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Section 2

Chapter navigation:

Maui: a legendary super hero of the Pacific.

  • What happens when Maui wants to go fishing ... or when he tries to stop the sun?
  • What attributes of Maui are captured in the show "Maui"?
  • Where in the show does he reveal his weaknesses?
  • How does Maui try to control forces that are bigger than us?

Resources required:

General
  • Whiteboard
  • DVD player
  • CD Player
  • DVD of Maui - One Man Against the Gods
  • A version of the story of Maui fishing up the North Island or Maui and the sun e.g. Gavin Bishop's Taming the Sun: Four Maori Myths ISBN 1-86941-612-0.
  • TKI for the stories of Maui
  • Journal stories relating to Maui
  • Crayons/pens and large paper
  • Resource Sheets E, F, G, H, I, J, K and L
Sound Arts: Music
  • Soundscape for Lake and River by Douglas Lilburn (from Our Music by Elizabeth Kerr, Learning Media resource)
  • A range of sound making instruments including tuned and untuned percussion, found sounds and environmental sound makers
Drama
  • Drama in the Classroom (Ministry of Education) unit: Maui and the Sun (Te Ra) pages 22-23
Dance
  • Dance Wall Charts (Ministry of Education).
  • Dancing The Long White Cloud (Ministry of Education).
  • Discovering Dance - video and teaching notes on TKI (Ministry of Education).
Visual Arts
  • Weaving Earth and Sky (2002, Robert Sullivan, illustrated by Gavin Bishop, Random House).
  • Taming the Sun, four Maori myths (2004, Gavin Bishop, Random House).
  • Legends of the Outcast (by Robert Sullivan, illustrated by Chris Slane)
Ministry of Education resources:
  • Exploring Visual Arts Y1-6 Design: refer to Gavin Bishop posters, artist interview and questions for viewing his art. Design process steps also useful to display (page 29).
  • Exploring Visual Arts Y1-6 Printmaking: refer to Gabrielle Belz, printmaker and poster of Hinemanu - singing in the dawn, the artist interview and notes on mono-printing (page 26).
  • Exploring Visual Arts Y1-6 Fabric & Fibre: Maori pattern (page 6).
  • Exploring Visual Arts Y1-6 Painting: Maori pattern (page 22).
  • Maori Visual Language Y7-10: refer to Poster and Unit 4 on printmaking Papatuanuku and her Patterns (page 36).
  • Visual Arts Exemplar: A story from Italy - Design (Level 4)
  • Visual Arts Exemplar: A slice of Aotearoa (Level 2)
  • School Journalillustrations e.g.:
    • Part 2 Number 2, 2003 p. 28: Tane me Te Whanau Marama - illustrations
    • Connected 1, 2004, p.26 : The winds of Tawhirimatea - story and illustrations
  • School Journals: Stories about illustrators and their design processes e.g.:
    • Part 2 Number 3 2002 p.2: Bringing stories to life - artist Ali Teo
    • Part 1 Number 2 2003 p.2: Wild and wacky - the art of Fraser Williamson
  • School Journals: Articles about customary Maori art forms, their context and meaning e.g.:
    • Part 2 Number 1 2001 p.16 Te Papa Tongarewa
    • Part 1 Number 2 2001 p.8 Not just a house
    • Part 1 Number 3 2003 p.10 Patterns in Wood
Equipment:

Printmaking rollers, water-based printing inks, material for printing blocks and for palettes on which to roll out ink (eg pieces of card or Perspex), paper, dry media (pens, drawing pencils), paper towels, newspaper.

Extension options:

Media for adding colour e.g. dye and brushes, coloured pencils; tools for mark making directly onto the ink such as cotton buds, brushes, ripped paper, sponges.

Connecting the Arts learning - you find the through lines that suit your students best

Dance: Choreographing a dance sequence using movement ideas from the 'Pou' (ancestors) dance in the DVD of Maui

Drama: Maui and the Great fish, sibling rivalry

Sound Arts: Music: Creating a sound score for Maui and the Great fish

Visual Arts: Printmaking using the stories of Maui

How could this printmaking connect with the other arts learning?

This printmaking could:

  • build on from the visual arts sequence described in step 1 as students go on to create their own images of the superhero Maui.
  • take place before or after students attend Maui - one man against the Gods
  • build on the Section 2 music learning sequence where students develop a sound scape based on Maui and the great fish .The sound-scape could accompany a PowerPoint presentation of the visual images students create to re-tell the story.
  • connect to the knowledge being developed about Pou figures - the early beings in the Section 2 dance learning
Learning intentions:

Students will:

  1. Generate and develop ideas for a mono-print through drawing and following the steps in a design process, using imagination and information from a traditional story (DI, PK)
  2. Identify the ways in which use of line, scale, viewpoint and focal point impact on communicating ideas and mood in selected artists' works (UC, CI, DI)
  3. Describe how line, scale, viewpoint and shape have been used in their composition to communicate the heroism of Maui (CI, DI)
  4. Negotiate the layout of the class art works to create a visual narrative and develop a rationale for how they could be organised (DI, PK,CI, UC)
Assessment:

Note: Sketches and ideas in the visual diaries also can provide an assessment opportunity for the development of ideas in the unit (DI)

Students will print their final design and assess it in relation to the shared criteria developed for a quality print and the design process (PK)

Further outcomes: could also include the following if time and care is taken to research the importance of pattern in customary Maori visual culture and the considerations for teaching about it. Refer to the supporting material in Maori Visual Language Years 7-10 (2004, Ministry of Education) especially pages 2-10.

Students will:

  1. Explore and identify kowhaiwhai and tukutuku patterns in the wharenui and in contemporary artworks and research their importance and meaning (UC, CI)
  2. Explore ways to incorporate Maori visual elements into their compositions to convey meaning (UC, DI, PK)

Session 1: Exploring and building knowledge of Maori visual culture

Understanding the visual arts in context

Suggested Sequence of learning

Teacher:

  • Use questions and images to motivate discussion and research about contexts for traditional Maori designs (Refer to resource list above including the School Journal articles which students can read and research)
  • Display students' findings or use PowerPoint to share the research.
  • List relevant language to use during the unit.

Students:

  • Research customary Maori visual language - its context in the wharenui and values. Visual diaries can be used to record draft ideas, words and images.
  • Practice using the associated language when describing customary patterns and forms.
  • Sketch in visual diaries - with time to practice accurate forms and patterns

Session 2: Exploring how artworks communicate

Viewing and responding to artworks

 

Suggested Sequence of Learning

Teaching Notes

 

Teacher:

  • Support students to discuss and compare the importance of oral storytelling in customary Maori society and visually in picture books today
  • Introduce Gavin Bishop's mono-printed and mixed media picture book illustrations in books such as Weaving Earth and Sky and Taming the Sun, four Maori myths
  • Sequence questions for viewing this and other relevant artworks and illustrations. Give looking and thinking time. Students could respond in groups or as a class and offer evidence for their interpretations.
 
 

Students:

  • View work by artists discussing use of line, focal point, viewpoint, shape, contrast and scale in the composition to communicate mood and meaning. Artists such as Gavin Bishop, Gabrielle Belz, picture book illustrators could all be suitable.
  • Use visual diaries for recording ideas and any sketches

The illustrators are art heroes!

Josh Smits' illustrations for The Winds of Tahirimatea (Connected 1 2004 p.26) are particularly relevant when discussing variety of viewpoint and use of scale, as well as creating impact and focal points through leading lines in the composition.

 

Teacher:

  • Ask students about their prior knowledge of the process for designing illustrations and to speculate on possible steps a designer might go through.
  • Introduce the design brief and steps which Gavin Bishop uses when creating illustrations (Refer to Exploring Visual Arts Y1-6 Design: page 29).
 
 

Students:

  • Could view the Visual Arts Level 4 exemplar (Responding to a design brief: A Story from Italy) which also shows how other students designed their illustrations by working through the steps in a design brief.
  • Could read School Journal articles about illustrators to research their design approaches (see resource list), and then discuss similarities and differences.
 

Session 3: Exploring mono-printing

Exploring techniques and procedures

 

Suggested Sequence of Learning

Teaching Notes

 

Teacher:

  • Introduce the reason for exploring mono-printing, linking to Gavin Bishop's illustrations and the way in which students will design their own images based on Maui as superhero.
  • Demonstrate the initial process for mono printing. Have materials ready including the paper cut to size. Card can be used as the inked up block to print from as well as smooth surfaces like plastic.
  • Show how much ink to use, the even inking of the roller and how to check the developing image.
  • Set up space to ink rollers, print, dry and store work. Establish routines for using the rollers and ink, and the clean-up procedures ahead of time. (Refer to Exploring Visual Arts Y1-6: Printmaking notes on mono-printing, page 26)
 
 

Students:

  • Explore mark-making with pen or pencil and Maori pattern/symbols using the mono-print process. Focus on variety in line and shape.
  • Review techniques that produce a 'good' print result using the relevant language for techniques, tools and the elements/principles.
  • Keep these explorations for future reference in visual diaries or as a class 'in progress' display.
  • Extension: explore variety of line quality in the mark making when practising the mono-print process using different drawing tools such as card, finger pressure, crayon.
 

Session 4: Developing a design brief

Generating ideas

 

Suggested Sequence of Learning

Teaching Notes

 

Teacher and students:

  • Decide whether students will develop a class storyboard to retell key events in a Maui legend or work through an individual design process to develop a composition of Maui as super hero. (Refer to Exploring Visual Arts Y1-6 Design notes on making books page 24 -26)
  • Record the possible design process steps together. Success criteria to guide the learning can be discussed and recorded during each session and become a focus for feedback and self/peer evaluation.
  • Select activities to explore picture book design from Exploring Visual Arts Y1-6 Design (page 22 -3) if the students are going to eventually develop a class book.
Plan time for the action-reflection cycle: pause, review ideas, and set next steps, during the session. Refer back to the design process steps throughout.  

Session 5: Exploring the theme through drawing

 

Suggested Sequence of Learning

Teaching Notes

 

Students:

  • Revisit the Visual diary notes and images from the Section1 Visual Arts learning, to review ideas about heroes and how they are depicted in a range of images.
  • Share prior knowledge about Maui in groups and read/retell the selected traditional story.
 
 
  • Discuss Maui's attributes and actions. Identify the key events in the story that link to these.
  • Generate ideas through drawing for a composition related to a heroic figure at a moment of action or tension in the story.
  • Draw quick thumbnails (a series of small sketches) of possible compositions around a key idea, moment in the story or message. Consider where Maui could be positioned, the setting and any objects that need to be included.
  • Discuss and analyse how the use of scale and viewpoint can support the communication of mood and message at a moment of action or tension in the story. (Students could refer back to artist images again eg Weaving Earth and Sky or Maui and the Sun in Taming the Sun, four Maori myths)
You could link to the drama learning section at this point as students reflect on Maui's attributes.
 
  • Develop further 'roughs' or sketches that show that scale and viewpoint have been considered. Think about main shapes and whether they might overlap or 'bleed off' the page.
Again plan time for the action-reflection cycle: pause, view each others' work and set next steps, during the session.

Session 6: Refining the composition based on research

Developing ideas and applying knowledge of elements and principles

 

Suggested Sequence of Learning

Teaching Notes

 

Students

  • Select and refine one composition through further drawing.
  • Again ensure that the scale of the figure in the composition adds to the story/meaning/mood and think about how to create a focal point.
  • More detail, pattern and background information could be included.
  • Research any further aspects that might be required for the subject matter such as the background landscape or the physical pose of the hero. A digital camera could provide a useful record of the body position to refer to when drawing.
  • Incorporate Maori motifs that have been researched to add to the meaning or message.
  • Discuss the mood or message they want to communicate and how the composition is showing that.
 

Session 7: Printing the design

Using art-making processes and procedures

 

Suggested Sequence of Learning

Teaching Notes

 

Teacher

  • Review the mono-printing process and routines with students
  • If possible plan for students to create more than one print
  • Discuss the possible different approaches of tracing a prepared drawing when printmaking or using it as reference to re-draw the image directly.
 
 

Students

  • Set up the room for printmaking
  • Trace over the final drawing (it could be enlarged on the photocopier) or re-draw the design freehand with variations to make mono-print (s)
  • Reflect on one or more prints in relation to the design brief
 
 

Extending the art-making:

  • Use selected colours of dye, watercolour, felt tip, acquarelles or coloured pencils to enhance mood and meaning in the mono-print once it is dry.
  • Overprint the design in different colours (refer to Exploring Visual Arts Y1-6 Printmaking notes on mono-printing , page 26)
  • Work directly into the ink to explore mark making with a variety of tools including wiping away ink to make the image with ink in a different way and print the result (refer to Maori Visual Language Y7-10 : Papatuanuku and her Patterns page 36)
 

Session 8: Analysing and Presenting

Describing how the print images communicate ideas

 

Suggested Sequence of Learning

Teaching Notes

 

Teacher:

  • Refer to ideas for analysing and presenting work in Exploring Visual Arts Y1-6 Design (p.26) or to the questions provided with these notes.
 
 

Students:

  • Present their own artwork to the class and discuss their print in relation to the Maui as hero and the events in the whole legend
  • Could collate prints to create a class re-telling of the traditional story in book or slideshow format or as a group exhibition of heroic action. Discuss the rational for the layout of the work and the way it could be viewed by others.
  • Extension: Students could also plan to include text about Maui's attributes and consider the layout of words on the page to complement the print images. This could form a border (see Gavin Bishop posters for The House that Jack Built in Exploring Visual Arts Y1-6 Design) or follow more of a picture book format.
 

Another approach to illustration

 

Suggested Sequence of Learning

Teaching Notes

 

Digital story telling:

An alternative art making process for re-telling one of the Maui stories with a focus on the superhero could be to adapt the Pasifika Digital legends learning activities. (These can also be accessed through TKI by selecting the Pasifika community and searching for Digital legends.) Here, teachers and students are guided through a design process to create a sequence of illustrations that re-tells a traditional story. A series of help sheets have been created to support the learning and show use of digital tools. Resources include an opportunity to view an illustrator's work and useful websites.

This resource could be use in conjunction with the learning experiences and Ministry of Education resources in the mono-printing unit.

 
 

Suggested Sequence of Learning

Teaching Notes

Possible questions to involve students in reflecting on the art-making process:

  • What have you found out about the mono-printing or design process that:
  • Surprised you?
  • Challenged you?
  • You found interesting?
  • Has been useful?
  • What is the same/different about your work and the artist's work that you looked at?

Refer also to the useful 'analysing and displaying' questions and suggestions page 12 and 19 in Exploring the Visual Arts - Printmaking (Ministry of Education) e.g.:

  • Talk about your use of shapes and colours in the print
  • Talk about your intentions when creating the print, the print's meaning, and the feelings emotions it expresses
  • Give a title to your print and explain why you chose it
 
  1. Either follow and /or adapt the unit plan for "Maui and the Sun" resource Drama in the Classroom (Ministry of Education) to allow students to experience a section of the story before viewing the DVD of the same section of the show...

    Or

    Follow the suggested learning sequence below to explore the story of Maui fishing up the North Island before viewing the extract from the show Maui - One Man Against the Gods named "Te Ika A Maui- Maui's Great Fish"

    Ideally teachers should guide their students through an exploration of the story first before viewing sections from the production Maui on the DVD. Drama is about 'being' and 'doing' and experiencing!

    Learning intentions:

    The students will:

    1. Use drama elements and techniques to explore the conventions of mimed action, overheard conversations, voices in the head, spoken thoughts and whole group role play (PK)
    2. Develop a role as one of Maui's brothers and improvise dialogue to explore aspects of sibling rivalry (DI)
    3. Improvise and interact with the teacher-in-role in a plot to leave Maui behind (DI)
    4. Initiate and develop ideas when Maui is in the Hot Seat to explore his thoughts and feelings
    5. Present small sections of drama work and respond to the work of others. (CI)
    6. View a section of the show Maui - One Man Against the Gods and discuss how the role of Maui is interpreted and presented. (UC)

    N.B. If your students are going to see a live performance of Maui then the intentions must also include: students will understand the narrative sequence of the stories in the show. See Resource Sheets G , H & I .

     

    Suggested Sequence of Learning

    Teaching Notes

    What do we know about Maui already? Discuss prior knowledge as a whole class and elicit what students think are his special attributes. How is he like the super heroes of popular culture?

    Refer to programme notes "Who Is Maui?" Resource Sheet E .

    You might guide students to construct a sentence (or paragraph) to explain who Maui is after reading and discussing the programme notes

    Read or retell the beginning of the story (e.g. Gavin Bishop's version Maui and the Big Fish) where it is reported that Maui's brothers find him a nuisance and plot to leave him behind on their fishing trip. Discuss why Maui might be viewed as such a problem by his brothers... and by his extended family. List on WB. Students are usually fascinated by 'naughtiness'! Encourage them to speculate widely.
    Build an imagined community with every student knowing who they are (their role) and what they are doing and thinking (actions) - especially their thoughts regarding Maui! Establish the roles of e.g. the 'brothers' (or 'the villagers'). "Let's pretend to be Maui's family - his 'brothers' and show through mimed action some of the work they do in the village every day.

    This depends somewhat on the students' prior knowledge of early Maori village life You may need to do an investigation of the types of jobs and tasks early Maori might have had to do around the village.

    Note: the girls can play male roles - explain that in drama you can pretend to be anyone or anything!

    Teach the success criteria for using mimed action and write up on the whiteboard e.g. clarity, larger than real life, slowed down slightly etc.

    Look for students who move quickly into role, using mimed action and showing belief and focus.

    Have half the class view the other 'brothers' at work in the village and offer feedback on the clarity of the mimed action and the amount of belief shown in their roles. End the session by asking students to fill in the first parts of Resource Sheet F reflecting on their role and their work in the drama session.

    Look for students who give perceptive responses to viewing the villagers.

    This may help with assessment.

    Whole Group role-play. Set up the village in action again - use background music e.g. Maui the DVD soundtrack of chapter 23 - Whakanuia - Fire Song to create atmosphere. There may be some students who will interact with other villagers improvising a conversation as they go about their work. During this whole group role-play, you might be able to enter in and conduct interviews-in-role with some of the students to deepen belief in their roles. Ask them if they have seen Maui lately and complain what a nuisance he is. What do they know about Maui? What's he been doing lately?

    Aim to build belief in their roles as the 'brothers'.

    Look for students who show belief in their role and who step into the world of 'pretend' readily.

    Or you could run the interviews later by asking different students (in role) what they are doing and what they know about Maui

    Which students are imaginative in their responses and add in lots of detail when interviewed?

    De role and debrief on how they sustained their roles in the interviews. Reflect on the information that we now have about Maui and why he is seen as such a nuisance. Ask students to add their thoughts to the reflection chart Resource Sheet F .

    You might turn the music up then fade it out and ask students to come to a freeze to signify the end of the drama then move students to e.g. the mat for this discussion.

    This might be useful as part of assessment

    Some students may have defended him and may well have presented another other point of view. Explore that as well.

      Teacher in role as one of Maui's older brothers who is part of the fishing trip and who knows of a plan to somehow leave Maui behind deliberately. Ask the students to watch you (they will be an audience) and to listen carefully to discover who you are pretending to be and what you are planning to do. Let drop that there is an exciting fishing trip coming up and that a certain 'brother' wants to come but there is a plot to trick him somehow and leave him behind. You feel a bit sorry for Maui but what can you do? The others (i.e. the brothers or villagers) are all agreed on the tricky plan.

    Use a simple prop to show you are in role.

    Revisit the requirements to be a good audience

    Speak your thoughts out loud (an overheard conversation) as you pretend to e.g. carve a fishhook in preparation for your voyage.

    Don't enlarge upon what the plan actually is yet!

    Show ambivalence in your feelings towards your 'brother' Maui.

    De role and debrief on what the students have overheard. What do we now know of the plan? Why are the brothers plotting? What do we think 'he' (i.e. the teacher-in-role) will do? Ask students to add to the appropriate part of the self- reflection Resource Sheet F .

    Remove the prop to show that you are out of role and back as their teacher!

    The students find the issues of sibling rivalry and groups excluding others from 'play' to be very interesting as it is something they frequently have to deal with in real life.

      The meeting. Explain that the scene is going to move on to later that 'night' and that the students will be in their roles as the brothers of Maui (or the villagers). Agree as to where and when the meeting is to take place. Go back into role as the brother and call your other 'brothers' over in a secretive manner to discuss the plan. Ask who has a good plan of how to avoid taking Maui?

    Establish the parameters of a successful role-play - stress how staying in their roles and how contributing believable ideas to advance the drama will be very important.

    Speak quietly so as not to attract attention to this secret meeting!

    Encourage them to interact with you in role and offer a plan.

    De role and debrief by e.g. using a circle reflection on the drama so far. You might ask: "Why do the brothers want to exclude Maui? ... What may happen next? The big question here could be: "In real life does this sort of thing happen? Why? Run a self-reflection of how well students believe they stayed in role.

    End the meeting with a pre arranged signal e.g. teacher-in-role says "So it is decided...go now and make the waka ready". Then count slowly "5,4,3,2,1 freeze." Move students back to the mat

    You might ask students to close their eyes and raise a hand giving a rating with 1-5 fingers on how well they did in staying in role.

      Set up a hot seat to ascertain Maui's feelings re the fishing trip. You might co-construct a list of questions that the students would like to ask Maui and write them up on the WB eg: What do you (i.e. Maui) know about the plot? How do you feel? What are you going to do about it?

    Refer to the Ministry of Education resource Drama In The Classroom glossary of conventions Pages 8-9 for a description of hot seating

    Either use teacher-in-role or a strong student in role as Maui to be interviewed

    Issues of power and abuse of authority may come up for discussion here. Consider Maui's feelings. Does he know of their plan?

      View the Maui DVD chapter titled "Te Ika A Maui- Maui's Great Fish". In this section Maui has sneaked on board the waka and he proceeds to pulls up the North Island. Complete the last section of Resource Sheet F .

    What aspects of the story are shown in the show?

    What attributes does Maui appear to have in this scene? What special powers?

      View the same section again and then place a student in role as Maui under a cloth (i.e. hiding in the waka.) Add voices in the head to explore what he may be thinking and feeling; ask for 3-4 students to imagine what may be running through his mind. Then go on to shoulder tap the student-in-role (i.e. the convention of spoken thoughts) to hear what he really is thinking.

    Ask the students to speculate and contribute lots of different ideas. Look for those who can 'step into Maui's shoes' and imagine what he might be feeling at this time.

    Look at the glossary in Drama in The Classroom for information on these conventions

      Debrief on Maui's possible fears. What other feats does he try? What forces does he try to control? Why? What might he have been afraid of when he ... tried to take fire ... or when he tried to slow down the sun? What do we feel afraid of in the 21st century? View other extracts on the Maui DVD when he is in extreme peril! Eg. Chapter 28 Fire Inferno. Focus here on his weaknesses and discuss the fears that all humans have whether we are 'heroes'... or not!
      To prepare students for viewing the show live or any other sections of the DVD Maui - One Man Against the Gods, retell or read the stories first (including the Maori myth of Creation) and then give guided viewing of the chapters. Introduce some Te Reo - use Resource Sheet G to ensure students understand the meaning of the characters and objects. Do a 'mix and match'.

    This might be an opportunity to integrate some Maori language - Te Reo.

    The correct 'mix and match' answers can be found in Resource I that has the unabridged programme notes.

      Use Resource Sheet H (cut it into cards) to help students understand the narrative sequence of the show as you guide students through the DVD or in preparation for the live performance of Maui - One Man Against The Gods.

    Use Resource I for the full version of the programme notes

    You might link to Visual Arts learning sequence

    To view pictures from the show: Maui website.

  2. Learning intentions:

    The students will:

    1. Explore sounds and musical ideas and improvise with them to create an effect
    2. Create a soundscape to the story of Maui Tames the Sun, using a range of musical conventions such as repetition and contrast.
    3. Represent soundscapes as a graphic score
     

    Suggested Sequence of Learning

    Teaching Notes

     
    • Listen to Soundscape for Lake and River by Douglas Lilburn (from Our Music by Elizabeth Kerr, Learning Media resource)
    • What do you notice about this music?
    If this example can't be accessed use one of the students examples from the Into Music books (Fireworks-Into Music 1-Track 30, Two-Day Wonder-Into Music 2-Track 35, Wahine-Into Music 3-Track 28))
    • Discuss the definition of soundscape (a sequence of sounds with a particular linking theme or idea)
    • Read through Maui and the Big Fish (version by Gavin Bishop)
    • Divide the story into four main sections e.g.
      • Maui's brothers sneaking away and then finding Maui in the waka.
      • Maui catching and pulling up the big fish
      • Maui's brothers ignore Maui's plea and start cutting up the fish.
      • The mountains and valleys of Aotearoa
    • Decide together as a class the main mood and atmosphere of each section and discuss ideas for how these effects could be created i.e. what sound-makers would be appropriate, what techniques and conventions could be used? Link the moods to the elements of music.
     
    • Divide students into groups of 4 or 5 and give each group a section of the story to create a soundscape for.
    • Groups to work on their own to plan their soundscape. Let them know that they will be presenting their first "draft" after 15 minutes.

    With the right motivation, guidance and questioning, students will plan and shape their soundscapes using contrasts in tone colour, texture, dynamics and mood. The soundscape could include repeated words or phrases from the story.

    Remind students here about the importance of contrast and repetition.

    • After 15 minutes each group shares their "work in progress" and receives feedback, both positives and advice, from their peers.
     
     
    • Students refine their soundscapes in response to the feedback they have received and their own self-reflection. This process could happen as many times as necessary. Use Resource Sheet J as a reference to guide their reflection.
    Use these questions with the whole class to guide the students' thinking: What symbol could you use to show a sound that changes from high to low or loud to soft? How could you show the texture of your piece changing from thick to thin? What symbol could you use to represent a loud sound on a tambourine?
    • When the students are satisfied with their soundscape they need to work together to decide how they are going to represent it using graphic notation. This score will need to show the organisation of sounds and musical ideas, the kinds of sounds made and how the mood is created through contrast in texture, dynamics, pitch and tempo. Use the examples of graphic scores in the Into Music books (last pages) as models.
    • Allow time for feedback and refinement.
    • Use the self-reflection sheet ( Resource Sheet K ) as an assessment tool.
     
  3. Learning intentions:

    The students will:

    1. View the opening of Maui and learn some dance motifs relating to the Pou figures - the first 'beings'/gods who become the ancestors. (PK) (Pou (pronounced 'go') are carved figures seen on the front of marae meeting houses.)
    2. Explore own dance ideas using the dance elements extending the movements found in the DVD extract (DI)
    3. Develop additional 'ancestors' movements into a short dance sequence by selecting and combining dance ideas, working in pairs. (DI)
    4. Present Pou dance sequence with focus and respond to other students' dance using appropriate dance vocabulary (CI) (Use the video/DVD Discovering Dance (Ministry of Education) and additional teaching notes on TKI .
    5. Explore and describe the different dance styles of kapa haka. (UC)
    6. Identify where elements of traditional kapa haka appear in Maui - One Man Against the Gods. (UC)

    Note: For students attending a live performance of the whole show, a learning intention to identify the key stories of Maui and to understand the narrative structure needs to be added.

     

    Suggested Sequence of Learning

    Teaching Notes

    View the beginning section of Maui - One Man Against The Gods (Te Ao Marama) and discuss what is possibly being presented and communicated. Accept all answers and encourage students to speculate. Use the Ministry of Education Dance Wall Charts to provide suitable vocabulary to describe what the dancers are doing. Allocate Resource Sheet H (perhaps cut up into cards) to small groups and ask the students to choose 2 possible cards that might describe the action on the DVD as they watch the first section a second time. Go on to discuss their prior knowledge of the Maori story of creation. Read or retell it so that all students are familiar.

    What do you notice? What mood is established? What are the colours used? What sorts of dance/ movements are used? Is there a story being told? What images can you see? (Note bird and reptile motifs).

    Discuss answers as a class and organise the first cards into the correct order so that all students are on the same track! The full programme notes are on Resource Sheet I .

    The Creation Story is the beginning section of the show

    Focus on the dance with the Pou figures - the early 'beings' that will later become the 'ancestors' in the DVD chapter titled: The Gods Awakening. Ask students to stand and quickly make one of the shapes they saw in this dance extract. They should be still images - as though a photo has been taken during the performance.

    You might add in paired work so that they capture a moment for two dancers.

    Aim for clarity in their shapes and be fussy about how exactly the body is positioned!

    Ask them to "Find another moment... and another moment..."

    View some of these 'photos'/images and encourage other students to describe what the body is doing using the vocabulary given on the Dance Elements wall chart. Watch the DVD extract of the Pou/ ancestors again and identify the moments that students have chosen. Refine some of the students' images working as a whole class. Ask students to 'save' or remember their favourite two moves from the DVD - the dance ideas might be still (as in a photo) or an actual movement. You might ask the students to 'action' their image and recreate the moment just after that particular photo was taken.
    Ask students to work in pairs to create a 'new' movement for the Pou (i.e. moves not seen on the Maui DVD) showing more of the idea of reptiles or birds. Use the dance elements to guide the exploration then ask students to select one of their best moves (a motif) and develop it into a short sequence using the dance elements. Model this process by asking another student to be your 'partner' and have other students call out commands from the Dance wall chart to make you explore different ways of doing your 'bird' or 'reptile' movement. Let them borrow moves off other pairs. Finally focus on the relationship of the two dancers and direct students to try their new movement e.g. side by side, in unison, shadowing each other, travelling diagonally around the room etc. Ask students to select and refine their best new moves and put into a sequence.

    Use the DVD Maui as a sound track as they explore the possibilities. Put speakers on a laptop to amplify the sound.

    There are already reptile and bird dance motifs seen in this first chapter of the DVD.

    The teacher should guide this development by calling out e.g. try using a different part of your body...can you make your shape low to the ground? ... Can you make the movement get faster and faster? Use the Dance Practical Knowledge wall chart (Ministry of Education) for ideas.

    They are aiming for a short sequence that they can learn, recall and repeat.

      Go back to the movements they learned from the watching the Maui extract and ask students to use one 'favourite' dance idea to start their sequence, then add in their 'new' motif they have choreographed (see above), then finish with another favourite moment from the DVD.

    Again model this process with a 'partner' so students get a clear idea of what you are expecting of them.

    Use the 'Pou' music from the DVD of Maui (Chapter 6) in the background.

     

    Establish criteria for success and display on the White Board. E.g.:

    • The Pou dance motif is 'new' and imaginative and relates to reptiles or birds.
    • The dancers can recall it correctly
    • The beginning and ending of the dance sequence is a moment or dance idea from the DVD.
    • The dancers present it with focus and expression.
    • The dancers freeze at the end of their sequence.
     
      Students will need time (5-10 minutes) to practise their entire sequence. Monitor and suggest ways to simplify the choreography if some are trying to do too much.
    Perform the new ancestors' dance sequence to others and offer feedback according to the criteria outlined on the WB. Encourage the development of a dance vocabulary by referring students to the Dance Element wall charts.

    When viewing it is useful to direct students to look for something in particular - refer back to the success criteria for ideas.

    Use music from the show Maui in the background or use the soundscapes that are appropriate from the Sound Arts: Music section.

    Ask students to comment on their dance sequences by filling in Resource Sheet L .  
    Investigate and identify different types of kapa haka by using the video/DVD Discovering Dance (Ministry of Education). Which dances do they already know? Learn the names of the different dances. Describe why these dances were/and still are performed. Access the accompanying on line resources - Maori dance: TKI .
      View another section of Maui - One Man Against The Gods on DVD (e.g. where Maui is under the ocean with the sons and daughters of Tangaroa). Ask students to look for elements of Maori traditional movement. Compare and contrast the two sections they have seen.

    At Years 5 & 6, provide small extracts of the show to view and let them watch it twice.

    Use Resource Sheet H and Resource Sheet I and continue to sequence the scenes to guide students in their viewing.

    Use Resource Sheet G to familiarise students with names and significant Maori language.

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