Teacher`s Study Guide - Axis Theatre Company

Transcription

AN AXIS THEATRE COMPANY PRODUCTION
38 YEARS OF THOUGHT PROVOKING, AWARD-WINNING CREATIVITY
Artistic Director: Wayne Specht
TEACHER’S STUDY GUIDE
PLEASE COPY AND DISTRIBUTE
Written by
Louise Moon
Directed by
Wayne Specht
Associate Director
Kathryn Bracht
Set Design/Props
Heidi Wilkinson
Costume Design
Barbara Clayden
Mask Design
Mike Dangeli
Sound Design
Mike Rinaldi
First Nations Consultant
Lori Lewis
Stage Manager
Anthony Liam Kearns
Cast
Nyla Carpentier
Aaron Lau
Ella Simon
Thank you to our funders & supporters:
We acknowledge the financial assistance of the Province of British Columbia.
Axis Theatre Company
1405 Anderson Street, 2nd Floor
Vancouver, B.C.
Canada V6H 3R5
tel 604.669.0631
fax 604.669.0635
email: tours@axistheatre.com
www.axistheatre.com
ABOUT AXIS
Over thirty-eight years of thought
provoking, award-winning creativity have
earned Axis Theatre Company a rightful
place on the world stage of modern
dramatization. Recognized as one of British
Columbia’s cultural institutions, Axis has
produced over 55 original works and has
captured the hearts and minds of audiences
the world over.
Axis Theatre Company
Wayne Specht
Artistic Director
Daune Campbell
General Manager
Marie Farsi
Tour Coordinator
Grant Tufts
Systems Manager
Axis Theatre Company is a member of The Greater Vancouver
Professional Theatre Alliance, Alliance for Arts and Culture, Arts
in Education Council of BC, BC Touring Council, Canadian
Council of the Arts, Vantage Point Vancouver, the Professional
Association of Canadian Theatres, International Performing Arts
for Youth and The Granville Island Business & Community
Association. Axis Theatre Company engages, under the terms of
the Canadian Theatre Agreement, professional artists who are
members of the Canadian Actors’ Equity Association.
SYNOPSIS
J.J., at age eleven, dreams of finding hidden
treasure. But until she’s old enough to search
for lost mines and sunken ships, she’ll have
to settle for exploring local thrift stores and
yard sales! Her life is transformed when she
buys a mysterious box and inside it finds a
Raven mask wrapped in an old Chinese
opera poster. J.J. takes the mask and aged
poster to a junk shop, hoping they’re worth
something. Mr. Wheeler, the greedy junk
dealer, slyly tells her the poster is worthless
and the mask is a fake which he’s willing to
take off her hands as a favor. Suspicious, J.J.
refuses to sell and sets out on an adventure
to discover their true value.
Aiding her on this quest are the spirits of the
classic cultural icons Raven (First Nations)
and the Monkey King (Chinese), who were
released from the box when J.J. opened it.
The duo, both renowned tricksters in their
cultures, is quarrelsome with each other but
soon realize that by cooperating they have a
better chance to help J.J. and rediscover their
links to the past. During her search J.J.
uncovers the mystery of how the mask and
the poster came to be wrapped up together,
taking us on a journey ninety years into the
past, to the docks of a salmon cannery near
a First Nations village on the Pacific Coast.
Past and present, history and legend, all join
together in a rollicking tale of how our lives
are transformed by the people we meet, the
choices we make and the stories we tell.
Axis Theatre Company 3
Teacher’s Study Guide
ABOUT THE AUTHOR
Louise Moon – Playwright
Long, long ago, after graduating from UBC,
Louise co-wrote and performed in Carousel
Theatre’s cultural diversity play Fort No Fort.
She is happy to have come full circle back to
the world of Theatre for Young Audiences as
the playwright of Raven Meets the Monkey
King. Along the way, she has been the
Gemini Award-winning staff writer of
CBC’s teen consumer show Street Cents and
a freelance writer for live-action and
animated TV series such as Sesame Park,
Skinnamarink TV, Harry and his Bucket Full of
Dinosaurs, Max and Ruby and Babar and the
Adventures of Badou. Her scripts for Franny’s
Feet, Kid Vs. Kat and Zigby were nominated
for
Leo
Awards
and
Canadian
Screenwriting Awards. As a member of the
Vancouver TheatreSports League for over 25
years, she has co-created comedy formats
such as Impro-vivor, The Imprentice, CSI: BC,
and most recently Dragon’s Improv Tank. She
is excited to be working with Axis Theatre
on a project that has allowed her to explore
the Chinese side of her heritage and to learn
more about the richness of west coast First
Nations history and culture.
COMPANY BIOS
Wayne Specht – Director
Wayne is the founding Artistic Director of
Axis Theatre Company and has, over the last
38 years, performed in, written or directed
over 55 of the company’s productions.
Wayne, with Axis Theatre, has a rich history
of producing award winning shows for
audiences of all ages with a special
commitment to theatre for young audiences.
Under his leadership, Axis Theatre has
toured its innovative physical theatre the
world over. Wayne is one of the writers and
original cast members of The Number 14
and has directed the show on many
occasions. He was instrumental in
developing a new international touring
show, Flying Blind, in conjunction with
Australia’s leading acrobatic theatre
company Legs on the Wall, and directed the
Australian tour of the show in the fall of
2003. In 2005, he traveled to the Netherlands,
where he was the director for Café Diablo.
Wayne was Artistic Director of the
Vancouver International Comedy Festival
for four years and is grateful to have
received a Lifetime Career Achievement
Jessie Award in 2002.
Kathryn Bracht – Assistant Director
Kathryn is an actor, director, and teacher
who has been living in Regina,
Saskatchewan, for the past decade. Recent
directing credits include the workshop and
staged reading of Demolotics by Ryan
Griffith
(Saskatchewan
Playwright’s
Centre), Gramma by Maki Yi (hyphentheatre) and Lookingglass by Kelley Jo Burke
(The University of Regina). Acting credits
include principal roles on Corner Gas, Little
Mosque on the Prairie, and Insecurity. Kathryn
has taught acting and directing for The
University of Regina’s Theatre Department
and was thrilled to be working with Wayne
Specht and the good folks at Axis Theatre as
their Artistic Associate for the 2012/13
theatre season.
Barbara Clayden – Costume Design
Barbara Clayden has been designing
costumes in Vancouver for a very long time.
Some recent shows include King John for
Bard on the Beach and The Wizard of Oz for
Carousel Theatre. Barbara has been
nominated for numerous Jessies, and won a
few along the way. She loves imagining,
drawing and creating costumes to help an
actor become something or someone else.
And she still believes in magic...especially
the kind that happens on stage.
Mike Rinaldi – Sound Design
Michael is a Vancouver actor, writer, and
sound designer. He has had the pleasure of
working with such companies as Electric
Company Theatre, Theatre Replacement,
Touchstone, Caravan Farm, SKAM, The Arts
Club, Carousel, and The Old Trout Puppet
Workshop. Michael has a BFA from UVIC.
Heidi Wilkinson – Set Design / Props
Heidi has been a set designer, props builder,
and puppet maker for the last 18 years. You
have seen her work in most Vancouver
theatres including Bard on the Beach, (where
she’s just finished her 15th season as Head of
Props), and Carousel Theatre, (through
which she has won 3 Jessie Awards and
received 8 nominations for various set
designs). Heidi also teaches set design,
props, and scenic painting through the
technical theatre program at Capilano
University. She is thrilled to be working
with Axis Theatre on this new project, Raven
Meets the Monkey King.
Mike Dangeli – Mask Design
Mike Dangeli is of the Nisga’a, Tlingit,
Tsetsaut, and Tsimshian Nations. He
belongs to the Beaver Clan and carries the
names Goothl Ts’imilx (Heart of the Beaver
House) and Teettlien (Big Wave). Since
childhood, Mike has been training under
the leaders of his family to be the Simoget
(hereditary chief) of his clan among the
Nisga’a. His people’s traditional territory is
the Nass River Valley area of British
Columbia, which is approximately 500
miles north from Vancouver. Mike
currently lives in Vancouver, BC where he
founded the House of Culture: Art and
Carving Studio. The programs that he
organized in the House of Culture sought a
holistic approach to teaching Northwest
Coast art to urban First Nations children,
youth, and adults through classes,
workshops and seminars. Working as
primarily a commissioned based artist, the
House of Culture also functions as Mike’s
studio. Mike’s works include masks,
drums, regalia, paintings, and limited
edition silk-screened prints.
Lori Lewis – First Nation Consultant
Lori Lewis is Kwaguilth, from the We Wai
Kai Nation, Cape Mudge Village, located on
Quadra Island, BC. She is a filmmaker with
an extensive background in theatre
production and acting that includes a
BFA in Acting - Specialization from the
University of Victoria, and involvement in
Children's and First Nations Theatre. Also
an educator with a B.Ed from U.B.C., her
teaching career has had a strong focus on
First Nations Education, Special Education
and The Performing Arts. Lori Lewis has
created curriculum to promote literacy
using First Nations legends in combination
with theatrical integration to improve
literacy and comprehension among First
Nations learners. Raven Meets the Monkey
King is a powerful production that exposes a
little known part of her Coastal First Nations
history. Lori continues to fulfill longstanding professional goals and she is
honoured to act as a consultant on this
theatrical piece, which shares our Canadian
Coastal First Nations heritage.
Anthony Liam Kearns – Stage
Manager
Anthony Liam Kearns is honoured to be part
of Raven Meets the Monkey King as the Stage
Manager. Previous endeavors include
playing in an all-girl band in A...My Name is
Alice (Skycorner), getting married in the
Bollywood Wedding (South Asian Arts),
riding The Number 14 (Axis), paying his dues
with Debts (Itsazoo), loving Love/Stories
(Kinetichism), morphing into a human train
for Munscha Mia (Carousel), and delving
into the film noir world with Evelyn Strange
(Staircase Xi). Outside the theatre realm,
Anthony (or Liam, as he is also called)
particularly likes baking vegan delicacies,
getting lost in second-hand bookstores, and
partaking in 11-hour-long-dates.
CAST
Nyla Carpentier – Raven
Nyla is of Tahltan, Kaska, French and
Scottish decent. Originally from Ottawa,
Ontario she originally moved to Vancouver
to pursue her career in the Arts. Since the age
of three she has been involved with the arts
through dance as a Native powwow dancer.
When's she not dancing you can find her
teaching her Powwow Bootcamp classes,
writing and acting. Nyla premiered her first
one act comedy 21st Century Trickers which
debuted at the Vancouver Fringe Festival.
She's very grateful to be hopping about as
Raven with Axis Theatre.
Aaron Lau – Monkey King
Aaron is a mainstay in the Vancouver
Musical Theatre scene, having performed
year round on Vancouver stages since the
summer of 2004 at Stanley Park's Theatre
Under The Stars in Footloose: The Musical.
Having worked for such companies like
Royal City Musical Theatre, TUTS, Fighting
Chance Productions and Uncle Randy
Productions, Aaron has also been
instrumental for bringing new musicals to
life written by local artists.
More recently, Aaron has stepped into a
production team role in Musical Theatre,
which includes forming Intimate Theatre
Productions, a new theatre company in
Vancouver, and starting his career in
choreography, having done Flower Drum
Song last year for Eric Hamber's Musical
Theatre program and set to return to Eric
Hamber as the choreographer for Once Upon
The Mattress.
Ella Simon – JJ
A graduate of Studio 58, Ella is honored to
be touring this play for young audiences
and can’t think of a better way to make her
Axis Theatre debut. Ella has worked for
such companies as: Vertigo Theatre, Arts
Club Theatre, Green Thumb, Chemainus
Theatre Festival, Ground Zero Theatre,
ITSAZOO, The Only Animal, Carousel
Theatre, and Magnetic North Theatre
Festival. Ella is a thrift store junkie - just
ask her where all the best finds are!
Recommended Pre-show Activities
1. Familiarize your students with the story of how Raven Stole the Sun, and the story
of the Monkey King (p. 17-18). These are used in the play to teach the character of
J.J. specific lessons, and help her make the right choice when deciding what to do
with a First Nations Raven mask and Chinese Opera poster she finds in a special
box at a yard sale. Ask students what they think the moral of the stories are before
the show, and then ask again after the show to see how the stories were used and
why.
2. Read the article in the study guide from The Vancouver Sun about the 11 year old
boy who finds a stolen painting (p. 19 ). Ask your students what they would do if
they found a stolen artifact.
3. Divide the class into two groups and have them make or bring in special objects
to sell at a ‘yard sale’. Create some paper money, and have each group attend the
others’ yard sale. Introduce the idea of giving change and have them practice
bargaining (haggling) to agree on a price.
4. In the play J.J. learns that the special objects she finds have stories. Have students
bring in a special object from home that has its own history or story attached to it,
and have them share it with the class.
5. In the play, Buddha appears to the Monkey King. Have students research Buddha.
6. The Raven story in the play is based on a story told to us by Nyla Carpentier,
which was told to her by her Elders. Have your students look up other stories
about how Raven Stole the Sun from other First Nations peoples, and then
compare the differences and similarities in them.
7. Look at the list of words from the play included in the study guide, and see if they
can describe their meaning (p.11). Have students use a dictionary to look up the
words they don’t know.
Suggested Post-show Activities
Kindergarten through Grade 2
1. Spiral storm Maze: Help Raven reach the sun (p. 8)
2. Color the Monkey King (p. 9)
3. Match word to picture (p. 10)
Grades 3 – 5
1. Chinatown’s First Theatre (p. 12)
2. First Nations people of British Columbia (p. 13-14)
Grades 6 – 7
1. Potlatch ban (1884) and the Chinese head tax (1885): Do further research on these
topics and discuss why these laws existed and why they were later dissolved. (p.1516)
2. Divide the class into groups and have them create their own theatrical presentation
on either How the Raven Stole the Sun or the story of the Monkey King, and present
it to the class. (p.17-18)
3. Research the history of B.C. salmon canneries. (See links p. 20 ) Was there a cannery
in your area? If so, do you know anything about the contribution of First Nations
peoples or what the role of the Chinese immigrant workers were in your area?
Color Monkey King
Word Match
Color when you’re done!
These are all words from the play. Can you match the word to the picture?
Mask
Monkey
Mom
Money
These are all pictures inspired by the play. Can you match the picture to the word?
Box
Sun
Totem pole
Raven
Vocabulary
Intermediate Words and Concepts
Here is a list of words that appear in the play. Divide your students into groups and
have them use a dictionary to find the meaning of selected words they haven’t learned
yet, or use the groupings to discuss the words in relation to the play.
Group 1
Artifacts
Ancient Ruins
Relics
Vintage
Group 5
Potlatch
Indian Agent
Elders
Nations
Group 2
Auctions
Art Collector
Historical Society
Historians
Group 6
Ukulele
Vinyl
Craigslist
Unique
Group 3
Buddha
Jade Emperor
Immortality
Paradise
Group 7
Raven
Regalia
Monkey King
Transform
Group 4
Confiscate
Mayhem
Spectacular
Ruffians
Group 8
Cannery
Chinatown
Guangdong
Adventure
Chinatown’s First Theatre
The ‘Awaken’ Overseas Chinese Theatre was established by the Sing Kew Dramatic Society in
1898 at 544 Shanghai Alley in Vancouver’s Chinatown. With a capacity of 500 seats, it was
probably the largest public space in Chinatown. As such, it played a large role in the political
and cultural life of the community. Its role, at different times, was as a theatre, lecture hall and
boarding house. This is likely where the character of Charlie saw the Monkey King in a travelling
Chinese Opera troupe, and where he got his treasured poster that is so important to him in the
play.
From its beginning, Sing Kew was a stage for theatre and public speaking - a place for Chinese
opera performances as well as public and private debates. For example, Dr. Sun Yat-Sen, the
‘Father of Modern China’, lectured at the Sing Kew daily during his visit in 1911. The Empire
Reform Association, an organization promoting Chinese patriotic causes, also held its meetings
there. As the Association frequently invited Caucasian guest speakers, the theatre was also
where the community met and communicated with members of Vancouver society.
As the first Chinese theatre, the Sing Kew played a central role in preserving culture and
providing entertainment through Chinese opera performances. Since many plays were adapted
from classical Chinese stories like the story of the Monkey King, they also helped to pass on
traditional values and morals.
Questions to follow up with:
1. Why would going to the opera be important for new Chinese immigrants to Canada?
Have your students imagine living in a new land and talk about what it would feel like
to see stories, music and dances from “home”.
2. There are many different interpretations of the Monkey King, from Chinese Opera to
contemporary movies. Using the internet, see how many different images your students
can find.
3. Have students make a poster of their own advertising a Chinese Opera presenting the
story of The Monkey King.
4. Have your students heard Chinese Opera? See if there is anyone in your class who has,
and have them explain their experience. See if it’s possible to bring in a recording from
your local library for the class to hear.
First Nations People of the Pacific Northwest
There is a rich diversity of First Nations People in British Columbia, each with unique cultural
practices, languages, traditional history and protocol. Using the links provided below, have
your students research the Indigenous people of the Pacific Northwest Coast and follow up
with the suggested exercises.
Links:
http://fnbc.info/FirstNations_Communities_in_bc
http://www.bced.gov.bc.ca/abed/map.htm
Activities
1. Choose one of the First Nations of the Pacific Northwest and research one of their
Raven stories.
2. Find out where one of these First Nations peoples lived, and see if you can locate it on a
map of the Pacific Northwest Coast of B.C. (p. 14)
3. How many First Nations communities can you find in British Columbia?
Chinese Immigration to Canada
In the early 1900’s, Chinese immigrants settled in Canada to escape poverty and war at home
but encountered prejudice and even violence on this side of the Pacific. The Chinese in Canada
had no rights and very little power. They were not allowed to become citizens. Many Asians
were brought to Canada to provide cheap labour. More than 15,000 Chinese came over in the
early 1880’s to build the most dangerous and difficult section of the Canadian Pacific Railway.
One worker died for every mile of track laid through the Rocky Mountains between Calgary
and Vancouver. When work on the railway ended, many Chinese settled in British Columbia
and were joined by more Chinese immigrants seeking a better life. By 1900 the Chinese
population in B.C. was growing by 4,000 annually. As before, newcomers took dangerous jobs
in sawmills and fish canneries. Employers found them industrious and cheap, and may
Canadians resented them for the same reasons.
The Head Tax, 1885
The Canadian government tried to discourage immigration. The head tax on Chinese
Immigrants was introduced by the government in the Chinese Immigration Act of 1885.
Initially, an amount of $10 was proposed, but due to anti-Chinese sentiment, this was
amended to $50 before the bill's final passage. The Chinese Immigration Act of 1900 (which
went into effect on January 1, 1902) increased the tax to $100, and finally, in the Chinese
Immigration Act of 1903, it was raised to $500. Some Chinese did not have to pay this tax. For
example, under the 1903 legislation, there were six classes of persons who did not have to pay:
merchants and their families, diplomats, clergymen, tourists, students, and men of science.
Efforts to control Chinese immigration, including the introduction of head tax, were overseen
by a federal Chief Controller of Chinese Immigration. The Chief Controller's Department
documented Chinese immigration in detail, generating a large amount of corresponding
paperwork, including certificates, registers and other records. These are held by Library and
Archives Canada. Copies of selected records are also available on microfilm at a number of
libraries and archives across Canada, including the Vancouver Public Library.
First Nations Potlatch
A Potlatch is a gift-giving ceremony practiced by Indigenous peoples of the Pacific Northwest
Coast of Canada and the United States. There are many cultures who celebrate at Potlatch
gatherings, including the Heiltsuk Nation, Haida, Nuxalk, Tlingit, Makah, Tshimshian, Nuuchah-nulth, Kwakwak’wakw, and Coast Salish cultures. The word comes from the Chinook
Jargon meaning “to give away” or “a gift” and originates from a Nuu-chah-nulth word. This
ceremony is an important way to tell stories and show social changes such as births,
marriages, name giving, standing up new chiefs, and deaths. The potlatch was banned by the
Canadian government from 1884 through to 1951, and was also banned in America.
At Potlatch gatherings, a family or traditional leader hosts guests in their family’s house and
holds a feast for them. The people invited are not just guests; they are also witnesses of the
Potlatch and are given gifts for being witnesses. Different events take place during a Potlatch,
like singing and dancing, sometimes with mask or regalia like Chilkat blankets, and there is
the exchange of wealth through gifts such as dried foods, sugar, flour, or other material things,
and sometimes money. Although practices are different among Indigenous nations, the
Potlatch will usually involve a feast, with music, dance, theatricality, and spiritual ceremonies.
The most sacred ceremonies are usually observed in winter.
It is important to note the differences and uniqueness among the different cultural groups and
nations along the coast. Each nation, tribe, and sometimes clan has its own way of practicing
the Potlatch with diverse presentations and meanings. The Potlatch, as an overarching term, is
quite general, since some cultures have many words in their language for various specific
types of gatherings.
Banning the Potlatch, 1884
In 1884, to further assimilate Indigenous peoples into Canadian culture, the government
banned the Potlatch ceremony - which was of particular political significance to those living on
the northwest coast. During the ban, Regalia in the form of Masks and blankets were
confiscated by the Canadian Federal Government and sold to private collectors all over the
world. This was seen by many First Nations people as an opportunity to remove their right to
self-governance, and some tried to resist the ban. However, the Potlatch remained illegal until
1951 and attempts to hold major celebrations during this period resulted in imprisonment.
Currently, Potlatches continue to be held.
For further information: http://en.wikipedia.org/wiki/Potlatch
Raven
Who is Raven? What is the story of How Raven Stole the Sun?
Raven is a bird with the power to transform, and the story of Raven is part of many First
Nations cultures. There are many stories about Raven. This story is the one told by Nyla
Carpentier who plays Raven in the play, and was told to her by her elders.
Raven: Long ago, my feathers were white as snow, and the world was in total darkness. It
was so dark you couldn’t see a thing. It was the beginning of time, and I was tired of groping
about and bumping into things in the dark.
Now, I heard a rumour that in a big house by a river there lived an Old Chief who kept
treasures in three cedar boxes. I wanted all that treasure, but I had to find a way to get inside
the Old Chief’s house. I couldn’t get in, so I waited and waited, and then I heard a voice. It was
the Old Chief’s beautiful daughter, who was going to the river to get water.
I came up with a brilliant plan. I followed her to the river, and shrank into a single hemlock
needle and floated into the water. The girl scooped me up in her cup and when she drank she
swallowed the pine needle. It slipped and slithered down into her warm belly. She went back
to the longhouse, and I went with her. Then I transformed myself into a little human baby.
The Old Chief, now my Grandpa, loved me and he gave me whatever I wanted. Food! Toys!
But what I really wanted was in the first box. Grandpa said no, so I cried and cried and cried,
and Grandpa finally let me play with the box. When his back was turned, I opened the lid and
out flew all the stars.The stars flew out a smoke hole into the sky and there was a little more
light in the world. But I wasn’t done yet. I wanted the second box.
Again Grandpa said no, so I cried and cried and cried for two whole days! Grandpa finally
gave me the second box and when his back was turned, I opened the lid and out flew out the
moon. There was more light in the world, but still, I wasn’t done yet. I wanted what was in the
biggest box of all!
Grandpa said no, so I took a deep breath and I cried and cried and cried for a whole week!
Grandpa was so tired of hearing me cry, he fell asleep. I crept to the box and slowly opened
the lid and out flew the sun! The light woke Grandpa, and I changed back into a Raven. I
grabbed the sun in my beak and flew away.
The sun was hot, but I tried to hold on to it. I eventually dropped it and it bounced and flew
up to the sky, where it’s been ever since. The heat from the sun burnt my feathers black. And
that is how Raven stole the sun.
Monkey King
Who is the Monkey King?
Sun Wukong, the Monkey King, is probably the most beloved fictional character in the Eastern
world. He's like the Asian Mickey Mouse, only without the squeaky voice. The Monkey King
first became known as the star of Journey to the West, a classic Chinese folk novel written by Wu
Ch'eng-en in the sixteenth century. This is a short version of the story.
The novel Journey to the West explains how long ago in ancient China, a light shone down from
the heavens onto a magic stone. The stone burst open, and the Monkey King was born. At first
he lived like other monkeys, but one day he slipped through a great waterfall and found a
paradise with plenty of fruit to eat. The other monkeys were so grateful they made the Monkey
King their leader, but that wasn’t enough. He wanted to live forever and be immortal. So, he
travelled far and wide and eventually went to school, where he learned magic tricks and kung
fu from an immortal Chinese master. He could transform himself into 72 different images such
as a rat, a tiger, or an ox by using his shape-shifting skills. Using clouds as a vehicle, he could
travel 108,000 miles at a single somersault!
The Monkey King liked bragging to his fellow students about his magnificent skills, and this
angered his teacher, so he was banished from the school. He went wild and took things that
weren’t his, like his staff, and hung out with demon warriors, fighting anyone who got in his
way. He even stole the peaches of immortality from the Jade Emperor when he was invited to
his palace in the sky.
The Jade Emperor enlisted the help of all the god warriors, and they managed to capture the
Monkey King, but not before he plucked some hairs from his head and threw them into the air,
where they transformed into thousands of little monkeys. A great battle ensued, and finally the
Jade Emperor asked Buddha for help. Buddha imprisoned the monkey under a great mountain
known as Wu Zhi Shan, (The Mount of Five Fingers), which the Monkey King didn’t realize was
Buddha’s hand. Here the Monkey King’s head was finally filled with the light of knowledge,
and he realized he had been too proud and boastful, and should have shown respect to his
elders. His powers should be used to help others on their journeys. The Monkey King was set
free, and went on many adventures and became a famous hero.
Journey to the West is considered one of the Four Great Chinese Novels. Some historians claim it
to be a political satire, while others emphasize its spiritual aspects. Still others argue that it's
simply one of the greatest adventure stories ever written.
Fun Fact
The Vancouver Sun, Monday, January 21, 2013
Suggested sites to explore
1.Links to information on Chinese settlement in British Columbia
http://www.vpl.ca/ccg/Migration_BC.html
http://epe.lac-bac.gc.ca/100/205/301/ic/cdc/generations/index2.html
http://www.library.ubc.ca/chineseinbc/
http://www.collectionscanada.gc.ca/canadiens-chinois/021022-1100-e.html
http://www.cbc.ca/news/background/china/chinese_immigration.html
http://www.heritage.nf.ca/society/c_021987.html
2.Links to information about Buddha and Buddhism
http://www.buddhanet.net/e-learning/5minbud.htm
http://www.aboutbuddha.org/english/who-is-buddha.htm/
http://online.sfsu.edu/rone/Buddhism/footsteps.htm
http://thebuddhistcentre.com/text/who-was-buddha
3.Links to information on First Nations Peoples of British Columbia
http://maps.fphlcc.ca/first_nation_index
http://www.bcafn.ca/
http://fnbc.info/content/our-peoples
http://thetyee.ca/News/2012/09/10/BC-Aboriginal-Education/
http://resources.curriculum.org/tcf/teachers/projects/repository/AboriginalArt.pdf
http://www.aadnc-aandc.gc.ca/eng/1100100010002/1100100010021
4.Links to information about B.C. Canneries and First Nation Salmon Fishing
http://books.google.ca/books/about/Assu_of_Cape_Mudge.html?id=20LmlBUCPMQC&redir_esc=y
http://www.fish.bc.ca/files/First%20Nations%20Salmon%20Fisheries.pdf
http://www.fns.bc.ca/pdf/FNFishPanelReport0604.pdf
http://www.intheirwords.ca/english/intro.html
http://www.pc.gc.ca/eng/lhn-nhs/bc/georgia/index.aspx
http://www.pc.gc.ca/eng/lhn-nhs/bc/georgia/index.aspx
http://www.bcfieldtrips.ca/users/gulf-georgia-cannery-national-historic-site

Teacher`s Study Guide - Axis Theatre Company

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