HUMMINGBIRD THE FLIGHT OF THE Vancouver Opera in Schools & Pacifi c Opera Victoria Presents - Pacific Opera Victoria
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Vancouver Opera in Schools & Pacific Opera Victoria Presents THE FLIGHT OF THE HUMMI NG B I R D S T U DY G U I D E Music Composed by Maxime Goulet Libretto and Creative Design by Michael Nicoll Yahgulanaas and Barry Gilson
COSTUME AND SET DRAWINGS BY MICHAEL NICOLL YAHGULANAAS 2 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIA
THE FLIGHT OF THE
HUMMI N GBI R D
04 THE STORY BEHIND THE STORY
05 OPERA FOR YOUNG AUDIENCES: A DYNAMIC CALL TO ACTION
06 PERFORMANCE PROTOCOLS
08 THE HUMMINGBIRD ADVISORY COUNCIL
10 THE PRODUCTION
11 ABOUT THE OPERA
12 THE FLIGHT OF THE HUMMINGBIRD CREATIVE TEAM
14 THE FLIGHT OF THE HUMMINGBIRD CAST
16 THE LEARNING FOUNDATION
18 THE LEARNING FRAMEWORK
19 SYNOPSIS
21 LAND
22 STORY
25 MUSIC
29 THE CLIMATE ACTION KIT
30 SCHOOL SHOW REQUIREMENTS
Prepared by Colleen Maybin, Director of Education and Community Engagement in collaboration with the
Hummingbird Advisory Council, The Flight of the Hummingbird creative team, and staff from Vancouver Opera and
Pacific Opera Victoria.
Vancouver Opera in Schools
The Flight of the Hummingbird
This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license,
visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain
View, CA 94042, USA.
Vancouver Opera operates under the jurisdiction of the Canadian Actors' Equity Association and the
Vancouver Musicians' Association.
THE FLIGHT OF THE HUMMINGBIRD 3
T H E S TO RY B E H I N D T H E S TO RY
THE FLIGHT OF THE HUMMINGBIRD
This is an old story.
It is older than any tree but still younger than the mother forest
It is older than any paved highway but still younger than the mountains
First hold on a mountain in the Altiplano
And still inscribed into the earthen walls holding up a roof that brushes the edge of the sky
It is a timeless story.
It does not begin with “Once upon a time”
It doesn’t really have an end
It does not have fantastical heroes defeating evil forces and
Maybe that is because these things are not really as important as the one thing this story has
It has you
And there’s something you will do
—Michael Nicoll Yahgulanaas
Author Flight of the Hummingbird – A Parable for the Environment
THE STORY OF Q’INTI
One day in the jungle a fire broke out in the jungle
All the animals ran out of the jungle fearing for their lives
Suddenly the Jaguar saw a little humming bird head (q’inti)
The Jaguar asked him what he was doing and the Q’inti said
“I am flying to the lake and get water to help put out the fire”
The jaguar laughed at him and said, “You’re crazy, you can’t put out this fire!”
The Q’inti replied “At least I am doing my part.”
The parable of the hummingbird originates with the Quechan people of South America. Nekita
Garcia-Gravel, a member of the Hummingbird Advisory Council, remembers hearing the story above
from her father when she was a child. Nekita is Peruvian with Andean Quechuan ancestry on her
father’s side. When she shared the story with the advisory council she said, “In some variations the
hummingbird dies from exhaustion, but I was never told this version. I don’t know exactly where the
story originated, but I was told it is from the Ecuador/Peru region.”
4 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIA
O P E R A F O R YO U N G A U D I E N C E S :
A DYNAMIC CALL TO ACTION
Opera, like all art, speaks to the emotions of our experiences. This is true regardless of age. The
Flight of the Hummingbird is the first opera for young audiences Vancouver Opera and Pacific Opera
Victoria have co-commissioned and co-produced. Our opera companies are committed to creating
arts experiences that are relevant to, and informed by, our communities. The art form of opera has a
history of responding to the social and political issues of the time in which it was written. Today, the
biggest issue we are facing is the growing climate emergency and it is becoming increasingly evident
that the traditional knowledge of Canada’s Indigenous people holds valuable lessons on living in
partnership with the land in a way that is sustainable.
There is a call to action at the center of this work. The Flight of the Hummingbird is both an experience
for audiences and a provocation for learning. Opera is unique because it is inclusive of all art forms
and as such, creates multiple ways for students to express what they know through art whether it be
music, theatre, text, or visual art. The story itself demonstrates the power held by each individual to
participate as a changemaker. Audiences will be taken on a journey in which the smallest member
of the community inspires others to act. The opera also addresses the impact of forest fires on both
communities and their residents. The strong environmental message that underlies the action of the
story becomes much more personal through the magic of live performance. This study guide is an
invitation to question, notice, and wonder.
“All Canadians, as Treaty peoples, share responsibility for establishing and maintaining mutually
respectful relationships”. This is number six in the 10 Principles of Reconciliation from the Truth and
Reconciliation Commission. In the creation of this opera, collaboration between the opera companies
and indigenous people as advisors and artists figured prominently. It is our hope that this opera also
inspires the schools and the communities that bring the show to their territory, to use this production
as an opportunity to collaborate with local knowledge keepers and indigenous communities.
—-Rebecca Hass, Director of Community Engagement
Pacific Opera Victoria
—-Colleen Maybin, Director of Education
and Community Engagement
Vancouver Opera
THE FLIGHT OF THE HUMMINGBIRD 5
PERFORMANCE PROTOCOL
PREPARING FOR A PERFORMANCE
Preparing the school for a performance of The Flight of the Hummingbird will need to include a land
acknowledgement and welcome from the local nation. The Hummingbird Advisory Council recommends
that all schools hosting a performance consider the following well in advance of the performance.
1. KNOW THE STORY BEHIND THE STORY
The origins of the hummingbird parable are described on page 4. The story behind the opera itself is
equally important. From the beginning of the creative process, it has been Michael Nicoll Yahgulanaas’s
interpretation of the parable that is at the center of the opera. This is an important distinction because
as producers, VO and Pacific Opera Victoria were not seeking to create an opera based on an
Indigenous story – the intent was to produce an opera written and created by an Indigenous artist.
Michael’s mother was Haida, his father was Scottish. Self-taught, his unique artistic style is informed by
Chinese water colour techniques learned from Chinese painter Cai Ben Kwon. The result is a conscious
fusion of Haida and Asian artistic influences called Haida Manga. Michael describes Haida Manga as
‘blending North Pacific Indigenous iconographies and frame lines with the graphic dynamism of Asian
manga. It is committed to hybridity as a positive force that opens a third space for critical engagement’.
The artistic heritage of the opera is informed by the lived experience of not only Michael, but the entire
creative team. It is a collaboration that lives within Haida culture, art, and worldviews.
2. CONSULTATION, PERMISSION, AND PROTOCOL
Consulting with leaders from the local nation is an important aspect of preparing for the performance.
The first step is to seek permission from the local nation for the opera to be performed on their territory
and to establish the protocol for acknowledging the origins of the story and the opera. Guidance on
how to begin this process is available from district/school based Indigenous education staff, local
native friendship centers, and Indigenous leaders within the community. Part of this process will include
establishing expectations for remuneration and gifting for all Elders, story tellers, and/or knowledge
keepers who participate in the work related to the performance.
3. ACKNOWLEDGEMENTS
Once the audience has gathered and before the performance begins, ensure an acknowledgement
takes place. Use this moment as one of recognition and welcome for all involved.
• Whenever possible, invite an Elder to lead the acknowledgement.
• Consider a performance of a song of the local territory that is used for traditional welcomes led by
a local drum group or Elder.
• If an Elder or local leader is not available, begin with a land acknowledgement.
• Recognize the history of the story and the opera’s origins.
It is vital for schools to be culturally aware of the approach to the story because it speaks to many
truths and ways of knowing. Preparing for the performance is an opportunity for deep thinking about
the importance of permission and how to go forward in following protocol and honouring the land on
which the opera is being performed. This is a way of activating the teachings of reconciliation.
6 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIA
T H E H U M M I N G B I R D A DV I S O RY C O U N C I L :
WITNESSES TO THE WORK
In the time I have been fortunate enough to be part of my local indigenous community as an
Anishinaabe/Metis woman, far from her territory, I have relished the opportunity to see how things
are done differently by the people I’ve met who are indigenous to the territory I currently live on. One
of the most striking things has been the role of witness.
The first time I was present where witnesses were called forward was during a difficult time for a local
arts group. There was a rift that needed healing. The healing event that was held for the community
was a mix of indigenous and non-indigenous people, all taking part in a ceremony headed by a
local Lekwungen leader. He called a number of people forward by name. Members of the board of
directors went to each of them and gave them quarters, as a mark of the task and the acceptance
of the task they were charged with. (I was told the quarter at one time was the cost of a blanket,
and this tradition of the quarter being a meaningful offer of currency remains) Those called forward
who took the quarters, were signalling their acceptance of their roles as witnesses to the ceremony
to follow. Their duty was two-fold. One, was to watch what happened and to report what they had
witnessed at the end of the event. The second was that once they left this place, they would always
be responsible to speak of what happened and to confirm that it had been done in a ‘good way’.
After the healing ceremony was completed, one by one these witnesses stepped forward and offered
a reflection on what they had seen. Each reflection, while individual, contributed to a felt sense of the
whole event. Everyone could take comfort and relax in how the community cared for one another in a
way they could be proud of.
There is something so beautiful about consciously asking them to stand up and say what they saw.
The witnesses are the record keepers from before our smart phones. This very human act of bearing
witness to what we do and how we care for one another as we walk in this world, of holding each
other accountable in the very best way, is what witnessing is to me, as I have experienced it.
With this in mind, I present the Hummingbird Advisory Council as people who gathered together to
hold each other accountable and who can be asked today and at any time in the future to speak truth
about the process we engaged in to bring this piece to the schools and world at large. We are urban
indigenous and non-indigenous people, from many nations and countries. We were there. We saw.
We heard. We walked this piece forward in a good way. We witnessed.
—-Rebecca Hass
Director of Community Engagement, Pacific Opera Victoria
THE FLIGHT OF THE HUMMINGBIRD 7
BIOGRAPHIES
ADVISORY COMMITTEE
ROBERT CLIFTON | LIIMIIUUM HALYA’AT—SINGING SHAMAN
Born in New Westminster, British Columbia, Robert spent his early childhood between
Hartley Bay which is Gitga’at Territory and Hazleton which is Gitxsan before returning
to the suburbs of Metro Vancouver on Katzie, sc̓əwaθenaɁɬ təməxʷ (Tsawwassen) S’ólh
Téméxw (Stó:lō), W̱SÁNEĆ, Kwantlen, Stz'uminus traditional territories during
his school years.
Robert comes from two worlds: on his father’s side, he descended from the Gitga’at people
of the Tsimshian Nation and from his mother’s side he is a third-generation settler from
Norway. Learning how to negotiate these two different worldviews has helped him to bridge
understanding in diverse ways of knowing and being.
Robert is the Indigenous Education Curriculum Consultant for the Vancouver School Board. After
graduating from the NITEP program at UBC, Robert taught elementary school for 20+ years before bringing his skills and passion
for teaching and innovative pedagogical approaches to his current role. Robert’s life experience has been rooted in the arts;
having sung, performed, and danced on several local stages in his youth. Robert values the power of the arts as they were
integral to developing a positive self-identity. Currently, he is working on his Master of Educational Technology at UBC.
NEKITA GARCIA-GRAVEL
Nekita was born in a small town in Quebec. She grew up in Vancouver on the
traditional territories of Tseil-Waututh, Musqueam and Squamish but still maintain a
close relationship with her Quebecois family. Her ancestors come from the Quechua
of Chuquibamba in Southern Peru as well as Spanish and French settlers from
eastern Canada. She feels lucky to have a father that made sure she knew about her
Indigenous roots growing up.
Nekita is an Indigenous Education Teacher for the Vancouver School board. She has a
background in geography and spent some time living in a Cree community in the James Bay
before becoming a teacher and this has greatly influenced her practice.
REBECCA HASS | MANGINOWEH—THE VOICE OF THE LOON
Rebecca was raised in Coldwater (Gissinausebing), Ontario. Treaty 20 and Williams
Treaty territory on the traditional lands of the Ojibway. She is Anishinaabe/Métis on her
father’s side from Drummond Island and Rama, Ontario and British on her mother’s side.
Rebecca Hass, Director of Community Engagement for Pacific Opera Victoria, is involved
in a wide range of programs that include education, artist development and community
initiatives to challenge, educate and inspire. Her work in the community includes a youth
program with the Victoria Native Friendship Centre and a mentorship role with the Indigenous
youth theatre initiative, Sacred Circle. Rebecca is also working with Ojibwe artist, Rene
Meshake, in the development of a touring community music theatre project called ‘Oji}bop}era.
She is in demand as a host and panelist in discussions of diversity and inclusion in the performing
arts, notably with the University of Victoria and the Intercultural Association of Greater Victoria. Rebecca is
a graduate of Wilfrid Laurier University, with an Honours bachelor’s in music majoring in Performance and is an active citizen of
the Métis nation of British Columbia.
8 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIA
MARY JANE JOE | NK’XETKO
Raised on the Joeyaska Indian Reserve near Merritt, BC. Mary Jane Joe is a member of
the Ntle’kepmx Nation, one of the five Salish tribes in central B.C. She is a survivor of
the Kamloops Indian Residential School.
A trained teacher, Mary Jane Joe shares her knowledge and experience on First Nations
history, residential school life and traditional culture as well as developing curriculum and
lesson planning. She has experience working alongside artist educators in DareArts, RCM,
Indigenousartists.ca, who go into classrooms in Vancouver schools to share history, traditional
knowledge, story, song and dance with students of all ages. Mary Jane Joe has two grown
children, three grandchildren and lives with her husband in his home community of Musqueam.
SHANNON LEDDY, PHD.
Shannon is a member of the Métis Nation with ties to the Red River Community in
Manitoba from the 19th Century and St. Louis, Saskatchewan from the 20th Century.
She was raised on Treaty Six Territory, Saskatoon, Saskatchewan.
Shannon Leddy is a Vancouver based teacher and writer whose practice focuses on
decolonizing education and Indigenous education within teacher education. She holds
degrees in Art History and Anthropology from the University of Saskatchewan (1994), a
master’s in art history (1997), and a Bachelor of Education (2005) from the University of
British Columbia. Her PhD research at Simon Fraser University focused on inviting pre-service
teachers into dialogue with contemporary Indigenous art as a mechanism of decolonizing
education and in order to help them become adept at delivering Indigenous education without
reproducing colonial stereotypes. During her time as a public-school teacher with the Vancouver School
Board, Shannon worked at several high schools as a teacher of Art, Social Studies and English. She is now an Instructor in
Indigenous Education at the University of British Columbia.
SHELLEY MACDONALD
Shelley was raised on the ancestral traditional territories of the Wendet, the Ojibway,
the Haudenosaunee Confederacy, the Anishinaabe, the Mississaugas of the Credit First
Nation and the Métis Nation. She traces her ancestry to Mi’kmaq “Ugpi’Ganjig,” Eel
River, New Brunswick, and Scotland.
Shelley is an award-winning performing artist, educator, and filmmaker. She has over 20 years
of experience as an artist/educator and has collaborated on different theatre and film projects
across Turtle Island creating meaningful arts and culture experiences that focus on social justice
issues to help create systemic change. In her current role as the First Nations, Métis, and Inuit
National program Leader and Indigenous Curriculum development lead for the Royal Conservatory’s
Learning Through the Arts Program, Shelley has been focused on mentoring Indigenous artists and teachers
on collaborative learning strategies that bring the school curriculum alive with Indigenous Perspectives. An in-
demand facilitator, Shelly has worked with the Assembly of First Nations, INDspire, The First Nations Education Steering Committee,
Chiefs Of Ontario, the Lighting The Fire Conference and the Banff Centre for Arts & Creativity.
BRUCE SLED
Bruce was raised in North Vancouver on the traditional territories of the Tseil-Waututh and
Squamish where he continues to live and work. He is the descendent of British settlers.
Bruce Sled is an associate composer with the Canadian Music Centre and has written
extensively in the choral genre. He studied music composition with Stephen Chatman at
the University of British Columbia where he received his Bachelor of Music, Bachelor of
Education, and Master’s in Educational Leadership. Bruce’s music has been performed by
many choirs nationally and internationally. His music has been broadcast on CBC radio
and he has a number of pieces published by Cypress Publishing. Locally, his music has been
performed by the Vancouver Chamber Choir, the Vancouver Cantata Singers, musica intima, the
Canadian Chamber Choir, Laudate Singers, and Chor Leoni. Many of his pieces have been recorded
including “Ice” which was featured on musica intima’s Juno nominated album into light. As well as being a
composer, Bruce is also an educator in North Vancouver, and a proponent of Orff Schulwerk.
THE FLIGHT OF THE HUMMINGBIRD 9
THE PRODUCTION TEAM
THE FLIGHT OF THE HUMMINGBIRD
An opera for young audiences
Music by Maxime Goulet
Libretto and creative design by Michael Nicoll Yahgulanaas and Barry Gilson
A co-production with Vancouver Opera and Pacific Opera Victoria
Stage Direction Glynis Leyshon
Music Direction Kinza Tyrrell
Movement Wendy Gorling
CAST AND CREATIVE TEAM
(in order of vocal appearance)
Owl Evan Korbut
Dukdukdiya (Hummingbird) Sara Schabas
Bear/ Crow 2 Jan van der Hooft
Bunny/ Crow 1 Rebecca Cuddy
Pianist Perri Lo
Cellist Shiun Kim
Stage Manager Marijka Asbeek Brusse
PRODUCTION TEAM – PACIFIC OPERA VICTORIA
Head Carpenter Phil Shaver
Lead Hand Carpenter Keith Allan
Lead Scenic Artist Jeremy Herndl
Head of Wardrobe Sandra McLellan
Lead Hand Wardrobe Alice Hawes
Master Cutter Katri Tahvanainen
Head of Props Maureen Mackintosh
Lead Property Master Kristen Sands
UBC/VANCOUVER OPERA PRE-PROFESSIONAL INTERNSHIP PROGRAM INTERNS (UNDERSTUDIES)
Dukdukdiya (Hummingbird) Sodam Lee
Bunny Simran Claire
Bear Justin Cho
Owl Yuhui Wang
10 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIAABOUT THE OPERA:
FROM THE BOOK TO THE STAGE
THE CREATIVE WORK OF THE DRAMATURG/DIRECTOR
For me, dramaturgical work always begins by immersing myself in the source material that inspired
the opera—in this case it is the book Flight of The Hummingbird by Michael Nicoll Yahgulanaas. A
deceptively simple parable, it conveys in just a few elegant words a clear message of resilience and
hope, empowering all of us to choose the path of the Hummingbird and affect momentous change
with personal action.
The initial challenge facing our creative team was preserving the essence of our source story while
expanding it meaningfully into a chamber length opera. As dramaturg /director, my role was to
support the creators in a rigorous exploration of the new story elements that emerged as the opera
evolved from the original story.
In a series of intense workshops, and months of emails and phone calls, we worked to create
a compelling story of life in the forest before the arrival of the fire. Librettists Michael Nicoll
Yahgulanaas and Barry Gilson wanted to create a dynamic exchange between four very different
characters—Hummingbird, Bear, Bunny and Owl—and have that exchange culminate in the defining
action of Dukduldiya, our tiny Hummingbird.
As dramaturg in these workshops, I tried to imagine myself as the audience, hearing and
experiencing the story for the first time. Each character and their actions needed be clear to the
audience and contribute to the overall narrative arc of the story. Through literally hundreds of
changes and many drafts, our creative team has worked to create an opera we are proud to be
sharing with you on this tour.
—Glynis Leyshon, Director, The Flight of The Hummingbird
CAST OF CREATIVE WORKSHOPS
MUSIC WORKSHOPS – May 4, 2019 and November 13, 2019
Dukdukdiya (Hummingbird) Melody Courage (May 4)
Heather Pawsey (November 13)
Bunny Emma Parkinson
Bear Nolan Kehler
Owl Willy Miles-Grenzberg
LIBRETTO WORKSHOP – December 1, 2018
Dukdukdiya (Hummingbird) Kim Harvey
Bunny Celine Studel
Bear Aaron Wells
Owl Brian Linds
THE FLIGHT OF THE HUMMINGBIRD 11BIOGRAPHIES
CREATIVE TEAM
MAXIME GOULET
Maxime was born and raised in Montreal, QC on the traditional territory of the
Kanien’kehá:ka. The island called “Montreal” is known as Tiotia:ke in the language of
the Kanien’kehá:ka. Maxime is a born francophone; both his parents are from French
origins. He speaks three languages fluently: French, English, and music.
Composer Maxime Goulet works within various realms of musical creation ranging from
symphonic music to video games. His classical music compositions, such as Symphonic
Chocolates and On Halloween Night are now part of many orchestras’ regular repertoire
by leading ensembles such as the Montreal Symphony Orchestra, the Toronto Symphony
Orchestra, and the Vancouver Symphony Orchestra. He has scored more than 30 video games
such as Warhammer 40,000: Eternal Crusade, The Amazing Spider-Man, and Iron Man 2. He is
also the creator of the multimedia concert the Montreal Video Game Symphony.
MICHAEL NICOLL YAHGULANAAS
Michael was born and raised in Delakatla (Great Blue Heron slough) on Haida Gwaii,
recently but briefly called the Queen Charlotte Islands. This archipelago lies over the
horizon off the western shores of Canada and is the homeland of Haida indigenous
peoples. This is his place.
“I play in the spaces between assigned identity, challenging the easily described roles by calling
out the emotional and moral complexity that makes us all members of one species.” Michael is
an award-winning visual contemporary artist, author and professional speaker. His work has been
seen in public spaces, museums, galleries and private collections across the globe. Institutional
collections include the British Museum, Metropolitan Museum of Art, Seattle Art Museum and Vancouver
Art Gallery. His large sculptural works are part of the public art collection of the Vancouver International
Airport, City of Vancouver, City of Kamloops and University of British Columbia. Yahgulanaas’s publications
include national bestsellers Flight of the Hummingbird and RED, a Haida Manga. When not writing or producing art, Yahgulanaas pulls
from his 20 years of political experience in the Council of the Haida Nation and travels the world speaking to businesses, institutions
and communities about social justice, community building, communication and change management. His most recent talks include the
American Museum of Natural History and TEDxVancouver.
BARRY GILSON
Barry was born and raised in Thorne, South Yorkshire, England. His ancestors are thought
to be Viking, but his name can be traced back to the village of Kilmersdon in Somerset
where Jack and Jill climbed the hill (Jill’s son = Gilson).
Barry Gilson is the principal of award-winning architectural interiors company RED Design. Barry
has strong technical and business qualifications with an impressive track record of more than 35
years of hands-on experience in strategic planning, business unit development, design, project
management and facilities planning. From his teenage years in musical theatre to President of
the Burnaby Art Gallery, founding member of a theatre company and partner in Y Public Art with
Michael Nicoll Yahgulanaas, the arts have played a major role in his life.
12 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIAGLYNIS LEYSHON
Glynis was born in Aberdeenshire, Scotland and immigrated to Canada as a child. She
grew up in North Vancouver on the traditional land of the Tsleil-Waututh Nation. Her
ancestors are all Celtic. Her father’s family are from the small coal mining village of
Pencoed, Wales and her mother’s family were rural farmers near Aberdeen, Scotland.
After the Second World War, her parents journeyed across the Atlantic and made a
home on the west coast of Canada.
Glynis Leyshon is one of Canada’s most respected opera and theatre directors. During her
long-standing relationship with Pacific Opera Victoria, Ms. Leyshon has created over 20 new
productions. While the majority of this operatic work has been in the traditional repertoire, Ms.
Leyshon’s experience as a dramaturg and director of new theatre work has led her to develop and
direct a number of new opera productions. She is the former Artistic Director of both the Playhouse Theatre
Company in Vancouver and the Belfry Theatre in Victoria. Ms. Leyshon has a particular passion for working with young and
emerging artists and is the recipient of Canada’s Commonwealth Medal for her contributions to the arts.
DR. KINZA TYRRELL
Kinza grew up on the traditional lands of Lkwungen people in Victoria, B.C. Her heritage is
English, Scottish, and Irish; her first name means treasure in Moroccan Arabic
A Victoria native, Kinza is one of Canada’s finest collaborators and a steadily rising figure
in the world of opera. She has extensive experience in choral conducting, vocal coaching
and accompaniment, having been a graduate of the Merola Opera Program, Tanglewood
Festival and the Canadian Opera Company Ensemble Studio. Some career highlights include
singing with the University of Toronto Gospel Choir, touring the US with Bending the Bows,
touring B.C. with Richard Margison, singing Lady Macbeth at the Vancouver Opera’s public
dress rehearsal of Macbeth, playing Rachmaninov’s Paganini Variations with the Vancouver
Symphony Orchestra, performing with Measha Brueggergosman at the 2010 Vancouver Winter
Olympics, recording Hollywood movie soundtracks with the VFO, recording Ukrainian art songs with
Benjamin Butterfield at CBC in Toronto, conducting Nico Muhly’s opera Dark Sisters at Vancouver Opera and being an IZombie
organist. Kinza’s most memorable opera moments are sessions with the linguist Nico Castel, where he shared entertaining stories
related to diction and language.
WENDY GORLING
Wendy’s heritage is Scottish and Norwegian on her mother’s side and Austrian on her
father’s side. She was raised and still lives in Vancouver, the traditional home of the
Musqueam, Squamish, and Tsliel-Waltuth people.
Wendy is an actor, choreographer and teacher, garnering six Vancouver Jessie Awards.
She co-created, with Morris Panych, The Overcoat – A Musical Tailoring, which toured
internationally. She has choreographed the movement for Moby Dick, Trojan Women
(Stratford Festival), Verdi’s Macbeth (Pacific Opera and Opera Quebec), Suzanna, and
Sweeney Todd, The Overcoat – A Musical Tailoring (Vancouver Opera), Pericles and The
Winter’s Tale (Bard on the Beach), and The Waiting Room (Art’s Club). Upcoming, she will be
the movement choreographer for Stratford Festival’s Frankenstein. She is a graduate of Ecole Jacques
LeCoq in Paris, France and is an inductee into the British Columbia Entertainment Hall of Fame. Having
taught at Studio 58 for 40 years, Wendy is passionate about guiding young Canadian theatre artists.
THE FLIGHT OF THE HUMMINGBIRD 13BIOGRAPHIES
CAST
MARIJKA ASBEEK BRUSSE
Marijka was raised in Vancouver on the traditional lands of the Squamish, Tsleil-Waututh
and Musqueam. She is descended from British settlers on her mother’s side and Dutch
on her father’s side.
Marijka has a Bachelor of Fine Arts from UBC Theatre and is a Vancouver-based Stage Manager
who splits her time between opera, theatre, and dance. Recent stage management credits include:
La Traviata (Vancouver Opera), Silent Light (Banff Centre Opera in the 21st Century), Mixed Nuts
(Arts Umbrella Dance Company), Hir (Pi Theatre), Mom’s the Word 3: Nest 1/2 Empty (Belfry
Theatre), and C’Mon, Angie! (Touchstone Theatre). Marijka also spent several years teaching stage
management at UBC and working in Festival Artist Logistics and Transportation Management.
REBECCA CUDDY
Rebecca is Métis, Anishnaabe, Scottish, English and Irish. She grew up in various cities
in the Greater Toronto Area on the traditional territory of the Mississaugas of the Credit,
the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples.
Mezzo-Soprano Rebecca Cuddy’s recent career highlights include performing La Métisse in
the world premiere of Riel; Heart of the North with Regina Symphony Orchestra, Kwe in the
world premiere of Shanawdithit with Tapestry Opera and Opera on the Avalon, Mercedes
(Cover Carmen) in Carmen, Third Lady in Die Zauberflöte and Toronto Concert Orchestra’s
tour of Voice of a Nation in which she premiered a Métis song cycle by Marylin Dumont
and Ian Cusson. Earlier this season she joined Unsettled Scores as the Golden Fish-
Boy in Contraries and Soundstreams for Two Odysseys: Pimootewin and Gàllàbartnit. Flight of the
Hummingbird will be Rebecca’s 6th world premiere of an Indigenous opera. She will be making her
Winnipeg Symphony debut in 2020 for the remount of Riel; Heart of the North and her debut with Toronto Symphony Orchestra
debut in 2021 in Rigoletto. Rebecca completed her Master of Art in Voice at the Royal Academy of Music in 2017 and her
Bachelor of Music at Western University in 2015. Beginning the fall of 2020, Rebecca will be the Indigenous Artist in Residence
at the National Theatre School of Canada.
JAN VAN DER HOOFT
Jan was raised in Winnipeg which is located within Treaty No 1 Territory, the traditional
lands of the Anishinabe, Ininew, Oji-Cree, Dene and Dakota and is the birthplace of the
Métis Nation.
Canadian lyric tenor Jan van der Hooft has been described as “a rare bread, comfortable with
high tessitura, and showing an exciting lyricism in the sound” (Schmopera). Current season
highlights include his debut with Pacific Opera Victoria in their production of Il Trittico, in which
he sang the Song Vendor and Dr. Spinelloccio, as well as the remount of Pacific Opera Victoria’s
Missing for which he revised the role of Devon. Prior to the 19/20 season, Jan resided in Calgary
for two years where he was a member of the Calgary Young Artists program where he debuted
as Tybalt in Gounod’s Romeo et Juliette (2018) and The Nephew in the world premiere of Veronika
Krauses’ Ghost Opera (2019). This is Jan’s inaugural engagement with Vancouver Opera.
14 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIASHIUN KIM
Born in Seoul, South Korea, cellist Shiun Kim began her musical studies at the age
of nine. Since coming to Vancouver, Canada in 2007, Shiun has played in both
the Vancouver Youth Symphony Orchestra and the Vancouver Academy of Music
Symphony Orchestra and has, over the years, competed in many local competitions,
such as Burnaby Clef and the Kiwanis Music Festival.
In 2015, Shiun won first place at the University of Victoria Annual Bach Competition. She
participated in the Castleman Quintet Program in Portland, United States over the summer of
2016. In 2017, Shiun joined the Victoria Symphony Orchestra and the Galiano Ensemble. She
attended the Vancouver Symphony Orchestral Institution at Whistler conducted by Bramwell Tovey
in June, 2018. In July 2019 Shiun went to Québec City to participate in Musique de Chambre with the
Eurydice quartet. She has recently completed a master’s in music after studying with Pamela Highbaugh Aloni
at the University of Victoria.
EVAN KORBUT
Evan was raised in Sault Ste. Marie Ontario, and Garden River (Robinson Treaty/Crown
Treaty 60), traditional home of the Anishinaabe. His father is Anishinaabe and his
mother is Ukrainian/Finnish/British.
Evan began studying at Western University in 2007, completing his bachelor’s degree in music
(voice performance) in 2011 and then completed a master’s degree in music (voice) in 2014.
Various credits include productions of Die Fledermaus as Eisenstein, The Merry Widow as Danilo,
Cosi Fan Tutte as Guglielmo, La Bohème as Marcello, The Rape of Lucretia as Tarquinius/Junius, La
Cenerentola as Dandini, Le Nozze Di Figaro as Figaro/Count Almaviva, L’Italiana in Algeri as Taddeo,
La Clemenza di Tito as Publio, the world premiere of The Ecstasy of Rita Joe as Jaimie Paul, Fierabras as
Roland, Rise and Fall of the City of Mahagonny as Moses, the world premiere of Shanawdithit as Simms/
Spirit Chorus, and the world premiere of Two Odysseys: Pimooteewin/Gállábártnit as Hunter/Chorus.
PERRI LO | LO PUI-YIN
Perri was raised on the traditional lands of the Tsuut’ina nation, formally known as Sarcee
(Calgary, Alberta). She is Chinese-Canadian, with Hong Kong heritage from her father’s
side and Singapore heritage from her mother’s side.
Perri Lo is a collaborative pianist and vocal coach, working in opera, chamber music. She
completed her Master of Music degree from McGill University in 2011 and then moved to Toronto
to where she was awarded an Artist Diploma at the University of Toronto as a repetiteur in 2018.
She then moved to Vancouver where she joined the Yulanda M. Faris Young Artist Program at
Vancouver Opera as an apprentice coach for the 2018-19 season. Perri has now established herself
in Western Canada as a collaborator with Indie Opera West companies including Heroic Opera,
East Van Opera, and Re:Naissance Opera. Aside from performing with singers and instrumentalists, she
has worked with dancers across Canada at Ballet BC, Arts Umbrella Dance, Harbour Dance Centre, l’École
supérieure du ballet de Québec, and Canada’s National Ballet School.
SARA ADÈLE SCHABAS | תבש הרש
Sara was raised in Toronto, whose name is likely derived from the Iroquois “Tkaronto,”
meaning “place where trees stand in the water.” Toronto is on the traditional land of
Mississaugas of the Credit, Anishnabeg, Chippewa, Haudenosaunee, Wendat and
other peoples. Her mother was born in South Africa and her father in Toronto, both to
parents of Eastern-European Jewish and British origins.
Canadian soprano Sara Schabas was a 2019 Regional Finalist in the Metropolitan Opera
National Council Auditions, 2018 winner of the Career Blueprint Award (IRCPA), and recipient
of the Hnatyshyn Foundation Grant (2019/2020). This season, Sara will sing at the Internationale
Barocktage Melk, Messiah with the Bach-Elgar Choir, and as Anne Frank with Loose Tea Music
Theatre. A graduate of the University of Toronto and Roosevelt University, Sara produced the Canadian
premieres of Jake Heggie’s Holocaust operas and has worked to bring music to hospital patients and people
living with Alzheimer’s and dementia. When she’s not singing, she enjoys yoga, baking, painting and a good book.
THE FLIGHT OF THE HUMMINGBIRD 15THE LEARNING FOUNDATION
WE DO WHAT WE CAN…
The main objective of the study guide is to provide teachers and students access to the rich learning
opportunities held within the experience of the opera. The study guide reflects the core values that
informed the creation of the opera from its inception. It is designed on a framework that supports
deep listening, inspires news ways of thinking, and connects with Indigenous ways of knowing. The
inquiry questions and activities will lead students towards a deep understanding of what they see,
hear, and experience.
VALUES
1. Care and safety
The cultural safety of the story and care for all the artists, advisors, and staff was fundamental
to the process.
2. Curiosity
As we worked together, we strove to remain curious and open to new learning.
3. Hybridity
The space between Indigenous worldviews and the Western perspective embedded within
opera informed how we worked together and the meaning of the opera itself.
4. Responsibility
We are responsible to our young audiences to ensure they feel empowered to make a
difference, that their unique voice is important, and their individual actions matter.
CAST OF LIBRETTO WORKSHOP, PHOTO BY NADIA ZHENG
16 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIATO PREPARE FOR THE PERFORMANCE
1. Acknowledge the story behind the story.
Learn about the origins of the story and the journey of the opera. Connect the learning to the
people and the land the performance is taking place on by following local protocol.
2. Accept the invitation.
Invite questions and seek answers that are informed by place- based knowledge. The
suggested activities braid together the arts, social studies, and science as a site of learning
that is flexible. This inquiry-based approach is supported through the website which includes
detailed resources from experts in the field of arts education, Indigenous education, and
climate change.
3. Respond to the provocation.
The opera will provoke a response within audiences. Respond to the experience of the
performance and the call to action; empower the observers to become participants.
4. Prepare the audience.
Arts experiences can lead to new ideas, evoke emotions, and create shared moments.
Prepare the students for the performance by:
— introducing the story and the music multiple times before the performance takes place;
— ensuring the presence of Elders and school support staff;
— providing students with an opportunity to reflect through a post-performance talking
circle (I noticed, I wondered, I felt).
RECONCILIATION IN ACTION
This study guide has been designed to build on each teacher’s individual experience with
Indigenous education, opera, and inquiry-based learning. Each inquiry question and activity is
a suggestion, a potential spark for lessons and projects that can be embedded into previously
established learning objectives.
It is also a call to action for teachers. Every aspect of the study guide has been intentionally designed
as an opportunity to involve local elders, knowledge keepers, and Indigenous educators in learning
that takes place outside as much as possible.
Each section is designed around a specific theme in the opera – the teaching within the story, the
connection to the land, and the music of the opera. The content is flexible and can be used to meet
multiple learning objectives across subject areas at the primary, elementary, and middle school levels.
THE FLIGHT OF THE HUMMINGBIRD 17ESSENTIAL KNOWLEDGE
THE LEARNING FRAMEWORK
Indigenous people see the land itself in ways non-Indigenous people often do not understand:
An Indigenous person’s sense of self is not separate from the land. The interconnectedness
with the land and the natural world is a lived experience. Indigenous persons have a hard
time knowing themselves and being themselves without this relationship to their homeland.
The vital knowledge of generations has taught them how to live with nature and be in balance
and harmony with the natural world. It is compelling to see how often Indigenous art shows an
interconnectedness between animals and people and the land.
Land is important in two respects. First, as has been pointed out, traditional lands are the ‘place’
of the nation and are inseparable from the people, their culture, and their identity as a nation.
Second however, land and resources, as well as traditional knowledge, are the foundations
upon which Indigenous people intend to rebuild the economies of their nations.
— Excerpts from Circles For Reconciliation
USING AN INQUIRY PROCESS
1. Enter the story of the Hummingbird through the book, the animated short, and the opera.
2. Students then identify and reflect on the big picture – what are the pieces of story? How do
they fit together? What is the call to action?
3. Sharing responsibility for the work, teachers and students collaborate with local Elders,
knowledge keepers, and Indigenous educators to ask questions and receive guidance on
potential inquiry pathways including:
a. Connections and relationships between Indigenous knowledge and Western science.
b. Transformation over time, modern vs historical practices.
c. Individual ways of enacting and/or advocating for climate change solutions.
4. Students track and record their reflections as well as any new questions. Finally, they can design
a method to demonstrate their learning and their response to the call to action.
SUGGESTED ACTIVITIES
The suggested activities are a collection of ideas for classroom activities that came out of advisory
council meetings, professional development workshops, and discussion with the creative team behind
the opera. They are meant to complement the inquiry process and/or to inspire potential projects that
are related to the teachings within the opera.
18 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIASYNOPSIS
Prologue
Long ago, Owl watched as a large white boat entered the harbour near his village. These visitors
were unfamiliar and their presence brought danger to Owl’s home. He wanted to help but didn’t
know what could be done. Frightened, he rose up and flew away.
Scene One
Dukdukdiya (DDD) is happy to be home. She darts around the water, swoops under tree boughs, and
lands near the pool’s edge. DDD had been away for a long time and had missed her friends.
Scene Two
Bear greets DDD with a warm embrace. They both notice a new smell, a sweet smoky perfume that
has filled the air. The smoky wind and dusty breeze make them feel uneasy. Bear is overwhelmed,
not knowing what to do. As DDD calms her friend, Bear’s face takes on a dreamy look. He is thinking
about his love – Bunny.
Scene Three
In the distance, a thumping noise can be heard, getting louder and louder as it gets closer. Suddenly,
Bunny stomps into the clearing and walks right up to Bear. She is very frustrated with him as he left
her to do all the housework! Bear and DDD tell Bunny about the smell. Bunny isn’t concerned with the
smell when there is so much work to do. “Stop caring about what’s far away!” DDD replies, “I think
we should do something about it.” She then shares inspiring stories of far away people who work to
protect our Earth.
Scene Four
The friends are interrupted by the sudden arrival of Owl. He seems to have fallen from the sky. DDD
leans over him to see if he is okay. Suddenly, he screams, “FIRE,” and looks around with fear in his
eyes. When he realizes he is safe, Owl assures his friends that he is fine and doesn’t need their help.
Scene Five
Bear and DDD recognize the smoky scent on Owl and begin to wonder if the smell is coming from a
fire. Bunny is more suspicious and accuses him of smoking. What else could explain the smell and the
ash falling from his wings? When Owls tells his story of escaping the forest fire, Bunny realizes he is
seeking shelter and instead of treating him as a stranger she welcomes him. She tells Owl that she too
once fled from her home and found peace, friendship, and love with DDD and Bear.
THE FLIGHT OF THE HUMMINGBIRD 19CONTINUED
SYNOPSIS
Scene Six
Bear fears that Owl is telling the truth about the fire and raises his concerns with Bunny and DDD.
Bunny pushes his worries aside as she tends to Owl’s injuries. Owl refuses their help as he laments
leaving others behind as he fled the forest. The animals come together as they tend to Owl and tuck
him into bed.
Scene Seven
Struggling to fall asleep, Owl remains tense. He is remembering the dusty red sky and all the smoke.
He is remembering all the crows that didn’t make it to safety. DDD watches over her new friend as he
finally rests.
Scene Eight
Owl begins to dream and is visited by the spirits of the crows who died in the fire. These are the
crows that watched Owl fly away! The crows try to entice Owl to join their flock and leave the others.
Scene Nine
Before they can succeed, DDD wakes Owl up. He tells her about the crows and his plans to join
them. DDD looks around and there are no crows to be seen. It was only a bad dream. DDD assures
Owl that she, his true friend, has been by his side as he slept. Bunny bursts in, crying out for Bear,
who has gone off alone and all the friends leave in search of the missing Bear.
Scene Ten
Meanwhile Bear has gone into the forest and discovers the fire is real! He rushes back to his friends
and they frantically search for a way to deal with the fierce fire. They can think of nothing to do but
run. But as they start to escape the flames, they realize that DDD is not following them.
Instead, DDD picks up one drop of water and tosses it on the fire. “Now, I do what I can.”
Owl, realizing that he too can help, picks up a drop of water and tosses it on the fire. “The nothing
we do is the something undone.”
Instead of washing dishes and sweeping floors, Bunny picks up a drop of water and tosses it on the fire.
Instead of refusing to see the danger, Bear picks up a drop of water and tosses it on the fire.
“The nothing we did is the something undone.”
“Now, we do what we can!”
20 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIATHE LAND
The setting of The Flight of the Hummingbird is as important as the story and the characters. The proximity
to the ocean, the types of trees that are in the forest, and the animal habitats are specific to Haida Gwaii
and the Salish Sea. Michael Nicoll Yahgulanaas’ ancestral home is Haida Gwaii and he currently lives on
the traditional, unceded territories of the Skwxwú7mesh Úxwumixw (Bowen Island) These places have a
direct impact on the stories he tells and his artistry. As the opera tours across British Columbia, it will visit
many different nations who have their own unique stories about the landscapes, vegetation, and animals
in their territories.
The following inquiry topics and activities are intended to strengthen students’ connection to the land they live
on, to explore how climate change is impacting the land, increase their sense of agency in bringing about
change, and to learn the traditional knowledge of the land from the Indigenous people who live there.
Suggested Inquiry Topics
Ask students how they connect with the land? How did they connect with the land this week? Today? Why
do they think it is important?
Invite a local knowledge keeper or Elder to speak about the animals in the local area.
—What are the names of the animals in the local Indigenous language(s)?
—What are the stories of the animals?
What is the current relationship between the land, the animals, and the humans who live here? How are
their stories interconnected?
How would the setting, characters, and the threat change if the opera was set here?
What is the Seventh Generation Principle? How can it be applied to addressing climate change in our
community? In our school?
Activities
Go for a walk in your local community. If possible, encourage students to wander the chosen space alone
and in silence while using their five senses to become aware of their surroundings. Have students make a
list of 10 things they notice about the land, the animals, and the climate. Use their responses to create a
land-based description of the place they live.
In Haida culture, the bear is considered the elder kinsman and is a symbol of strength. The hummingbird is
a symbol of health. What animals live on this land and in the ocean? What are the characteristics of these
animals? What are the stories of these animals as told by Indigenous community members? What do these
animals represent for the students?
The relationship between the land, the animals, and humans is in constant transformation from season
to season. Climate change is impacting the cycle of transformation. How does the land and the animals
change in response to the seasons? What is their annual cycle? How does the cycle impact the humans
who live here?
THE FLIGHT OF THE HUMMINGBIRD 21THE STORY
The story of The Flight of the Hummingbird interweaves the history of colonization, the impact of
trauma, and the importance of caring for each other into a call to action. Each animal comes into
the story with a unique perspective on the world that informs how they respond to the impending
danger. As they care for each other, they become stronger and more willing to share of themselves.
Ultimately, they find the courage to ‘do what they can’ because of the care and love they demonstrate
towards each other. In this way, the story of the Hummingbird is not only a call to action, but an
expression of the spiritual and emotional truth of their experience.
The following inquiry topics and activities are intended to engage students with the oral tradition of
the local Indigenous culture and its importance in Indigenous education.
Suggested Inquiry Topics
What lessons about individual and community responsibilities are in The Flight of the Hummingbird?
What is an oral tradition? Why is it important to Indigenous culture?
How do storytellers from the local Indigenous community teach through story?
What family stories are shared within your family? What is it important to share these stories with others?
The prologue of the opera refers to the negative impact of colonization on Indigenous culture. What are
the key moments in the history of colonization that impacted the local community?
The lyrics from “The Song of Persistence” describes how different Indigenous cultures around the world
steward the land in face of climate change. What are the detailed stories behind each stanza?
The story of the Hummingbird originates with the Quechan people. What elements from each story are
similar, and what elements are unique? How did the story move from South America to Haida Gwaii?
COMPOSER MAXIME GOULET, PHOTO BY NADIA ZHENG
22 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIATHE STORY
Activities
The animals in the opera are changed by their experiences. Using the character descriptions below as
a starting place, describe how they are different at the end of the opera.
Encourage students to present the results of the inquiry process through their own story telling. Build
their capacity through experimentation with sound (volume, pitch, pace), expression (facial, body, word
emphasis), and the story itself.
The animals create a family through acts of care and love. What are the specific ways they care
for each other? How does it make the other animals feel? What acts of care and love towards the
community can we do today? Tomorrow?
THE CHARACTERS
DUKDUKDIYA (Hummingbird) – the hero in waiting
Initially uncertain and questioning and feeling isolated. Returning back to a forest home she had long
since left, perhaps this is a seasonal chapter in the life of a bird.
BEAR – a responsive follower but not a leader
Likes to sit high in a tree and observe the valley and beyond. This thoughtful character is like a librarian
filled with the cataloging of knowledge but unable to move it to action. This is the zeitgeist of the well
informed society able to identify the constituent parts but not grasping the whole or complexity of
dynamic relationships.
BUNNY – the bystander, the judge and Bear’s partner
At an earlier time she sought refuge in the valley. Faced with the arrival of a recent refugee Bunny
is unable to be compassionate but eventually turns. This character has an opinion on how her busy,
accomplished and hard-working ethic puts others to shame.
OWL – the tragic figure
A refugee from the forest fire. This older character is injured as a result of his escape from the fire and
the loss of his companions. He signals the need for engagement and the cost of an individual isolated
from societal relationships.
CROWS – The memories and regrets of what was lost
They appear in owl’s nightmare/post-traumatic stress. They symbolize the social costs of small groups of
disengaged individuals.
THE FLIGHT OF THE HUMMINGBIRD 23THE SONG OF PERSISTENCE
I’ve flown the world over. There are places in the world
I’ve witnessed its beauty. where people take such care
I’ve felt its fragility. to protect all that’s good
for people to share.
I’ve met many inspiring people
who are facing great challenges Haida Sea, great Spirit Bear.
and who persist in keeping our one world ….. Ancient woods felled floor.
safe. Tarry sand piped to the coast
will challenge sea and shore.
Wise Tajik on rocky hills
where apples first were grown. Altiplano with cities high,
Carpets laid a thousand years rising through the clouds above.
On Pamir mountains’ stone. The people there defend their spud
so old and grown in mud.
In moist tropic river ways
the Amazon, a winding maze. There are places in the world
Where hope, if lost, our children’s cost. where people take such care
A forest in burning haze. to protect all that’s good
for people to share.
—Lyrics by Michael Nicoll Yahgulanaas & Barry Gilson
24 VANCOUVER OPERA IN SCHOOLS & PACIFIC OPERA VICTORIATHE MUSIC
Within Indigenous culture, music is not isolated from other arts practices. Music, dance, story, and
visual art is interwoven with all aspects of learning and expressing lived experiences. Music plays an
integral role in ceremony; music honours those that are present and those who are not, provides comfort
and healing, connects the land, the animals, and the people together, and passes on the history of the
community to the next generation.
Composer Maxime Goulet has arranged “The Song of Persistence” for young voices. The full piano
score, vocal music, as well as backing tracks with the melodies, are available for download on The
Flight of the Hummingbird website.
The following inquiry topics and activities are designed to engage students in active music making and
experimenting with sound as storytelling. They can also be integrated into the learning process of both
the Land and the Story sections of the study guide. The inquiry process here is reflective and encourages
students to gather musical ideas through listening. The activities use their ideas to create and perform
new music that reflects their learning and response to the opera.
Suggested Inquiry Topics
Walk around the school and the neighbourhood in silence. What is the sound of the community?
Collect the sounds by recording them or making notes.
Everyone has a favourite song they turn to when they are sad or are full of energy. There is also music
that has a great deal of meaning to us or is always performed at a special occasion. What songs,
dances, and stories are an important part of your life?
Invite a singer from the local indigenous community to speak about their music. How did colonization
impact their musical traditions? What are their contemporary music traditions and influences?
Play the melodic themes for each animal in the story on piano. How does the music reflect or relate to
the characters in the opera? How does it reflect or relate to the actual animals?
THE FLIGHT OF THE HUMMINGBIRD 25You can also read
