Star Wars: The Magic of Myth

The Star Wars saga is based on an ancient form of mythology— the ‘hero’s journey’. Underneath the flash and dazzle of specialeffects lies ‘the magic of myth’, a shape-shifting realm where youngheroes, faithful companions, wise guides and evil villains dwell inlabyrinths of discovery. The exhibition Star Wars: The Magic ofMyth examines the mythology behind the Star Wars story, ahero’s journey that takes place ‘a long time ago in a galaxy far, far,away …’

Star Wars: The Magic of Myth showcases original artwork (includingconcept drawings and paintings as well as storyboards withproduction notes), props, models, costumes and characters usedto create the Star Wars saga — Star Wars: A New Hope, The EmpireStrikes Back, Return of the Jedi, The Phantom Menace and Attackof the Clones. The exhibition was inspired by Joseph Campbell’sstory of the hero’s journey presented in The hero with a thousandfaces, and by comments on the Star Wars films in the book andvideo series The Power of Myth.

TEACHERS NOTES 2

Educational links .......................................... 3

Describes how Star Wars: The Magic of Mythmay fit in with your classroom curriculum.

Powerhouse programs ................................ 4

An outline of the variety of programs andresources that are available to enhance yourteaching and to relate Star Wars to thecurriculum.

Powerhouse print materials ....................... 5

A description of additional print resourcesthat are available for teachers.

Accompanying the exhibition .................... 6

A description of the documentary, audio-guideand book that accompany the exhibition.

Exhibition map ............................................. 7

This layout of the exhibition also includes thelocation of the theatrette, interactives andmajor objects.

Joseph Campbell and the

hero’s journey ............................................... 8

A description of the hero’s journey accordingto Joseph Campbell in his book Hero with athousand faces. The exhibition follows thejourney taken by Luke Skywalker.

Exhibition themes ........................................ 9

This section tells the story of Luke Skywalkerand the journey he takes in the Star Warssaga. The text is the same as that of the themepanels in the exhibition. Included is the listof artwork (including concept drawings andpaintings as well as storyboards withproduction notes), props, models, costumesand characters on display. The interactivesand audiovisuals are also included.

Online resources ........................................ 33

A variety of websites for students to explorethe Star Wars universe.

Contents

Jabba’s Palace, Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

All of the objects, interactives andaudiovisuals listed and images used in theseteachers notes were correct at the time ofpublication but are subject to change.

TEACHERS NOTES 3

Star Wars: The Magic of Myth offers a cross-curriculum focus for primary school students.As part of the English K–6 syllabus, studentshave the opportunity to study film,storyboards and even the audio-guideaccompanying the exhibition as a form oftext. Luke Skywalker’s hero journey is an idealfocus for an English class. The Star Warsuniverse as presented in the exhibitionenables an exploration of the HSIE K–6syllabus strands of Cultures and SocialSystems & Structures. The Designing andMaking strand of the Science & TechnologyK–6 syllabus links to the exhibition byallowing students to design and make theirown robots, vehicles and environments. Theartwork, props, costumes, and models in theexhibition link to the Creative Arts K–6syllabus. Elements of drama and music canalso be explored.

Students studying the following lowersecondary school subjects will find theexhibition useful:

• English — for the study of film, story boardsand the concept of the ‘hero’s journey’

• Textiles and Design — costume design• Visual Arts — concept art, props, models,

story boards• Design & Technology — concept art,

costumes, props, models• Drama — study of scripts.

Educational links

‘Those of us who make motion pictures are also teachers: teachers with very loud voices.But we will never match the power of the teacher who is able to whisper in a student’s ear.’

— George Lucas, Edutopia, 2001

The Higher School Certificate (HSC) EnglishSyllabus now includes Star Wars: Episode IVA New Hope as a prescribed film in theChanging Worlds focus of the Change areaof study. Students examine the underlyingassumptions of other worlds, consideringthem in relation to the world they know. Theyreflect on the ways in which understandingof the world is transformed and express thisunderstanding in a range of compositions.

Other HSC syllabus areas that may have adirect link with Star Wars: The Magic of Mythinclude:

• Design & Technology• Industrial Technology• Society and Culture• Textiles and Design• Visual Arts.

C-3PO carried by Ewoks, production painting by RalphMcQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved. Used under authorization.

TEACHERS NOTES 4

All booked school groups will receive acomprehensive set of teachers notes. Activityguides have been developed for primary andsecondary English, Design and Visual Artsstudents. A variety of exciting programs havebeen developed to enhance your teachingand to link your students’ Star Warsexperience to the curriculum.

Teachers preview

Friday 20 September, 4.30–7.00 pmRSVP: Friday 13 SeptemberCost: freeThis is an exclusive opportunity for teachersto preview the exhibition. Special guestsinclude actor Anthony Daniels (C-3PO),Industrial Light & Magic (ILM) mastermodelmaker Lorne Peterson, ILM visualeffects supervisor Ben Snow. Education staffwill be available to answer your questions.Light refreshments provided.Bookings essential. Tel (02) 9217 0222.

Star Wars study day

Thursday 19 SeptemberTime: 9.30 am – 2.00 pmCost: $15 per student, $10 per studentmember schools (includes exhibition entry)Star Wars study days introduce students totwo of the creative artists whose work isfeatured in Star Wars: The Magic of Myth.The presenters are Academy Award winnerLorne Peterson, Industrial Light & Magic’smaster modelmaker and Ben Snow, ILM’svisual effects supervisor Ben Snow.Bookings essential. Tel (02) 9217 0222.

Powerhouse programs

‘The myth behind the hero’

Saturday 5 October, 10.00 am – 3.00 pmCost: $80 members $100 non-members(exhibition viewing and lunch included)Most cultures have heroes, both real andfictional. To accompany the exhibition StarWars: The Magic of Myth, the Primary EnglishTeaching Association (PETA) and thePowerhouse Museum have developed aprofessional learning day to support primaryteachers in developing a critical analysis ofhow heroes are constructed and representedin both literature and film. The day will bepresented by experts in these fields andincludes a guided tour of the exhibition withample practical examples of how it can beincorporated into classroom study. Allparticipants will receive a ready-to-goteaching and learning unit.Contact PETA on tel (02) 9565 1277 for furtherinformation and bookings.

Star Wars symphony

Monday 18 to Friday 22 NovemberCost: free with Museum entrySelected school bands from across NewSouth Wales will play the memorable thememusic of Star Wars and other Star Wars-inspired music.

IMAX joint visit

Combine your visit to Star Wars: The Magicof Myth with a movie, such as Space Station3D at the IMAX theatre in Darling Harbour.By combining your visit you can save up to$2 per student! Bookings are essential, phonethe Powerhouse Museum on (02) 9217 0222and for the IMAX Theatre on (02) 9213 1600.

TEACHERS NOTES 5

Powerhouse discovery challenges

Powerhouse discovery challenges are print-based inquiry-based units of work that:

• begin and end in your classroom• involve a structured discovery process with

links to the classroom curriculum• include pre- and post-visit activities• provide a deeper understanding of the

Museum’s collection• promote team problem-solving skills, and• are FUN!

Suitable for students in Years 4–8 there aretwo challenges to choose from that visit StarWars: The Magic of Myth. Bookings areessential. Tel (02) 9217 0222.

‘Design a podracer’Inspired by Anakin Skywalker’s win at theGreat Boonta Eve Race on Tatooine studentsdesign their own podracer. Students also visitthe Powerhouse Museum’s Transport andEcoLogic exhibitions.

Powerhouse print materials

‘Design a droid’‘Droids’ such as R2-D2 and C-3PO are adominant feature in the Star Wars universe.Students will also visit Isaac and Stumpy inthe Powerhouse Museum’s Cyberworldsexhibition in their challenge to design a droid.

Activity guides

Classroom-based activity guides have beendeveloped to accompany the exhibition.These guides are designed to help theclassroom teacher stimulate studentdiscussion, investigation, research anddiscovery. The guides are available uponbooking a classroom visit to the exhibition.The activity guides produced cover thefollowing curriculum areas:

• Primary — General• Secondary — English• Secondary — Design and Visual Arts.

Anakin’s podracer, photograph by Gary Mortensen for the exhibition Star Wars: The Magic of Myth.Star Wars™ and © 2000 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 6

Star Wars: The Magic of Myth

documentary

Accompanying the exhibition is a fascinating,30-minute documentary that examines thephenomenal cultural impact of Star Warsworldwide. This documentary includesinterviews with filmmaker George Lucas;actors Harrison Ford, Carrie Fisher, and MarkHamill; sound design director Ben Burtt;composer John Williams; and others.

Students can view the documentary in theexhibition. It is also screened on a continuousloop in the Kings Cinema on level 3 from10.00 am – 1.00 pm Monday to Friday.

Star Wars: The Magic of Myth audio-guide

A fascinating audio-guide accompanies theexhibition and gives students a behind-the-scenes look at the making of the Star Warsfilms. James Earl Jones (the voice of DarthVader) guides visitors through the exhibitionproviding further insight into how GeorgeLucas created and developed the charactersand scenes in his films. Listeners are privy toexclusive commentary by producer RickMcCullum, artist Ralph McQuarrie and sounddesign director Ben Burtt. One audio tour pertwo students (with two headsets) is includedin the student admission price.

Accompanying the exhibition


companion book

The exhibition reveals classical mythologythemes and motifs that are woventhroughout the saga. In the companion bookto Star Wars: The Magic of Myth (Bantam,1997), author and exhibition curator MaryHenderson carries these comparisons to evengreater levels and provides compellingillustrations that demonstrate the technicaland philosophical influences of mythology inthe Star Wars saga. Swords, sorcery andchivalry combine with space flight, laserweapons, and droids. The book is availablein the exhibition and the PowerhouseMuseum shop.

Photography

Students may take photographs throughout the exhibition (cameras only; noflash, no tripods, please). Don’t miss this one-of-a-kind opportunity!

Yoda, Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 7

Exhibition map

1

2

3

4

5

6

7

IA

IA

IAKnowledge

Portal

IA

AV

AV

AV

AV

AV

1. Introduction

2. A New Hope

3. Empire Strikes Back

4. Return of the Jedi

5. The Phantom Menace

6. Attack of the Clones

7. Theatrette

8. Shop

AV Audiovisuals

IA Interactives

entrance

�

exit�

8

audio-guidecollection point

audio-guidereturns

�

TEACHERS NOTES 8

Joseph Campbell, one of the world’sforemost students and scholars ofmythology, studied thousands of myths fromaround the world and discovered that themajority of them shared many commoncharacteristics. In fact, he saw all the storiesas variations of one overall tale, which henamed the ‘monomyth’. The subject of thehero is no exception. While the heroes ofvarious cultures may be defined as heroic fordifferent reasons, nearly each one fits thestages of the hero journey as developed byCampbell.

According to Campbell’s book The hero witha thousand faces (1949:245–246) we cansummarise the hero’s journey into three mainstages.

Departure

‘The mythological hero, setting forth from hiscommon day hut or castle, is lured, carriedaway, or else voluntarily proceeds, to thethreshold of adventure. There he encountersa shadow presence that guards the passage.The hero may defeat or conciliate this powerand go alive into the kingdom of the dark(brother-battle, dragon-battle; offering,charm), or be slain by the opponent anddescend in death (dismemberment,crucifixion).’

Initiation

‘Beyond the threshold, then, the herojourneys through a world of unfamiliar yetstrangely intimate forces, some of whichseverely threaten him (tests), some of whichgive magical aid (helpers). When he arrivesat the nadir of the mythological round, heundergoes a supreme ordeal and gains hisreward. The triumph may be represented asthe hero’s sexual union with the goddess-

Joseph Campbell and the hero’s journey

mother of the world (sacred marriage), hisrecognition by the father-creator (fatheratonement), his own divinisation(apotheosis), or again — if the powers haveremained unfriendly to him — his theft of theboon he came to gain (bride-theft, fire-theft);intrinsically it is an expansion ofconsciousness and therewith of being(illumination, transfiguration, freedom).’

Return

‘The final work is that of the return. If thepowers have blessed the hero, he now setsforth under their protection (emissary); if not,he flees and is pursued (transformation flight,obstacle flight). At the return threshold thetranscendental powers must remain behind;the hero re-emerges from the kingdom ofdread (return, resurrection). The boon that hebrings restores the world (elixir).’

In the exhibition Star Wars: The Magic ofMyth the hero’s journey of Luke Skywalkeris followed. Each film in the original trilogycan be considered as corresponding to eachof the stages above: A New Hope withDeparture, The Empire Strikes Back withInitiation and Return of the Jedi with Return.These teachers notes detail the journey moreclosely. The Phantom Menace and Attack ofthe Clones begin to follow the journey ofother characters such as Anakin Skywalkerand Padmé Amidala.

TEACHERS NOTES 9

Costumes and characters

• Imperial stormtrooper; white gown wornby Princess Leia; droids C-3PO and R2-D2.

Production props and models

• Imperial Star Destroyer; Rebel blockaderunner escape pod; Interrogator droid.

Artworks

• Storyboards: concepts for opening scenesof Star Wars.

• Concept drawings: Princess Leia; ImperialStormtrooper; C-3PO and R2-D2.

• Costume designs: Luke Starkiller (Skywalker)with Aunt Beru and Uncle Owen Lars.

• Concept paintings: C-3P0 and R2-D2 arriveon Tatooine; sandcrawler.

Audiovisuals

• Imperial Star Destroyer Pursues RebelEscape PodAllow: 1.30 minutes.

Interactives

• Star Wars HolocronDescription: contains information aboutthe mythological, cultural and filmicconnections to the Star Wars universe.Allow: 10 minutes.Best for: 10+ years.

A NEW HOPE

The call to adventure

In mythology, the hero's journey beginswith the ‘call to adventure’. Destiny'sherald is usually someone or somethingfairly ordinary — a frog, a deer in theforest, or, in this case, a humble droid— that carries an important message forthe one who is prepared to receive it.

As the Star Wars story begins, a battlein space rages between the evil powersof darkness (the Galactic Empire) andthe forces of good (the Rebel Alliance).Princess Leia sends a plea for help toJedi Knight Obi-Wan (Ben) Kenobi onthe planet of Tatooine. The hand of Fate,in the form of Jawa traders, brings hermessage to Luke Skywalker, a youngfarmboy. When Luke sees the messagehologram, he is drawn into a quest torescue the Princess and ultimately tosave the galaxy.

C-3PO, concept drawing by Ralph McQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 10


• Obi-Wan (Ben) Kenobi; Tusken Raider;Jawa & Blaster.

Artworks

• Concept drawings: Tusken Raiders near theshores of the Dune Sea; Obi-Wan Kenobiand Luke.

• Airbrushed photos: Luke receives hisfather’s lightsaber; Ben retrieves thehologram message.

The wise and helpful guide

A hero first must encounter ‘thresholdguardians’, beings who block the wayto the adventure. Luke faces thresholdguardians when he is attacked by theTusken Raiders. He is rescued by Ben.

Often, the inexperienced hero finds thathe cannot proceed without supernaturalaid, in the form of a ‘wise and helpfulguide’ who provides advice andamulets to further the quest. Ben servesas such a guide and gives Luke a specialtoken: a lightsaber that once belongedto Luke's father.

Ben also interprets the Princess'message and tells Luke about thespiritual power known as the Force.Luke resists the call to adventure, butwhen he finds his home burned and hisfamily killed, he joins Ben on thejourney to Mos Eisley spaceport toobtain transportation to the planetAlderaan, the home of Princess Leia.

A NEW HOPE

Obi-Wan (Ben) Kenobi, photograph by Eric Long andMark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 11


• Han Solo; Chewbacca.


• Jedi training remote.

Artworks

• Production paintings: Mos Eisley; Cantinascene.

The threshold

The hero must leave his familiar lifebehind to begin a journey fromchildhood to adulthood and to a life-transformation. The Mos Eisleyspaceport is Luke's threshold to theadventure. Here he encounters danger,but he also finds a hero-partner in theform of Han Solo, a pirate andsmuggler. Han's faithful first mate is theenormous Wookiee, Chewbacca.Helpful animals often appear in mythsand fairytales, symbolising the powerof the hero's instinctive nature.

As they travel from Tatooine toAlderaan in the Millennium Falcon, Benbegins to train Luke in the ways of theForce.

A NEW HOPE

Chewbacca, photograph by Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 12


• Imperial Officer’s uniform; Imperial TIEfighter pilot.


• Darth Vader’s TIE Fighter; Imperial TIEfighter; mouse droid.

Into the labyrinth

A labyrinth has always symbolised adifficult journey into the unknown, andin one way or another it is oftenincorporated into tales of the hero'sjourney.

When the heroes arrive in the vicinityof Alderaan, they find that the planethas been destroyed by the Death Star,a gigantic Imperial space station. TheDeath Star is a technological labyrinth:a maze of hallways, passages, deadends, and bottomless trenches.

Like traditional knights, Han and Lukedon armour to accomplish their firsthero deed: the ‘princess rescue’.

A NEW HOPE

Imperial TIE fighter pilot, photograph by Eric Long andMark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 13


• Luke Skywalker X-wing pilot.


• Rebel Y-wing fighter; Rebel X-wingstarfighter.

Hero deeds

The next step in the hero quest is achallenge to mortal combat. The heroesexperienced an initial rite of passage inthe Death Star and accomplished the‘princess rescue’. Now Leia leads Hanand Luke to the Rebel base to plan anattack on the Death Star. Luke joins thefighter pilots of the Rebellion. As heputs on his uniform, he casts aside hisyouthful identity and assumes a newrole: that of a heroic pilot, ready tosacrifice his life for his cause.

In the end, good triumphs over evil andthe heroes are recognised for theirdeeds of valour. This moment is the endof one adventure, but it also representsthe start of the next stage: furtherinitiation on the ‘road of trials’.

A NEW HOPE

Rebel X-wing starfighter, photograph by Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 14


• Luke Skywalker’s Hoth gear and lightsaber;Imperial snowtrooper; wampa ice creature.


• Tauntaun; macrobinoculars; rebel sensorpack.

Artworks

• Storyboards: Luke escapes the wampa’scave; Luke sees vision of Ben and is rescuedby Han.

• Concept drawings: scale of Hothcharacters; scale of Imperial Walker(AT-AT).

• Production paintings: Snowspeederpasses a cable under the nose of an AT-AT;Wounded rebels retreat to the trench.

The dark road of trials

Midway through the hero's journeycomes a long and perilous path of trials,tests, and ordeals that bring importantmoments of illumination andunderstanding. Again and again alongthe way, monsters must be slain andbarriers must be passed. Ultimately thehero must undertake the fearful journeyof the descent into darkness.

Although the Death Star has beendestroyed, the powers of darkness havenot been conquered. The Empire haspursued the Rebels to the ice planet ofHoth, where the heroes face newdangers from predatory creatures andthe harsh climate and are forced to fleeduring an Imperial attack.

Luke Skywalker’s Hoth gear, photograph by Eric Longand Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

EMPIRE STRIKES BACK

TEACHERS NOTES 15


• Millennium Falcon.

Artworks

• Storyboards: the falcon escapes theImperial Star Destroyers; TIE fighters.

• Concept drawings: Vader’s meditationchamber; early concepts for Vader’s castle;the Emperor appears to Vader.

Into the belly of the beast

One particular mythic motif is the‘swallowing up’ of the hero by a largemonster. This represents the entry intoa mystical world where transformationsoccur, and the eventual escaperepresents a spiritual rebirth.

Han and Leia are pursued by ImperialStar Destroyers and TIE fighters as theyleave Hoth. To escape, Han flies theMillennium Falcon into an asteroid‘cave’, which turns out to be the mouthof a huge space slug. Here Han and Leiaat last open their hearts to love.

Vader also undergoes a change at thispoint, when he emerges from an egg-like meditation chamber. The Emperorappears to him through a holographicmessage, and Vader is revealed as aslave to the evil forces of the Empire,rather than as their master.

EMPIRE STRIKES BACK

Millennium Falcon, photograph by Eric Long and MarkAvino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 16


• Yoda.

Artworks

• Storyboards: Luke persuades Yoda to takehim as a pupil.

• Concept drawings: Yoda.

Audiovisuals

• Luke and Yoda in Dagobah SwampAllow: 3.20 minutes.

EMPIRE STRIKES BACK

Yoda, concept artwork by Ralph McQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 2002 by LucasfilmLtd. All rights reserved.

The sacred grove

The ‘sacred grove’ is another mythicmotif; it represents an enclosure wherethe hero is changed. Ancient peopleswidely believed the tree to be infusedwith creative energy. Forests came tosymbolise mystery and transformationand they were home to sorcerers andenchanters.

When Luke leaves Hoth, he travels tothe planet Dagobah to undergo trainingwith the Jedi Master, Yoda. Thehallmark of Dagobah is its large, oddlyshaped trees.

Forests can also symbolise theunconscious mind, where there aresecrets to be discovered and perhapsdark emotions or memories to be faced.In this forest, Luke battles an image ofVader, prefiguring his combat with theDark Lord later in the story.

Interactives

• Force LevitationDescription: Yoda’s training challenge to‘control the force’ to lift Luke Skywalker’sX-wing Fighter out of the Dagobah swamp.Allow: 5 minutes.Best for: 6+ years.

TEACHERS NOTES 17


• Lando Calrissian; Boba Fett.


• Slave I; Bespin Twin Pod Cloud car.

Artworks

• Concept drawing: Bespin Twin Pod Cloudcars.

• Painting: Bounty Hunters in Cloud City.

EMPIRE STRIKES BACK

Sacrifices

The opening of the mind and heart tospiritual knowledge requires a sacrificefrom the hero. At this difficult anddangerous place on the hero path, Hanand Luke both reaffirm the meaning andimportance of their lives by theirwillingness to sacrifice themselves.

The danger of illusion is symbolised byCloud City above the planet Bespin. Atfirst, the city appears transcendent as itfloats among the clouds, but it has adark underside that becomes a crucibleof pain and betrayal for the heroes.

Vader follows the Millennium Falcon toBespin and then lures Luke there toentrap him. Han is captured, put intohibernation in the carbon freezechamber, and taken away by bountyhunter Boba Fett to be delivered toHan's former employer, Jabba the Hutt.Han's friend, Lando Calrissian, whobetrayed Han to Vader, will undergo alife change and begin his own herojourney.

Boba Fett, photograph by Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 18

Artworks

• Production paintings: Luke and Vader duelin carbon-freezing chamber; Luke climbsout onto gantry vane over reactor shaft;Luke hangs from an antenna on theunderside of Cloud City.

Luke hangs from an antenna on the underside of Cloud City, production painting by Ralph McQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by Lucasfilm Ltd. All rights reserved.

EMPIRE STRIKES BACK

The path to atonement

The hero's journey sometimes includesa ‘father quest’. After many trials andordeals, the hero finds his father andbecomes ‘at-one’ with him. Thisprocess is called ‘atonement’.

Luke has tried to follow in his father'sfootsteps as a heroic pilot and JediKnight. The dark, unknown side of hisfather, and of himself, is now unveiledas Luke confronts Vader in the darkbyways of Cloud City. Vader reveals toLuke that he is his father. Luke realisesthat he must sacrifice himself, ratherthan become a tool of evil like Vader.

Leia rescues Luke as he falls from theunderside of Cloud City, and whenVader calls to Luke through the Force,Luke acknowledges him as ‘Father’—they have begun to move towardreconciliation. Luke has recognised thedark side of himself as part of hisdestiny, and Darth Vader has begun hisown journey toward transformation.

TEACHERS NOTES 19


• Lando disguised as skiff guard; Princess Leiaas Boushh the Bounty Hunter with thermaldetonator; Lyn Me; Rystall; Princess Leiaslave girl; Jabba the Hutt; Salacious BCrumb; Rappertunie; Worrt, Road Creature;Weequay (Quee Quay); Klaatu (Wooof).


• Han Solo in carbonite.

Artworks

• Concept drawings: Ishi Tib; GamorreanGuard; Luke confronts Jabba; B’omarrMonk with spider droid.

• Storyboard: Leia releases Han from thecarbonite.

• Production painting: Luke confronts therancor; Luke walks the plank over the GreatPit of Carkoon.

• Costume design: Princess Leia.

The hero's return

The ‘hero's return’ marks the end of the‘road of trials’. The hero must returnfrom his adventures with the means tobenefit his society. Luke comes hometo Tatooine to rescue Han from Jabbathe Hutt. This is not an easy transitionfor Luke; his new-found abilities as aJedi Knight are doubted by friend andfoe alike.

As the story continues, all the charactersundergo changes: Han is resurrectedfrom his carbonite tomb, Lando makesup for his betrayal of Han by helping torescue him, and Leia assures the endof Jabba's reign of tyranny bydestroying him herself.

RETURN OF THE JEDI

Princess Leia slave girl costume, photograph by EricLong and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 20


• Imperial royal guard; Admiral Ackbar.


• Imperial Shuttle Tydirium; Mon CalamariTransport.

Artworks

• Storyboards: Vader and Luke meet againas the shuttle travels to Endor.

• Concept drawings: Mon Mothma.• Concept paintings: Death Star under

construction; early concept for an ImperialCity; early concept for a Rebel headquartersin the Grasslands.

• Costume designs: imperial dignitary; royalguard.

RETURN OF THE JEDI

The shadow rises

The heroes are not the only ones whocan undergo change and rebirth. Theforces of evil can also recoup theirpower and grow with new strength.While the Rebels continue to struggleagainst Imperial tyranny, the Empire isconstructing a new Death Star. A finalconfrontation must now take place. Theforces of good, represented by MonMothma, leader of the Rebel Alliance,and those of evil, led by the Emperor,regroup to plan their strategies. Lukediscovers that Leia, who has guided andsupported him throughout his journey,is his twin sister. In many ways sherepresents his positive ‘anima’, thepersonification of the feminine aspectsof his psyche. He also finds that he mustconfront Vader again. Yet when theymake mind-to-mind contact through theForce, Vader appears uncertain ratherthan aggressive — a sign that he isbeginning a transformation.

Early concept for an Imperial City, concept painting by Ralph McQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 21


• Rebel foot soldier; biker scout; Wicket theEwok.


• Ewok with hang glider prototype; Imperialspeeder bike.

Artworks

• Storyboards: the rebels attack the DeathStar Shield Generator on Endor.

RETURN OF THE JEDI

The enchanted forest

The inhabitants of an ‘enchanted forest’can be both dangerous and helpful. Thehero must know the right magic toevoke their protective powers. Lukewins the help of the Ewoks, the smallfurry inhabitants of the forest moon ofEndor.

The Ewoks prove that heroes can comein any size or shape. They battle thehigh technology of the Empire withlogs, stones, and vines. Their lush greenenvironment and harmony with naturemake a warm contrast to the cold,austere technology of the Empire. TheEwoks help the Rebels deactivate theDeath Star's energy shield generator, soLando can fly into the Death Star andbomb the reactor core.

Meanwhile, Luke realises that he mustset out on a different path from hisfriends to attempt to reach that part ofVader that is still his father and to turnhim back from the dark side.

Ewok concept drawing by Joe Johnston.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

• Concept drawings: Ewoks battle Imperialtroops; Chicken Walker (AT-ST); Ewok hangglider; Ewoks and Wokling; Ewok village;Ewok village (Chief’s hut interior); Imperialspeeder bike; Luke and Leia on speederbike.

• Production paintings: Threepio carriedby Ewoks; Ewoks attack a chicken walker(AT-ST).

• Costume designs: Rebel foot soldiers,Imperial biker scout.

TEACHERS NOTES 22


• Rebel B-wing fighter; Imperial TIEinterceptor; Imperial TIE bomber.

Artworks

• Storyboards: Lando and Wedge destroy theDeath Star.

• Production paintings: Rebel cruisers inbattle at Death Star; B-wing fighters blowup Star Destroyer; Falcon and X-wing shootthe Death Star main reactor.

• Costume designs: Rebel pilot.

RETURN OF THE JEDI

The heart of darkness

The heroes must at last enter the ‘heartof darkness’, the fortress of evil itself,to destroy its stronghold.

When Han and Leia finally destroy theenergy shield generator, Lando andWedge fly into the Death Star to fire onthe reactor core at the centre of thespace station. While conflict ragesaround the Death Star, Luke struggleswith the dark forces within the DeathStar, where he is undergoing a spiritualconflict in his battle of wills with theEmperor.

Falcon and X-wing shoot the Death Star main reactor, production painting by Ralph McQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 23


• Luke Skywalker and lightsaber; TheEmperor Palpatine; Darth Vader andlightsaber.


• Vader’s helmet (interior).

Artworks

• Storyboards: Luke wounds Vader; Vaderdestroys the Emperor; Luke pulls Vaderback from the precipice.

• Concept drawings: Darth Vader.• Concept paintings: early concepts for the

Emperor’s throne room in a lava lake.• Production paintings: Luke and Vader duel

in the Emperor’s throne room; the Emperorzaps Luke.

Audiovisuals

• Darth, Luke and the Emperor BattleAllow: 2.40 minutes.

RETURN OF THE JEDI

The final victory

The destruction of evil is not alwaysaccomplished by sheer physical forceor cunning. There is always hope thatthose who have given themselves to theforces of darkness can be redeemed. Inhis confrontation with Vader and theEmperor, Luke wins not through hiswarrior skills, but through an appeal tohis father's heart. It is Vader who slaysthe Emperor to save his son.

Masks are frequently part of mythicritual and Darth Vader's mask is part ofhis demonic persona. When he asksLuke to unmask him it representsVader's release from the imprisonmentof his role, a release that comes for himonly at the moment of death. Yet thisgesture is also an affirmation of life, thefinal opening up of father to son.

As the Rebels and Ewoks celebrate theirvictory over the Empire, Luke burns hisfather's armour on a funeral pyre. Thespirit of Luke's father, Anakin Skywalker,joins the spirits of Ben and Yoda. Lukehas achieved the final triumph of themythic hero's journey — he has broughtback from his adventures the means forthe regeneration of his society.

Humanity has triumphed over arepressive, monolithic system, andLuke, through his hero's journey, hasopened his heart to compassion andsucceeded in following a spiritual pathbetween light and dark, good and evil.

The Emperor Palpatine, photograph by Eric Long andMark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 24

Journey's end

As the Rebels and Ewoks celebrate thedestruction of the Death Star and theirvictory over the Empire, Luke burns hisfather's armour on a funeral pyre. Thespirit of Luke's father, Anakin Skywalker,joins the spirits of Ben and Yoda. Lukehas achieved the final triumph of themythic hero's journey — he has broughtback from his adventures the means forthe regeneration of his society.

In the end, humanity has triumphed overa repressive, monolithic system, andLuke, through his hero's journey, hasopened his heart to compassion andsucceeded in following a spiritual pathbetween light and dark, good and evil.

RETURN OF THE JEDI

Luke and Vader duel in the Emperor’s throne room;The Emperor zaps Luke, production paintings by RalphMcQuarrie.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

* Please note: this panel is not in theexhibition.

TEACHERS NOTES 25


• Anakin Skywalker podrace costume.


• Anakin’s podracer.

Artworks

• Concept drawings: podrace startline;podrace arena; Watto’s Shop (interior)Watto the Dealer; Sebulba’s podracer;Anakin’s podracer; Aldar Beedo’s podracer.

• Painting: podrace crash.

PHANTOM MENACE

An epic saga

Star Wars follows the heroic journeysof several characters: Luke, Han, Leiaand even Darth Vader. At the end ofReturn of the Jedi, Vader shows that hetoo is a hero, when he saves Luke anddestroys the Emperor. The beginning ofVader's own ‘hero's journey’ is revealedin The Phantom Menace, when QueenAmidala arrives on the planet Tatooine,and a young Anakin Skywalker, thefuture Darth Vader, receives his own‘call to adventure’. During the Podraceand his first efforts to save Amidala andher people, Anakin proves himselfthrough his deeds. The early part of hisjourney begins full of hope andpromise, but he has the potential tofollow the dark side of the Force.

Star Wars is ultimately a story of afather, mother, son and daughter andthus follows the pattern of an epic saga,a mythic tale that spans thegenerations. The choices, actions andmisfortunes of the parents create adestiny that their children must laterfulfil. Events in the lives of the parentsare often echoed in those of thechildren, and so Anakin's and Luke'sstories begin in the same way, with adamsel in distress and a call to action.

Anakin Skywalker, podrace costume, photograph byGary Mortensen for the exhibition Star Wars: TheMagic of Myth.Star Wars™ and © 2000 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 26


• Darth Maul and lightsaber.

Artworks

• Concept drawings: Darth Maul, earlyconcept; Darth Maul.

PHANTOM MENACE

Servant of darkness

The treacherous Sith lord sends hisapprentice, Darth Maul, to find QueenAmidala when she escapes the TradeFederation blockade surroundingNaboo. Darth Maul unsuccessfullyattacks Jedi knight Qui-Gon as theQueen’s ship leaves Tatooine, and laterthe two meet in combat during thebattle for Naboo. Qui-Gon is killed byDarth Maul, who in turn is destroyedby Obi-Wan.

While the conflict appears to centrearound Queen Amidala, it is really partof the ongoing battle between two rivalforces in the cosmos, the spirit of lightand the spirit of darkness. The ritualisedcombat between these powers is atradition that dates back to the earliestmythic stories. In the best-knownvariant, reflected in the Star Wars saga,the powers of darkness rebel againstthe established order, and humanitymust take sides in the struggle. Qui-Gonis the representative of goodness andcompassion, while Darth Maul issymbolic of violent destruction and thedark forces of evil. Death and evil areclosely associated in mythology, andMaul is the death-demon, in the serviceof a dark tyrant who will conquer thegalaxy and drain its life energy. With themutual destruction of Qui-Gon andDarth Maul, the battle is non-conclusiveand will be engaged again. The Sith lordwill find another apprentice; the heroeswill find their greatest triumph inturning death from a defeat into avictory and reasserting the forces oflight.

Darth Maul, concept drawing by Iain McCaig.Star Wars: The Magic of Myth, Star Wars™ and © 2002 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 27


• Queen Amidala Senate Gown; QueenAmidala’s handmaidens.

Artworks

• Concept drawings: Queen Amidala;Amidala’s End Parade costume; QueenAmidala’s headdress and hair designs.

PHANTOM MENACE

Ruler of wisdom

Queen Amidala is the young, electedruler of Naboo. When her people arethreatened by the Trade Federation, sheleaves her home world to seek theassistance of the Galactic Senate. Herrequest is rejected, and Queen Amidalareturns home to convince the nativeGungan, who share the planet, to helpher save her kingdom.

‘Nabu’ was the ancient Babylonian godof wisdom, so as Queen of Naboo,Amidala is the ‘ruler’ of wisdom.Enthroned amidst her Councillors andhandmaidens, she is a politician andstatesperson, using her clear perceptionto govern wisely.

However, Amidala’s elaborate gowns,mask-like makeup and serene dignityalso give her a remote quality andconceal the other aspects of hercharacter. When she pleads with theGungan leaders, Amidala reveals thatshe sometimes disguises herself asPadmé, while one of her handmaidenspretends to be the Queen. As Padmé,Amidala is touchingly young andsometimes naïve, while at the same timeshe can be a young woman of decisiveaction, as shown when she creates andexecutes the plan to retake Naboo.

In these abilities — to hide in plain sight,project an illusion of herself, and yetreveal her true nature as well —Amidala embodies the mystical force ofmaya. This is the power both to concealand reveal truth at the same time andis particularly associated with mythicgoddesses.

Queen Amidala, Smithsonian photo by Eric Long.Star Wars: The Magic of Myth, Star Wars™ and © 2002 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 28


• Zam Wesell.


• Airspeeder driven by Anakin; Zam Wesell’sairspeeder; Assassin droid.

Artworks

• Concept drawings: Anakin’s speeder;Coruscant speeder (Zam Wesell); Obi-Wan’s Starfighter.

Audiovisuals

• Aerial chase of the bounty hunterAllow: 4 minutes.

ATTACK OF THE CLONES

Attack of the Clones:

made in Australia

‘We have long been interested inworking in Australia with its incrediblepool of talent. We now have thatopportunity at the wonderful facilitiesof Fox Studios Australia … They havebeen instrumental in our decision toshoot here.’ *

The announcement that Sydney wouldhost the production of Star Wars:Episode II Attack of the Clones, and alsoEpisode III, gave the Australian filmindustry an important opportunity toparticipate in the development of theStar Wars saga. The original Star Warstrilogy, together with Episode I, wasfilmed largely in the United Kingdom.

Principal photography took place inSydney between June and August 2000,with Australian film crews andproduction staff helping to turn GeorgeLucas’ vision for Episode II into reality.Australasian acting talent was alsohighlighted in the film, with manyAustralian and New Zealand actors,such as Jack Thompson and TemueraMorrison, in supporting roles.

* Rick McCallum, Star Wars producer, 1998

Airspeeder driven by Anakin Skywalker.Powerhouse Museum, Sydney, photograph by Jean-FrançoisLanzarone. Star Wars: The Magic of Myth, Star Wars™ and © 2002 byLucasfilm Ltd. All rights reserved.

TEACHERS NOTES 29


• Young Jedi initiates with training helmets.


• Jedi Temple Library sculptures: Yoda; Ki-Adi-Mundi; Saesee Tiin; Count Dooku.

Artworks

• Digital concept painting: Jedi temple.• Digital concept drawing: Palpatine costume

concept.• Concept drawing: Palpatine’s desk.

Interactives

• Light Saber ArchiveThe light sabers displayed here are replicasof those lost in battle between famous Jediheroes and Sith villains. As studentsapproach each light saber the glowingbeams strike and they will witness thebattles between the ‘Light’ and ‘Dark’ inwhich they were used last.Best for: 8+ years.

The gathering darkness

The once-bright Republic has becomestained with a growing darkness. Crimeand corruption thrive and assassinationsare an easy solution to controversy. Evenwithin the ranks of the Jedi, the Dark sideis at work. Obi-Wan discovers tamperingin the Archives Library, in the very heartof the Jedi Temple. Little does he realise,looking at the bust of Count Dooku, thatthe power of the Force has beencorrupted.

In this environment, Anakin Skywalkerstruggles with the rigorous self-discipline required by the Jedi. He oftenuses his phenomenal powers in anemotional way, whether he is pilotingan Airspeeder, revenging the death ofhis mother, or falling in love with PadméAmidala.

The most important task of the hero isto make the right choice. Heroes mustput aside their pride, feelings andpersonal life, using their powers to seekjustice rather than dominance, fightingbecause they must, not because theyare consumed by revenge. As Anakindiscovers, this is no easy task and he isrepeatedly tempted to use the Force forhis personal ends.

Like Yoda’s young, innocent Jeditrainees, Anakin possesses the creativeand redemptive force that is hiddenwithin us all. His struggle will be to bringthese life-potentialities successfully intoadult realisation.


Young Jedi in training use remotes to hone theirlightsaber skills.Star Wars Episode II Attack of the Clones © 2002 Lucasfilm Ltd andStar Wars™. All rights reserved. Used under authorisation.

TEACHERS NOTES 30


• Padmé Amidala battle costume; AnakinSkywalker; Jedi Padawan costume.


• Geonosisian execution cart.

Artworks

• Concept paintings: Kamino; Tipoca City;Slave 1 landing platform; Republic attackgunships; solar sailcraft hangar.

• Concept drawings: Jango Fett;Stormtrooper concept.

• Digital concept paintings: GeonosisExecution Arena; Clone War end battle.

Audiovisuals

• The arena on GeonosisAllow: 4 minutes.

A forbidden bond

When Padmé Amidala and AnakinSkywalker travel to Naboo, the journeybecomes a spiritual transition as theybegin to open their hearts to oneanother.

This spiritual, romantic love betweentwo individuals was celebrated inmedieval European myth as ‘Amour’.In the 12th century, Amour wasconsidered a revolutionary concept, asmarriages were arranged for social orpolitical reasons and spirituality wasassociated exclusively with religion.Individuality was subject to strictlimitations within the concepts of moralobligation and adherence to an ethicalcode.

Anakin and Padmé have likewisededicated themselves to duty andhonour at the expense of their personallives. Part of Anakin’s Jedi trainingrequires him to distance himself fromrelationships; Padmé is a leader of herpeople and resolutely focused onserving them. Yet his passion and hercompassion break down these barriers,and allow love to attain their hearts.

However, Amour also opens the heartto suffering, as illustrated in medievalmyths such as those of Lancelot andGuinevere, Tristan and Isolde, andRomeo and Juliet. Like those lovers,Anakin and Padmé must pay a heavyprice for choosing to value love insteadof duty and social obligation.


Geonosis Execution Arena, digital concept painting byErik Tiemems.Star Wars: The Magic of Myth, Star Wars™ and © 2002 by LucasfilmLtd. All rights reserved.

TEACHERS NOTES 31


• Jedi Archives Library analysis desk andchair.

This section of the exhibition contains avariety of interactives for students to explorethe various aspects of the Star Wars saga.

Star Wars dress ups

• Description: try on a variety of masks andcostumes of various Star Wars characters.

• Allow: 10 minutes.• Best for: 4+ years.• Note: not available at all times.

Knowledge Portal

When Obi-Wan Kenobi wanted to findout about the mysterious planetKamino, he turned to the Jedi Archivesfor information. This containedpossibly the single largest source ofinformation in the galaxy, with vastamounts of data stored electronicallyand holographically.

To search the vast library database, Obi-Wan used a research desk, which allowsaccess to the archives’ holdings.Despite the assurance of the Archivist,Madame Jocasta Nu, that the archiveswere complete and secure, Obi-Wancould find no information about theplanet.

This desk and chair were used duringthe filming of Star Wars: Episode II inSydney.

Obi-Wan Kenobi sitting at the library analysis desk in the Jedi Archives.Star Wars Episode II Attack of the Clones © 2002 Lucasfilm Ltd and Star Wars™. All rights reserved. Used under authorisation.

TEACHERS NOTES 32

Darth Vader, photograph by Eric Long and Mark Avino.Star Wars: The Magic of Myth, Star Wars™ and © 1997 by LucasfilmLtd. All rights reserved.

Interactives in the ‘Knowledge Portal’

• Darth Vader’s MaskTurn to the Dark side. Put your face up tothe mask and see yourself as Darth Vader.If you dare, speak the words of the Sith Lordthrough the mouth piece. A voicesynthesiser inside the mask creates theeffect of Darth Vader’s voice. Soundsamples and ‘Darth Vader breathing’ helpto turn you into a Sith Lord!Allow: 5 minutes.Best for: 6+ years.

• Making MagicA behind-the-scenes look at the making ofthe Star Wars Trilogy Special Edition. Itfeatures never before seen images andinterviews with George Lucas and the teamat Industrial Light & Magic. Use the leftmouse button to select and the right buttonto exit a movie sequence.Allow: 10 minutes.Best for: 10+ years.

• The Phantom MenaceUse the push button controls to explore themaking of The Phantom Menace, itsdesign, costumes, and visual effects.Discover documentaries, deleted scenes,storyboards and multi-angle animatics.Allow: 10 minutes.Best for: 10+ years.

• Star Wars: pit droidsWatto’s pit droids must get to the podraces,they need your help. Use the controlconsole and the tiles within the game toguide them through challenging mazes andpuzzles as you race through treacherousenvironments.Allow: 10 minutes.Best for: 8+ years.

• Padawan training modules.The following activities from the Arenasection of the Star Wars Kids website havebeen adapted for use with this exhibition:– Carbon connection– Garbage masher– Force flight.Allow: 10 minutes.Best for: 8+ years.

• Jedi StarfighterDo you have the skills of a Jedi pilot? Usethe controls to pilot the craft and help theRepublic’s cause. Training missions are agood place to begin for the novice pilot.Allow: 10 minutes.Best for: 10+ years.

TEACHERS NOTES 33

The internet is a wonderful resource forstudents to explore the Star Wars universe.The following websites are good startingpoints for students to begin their onlinejourney.

Star Wars: The Official Site

http://www.starwars.comLucasfilm’s official home on the web, features5000 pages of information and media,including daily news, related fiction such ascomics and books, movie trailers and morethan a dozen exclusive web documentaryvideos about the making of the films.

Star Wars kids

http://www.starwarskids.comThe purpose of this site is to provide childrenwith a fun, interactive opportunity to learnmore about the Star Wars saga. The siteleverages the many themes of the saga —leadership, courage, family — to enrich kids’enjoyment of the movies, to help them betterunderstand the movie-making process, andto help them see that a story set in outerspace can actually apply to their own lives.

Online resources

Star Wars: The Magic of Myth exhibition

http://www.nasm.si.edu/StarWars/Explore the exhibition as it appeared at theNational Air and Space Museum inWashington DC. Students can hear audioclips from the interactive audio tour narratedby James Earl Jones and take a closer lookat artefacts and artworks.

Make a hero

http://www.lucaslearning.com/jsv/teachers/index.htmlLucas Learning, Ltd, celebrates heroes andheroines in Star Wars: The Magic of Myth,with this exciting online activity. Try ‘Make-a-Hero’, a multidisciplinary tool designed tosupport a variety of classroom activitiesacross the curriculum. Students can createtheir own heroes and heroines using mythicalcharacters from across cultures, times andplaces, and print them out to use in a varietyof curricular formats.

Please note

These websites were available and suitable at the timeof publication. We advise that teachers should checksites before recommending them to students.

Podrace crash, concept artwork by Doug Chiang.Star Wars: The Magic of Myth, Star Wars™ and © 1999 by Lucasfilm Ltd. All rights reserved.

TEACHERS NOTES 34


For more information or to make a booking, contact:Education and Visitor Services, Powerhouse MuseumTelephone: (02) 9217 0222Fax: (02) 9217 0441Email: [email protected]: PO Box K346, Haymarket NSW 1238

Get regular updates about Museum programsdelivered directly to your computer by joining ourlistserv. Email: [email protected]

For more information on the exhibition

Star Wars: The Magic of Myth,

visit the Powerhouse Museum’s website

http://www.phm.gov.au

Unless otherwise stated, all photographs © Powerhouse Museum.

For non-commercial educational use only. Unauthorised uses (eg duplication, sale or resale) strictly prohibited. © 2002 Lucasfilm Ltd. All rights reserved.

Documents

Star Wars: The Magic of Myth