Community Museum)


The InstrumentsThree traditional Maori instruments are featured in Destiny Bay. Approval hasbeen given to provide instructions on how to construct and play the instru-ments. Please bear in mind though that, unlike Pakeha instruments, Maoriinstruments were generally only used for special and sacred occasions. As suchthey should be treated with respect. It would be inappropriate, for example, toconsume food when instruments are being played orhandled.

TumutumuThe tumutumu is a metronomic instrument that wasused in the southern houses of learning - wharepurakau. 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 acreek near Nelson. Stone tumutumu have differentvoices depending on where you hit them. Find one andexplore its sounds!

PorotitiThe porotiti is a small disc that creates sound when itis spun on a cord. The instrument’s function in earliertimes was to accompany karakia (prayers). It was alsoused to set pitch for new compositions of waiata korouaand in some areas it was used for healing purposes.

The porotiti was spun over the chests of sleeping childrenwho were suffering colds or influenza. The vibrationshelped loosen mucus. The porotiti was also placed in thehands of those suffering from rheumatism and arthritis.The vibrations created by manipulation of the instru-ment gave relief.

A simple porotiti can be made from a large button. Alter-natively, you could carve a piece of wood and drill twoholes in the centre for the cord. Thread about 1 metre ofstrong cord through the holes and loop.

To play, simply loop the cord around the middle three fingers of each hand,wind the disc around then pull the cord to spin.

Tumutumu found near Nelson

Bone porotiti made by Brian Flintoff -Naa Hau e Wha (The Four Winds)


KoauauThe most common of a large range of tradi-tional Maori flutes is the Koauau. To play itpartially close the mouth of the flute againstthe lips and blown across the far edge at anangle, with the lips in a whistle position. Thesound can be modulated with slight move-ments of the tongue and lips. The soundsfrom each finger hole overlap, creating anatural flowing music.

The koauau has a larger, blown end, carvedto represent the face of the instrument.When one blows into its open mouth its nosecomes close to the player’s nose, as in thetraditional Maori hongi or greeting. The lips,nose and eyes are carved around the openmouth. The other end is likewise carved as a face. However, this face has two noses, oneabove, and one below. This is because it represents the face of the music, and it takes twobreaths to make the music. The breath of the player and the breath of the koauau.

There are usually three finger holesor wenewene, but this can rangefrom none to five, remembering thatMaori music has a very compact scaleof microtones. As the carving sug-gests, flutes are regarded as individu-als, with individual voices, and whenthe time is right they are given theirindividual names and blessed.

Koauau made from wood and boneby Brian Flintoff

Detail of bone koauauby Brian Flintoff

The Story Of Maui and the Kokako

All the flutes of the Maori come down to us from HineRaukatauri, the Goddess of flute music. She is personifiedin the plain-looking Casemoth. The caterpillar of thisunusual moth spins itself a bag and camouflages it with tinyleaves, then hangs from a branch for safety.

Eventually the male caterpillars pupate and fly away, butthe females remain within their hanging cases. They cry fora lover and this tiny sound is the touchstone for all Maoriflute music.

Fortunately for us, when the demigod Maui, was seeking togain control of fire for mankind, he had to transformhimself into a hawk to escape the wrath of Mahuika, hisgrandmother, the holder of fire. Before he could resume hisshape he needed water to remove the sacred state oftransformation. Naturally the birds he asked to help himwere too afraid to do so, but eventually the normally shyKokako brought water. Maui rewarded Kokako with severalwishes and so the vain bird received its elegant looks anddecorative wattles, like the now extinct Huia. But Kokakohad another request “to sing like Raukatauri” and was toldto eat those Casemoths, a diet it still can be seen to relish(as it squeezes them from their homes). The resulting soundhas amplified the magical voice of Raukatauri and given usthe touchstone for the songs of the flutes.


Making A KoauauMaking a koauau is very straight-forward. Although bamboo was not available to Maoriin ancient times, it nevertheless makes an excellent source material for koauau.

Select dead bamboo and cut intoabout 150mm lengths between thenodes. (Bore diameters between12mm and 20mm are recommendedto begin with).

Cut strips of 120g sandpaper approxi-mately 20mm x 200mm and use themto round the ends of the koauau (se-lect the larger end as the blowing endand be careful to get a sharp edgewithout curving into the straight cut).

It is recommended to learn blowingtechnique at this stage as it is easier todo this without the finger holes.

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 themeasier to locate while playing.

Cleaning the bore of its papery lining with a round file will improve the in-strument’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 notaffect 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 mayfind, if you experiment beyond these measurements, an instrument which hasthe sound that suits a personal song or a required tone effect.

Construction notes by Brian Flintoff.

Bamboo koauau can be easily made


Uilleann Pipes

The Uilleann Pipes (pronounced ill-en) orIrish pipes are the traditional bagpipe of Ire-land and are the most sophisticated bagpipe inthe world. The chanter has a two octave rangeand as well as having drones, a full set of uil-leann pipes has a set of regulators, which arekeyed chanters on which the piper can playchords with the wrist. The Irish word ‘Uil-leann’ means ‘elbow’.

Air is blown into the bag using a bellows andthe bag is squeezed to send air down thechanter where it vibrates a reed to form asound. Different notes are achieved by finger-ing the holes on the chanter and for the bot-tom note to be played the chanter must beremoved from the knee. Air also travels down into the drones where reeds vibrate to givea continuous sound.

FiddleThe Fiddle is played throughout the Celticcountries and has a very strong association withScotland and Ireland.

It has four strings which are played by drawinga bow across the strings. The hair on the bow ishorse hair and a sticky substance called rosin isrubbed onto the hair of the bow to create fric-tion when the bow is drawn across the strings.

The fiddle is closely associated with dancemusic in Ireland.


Harp

The Harp is particularly associated with Ireland,but all the Celtic nations have a tradition ofharp playing. The small harp played by Bob has34 strings made from sheep gut. The pillar andneck are made from a hardwood called Afro-mosa, whereas the sound board is made from asoftwood called Spruce.

Some strings on the harp are different colours.This is so that notes can be identified. The redstrings are the notes of C and the black stringsthe notes of F. The small levers at the top of eachstring effectively shorten the string by a semi-tone, thus enabling the player to change key andinsert accidentals.

MIDIAs well as the ‘real’ instruments detailed above and the vocals, the backing CD featuressynthesised ‘MIDI’ backings. MIDI is a musical language computers and synthesizers (orsound modules) can easily understand. Instead of recording real audio onto the computerand playing back (which would take a lot of memory space and have very restrictedediting capabilities) MIDI is a series of simple instructions that can be applied to soundsin 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 MIDIpick ups have now been developed for guitars, wind instruments and percussion instru-ments. This information is usually recorded by a computer using a sequencing pro-gramme. The programme instantly shows notes played, in traditional notation, ingraphic form (time versus pitch) and in other ways. Notes can then be moved around atwill. MIDI is an extremely powerful tool and an excellent teaching resource.


Haul Away JoeTraditional

Sea shanties were working songs whosepurpose was to aid with certain manualjobs undertaken on-board sailing ships.Generally a shantyman would lead theshanties and the crew or shanty teamwould join in on repeated lines. The twoshanties in Destiny Bay are traditional andmost likely would have been sung onsailing ships coming to New Zealand inthe mid 1800’s. Lines to be sung by theshantyteam are in bold.

When I was a little boy, and so my mothertold me,

‘Way, haul away, we’ll haul away Joe,

That if I did not kiss the girls, my lips wouldall 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 therevolution,

And then he got his head cut off, which spoiledhis constitution.

The cook is in the galley, making duff sohandy,

And the captain’s in his cabin, drinking wineand brandy.

Study the words:

When was King Louise the king of France?

What was duff?


He Pao - LamentWords and Music Ian McDonald © 2000

This lament is heard offstage as the sailors arrive in Destiny Bay. A haunting solo, with ahumorous twist, this song is for solo unaccompanied female voice.

Ka tangi te tui te tuiKa tangi tuturi te kereru eKa pouri raua, nga manu aroha e

Makoha te tui te tuiKa moe hohahoha te kereru eKa pouri raua, nga manu aroha e

The tui the tui callsThe pigeon cries out noisilyThe lovebirds are sad

The tui puffs himself upThe pigeon falls asleep boredThe lovebirds are sad

The Pao, Tititorea, Haka and Moteatea were composed by Ian McDonald.


The Try Pot PolkaDance 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 alsodetailed below and two versions of the music are provided on the CD. Track 10 has avoice-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 StepStart by saying ‘One Two Three And’, ‘One Two Three And’, ...... etc. along with themusic. 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 whenyou are more confident. The emphasis is on the first count (‘One’) of the bar, that iswhen the main ‘weight shift’ takes place. The ‘Two’ and ‘Three’ steps are secondary.

The FiguresEach section of the dance is called a ‘figure’ and this is followed by the ‘house’. Think ofthe figure as being like a verse to a song and the house as being the chorus. Try and usethe polka step where possible. This may be tricky to begin with, but with practice is willbring great satisfaction to the dancers as well as the audience!

Form The SetYou need eight people to a set (though you mayhave 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 asquare, all facing towards the middle.

You need to designate top couples and side couples.Top couples face each other, as do side couples andtops go first in some of the figures.

Girls are on the right hand side of the boys. Boyshold the girls left hand with their right hand.

Always revert to the start position after each figureand house.

Boys/Men

Girls/Women

Tops

Sides


First Figure - Honour Your PartnerTop couples start. Holding the boy’s right hand with her left, the girl dances round toface the boy. They let go hands and honour each other, boys bow, girls curtsey (on thecount of four). Girls then hold the right hands of the boys with their left hands againand dance anticlockwise back into place by going under the boys’ right arm (for fourcounts). Sides copy (for eight counts).

HouseTop 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 anti-clockwise round the set till you get back to place (for eight). Note you will reach theposition of the next couple every two counts.

Figure Two - The StarsAll girls (Tops and Sides) form a right-hand star in the middle of the set (all hold righthands at shoulder height) and go round (for four). Change to left-hand star and go backto place (for four). Boys copy (for eight).

House (As above).

Figure Three - Ladies (Girls) ChainTop girls move towards each other, pass holding right hands and give left hand to oppo-site boy. Go round opposite boy and return to place by passing giving right hand toopposite 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 RoseAll girls hold hands (in front of boys) and move to middle of set (for two) returning totheir place with hands high forming arches (for two). Boys go under arches, hold handsand do same (for four). Repeat with girls going under boys arches (for eight).

House (As above to finish).


Try Pot PolkasMusic Bob Bickerton © 2000

The Try Pot Polkas are written in traditional Irish polka form. There are two tunes in theset, each tune has an ‘A’ part and a ‘B’ part. The ‘A’ parts are repeated, but the ‘B’ partsare written in full (as they have a variation on the repeat). Each tune would normally beplayed twice through before moving onto the next.

Polkas move pretty fast, but the above tunes have been written to sit well on fiddle or tinwhistle. They can be played with guitar or piano accompaniment. The phrasing of Irishmusic is pretty smooth. Remember you are playing for dancers, so try to give the musiclots of ‘lift’.


Kei Konei Matou - HakaWords 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 tonuNga taonga tuku iho, tuku ihoNo 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 foreverThe treasures handed down, handed downFrom the inspired ancestors!THE SPIRIT LIVES!

Mahara’s sentiments are strong from the translation of this Haka. Do you think otherMaori would have agreed with his sentiments at the time?


Come All Ye TonguersTraditional New Zealand

Come All Ye Tonguers is a traditional NewZealand song that dates from the time ofthe whaling. It’s an optional song in theperformance as it’s quite difficult to deliver.

This song was collected from a recordingby Graham Wilson. It also appears in printin several publications.

Come all you tonguers and land lovinglubbers,

Here’s a job cutting in and boiling downblubbers,

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 whytonguers were called as such? One was thatthey were Maori interpreters, the other isthat the men were paid for work with thetongue of a whale.


Southern SeasWords and Music Bob Bickerton © 2000

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....

Southern Seas takes the form of a rowing song, the likes of which would probably havebeen sung on long rowing hauls.

The words to this song describe the entire hunting procedure, not a pretty thought but astark reality of the times. Discuss each verse and refer to the whaling section of the His-torical Background statement. Chorus lines are marked in bold. It’s quite a long song,feel free to drop some verses to fit the performance.

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.....


Tititorea - Stick GameWords 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 accompa-niment is not necessary.

Whakapuakina te arohaWhakahoea te arohaManakohia te arohaTangohia 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 declaredLove is rejectedLove is desiredLove is accepted

The tui callsThe pigeon callsThe tui puffs himself upThe pigeon puffs herself upThe tui jumps up and downThe pigeon jumps up and downThe birds are happy


TogetherWords and Music Bob Bickerton © 2000

Together is the love song of the show andis sung by Mere after she rescues Tom.

If you learn the song, try singing it to thevocal-less backing on the CD.

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 sodistant,The love in me can’t be denied.

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 thefingers of time?

And if you live, would you love me, or hateme?Our lives are so different it seems.And what of our children, would they live forfuture,Or fight with the past in their dreams?


Hoki Mai Nei - ChantWords and Music Ian McDonald © 2000

Ko te hine atawhaiKo te hine tino toaKo te hine whakaoraKo te hine aroha e

Hoki mai nei no tawhitiHoki mai ki te ao maramaHoki mai ki to whanauHoki mai ki to hoa aroha

Ko te hine atawhaiKo te hine tino toaKo te hine whakaoraKo te hine aroha e

Hoki mai nei no tawhitiHoki mai ki te ao neiHoki mai ki to whanauHoki mai ki to taneKIA MAURIA MAI TE HAUORA!

Kind womanWarrior womanHealing womanCompassionate woman

Return from afarReturn to the worldReturn to your familyReturn to your partner

Kind womanWarrior womanHealing womanCompassionate woman

Return from afarReturn to this worldReturn to your familyReturn to your husbandGRASP HOLD OF LIFE!

With this Moteatea Matiu calls Mere back to health after she is shot. It is most effectiveif performed to porotiti accompaniment. See the instructions for constructing and play-ing a porotiti on page 21.


Leave Her JohnnyTraditional, new words Bob Bickerton © 2000

I have written new words to this lovely oldsea shanty to better suit the story line inDestiny Bay, but have included here thetraditional words should you choose to usethem.

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 currentsstrong....

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 wasslow....

And the grub was bad and the wages low....

Well the winds were foul and the trip waslong....

But before we go, we’ll sing this song....

Lines to be sung by the shantyteam are inbold.

The shantymen and sailors long ago wouldno doubt have made up verses to the vari-ous sea shanties, and this is how the shan-ties have been handed down to us today.No doubt some versions were humorousand others rather rude!

Make up your own versions of this shantyand ‘Haul Away Joe’.


How To Produce Destiny BayDestiny Bay is a musical production written to be performed by (senior) primary, inter-mediate 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 themusic. Depending on the resources and enthusiasm available, it can also be adapted as afull 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. Useexpertise 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 fillout and return a copy of the enclosed performance agreement as public performancesincur royalty payments and credit provisos. To assist with promotion of your publicperformance a resource on how to promote the project is included.

Scene Overview:Scene 1- The ArrivalEarly morning on the ‘Morning Star’

Scene 2 - The WelcomeLater that day on shore

Scene 3 - The ChaseThe next day on board a whaleboat

Scene 4 - The RescueLater that day on shore

Scene 5 - UtuNext day on shore

Scene 6 - The LeavingOn board the ‘Morning Star’ at the end of the season


Actors:Tom - 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 Tom.

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


Synopsis

Scene 1- The Arrival (Early morning on the ‘Morning Star’)

The whaleship ‘Morning Star’ arrives at Destiny Bay at the beginning of the whalingseason sometime in the mid-1800’s. Background from dialogue with Mac, Liam, Tomand Captain includes that Tom is young and was press-ganged into service. This is Tom’sfirst contact with Maori and it’s through his questions and adventures that we learnabout interaction between Pakeha and Maori in New Zealand in the middle of the lastcentury.

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 toengage Maori as crew (dialogue suggests Maori prowess at trading and abilities as sailorsand fishermen), the crew socialise with local Maori. Tom meets Mere who is coming outof school with her Aunt Huhana. There is an Irish dance and Tom dances with Mere.Mahara, who is pledged to Mere sees them and performs a Haka. Mac sings ‘Come AllYe 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)

Tom 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. Theyspot a whale and Hone harpoons it successfully, a chase follows and finally the whaledives. In the confusion Hone is pulled overboard and is killed, the boat goes down andthey swim for shore.

Music/Action/Dance: Southern Seas (Solo/Group) /Chase Music


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 Tom. They see the survivors of the whale chase swim-ming to shore. Mere dives in to rescue a struggling swimmer who turns out to be Tom.Tom looks as though he might die. Mere sings a love song. He recovers. Mahara discov-ers Tom in Mere’s arms and this coupled with the fact that his brother has died in thewhaling 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 themto leave when Mahara arrives. Mahara talks of utu for the death of his brother andthreatens to shoot the Captain. Tom interjects, he turns to shoot Tom, but Mere jumpsin front of Tom and she is shot. Tom holds Mere as Huhana uses the porotiti. Matiuchants a Moteatea. Matiu sees Mere’s love for Tom and decides to support their relation-ship. 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 Tom must leave. Matiu’s men have stolen the sextant, which isthen traded for Tom in order that he may stay behind.

Music/Action/Dance: Leave Her Johnny (Shanty Team)/Finale Music


Scene 1 - The ArrivalEarly morning on the ‘Morning Star’

Dawn is breaking on a cold, clear winter’s day at the beginning of the whaling seasonsometime in the mid 1800’s. An American whaling ship the ‘Morning Star’ arrives inDestiny 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 wawhakaongaonga, e pa ana ki nga mahi o nga kaimahi kai i te tohorame 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 andthe 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 sail-ors.

Mac There you have it Tom, just as I told you. The land of the longwhite cloud.

Tom You were right Mac. Listen to the birds! It’s a wonderful sight, sogreen, it looks like paradise.


Liam It might look like paradise Tom, but when you smell the rottingflesh of whale and the stink of boiling blubber you’ll change yourmind soon enough.

Tom Rotting whale or not Liam, it has to be better than being stuck inthis rat hole of a ship for three months.

Mac Rat hole you say! You’ll be longing for the rat hole, once you’verisked life and limb in the whale chase.

Tom That may be so, but it wasn’t my choice to be on the ship. I waspress-ganged into joining, I’m no sailor.

Liam You’re a land lubber sure enough Tom, a land-lubber sure enough.

Mate All hands to the yard, haul up the main sail!

Liam Aye Mate! (To Tom) Come on you yard-arm furler, let’s get the jobdone.

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?

Tom Well Mac? What’ll we have?

Mac sings ‘Haul Away Joe’, crew join in chorus lines.

Captain (To Mate) When the men sing right, the ship goes right. Now mengather round.

Mate Are you deaf? Or what? Gather round for the master you bunch ofbarnacled bailers.

The crew gather around the Captain.

Captain Now men, listen up. We’ve had three long months at sea and you’llno doubt be wanting leave on shore.

Crew Hooray! (Crew throw their hats in the air)

Captain Listen, listen. You can have your time on shore, but careful lads,we’ve some hard bargaining to do with the Maori. We need foodand water, use of land, buildings and extra crew.

Tom Extra crew sir?


Captain Aye, extra crew to man the whale boats. What’s more they’re goodreliable crew too and a damn sight better fisherman than any manhere.

Mate Besides which, they can all swim, which is more than I can say forhalf of you lot.

Captain Anyway lads, we don’t want any incidents on shore now. The Maoriare tough traders and I don’t want anything happening to weakenour hand.

Solo Pao is heard off stage or from back of audience.

Tom What was that? It’s beautiful.

Mac That’s a Maori song, a waiata, it’s haunting alright.

Tom I thought they were savages.

Mac Not at all. Why without the Maori we wouldn’t survive in thisplace. They strike a hard bargain all right, but they wouldn’t see aman starve, and many’s the time they’ve saved a land-lubber likeyourself from drowning in the surf.

Captain All ashore!

Mac This is what you’ve been waiting for Tom me boy, time to goashore.

Tom Aye, and not a moment too soon if you ask me. I can’t wait to getdry land under foot again.

Liam Let’s go then.

Exeunt

Scene 2 - The WelcomeLater that day on shore

There is great excitement as the crew of the Morning Star go ashore and meet withMaori.

Enter Captain and crew of the Morning Star, Chief Matiu, Hone and others.

Matiu Tena koe, Captain, nau mai, mihi mai!


Captain Tena koe Matiu (they hongi). We are very pleased to be back in yourgreat land, you know how much we enjoy our visits here.

Matiu Yes, we enjoy your visits too Captain! Our men look forward to thewhaling, and our women look forward to your sailors. But first wemust talk about arrangements for the winter.

Captain Aye, you’ll be pleased to know we have plenty of muskets and blan-kets to trade.

Matiu Muskets and blankets you say? What about the bible, do you haveany bibles for trade?

Captain How things have changed Matiu. Why I remember being told thatwhen Captain Cook first came here, it was the simple nail that wasthe most treasured item of trade. Now it appears to be the bible, butI’m sorry to say I have no bibles.

Matiu Then we will make do with muskets and blankets, I hope you’ve gotplenty.

Captain Perhaps Matiu.

Matiu Ka pai! Come on, let’s talk.

Exit Matiu and Captain, enter Tom and Mac who approach Hone who is stand-ing by a try pot (pot could be offstage if not available as a prop)

Liam Here we are Tom, life onshore.

Tom At last, I can’t believe it.

Liam Believe it while it lasts Tom.

Tom (Pointing to a try-pot) What’s that pot for?

Hone Hei whakarite kai! This is for boiling Pakeha my friend.

Tom Pa-ke-ha? Is that some sort of fish?

Liam No Pakeha means an outsider, a European!

Tom You mean these people are cannibals?

Liam Not any more Tom, they’re more Christian now than any man onthe Morning Star. But it wasn’t so long ago when human flesh was aregular feature on the menu around these parts.


Tom Yuk!

Liam No Tom, this is a try-pot. It’s used for boiling down the blubberfrom whales to extract the oil. Isn’t that right Hone?

Hone Ae! That’s right! But don’t worry, e hoa! We like our humans cookedin the earth oven!

Enter Mere, Huhana and Ana, Tom backs off and bumps into Mere who drops abook

Tom I’m so sorry, here you are. A copy of the bible?

Mere Ae! Te pukapuka we call it. It’s a taonga now for Maori.

Tom You study it?

Mere Ae! We read it in school.

Tom (To Mere) You look too old for school.

Mere Not at all, Auntie Huhana here is old enough to be the teacher’smother and she goes to school too. We learn to read and write, tolearn the ways of the Pakeha.

(Enter Mac)

Mac Huhana!

Huhana Toku hoa! Mac, my old friend.

Mac It’s been a long lonely winter!

Huhana You’ll not be lonely any longer Mac!

Mac Let’s celebrate! Time for a dance, where’s that fiddler!

(Mac takes Huhana as fiddling starts)

Tom (To Mere) shall we?

Mere Yes!

(They dance a set to the fiddle (could be mimed by a crewman) Mahara enterswith friends towards the end of dance)

Mahara (To Mere) So you enjoy the Pakeha dance?

Tom And why wouldn’t she?


Mahara She forgets her heritage, she forgets the dances of her tupuna.

Tom What’s wrong with our dance, the dance of the Pa-ke-ha?

Mahara 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 joinin)

Mahara (To Mere) Come

Exit Mahara, Mere and Mahara’s friends

Huhana That Mahara, he is proud, but times are changing. He and Mere areso different, she changes with the wind, but Mahara, he is firm, likethe mountain.

Mac And they are still pledged to each other?

Huhana Ae! But I don’t know for how long.

Mac Love doesn’t work like that.

Huhana Well, Mac. It’s been a while since I heard that voice of yours. It’stime you gave us a song.

Mac For you my friend, anything.

Mac sings ‘Come All Ye Tonguers’ (Note this song and next two lines are optional)

Huhana You’re still a songbird after all these years.

Mac That I am, and not much use for anything else!

Mac and Huhana exit

Tom Liam, what do you know about Mere?

Liam Now look, don’t even think about it! She’s the chief ’s daughter andshe’s pledged to Mahara and he is a fearless warrior, who in daysgone by would eat your sort for breakfast. She might be beautifulbut she’s not for you!

Hone That would be my advice, e hoa. Mahara is my brother, and he’sserious. His mana is great. He believes in the old ways, I would notcross him if I were you.

Mate enters with other crewmen


Mate Now you ugly bunch listen up! I want every man to stay sobertonight. We’ll be in the whaleboats first thing tomorrow and I wanteveryone on deck with a clear head.

Crew Aye sir!

Mate As for you Tom, it’ll be your first time out. I’ll have you with me.We’ll soon see what you’re made of.

Tom Aye Sir!

Exeunt

Scene 3 - The ChaseThe next day on board a whaleboat

Tom, Liam, Mac, Hone, a crewman and Mate are on a whaleboat, Hone is the boats-teerer (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 Now you’re in for the ride of your life Tom.

Tom From what I’ve heard, we’ll be lucky if we survive.

Liam Can you swim Tom?

Tom Only a little.

Hone You Pakeha are strange. You spend a life at sea, but half of you can’tswim. I was swimming before I could walk!

Tom Well if this boat goes down, I hope you’ll swim over and rescue me.

Hone Do you think I would let a hangi go under?

Tom Tell me Hone, where is Mahara, why isn’t he out hunting the whale?

Hone Mahara believes in the old ways, he is like our ancestors, they neverhunted the Tohora. Sometimes Tangaroa leaves Tohora on the beach- a koha from the sea. This is a great gift. The bones and teeth arefor carving and the meat for kai. But we never hunted them.

Tom But why not hunt the whale if they were so greatly prized?


Hone Some of us believe the whale is a sacred thing, he mea tapu. Wehave stories of people riding on Tohora’s back. Only since the arrivalof the Pakeha have we hunted the whale.

Tom And you Hone, why do you hunt the whale?

Hone 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 isa soul looking at you, you see the spirit of Tohora!

Tom I’m not sure I’m happy about killing the whale.

Liam Nonsense, without the lamp oil the whale provides, life back homecould not go on.

Mac That’s true and what about corsets?

Hone Ae! The Pakeha women would lose all their beauty without helpfrom the whale!

Tom I don’t see that the Maori women are any less beautiful.

Mac True Tom. But I will tell you this. In the years I have been huntinghere, I have noticed that whales are seen less and less. Soon therewill be none left at all.

Hone There she blows!

Mate What is she Hone?

Hone A sperm whale, half a mile on the starboard bow.

Mate Come on lads, put your backs into it!

Mac sings ‘Southern Seas’ as they row, crew join in chorus lines

Mate How long now Hone?

Hone We’re almost over her.

Tom What happens if she comes up beneath us?

Hone Jump! E peke!

Mate Ease back now lads we’ll wait for her to come up. Check the roperound the loggerhead Liam, we don’t want any accidents the firstday. Mac, you take the hatchet.


Tom What happens now?

Mac We just wait lad, just wait. When she comes up, Hone will har-poon her.

Liam Then hold on for your life, she’ll thrash and fight, and we’ll rowastern.

Mac Then the chase will start. She’ll dart off with us in tow.

Liam Miles she’ll go, miles and miles and then she’ll tire and we’ll go infor the kill.

Tom How far can she go?

Mac I’ve heard of whaleboats that were towed so far away from land,they were never found again.

Tom And if she dives?

Mac That’s what the hatchet’s for. If she dives, we have just a few secondsto 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 We’re away!

Mate Hold on lads, hold on.

Tom I’ve never been so fast!

Mate Keep that hatchet handy!

Hone She dives! She dives!

Mate Cut the rope Mac, cut the rope!

Mac drops the hatchet, Hone attempts to undo the rope, gets tangled up and isdragged overboard

Tom Hone! Hone!


Mate She’s going down, jump for your lives!

Tom Hone! Hone!

Exeunt

Scene 4 - The RescueSame 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 withstick game)

Ana E Mere! You like that young sailor don’t you?

Mere Ae! He’s kind and likes to have fun.

Huhana And Mahara? Don’t you love him?

Mere No. I respect Mahara, but Mahara is so serious and I don’t love him.Trouble is, my father wants us to marry.

Ana But that is the old way, to marry because it suits everyone else. Youshould marry who ever you love.

Mere I know. But my father and Mahara, they follow tikanga. I know myfather tries to take on the ways of the Pakeha, but he is old andchange is not easy for him.

Ana Look , look out to sea! People are swimming!

Huhana A whaleboat must have gone down.

Ana Look there, that man is drowning, he won’t make it to shore.

Mere I must help.

Mere runs off stage

Ana Careful Mere, careful!

Huhana It look’s like one of the young sailors.

Ana Yes, it’s Tom.

Huhana He tohu! This was meant to be.


Ana Come on Mere, come on! I hope he lives.

Huhana Yes, but if he lives, Ana, I can see trouble ahead.

Mere enters (arrives on shore) with Tom who is unconscious

Mere Tom, Tom, wake up Tom.

Mere sings ‘Together’

Tom Where am I? Mere!

Mere It’s all right Tom, you’re safe.

Enter Mahara

Mahara It is not all right! Hone is dead! And while my brother drowns inthe ocean you hold the Pakeha in your arms! It is not all right!

Mere Oh Mahara, I am so sorry. I care for you!

Mahara No! You care for the Pakeha! I can see it! Today I have lost mybrother and today I have lost you!

Mere Mahara!

Mahara The crew of the ‘Morning Star’ have taken my brother and theyhave taken my wife. The insult is too great, utu must be taken.

Mere No Mahara! That is the old way. We have a new way now, theChristian way.

Mahara 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 - UtuNext day on shore

The crew of the ‘Morning Star’ are on shore, preparing for another day’s whaling.

Enter crew


Mate Come on, come on, the whales will have died of old age by the timeyou lot are ready!

Mac I’d say no one wants another day like yesterday.

Liam That’s the way of whaling. If you live through a season, you’ve littleto show for it. You’re just about better off drowned.

Tom Well I would have been drowned, if it wasn’t for Mere.

Liam Aye, you were lucky yesterday, but I’d watch out for that Mahara if Iwere you.

Tom What did he mean by utu?

Mac That’s a Maori tradition, it’s like revenge, but more so. It’s a sort ofjustice, a way of balancing what has happened.

Liam An eye for an eye, a tooth for a tooth.

Mac Aye, But with utu there is no rest until it has been satisfied, even ifit means someone has to be killed.

Liam And what’s more, if they can’t take utu on those who offendedthem, they’ll take it on someone else.

Tom But that’s not fair.

Mac It’s not fair in our eyes, but it’s the Maori way of justice.

Tom But what about the church, aren’t most Maori Christians?

Mac Not all of them and anyway it takes time to change the customs ofmany generations.

Enter Mere, Matiu and Huhana

Mere Captain, Tom, all of you! You must leave!

Captain Why, what is this Matiu?

Matiu It is Mahara, he is seeking utu for the death of Hone.

Captain But must we go?

Mere Mahara is fearless. You are not safe. You must leave.

Enter Mahara with a musket


Mahara Not before utu is mine!

Captain Now listen...

Mahara No, you listen! My brother is dead! You have taken my brother andthe Pakeha has taken my wife!

He aims at the Captain, crew gather round, some with muskets.

Captain Matiu, Can’t you stop him?

Matiu I cannot stand in the way of utu, Captain.

Tom moves in front of the Captain

Tom Stop, this is not the way!

Mahara This is my way!

Mere No!

He aims at Tom, fires, but Mere jumps in front, (a loud bang is heard offstage) sheis shot

Tom Mere!

Mahara Aiiieee!

Mahara runs off , Tom holds Mere in his arms

Matiu Utu has been satisfied, but here my daughter lies dying.

Captain I do not understand the Maori ways, Matiu.

Matiu My daughter has shown her love. If she lives, she will choose whoshe takes for a husband.

Tom Huhana, will she live?

Huhana We will see.

Huhana uses the porotiti as Matiu chants the Moteatea, finally Mere stirs

Tom Huhana?

Huhana Ae! Ka ora ia! She’ll live.

Exeunt


Scene 6 - The LeavingOn 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 It doesn’t seem right that the whaling season is over.

Huhana Ae! Today you leave for another year. I’ll miss you. Ka tangi au!

Mac Oh Huhana, I can’t abide the parting. But we’ve done it before, so Isuppose we can do it again.

Huhana It won’t be easy for Tom and Mere.

Mac No. That was a wild start to the season, but there’s no doubt Tomand Mere are made for each other, their love has blossomed.

Huhana Ae! They’re in love. It’s for him she lived!

Enter Tom and Mere, rest of crew and Maori visitors

Mere It’s the last day. I don’t want you to leave.

Tom I can’t live without you, I will not leave. I’ll jump ship.

Mere No Tom! They’ll shoot you if you do that, you have to go.

Enter Mate

Mate All hands on deck, let’s set sail! All visitors on shore!

Mere I can’t go!

They hug, Enter Captain

Captain All hands listen up!

Crew Aye Sir!

Captain It looks like we won’t be sailing very far. It appears the sextant hasbeen stolen.

Mac Aye, and without the sextant we’ll get nowhere fast!

Mate Who did it? Come on! Who did it?


Enter Matiu with friends, one of which is concealing the sextant

Matiu Captain, is there trouble?

Captain Matiu. Did you steal the sextant?

Matiu Me? No Captain. But I have one for sale.

Captain Really? And what would you like for your sextant?

Matiu Well Captain. A sextant is a precious thing, without it you can’t sail.

Captain True.

Matiu Worth many muskets, many blankets.

Captain Yes.

Matiu But today, I am feeling generous!

Captain Go on.

Matiu Today, I will trade the sextant for, let’s see......just one man!

Captain Really Matiu?

Matiu It would have to be a young man.

Captain And did you have anyone in mind?

Matiu Tom, will you stay?

Tom Captain?

Captain Well you’re a land lubber through and through and you’re of nomore use on this ship than a barnacle. Off you go!

Crew Hooray!

Tom and Mere embrace

Mate Well come on you grizzly bunch of fish scalers! To the Capstan! Allvisitors ashore!

Mac sings ‘Leave Her Johnny’ with all joining in on chorus

Cue Finale music


Maori and crew move to either side of the stage during the finale music, leavingTom and Mere together centre stage and Mac and Huhana front centre stage in anembrace.

Mac Goodbye my love.

They part, each moving to side stage

Huhana (Calling to Mac) Goodbye dear friend.

Huhana (on koauau entry in finale music) E rere ana taku ngakau ki a koe!

THE END

Curtain calls to Try Pot Polkas


Glossary Of Maori Words And PhrasesMaori - the indigenous people of Aotearoa (New Zealand)waiata - Maori songpao - ditty, lament or derisive songTena koe - HelloNau mai - WelcomeMihi mai - Greetingshongi - to touch noses (and foreheads, sharing breath of life)Ka pai - That’s goodHei whakarite kai - For preparing foodPakeha - New Zealander (or other person) usually of European descentE hoa - Oh friendAe - YesTe pukapuka - The booktaonga - treasure or possessiontupuna - ancestor(s)Titiro! - Look!Haka - vigorous action songmana - esteem, standing in the community (power to act and influence)hangi - food cooked in an earth oventohora - whaleTangaroa - the name of the guardian of the seakoha - giftkai - foodhe mea tapu - a sacred thingTititorea - stick gametikanga - protocol, established way to behavehe tohu - a signutu - balance, payment, price, revengekoauau - flutetumutumu - metronomic instrumentporotiti - instrument spun on chordKia ora ia - She will liveMoteatea - traditional song formKa tangi au - I will cryE rere ana taku ngakau ki a koe - my heart is flying towards you


Staging NotesThe notes below give some suggestions for staging the performance, detailing essentialprops, optional set items, costume and staging techniques. We have also included noteson the music including cuing instructions.

Desirable PropsLength of rope

Try pot - large container withcutout ‘cauldron’ shape at-tached

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 whichholds it

Optional SceneryScene 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)

Trypots In Use(Picton Community Museum)


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 bybenches, stools or small chairs. A false side could be made to improve appear-ance 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 issuggested for larger performances. If using scenery, it is not necessary to have blackoutsor curtains for the scene changes. A stage crew made up of extras who are sailors or vil-lagers can change scenery during the bridging music in full view - the audience willaccept the convention!

Without scenery, in a smaller production, the action in each scene will make it apparentwhere it takes place.

Further Staging SuggestionsThe work has been scripted to cause as few production difficulties as possible, to enablethe 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’ pro-duction.

If a junior syndicate wishes to perform Destiny Bay, they may wish to do so bylistening to the script on the CD and performing their own version of it.


Scene 1

The behaviour of the sailors as extras should be stressed. They would be arough crew, responding enthusiastically to shore leave; but flogging was acommon form of discipline, they would obeycommands from the Mate and Captain quicklyand work efficiently.

Using the rope to haul up the main sail could betricky. It could be mimed with actions to therhythm of the song; or an actual rope could beattached 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 wouldbe less effective. The harpoon does need to bethrown offstage - keeping safety in mind! Therope would be attached to it, so someone off-stage needs to pull on it to give the effect of thewhale diving. Hone needs to be rehearsed carefully to act being caught in therope and falling overboard.

Scene 4

The rescue would be best done offstage, with Mere leaving, then returning,dragging Tom 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 tothe effectiveness of this scene. It is a tense confrontation, which nearly ends intragedy, so the conflict can be played up. The shooting of Mere will work bestif a loud bang is heard offstage.

Scene 6

The end of the work needs careful rehearsal with the finale music. An effectiveway would be for Maori and sailors to move quietly to either side of the stage,leaving Tom and Mere together in the middle with Mac and Huhana, whopart to say their final farewell lines as they move to their own people.

Rigging on the Endeavour replica.The yard arms are the cross piecesfrom which the sails hang. Crew

would have stood on the ropes belowthe yard. Remember, they were a long

way up in the air!.


CostumeThe sailors of the time wouldhave dressed in old, roughclothes (with the exception ofthe Captain and Mate).Maori people at that timewould have worn a mix ofpakeha and traditional Maoriclothes, but it’s probablyappropriate to have Maharadress in traditional Maoricostume.

MusicThe songs are probably bestlearnt from the CD withreference to the words.

Unaccompanied songs maybe sung in a key best suited to the voices at hand. It may help to give startnotes to begin with, but after a while this should not be necessary. Vocal-lessversions of the songs are included on the CD. Consider engaging a singingteacher to work with singers in the show.

It is imperative that singers have learnt songs off by heart well before rehearsalscommence.

Instruments could be mimed in the dance scene.

Performance of the Maori songs, especially the Haka, would be best done withassistance from a Kapahaka group leader or teacher. Whilst we encourageschools to perform the Maori music included in Destiny Bay, it is possible forschools with existing Kapahaka groups to substitute their own music.

There are 30 second tracks of scene change music on the CD (60 secondsbetween scenes 4 and 5) which should be used between scenes.

These have been listed with unaccompanied versions of songs in performanceorder on the CD. Tracks can be easily cued and there is a 8 second gap aftercued tracks before the next track starts. When playing the tracks, it’s best touse the pause button rather than the stop button. You can then use the trackskip button to go to and be cued ready for the next track.

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.

Performance AgreementIf you wish to perform Destiny Bay publicly, you will need to sign this performanceagreement and fax it to us. Please note that whilst this is not necessary if the productionis performed within a school (at no charge), we are still very interested in hearing fromyou, so that we can report back to Creative New Zealand on performance and audiencenumbers. Please note this agreement applies only to New Zealand schools, other per-formances must be contracted directly with the publisher.

This agreement is between __________________________ School (hereafter called theschool) 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 royaltiesbeing 10% of the gross door take to the publisher within 7 days of the finalperformance.

Forward a report detailing the number of people attending the performance/sto the publisher within 7 days of the final performance.

Use the name ‘Destiny Bay’ and the words ‘by Bob Bickerton’ in all publicityand 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 03 545-2030


Promotion KitIf you decide to perform the production publicly, you’ll need to promote it! Whilst youwould no doubt receive a reasonable response from the school’s ‘community’, the pro-duction will also be of wider public interest and an interesting exercise for senior studentswould 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 postercould be a drawing or painting by a student, with text superimposed. Remember blackand white images are easier to reproduce than colour. You may pick a visual theme to runthrough all your promotion, something like a logo. Posters could be photocopied and areduction of this could be included in the school newsletter. A sample media release isincluded overleaf. Use this as a template to write your own. Send it by fax to as manynewspapers, radio stations and television programmes as you can think of. Don’t forgetHolmes and the Television One weather announcements. Pre-print tickets and havethem available for sale in advance. Send free tickets for giveaway on radio (which effec-tively gives you free radio advertisements). Approach local businesses to see if they willsponsor (pay for) advertising in newspaper etc.

Before you commence promotion you will have made a number of decisions regardingthe production:

Performance Dates

Performance Venue

Ticket Prices

Advanced Booking Details

Local Sponsors

All promotional material, including media releases, must include the above details as wellthe presenter’s name, i.e. ‘your school’, the name of the production, i.e. ‘Destiny Bay’, aslogan (what it is) for the production, i.e. ‘A Story Of Whalers And Maori In Early NewZealand’, the composer’s name, i.e. ‘Bob Bickerton’ as well as credits for ‘Creative NewZealand’, and any local sponsors.


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 thestudents at the school perform Bob Bickerton’s musical Destiny Bay.

Set in the mid-1800’s, Destiny Bay tells the story of a young Europeanwhaler, Tom, whose adventures paint a vivid picture of life in New Zealandat that time.

Destiny Bay features original music by Bob Bickerton and Ian McDonaldplus traditional music.

“We wanted to give schools the opportunity and resources to stage a fullmusical,” said Bob Bickerton. “Thanks to Creative New Zealand, whichfunded the writing, and Sealord Group which sponsored the Resource Kitand CD, we have achieved our aim.

“We have created a fictional story which reflects the sort of events that werehappening in New Zealand at the time and a work which is entertaining andeducational. By performing Destiny Bay students will learn about that timein history and experience the many facets of performing arts production.

“Through the eyes of Tom, a first-time whaler, we experience the world ofwhaling and early life for pakeha in New Zealand. Of particular interest isthe 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 TheProduction). Admission is (Prices & Categories, i.e. Adult $8 etc.) and tick-ets 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.


Historical Projects Worksheet

1) Trace the ancestry of students, draw a family tree, find out where theirsurnames 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 inlength) and a whaleboat (10 metres in length).

How would you feel about being in such a small boat, chasing such alarge 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?


Conservation Worksheet

1) Here are some websites you may like to visit:

www.greenpeace.org

www.wwf.org.nz

www.whales.org.nz

www.doc.govt.nz

2) Find out about the International Whaling Commission by visiting:

www.doc.govt.nz/cons/marine/iwc.htm

3) Which two countries continue to hunt whale for scientific research?

4) Look at the graph under reports - whale population at:

www.greenpeace.org/~oceans/whaling

5) How many humpback whales are estimated to be left in the world?

6) Did you know that, according to Greenpeace, you can find Humpbackwhale 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.


Stick Game Worksheet

Maori people had to work hard to survive but there was time for games and sports. Manyof 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 activ-ity:

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 lastone left in the circle!

Notes and illustration on stick game from ‘Te Ao a Te Maori’ courtesy New House Pub-lishers.

(Note the three books ‘Te Ao o Te Maori’, “Te Mana o Te Tiriti’ and ‘The Tauiwi’ arehighly recommended resources for all schools. Available from New House Publishers:09 410-6517, Email [email protected])

Stick Game(New House Publishers)


Pakeha CraftWorksheetWhilst work on the whalingships was hard, there were timeswhen the crew didn’t have muchto do and they would oftenspend their spare time workingon scrimshaw or making ships ina bottle.

ScrimshawThis is the craft of carving a picture onto bone or whale’s tooth. There are magnificentexamples 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, strongobject like a compass point, a ‘biro’ type pen, some gladwrap and a fewtissues.

Use a sharp, but strong, object like a compass point to scratch or carve apicture onto some white plastic.

Carefully break open a biro pen and squeeze the ink in a blob onto a piece ofcard 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 inink), 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 ofthe plastic.

All going well, you will be left with your very own ‘Scrimshaw’.

Ship In A BottleYou may have seen ships in a bottle and wondered how the sailors got them in. Well theywould make the ship in a ‘collapsed’ form and would then pull the masts and rigginginto 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 andgluing it into the bottle.

Example Of Scrimshaw On A Whale’s Tooth(Picton Community Museum)


Instrument Card GamesInstructionsPhotocopy the next three pages of playing cards (laminate them if you wish). Studentsthen match cards to each other and to music on the CD.


Instrument Card Games

This Maoriinstrument is madefrom stone, wood or

bone and is hit. Itwas used at thebeginning of

learning sessions.

This Maoriinstrument is

threaded onto a cordand spun. It was

sometimes used forhealing purposes.

This Maoriinstrument is a

hollow tube withthree holes in it. It isplayed by blowing

across one end.

This Pakehainstrument has fourstrings and is playedwith a bow which

has horse hair on it.It is played under the

chin.

This Pakehainstrument has thirty

four strings madefrom sheep gut or

nylon. It is balancedagainst the shoulderand plucked with the

fingers of bothhands.

This Pakehainstrument has a bagwhich is blown upwith a bellows. Itmakes its sound

using reeds and has achanter and drones.


Instrument Card Games

Tumutumu Porotiti Koauau

Fiddle HarpIrish

Bagpipes


Overhead Projector GraphicThis is a useful graphic showing various elements from Destiny Bay. Copy it onto anoverhead 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 withan oar.


Further Reading

Te Ao o Te Maori - The World Of The Maori - Ruth Naumann and FrankWiniata - New House Publishers, P O Box 33-376, Takapuna, Auckland 9.Email: [email protected]

Te Mana Te Tiriti - The Living Treaty - Ruth Naumann, Lyn Harrison andTe Kaponga Winiata - New House Publishers, P O Box 33-376, Takapuna,Auckland. Email: [email protected]

Te Wharekura 41 - Learning Media Ltd, Box 3293, Wellington.

Make Your Own Koauau - Richard Nunns - School Journal Part FourNumber Two 1997 - Learning Media Ltd, Box 3293, Wellington.

Toiapiapi - Hirini Melbourne - Available from UCA, Box 52-076, Titahi Bay,Porirua.

Sealers and Whalers in New Zealand Waters - Don Grady - Reed MethuenPublishers 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: www.whalingmuseum.org

World Wildlife Fund - Websites: www.wwf.org.nz and www.whales.org.nz

Greenpeace - Website: www.greenpeace.org/~oceans/whaling


Bob BickertonSpecialising in Celtic music, Bob Bicker-ton has performed at most major concertvenues and folk festivals around NewZealand.

He has performed to over 100,000 stu-dents in schools over the last 20 years,where he has received critical acclaim forthe quality of his educational programmesas well as his ability to engage children ina positive, disciplined and inspiring way.

As Director/General Manager of the Nel-son School Of Music, he encouraged thedevelopment of community programmes,with particular emphasis on children. He has given workshops and classes in Irish musicand has studied uilleann pipes, flute and fiddle in Ireland.

He has performed with contemporary, classical and ethnic groups, and has recorded as asession 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: www.bickerton.co.nz

Ian McDonaldIan McDonald (M.Mus) trained in Wellington. His manyworks for orchestra, theatre, dance, radio and film have beenperformed, recorded and broadcast in New Zealand and over-seas.

He has lectured and run workshops in composition and crea-tivity throughout New Zealand and received awards, residen-cies and fellowships.

He now lives in Whakatu (Nelson), composing, tutoring anddoing arts consultancy work. He works from within the iwiand is indebted to, and relies on, his kaumatua for guidancein all matters of culture and creativity.

Ian McDonald (PhotographWilliam McDonald)

Bob Bickerton (Photograph Craig Potton)


Notes

Documents

Download Resource Kit - Bob Bickerton