The Power of One: World Classics
Classic Tales
"Be patient, for the world is broad and wide."
The Mi'kmaq Origin story has been passed on orally throughout time. It was passed on generation to generation.
The story talks about how the first Mi'kmaq people were created and about important teachings. It is timeless because it still applies and is being told throughout mi'kma'ki.
The Mi'kmaq Origin story is important to me and our people. it tells us how we were created and of the balance between nature and the animals and it tells why and how we do the ceremonies.
For me the origin story makes sense of how we all were created. And why it's important to learn about where we are from and how to respect it.
There are hundreds of stories told about the first Mi'kmaq human kluskap. Kluskap's creation happened in Newfoundland but the stories told about him takes also place all over Mi'kma'ki. The stories told often take hours, sometimes days.
If one really listens to the creation story and look at it with open eyes. One will see it really makes sense. - Michelle B
The story talks about how the first Mi'kmaq people were created and about important teachings. It is timeless because it still applies and is being told throughout mi'kma'ki.
The Mi'kmaq Origin story is important to me and our people. it tells us how we were created and of the balance between nature and the animals and it tells why and how we do the ceremonies.
For me the origin story makes sense of how we all were created. And why it's important to learn about where we are from and how to respect it.
There are hundreds of stories told about the first Mi'kmaq human kluskap. Kluskap's creation happened in Newfoundland but the stories told about him takes also place all over Mi'kma'ki. The stories told often take hours, sometimes days.
If one really listens to the creation story and look at it with open eyes. One will see it really makes sense. - Michelle B
My chosen piece is titled Ilyas (or in some translations, Elias). This 1885 short story was written by Leo Tolstoy, a Russian writer who is often regarded as one of the greatest authors of all time.
Ilyas was translated from Russian to English around the dawn of the 20th century. With the help of my aziz (dear) friend Sadiq Saeed, I was able to perform my piece in the Urdu language, which is predominantly spoken in many regions in South Asia, and chiefly among Muslims or aficionados of Urdu poetry and literature.
Ilyas --a male name of Arabic origin and a Muslim form of the name Elijah--is the namesake story of a wealthy and successful farmer who, through hardship, loss, and material decline, experiences the essence of peace and prayer, and the impermanent nature of life on Earth. With his spouse and companion, Shem-Shemagi by his side, it is in humility, compassion, love, friendship, and spirituality that they realize the delightfully concealed nature of happiness and nobility.
It is the story’s universal and everlasting theme, coupled with Tolstoy’s prominence as a Nobel Prize in Literature nominee over several years, that makes this a classical piece for generations to read and be touched by.
Ilyas is special to me as it exudes the tender principles of Sufism, a mystical and esoteric tradition in Islam dedicated to experiencing Allah/God as the epitome of divine Love and Knowledge.
As a budding practitioner, Ilyas and Shem-Shemagi came to me with open arms and the emblematic olive branch fastened on as a brooch.
Special thanks to the Memorial University Botanical Gardens for use of their most beautiful grounds.
Ilyas was translated from Russian to English around the dawn of the 20th century. With the help of my aziz (dear) friend Sadiq Saeed, I was able to perform my piece in the Urdu language, which is predominantly spoken in many regions in South Asia, and chiefly among Muslims or aficionados of Urdu poetry and literature.
Ilyas --a male name of Arabic origin and a Muslim form of the name Elijah--is the namesake story of a wealthy and successful farmer who, through hardship, loss, and material decline, experiences the essence of peace and prayer, and the impermanent nature of life on Earth. With his spouse and companion, Shem-Shemagi by his side, it is in humility, compassion, love, friendship, and spirituality that they realize the delightfully concealed nature of happiness and nobility.
It is the story’s universal and everlasting theme, coupled with Tolstoy’s prominence as a Nobel Prize in Literature nominee over several years, that makes this a classical piece for generations to read and be touched by.
Ilyas is special to me as it exudes the tender principles of Sufism, a mystical and esoteric tradition in Islam dedicated to experiencing Allah/God as the epitome of divine Love and Knowledge.
As a budding practitioner, Ilyas and Shem-Shemagi came to me with open arms and the emblematic olive branch fastened on as a brooch.
Special thanks to the Memorial University Botanical Gardens for use of their most beautiful grounds.
Malin Kundang is a folktale from Padang, North Sumatra, the story is about retribution on an ungrateful son. A sailor from a poor family, the protagonist sneaks onto a trading ship, eventually becoming rich, marrying a princess, and acquiring his galleon. On his return to his home village, he is ashamed of his humble origins and refuses to recognize his elderly mother. In retaliation, she curses him, and when he sets sail, he and his ship are turned to stone. It's a timeless story because it is always becoming our reminder as an immigrant coming to another country that we have to be proud of our roots and where we are from and most importantly always love our mother.
“There are many folklores from all across Indonesia, but this one is my top story among others. It become very special to me since I left my hometown when I was 17. This story is told by my mother when I was a kid. It's very popular as well in school, it's part of folktales parents will read before their kids go to sleep. An emotional connection to me was when I left my hometown to study my Mom said "Don't forget about me.." after saying that, this story becomes more powerful to me since I realize how far I have gone to find a place I can call another home. A place where I can live my truth, love someone without prejudice.” - Zay Nova
“There are many folklores from all across Indonesia, but this one is my top story among others. It become very special to me since I left my hometown when I was 17. This story is told by my mother when I was a kid. It's very popular as well in school, it's part of folktales parents will read before their kids go to sleep. An emotional connection to me was when I left my hometown to study my Mom said "Don't forget about me.." after saying that, this story becomes more powerful to me since I realize how far I have gone to find a place I can call another home. A place where I can live my truth, love someone without prejudice.” - Zay Nova
This is a story about violence and how to stop it.
Ivo Andrić was a Yugoslav writer and he witnessed major violence both in World War I and World War II. He was born near Travnik, Bosnia and Herzegovina in 1892. His most famous novel is "The Bridge on the Drina" for which he won the 1961 Nobel Prize in Literature because of the epic power of shaping the themes and depicting human destinies throughout the history of his country.
The importance of Ivo Andrić is that his work and his persona crosses the borders created by the wars fought by our people. He was beloved by the Bosnians, Serbs, and Croats and the generations of the children of Former Yugoslavia who grew up reading his works in schools. His ideas of pacifism and his tremendous work created the monumental building blocks for our former homeland.
“We do not know how much strength and what possibilities lie hidden inside every living creature and do not sense what we are able of doing. It is revealed only in big and exceptional moments like this. Aska plays the game for her already lost life!” -IIvo Andrić
Through Andric’s work we realized that we have more in common than we can comprehend.
Bosnia and Herzegovina is a living proof that people of different religious backgrounds can live together peacefully and successfully. In Bosnia and Herzegovina, Muslims, Roman Catholics, Orthodox Christians, Jews, and Roma people have lived together for centuries. What brought us together was our unique culture. It is a culture of radical acceptance of each other. It is a culture whose ideas are implemented by our own country of Canada, too. Interestingly enough, a traditional dish of Bosnia and Herzegovina is something called Melting Pot. It is precisely the idea of this melting pot which was also introduced to Canada that made us realize the beauty of the diversity and inclusiveness. Here in St. John’s, Newfoundland, Canada, my Bosnia and Herzegovina lives and prospers through these ideas of pacifism, diversity, acceptance, and inclusiveness.
Ivo Andrić was a Yugoslav writer and he witnessed major violence both in World War I and World War II. He was born near Travnik, Bosnia and Herzegovina in 1892. His most famous novel is "The Bridge on the Drina" for which he won the 1961 Nobel Prize in Literature because of the epic power of shaping the themes and depicting human destinies throughout the history of his country.
The importance of Ivo Andrić is that his work and his persona crosses the borders created by the wars fought by our people. He was beloved by the Bosnians, Serbs, and Croats and the generations of the children of Former Yugoslavia who grew up reading his works in schools. His ideas of pacifism and his tremendous work created the monumental building blocks for our former homeland.
“We do not know how much strength and what possibilities lie hidden inside every living creature and do not sense what we are able of doing. It is revealed only in big and exceptional moments like this. Aska plays the game for her already lost life!” -IIvo Andrić
Through Andric’s work we realized that we have more in common than we can comprehend.
Bosnia and Herzegovina is a living proof that people of different religious backgrounds can live together peacefully and successfully. In Bosnia and Herzegovina, Muslims, Roman Catholics, Orthodox Christians, Jews, and Roma people have lived together for centuries. What brought us together was our unique culture. It is a culture of radical acceptance of each other. It is a culture whose ideas are implemented by our own country of Canada, too. Interestingly enough, a traditional dish of Bosnia and Herzegovina is something called Melting Pot. It is precisely the idea of this melting pot which was also introduced to Canada that made us realize the beauty of the diversity and inclusiveness. Here in St. John’s, Newfoundland, Canada, my Bosnia and Herzegovina lives and prospers through these ideas of pacifism, diversity, acceptance, and inclusiveness.
Dating far back into the 15th Century, this story is still pertinent. See, back then, each Luo family had an ancestral spear it held very strong attachment to. It was a symbol of leadership and authority. It used to be passed on by the family head from one generation to another. The practice signified the continuation of lineage. In most cases, the recipient would be the first born son of the family. The second born would be given royal beads, a symbol of grace.
When the eldest Labongo was out hunting, an elephant invaded the village. The younger Gipir used the ancestral spear to stab and scare away the elephant. But the spear was lost. Labongo was angry and sent out into the forest to get the spear back. With the help of an old woman in the forest, he found the spear, allowing him to return home. Even with the spear returned, Labongo wasn’t satisfied and vowed revenge.
Much later when one of Gipir’s beads was swallowed by Labongo’s daughter resulting in her death, the division of the family could never be healed. The brothers separated their clan and live on opposite sides of the Nile to this day.
After the brother's relationship was damaged beyond repair they decided it was time to go their separate ways. To cement the decision, they buried an axe at the spot where the present day Wang-Lei is; just a few meters from Pakwach bridge-opposite the former railway quarters over the Nile. Wang lei, is basically the axe.
"Gipir would go on to migrate with his family to the present day Great West Nile region and some parts of Congo, Labongo headed to Northern Uganda. Gipir's group went on to form the Alur tribe while Labongo's formed the Acholi. “Since the split, never in history has anyone from the Labong lineage successfully crossed this bridge." - Solomon Oleny
This 'burying of the axe' certainly differs from the western idiom of 'burying the hatchet', which means to make peace.
* Special Thanks to Denyse Lynde for graciously allowing us to film on her property.
When the eldest Labongo was out hunting, an elephant invaded the village. The younger Gipir used the ancestral spear to stab and scare away the elephant. But the spear was lost. Labongo was angry and sent out into the forest to get the spear back. With the help of an old woman in the forest, he found the spear, allowing him to return home. Even with the spear returned, Labongo wasn’t satisfied and vowed revenge.
Much later when one of Gipir’s beads was swallowed by Labongo’s daughter resulting in her death, the division of the family could never be healed. The brothers separated their clan and live on opposite sides of the Nile to this day.
After the brother's relationship was damaged beyond repair they decided it was time to go their separate ways. To cement the decision, they buried an axe at the spot where the present day Wang-Lei is; just a few meters from Pakwach bridge-opposite the former railway quarters over the Nile. Wang lei, is basically the axe.
"Gipir would go on to migrate with his family to the present day Great West Nile region and some parts of Congo, Labongo headed to Northern Uganda. Gipir's group went on to form the Alur tribe while Labongo's formed the Acholi. “Since the split, never in history has anyone from the Labong lineage successfully crossed this bridge." - Solomon Oleny
This 'burying of the axe' certainly differs from the western idiom of 'burying the hatchet', which means to make peace.
* Special Thanks to Denyse Lynde for graciously allowing us to film on her property.
"Why Do Chickens Scratch the Ground? is an amusing Filipino folktale. The story was told to me by my mother who is from the Philippines: a country of more than seven thousand islands with over a hundred regional languages and a people that have been colonized by the Spanish and the Americans. Nevertheless, adaptability has come to define the people of my country whose folk beliefs have been passed through oral traditions and have endured.
The story I am sharing with you here was relayed to me as a child, but its adult motifs almost read as a TV drama: A love affair, broken promises, betrayal, lies, and condemnation!
“This folktale is a short, simple origin story. As a part of oral tradition, origin stories engage a people's sense of wonder and imagination, imbuing the mundane and ordinary with awe, and encouraging creative ways of looking at the world and marvelling at humble things that we usually neglect. Origin stories give us a glimpse into a people's expressive behaviours and beliefs. They embrace humour and whimsy, and offer an escapism that allows us to be playful and view things more lightheartedly amidst the harshness of reality.
Stories of origin explain how things came to be, why things are the way they are, how anthropomorphized nature behaves, the reasons why an animal looks the way it does or behaves the way it does. Culturally and contextually specific, stories of origin engross us with universal themes and encourage us to bask in the wonders of the world.
Stories matter because they are one of the best ways to gain insight into another culture. Filipinos are the second biggest minority group in Newfoundland but they remain for the most part invisible. That is why I think that sharing such stories, simple as they are, can help further understanding and forge connections between two island cultures who have more in common than it might first appear.”– Marissa F.
The story I am sharing with you here was relayed to me as a child, but its adult motifs almost read as a TV drama: A love affair, broken promises, betrayal, lies, and condemnation!
“This folktale is a short, simple origin story. As a part of oral tradition, origin stories engage a people's sense of wonder and imagination, imbuing the mundane and ordinary with awe, and encouraging creative ways of looking at the world and marvelling at humble things that we usually neglect. Origin stories give us a glimpse into a people's expressive behaviours and beliefs. They embrace humour and whimsy, and offer an escapism that allows us to be playful and view things more lightheartedly amidst the harshness of reality.
Stories of origin explain how things came to be, why things are the way they are, how anthropomorphized nature behaves, the reasons why an animal looks the way it does or behaves the way it does. Culturally and contextually specific, stories of origin engross us with universal themes and encourage us to bask in the wonders of the world.
Stories matter because they are one of the best ways to gain insight into another culture. Filipinos are the second biggest minority group in Newfoundland but they remain for the most part invisible. That is why I think that sharing such stories, simple as they are, can help further understanding and forge connections between two island cultures who have more in common than it might first appear.”– Marissa F.
Jack and the Cow is a classic example of the stories I heard as a child. This story and others like it ,shows the struggle between good and evil. The magic in the stories is a reflection of the goodness in all of us. How we persevere in our everyday lives. The desire to live every day to it's fullest no matter what obstacles may lie in front of us.
I loved listening to story tellers, both as a child and an adult. They bring back beautiful memories of my childhood. moments shared with family . We had no electricity in our community until I was nine years old. We listened to these stories under an oil lamp or candle, whichever was available at the time. Life may have been hard, with all the physical work to be done ,but moments like this made us forget the everyday struggles if only for a short period of time. - Mark
I loved listening to story tellers, both as a child and an adult. They bring back beautiful memories of my childhood. moments shared with family . We had no electricity in our community until I was nine years old. We listened to these stories under an oil lamp or candle, whichever was available at the time. Life may have been hard, with all the physical work to be done ,but moments like this made us forget the everyday struggles if only for a short period of time. - Mark
“Ali Baba and the Forty Thieves is a folk tale from the One Thousand and One Night which is a collection of Middle Eastern folk tales compiled in Arabic. It is often known in English as the Arabian Nights, in which Shahrzad narrates a story per night for king Shahryar to entertain him and by inciting his sense of curiosity, prevents him from killing her. Ali Baba and the Forty Thieves was added to the collection in the 18th century and is one of the most familiar of the Arabian Nights tales, it has been widely retold and performed in many media. In Iran, this tale and others in this collection are like lullabies that children build emotional bonds with as they grow up and pass it from a generation to the next.
Ali Baba is a poor woodcutter and an honest person who discovers the secret of a thieves' den, and enters with the magic phrase ‘open sesame’. The thieves try to kill Ali Baba, but Ali Baba's faithful maid foils their plots. Ali Baba's son marries her and Ali Baba keeps the secret of the treasure.
Any time I hear about Ali Baba, the first picture that comes to my mind is my mom lying next to my brother and I while she tells the story. It took my mother days to tell the story of Ali Baba and the Forty Thieves. Each time she got to the part where Ali Baba got into the cave full of gold, my brother started asking questions like how many were there? What did the gold look like? Were they in boxes or lying around? Are there similar places around us? Would I be able to find a treasure cave? When it first happened, I found it so irritating, but now, thinking about it makes me smile. Despite the fact that my brother has never found a treasure cave, we believe that every one of us has a home filled with people who are worth more than any treasure.” – Susan E.
Ali Baba is a poor woodcutter and an honest person who discovers the secret of a thieves' den, and enters with the magic phrase ‘open sesame’. The thieves try to kill Ali Baba, but Ali Baba's faithful maid foils their plots. Ali Baba's son marries her and Ali Baba keeps the secret of the treasure.
Any time I hear about Ali Baba, the first picture that comes to my mind is my mom lying next to my brother and I while she tells the story. It took my mother days to tell the story of Ali Baba and the Forty Thieves. Each time she got to the part where Ali Baba got into the cave full of gold, my brother started asking questions like how many were there? What did the gold look like? Were they in boxes or lying around? Are there similar places around us? Would I be able to find a treasure cave? When it first happened, I found it so irritating, but now, thinking about it makes me smile. Despite the fact that my brother has never found a treasure cave, we believe that every one of us has a home filled with people who are worth more than any treasure.” – Susan E.
"The Flight of Chang-O has its rumoured origin as far back as the Yao dynasty (2356 BC to 2255 BC) and is a well known story told during the Mid-Autumn Festival to all children young and old of Chinese ancestry and heritage. The myth was alluded to during the Apollo 11 mission in 1969, when mission control asked the astronauts to look out for a beautiful girl and her rabbit companion, and one of the astronauts famously responded “Okay, we’ll keep an eye out for the bunny girl.” It also inspired the animated film Over the Moon.
Coming from a patriarchal society, it is unsurprising that this tale is traditionally told almost as an afterthought to the legend of Chang-O’s husband, Hou-Yi, who vanquished nine scorching suns out of the ancient skies. Unlike Hou-Yin’s detailed heroic journey of 49 days and 49 nights, across 49 mountains, 49 rivers and 49 lakes, there are very few details on Chang-O’s choice, with some versions even suggesting that she made the decision out of greed. Well, I’m here with a sprinkle of creative liberty to set the record straight so that she receives just recognition and a well-deserved five minutes in the spotlight.
This piece was presented in English and Mandarin, my mother tongue. Born in Taiwan and raised in Newfoundland, I have strived to maintain a connection to my place of origin. I have continued to explore my cultural identity through writing and performance arts, and hope to pass on some of my learnings to my children, so they have a greater appreciation for their unique heritage as a mix of Taiwanese and Newfoundlander: two islands 11000km apart, brought together by the drive to innovate, the courage to take the leap and ultimately two hearts in love.
I dedicate this retelling of Chang-O to my fearless immigrant parents, Li-Hui Hsu and Sin-Long Hsu, for gifting me with the privilege of being a Taiwanese Newfoundlander, and to my maternal grandfather, Wan-Lai Huang, from whom I first heard the tale. A-Gong, as I called him, fashioned hats out of pomelo peels for me while letting me sneak sips of his osmanthus tea during every Mid-Autumn Festival we shared as we’d look up at the night sky and speak of the importance of kindness, courage and doing the right thing.
May we all have someone to share these important lessons with under the moonlight." Tzu-Hao Hsu
Coming from a patriarchal society, it is unsurprising that this tale is traditionally told almost as an afterthought to the legend of Chang-O’s husband, Hou-Yi, who vanquished nine scorching suns out of the ancient skies. Unlike Hou-Yin’s detailed heroic journey of 49 days and 49 nights, across 49 mountains, 49 rivers and 49 lakes, there are very few details on Chang-O’s choice, with some versions even suggesting that she made the decision out of greed. Well, I’m here with a sprinkle of creative liberty to set the record straight so that she receives just recognition and a well-deserved five minutes in the spotlight.
This piece was presented in English and Mandarin, my mother tongue. Born in Taiwan and raised in Newfoundland, I have strived to maintain a connection to my place of origin. I have continued to explore my cultural identity through writing and performance arts, and hope to pass on some of my learnings to my children, so they have a greater appreciation for their unique heritage as a mix of Taiwanese and Newfoundlander: two islands 11000km apart, brought together by the drive to innovate, the courage to take the leap and ultimately two hearts in love.
I dedicate this retelling of Chang-O to my fearless immigrant parents, Li-Hui Hsu and Sin-Long Hsu, for gifting me with the privilege of being a Taiwanese Newfoundlander, and to my maternal grandfather, Wan-Lai Huang, from whom I first heard the tale. A-Gong, as I called him, fashioned hats out of pomelo peels for me while letting me sneak sips of his osmanthus tea during every Mid-Autumn Festival we shared as we’d look up at the night sky and speak of the importance of kindness, courage and doing the right thing.
May we all have someone to share these important lessons with under the moonlight." Tzu-Hao Hsu
“The story of Heer Ranjha is one of the earliest Punjabi literature to exist. It is classified as a Quissa, a long epic poem. This story of the love and sorrow of two young lovers being unable to be together was first composed by Damodar Gulati around the 1600s. Gulati is a historical figure we know very little about today. As with many other Quisse, this legend has continued down through oral tradition. In 1766, Waris Shah composed a retelling of Heer Ranjha, one with quite a few changes and additions. Waris Shah’s version of this story is the one most famous and renowned around the world today, and has immortalised Heer Ranjha forever. Quissa Heer Ranjha has been orally shared and passed down for generations, with uncountable variations to the story.
Inherently, these stories are about the class divide and the refusal of our society to accept someone who is not part of our community. In this regard, Heer Ranjha tells us of the emotional and social reality of not only 400-500 years ago but of today as well. Even to this day, families in India will be willing to harm and seriously damage their neighbouring communities and castes because we refuse to form an emotional bond with each other.
The class divide is destroying us. Many live and breathe in denial of our world’s class system. Unless we pause ourselves to think and reflect on how our communities are formed and how they thrive, we will continue to grow in isolation of each other, rather than growing together. There are several ways we can start to tackle these questions, and at the root of it, the help will arrive only when we all are conscious of this phenomenon. Talk to each other, be kind, and learn because when joined together our vivid and diverse communities will only result in prosperity.” – Azal D.
Inherently, these stories are about the class divide and the refusal of our society to accept someone who is not part of our community. In this regard, Heer Ranjha tells us of the emotional and social reality of not only 400-500 years ago but of today as well. Even to this day, families in India will be willing to harm and seriously damage their neighbouring communities and castes because we refuse to form an emotional bond with each other.
The class divide is destroying us. Many live and breathe in denial of our world’s class system. Unless we pause ourselves to think and reflect on how our communities are formed and how they thrive, we will continue to grow in isolation of each other, rather than growing together. There are several ways we can start to tackle these questions, and at the root of it, the help will arrive only when we all are conscious of this phenomenon. Talk to each other, be kind, and learn because when joined together our vivid and diverse communities will only result in prosperity.” – Azal D.
The Bura classic story, The Ideal Husband has been in the oral tradition of the Bura people of Northeastern Nigeria for more than a century. The story has continued to exist and be told to this day. It is told to young girls before they reach the age to get married, as an educational tool to encourage them to choose the men they will marry based on true love and good character and not based on outward appearance and wealth.
“As a folklorist and as a Bura woman, this story is important to me because it is an important and enduring aspect of my people's oral tradition and social-cultural values. I know that this story has influenced me and many of my friends and age mates who were told this story to marry our current husbands based on their good characters and their love for us, not based on their wealth/riches and their handsomeness.”– Zainab J.
“As a folklorist and as a Bura woman, this story is important to me because it is an important and enduring aspect of my people's oral tradition and social-cultural values. I know that this story has influenced me and many of my friends and age mates who were told this story to marry our current husbands based on their good characters and their love for us, not based on their wealth/riches and their handsomeness.”– Zainab J.
Hamlet was written by William Shakespeare and is a study in grief and suffering the many difficulties and heartbreaks that life sends our way.
We chose this monologue for two reasons – the first being that Tammy related deeply to these themes as a member of the Deaf and Hard of Hearing community, in a world set up for hearing people. We also wanted a piece that is very recognizable so that the viewers can focus on watching Tammy’s performance and the beauty and complexity of ASL.
******
"Before last summer, I had thought that ASL and English were one to one, word to sign – I had no idea just how very different the two languages were. ASL, I was coming to learn, is concept based and much richer in terms of how folks communicate. Signs yes, and then add facial expressions, body language, body position and the focus of gaze are all taken into account when people communicate using ASL."
"So, how to communicate the monologue we chose from Hamlet? We embarked on a long rehearsal journey together. Tammy, myself, with integral support from Sheila Keats and Heather Crane (of Triangular Communications Inc) together built a process that began with translating Shakespeare’s verse into modern day language so we could more clearly understand the meaning. This took multiple rehearsals and lengthy interpreted conversations."
"We then carefully rebuilt the monologue into ASL. Tammy would follow her impulses and sign small sections. Sheila or Heather would interpret it for me live. Then they would repeat it back for Tammy in ASL so she could watch and receive then decide if it said what she wanted it to say. If not, she would redo and the process would go again. Once we landed in a place where Tammy felt like she had captured the truth of the line, I would write out an English translation of the ASL signs so she could practice on her own later. This all took many rehearsals that really pushed all of our brains and hearts but was so very rewarding."
"One of the biggest lessons of the journey of the Power of One: World Classics is the glimpse into the myriad of ways that humanity has found to communicate what is important to us." - Danielle Irvine
We chose this monologue for two reasons – the first being that Tammy related deeply to these themes as a member of the Deaf and Hard of Hearing community, in a world set up for hearing people. We also wanted a piece that is very recognizable so that the viewers can focus on watching Tammy’s performance and the beauty and complexity of ASL.
******
"Before last summer, I had thought that ASL and English were one to one, word to sign – I had no idea just how very different the two languages were. ASL, I was coming to learn, is concept based and much richer in terms of how folks communicate. Signs yes, and then add facial expressions, body language, body position and the focus of gaze are all taken into account when people communicate using ASL."
"So, how to communicate the monologue we chose from Hamlet? We embarked on a long rehearsal journey together. Tammy, myself, with integral support from Sheila Keats and Heather Crane (of Triangular Communications Inc) together built a process that began with translating Shakespeare’s verse into modern day language so we could more clearly understand the meaning. This took multiple rehearsals and lengthy interpreted conversations."
"We then carefully rebuilt the monologue into ASL. Tammy would follow her impulses and sign small sections. Sheila or Heather would interpret it for me live. Then they would repeat it back for Tammy in ASL so she could watch and receive then decide if it said what she wanted it to say. If not, she would redo and the process would go again. Once we landed in a place where Tammy felt like she had captured the truth of the line, I would write out an English translation of the ASL signs so she could practice on her own later. This all took many rehearsals that really pushed all of our brains and hearts but was so very rewarding."
"One of the biggest lessons of the journey of the Power of One: World Classics is the glimpse into the myriad of ways that humanity has found to communicate what is important to us." - Danielle Irvine
"Zaoshen, the Kitchen God, is also called Kitchen prince. You could find a shrine set up for him in the corner in the kitchen back in the old days. Seniors will pray to him in the morning and evening before meals for the peaceful blessing of the family. There are so many versions about how he became the kitchen god but the most well known one is that the kitchen god used to be the head chef of Jade Emperor who is the Heavenly Grandfather. One day when the Jade Emperor was waiting for his dessert after a meal he discovered that all the desserts were eaten by the greedy Zaoshen. The Jade Emperor was very angry and Punished Zaoshen to become the kitchen god; observing all the good and bad happens in a family and guarding for the safety in the kitchen!"
"During the whole year, the seniors in the family would constantly remind you to be good because Zaoshen has been watching over us. Before Zaoshen’s departure back to heaven, the shrine would be filled of all sweets and a prayer would be said “Back to heaven saying good things only, bring us back a year of bless when you return”.
"The senior would cover Zaoshen’s mouth with sugar just to sweeten it and make sure only the good things were being reported. After the prayer, the picture of Zaoshen would be burnt, to mean the Kitchen God is on the way back to Heavenly above." - Zoe W
"During the whole year, the seniors in the family would constantly remind you to be good because Zaoshen has been watching over us. Before Zaoshen’s departure back to heaven, the shrine would be filled of all sweets and a prayer would be said “Back to heaven saying good things only, bring us back a year of bless when you return”.
"The senior would cover Zaoshen’s mouth with sugar just to sweeten it and make sure only the good things were being reported. After the prayer, the picture of Zaoshen would be burnt, to mean the Kitchen God is on the way back to Heavenly above." - Zoe W
“The Mitten is an ages-old Ukrainian folk tale that has since been translated into a number of other languages. Its underlying message encourages individuals, even those who may be natural adversaries, to work together. It became especially poignant when immigrants from various cultures had to work together to build a home in their new country of Canada, much like the animals in the story find a new home in the mitten."
“I have known this story since I was a young child. The sharing of folk tales was one of the ways, along with music and other traditional activities, that the Ukrainian diaspora community of western Canada could pass their culture down from generation to generation. Since they were separated from their ancestral homeland because of economic and political difficulties, with no idea if they could ever return, cultural traditions were a way to unify Ukrainian Canadians and keep a small piece of the old world alive in their new home country”.
THE IMPORTANCE OF CULTURE
"Since I participated in the filming of this tale, terror has rained down upon the people of Ukraine with the vicious attack by Russian forces. Suddenly, the pleasures of everyday life have been replaced by the horrors of war and the struggle to stay alive. While the sharing of quaint folk tales might appear frivolous in times like these, they perform a very important function. One of the lies the Kremlin used as a pretense for this war was that the Ukrainian nation and Ukrainian culture did not exist. By continuing to share our centuries-old traditions, songs, and stories with a wider audience we show that nothing could be farther from the truth. While the unfortunate backdrop of war has helped the world learn more about Ukraine and the strength of its people, it has also opened many eyes to the beauty of its cultural heritage. I sincerely thank Perchance Theatre for allowing me to share a tiny piece of it."
"The people of Ukraine, both those still within the country’s borders and those seeking asylum in other countries, are in desperate need of aid. I strongly urge anyone who can to donate whatever is within their means to a reputable humanitarian aid organization. Please consider donating to the Canada Ukraine Foundation (www.cufoundation.ca) who are doing vital work on the ground within Ukraine, or to The Canadian Red Cross Ukraine Humanitarian Crisis Appeal (donate.redcross.ca)." – Brian C.
“I have known this story since I was a young child. The sharing of folk tales was one of the ways, along with music and other traditional activities, that the Ukrainian diaspora community of western Canada could pass their culture down from generation to generation. Since they were separated from their ancestral homeland because of economic and political difficulties, with no idea if they could ever return, cultural traditions were a way to unify Ukrainian Canadians and keep a small piece of the old world alive in their new home country”.
THE IMPORTANCE OF CULTURE
"Since I participated in the filming of this tale, terror has rained down upon the people of Ukraine with the vicious attack by Russian forces. Suddenly, the pleasures of everyday life have been replaced by the horrors of war and the struggle to stay alive. While the sharing of quaint folk tales might appear frivolous in times like these, they perform a very important function. One of the lies the Kremlin used as a pretense for this war was that the Ukrainian nation and Ukrainian culture did not exist. By continuing to share our centuries-old traditions, songs, and stories with a wider audience we show that nothing could be farther from the truth. While the unfortunate backdrop of war has helped the world learn more about Ukraine and the strength of its people, it has also opened many eyes to the beauty of its cultural heritage. I sincerely thank Perchance Theatre for allowing me to share a tiny piece of it."
"The people of Ukraine, both those still within the country’s borders and those seeking asylum in other countries, are in desperate need of aid. I strongly urge anyone who can to donate whatever is within their means to a reputable humanitarian aid organization. Please consider donating to the Canada Ukraine Foundation (www.cufoundation.ca) who are doing vital work on the ground within Ukraine, or to The Canadian Red Cross Ukraine Humanitarian Crisis Appeal (donate.redcross.ca)." – Brian C.
“This story is from a collection of legends from around the district of Peine, Niedersachsen (Lower Saxony). Not unlike the Brothers Grimm had done 150 years before him, though on a miniature scale, Robert Bartels had taken it upon himself to collect folk stories from the region. This story features two frogs who get stuck in a bucket of milk. It points to the idea that no matter how bleak the situation, there is always hope.”
“I was born and raised in northern Germany. My father was a printer and some of my most treasured childhood memories are from spending time with him at his printshop. His workshop consisted of a couple of rambling old buildings with high ceilings supported by gigantic beams that seemed as grand as a cathedral to me then. The wooden floors were worn by my father’s steps, those of his assistants, and the generations before them as they moved all day between wooden layout tables, setting machines, and printing presses. I spent many of my childhood days there and remember well its many treasures: ancient, hand-carved wood block letters, cabinets with hundreds of drawers of lead letters waiting to be arranged into sentences, those sentences then turned into paragraphs, and finally bound with red wax string ready for the presses. Powered by steam, they hissed and puffed as they spit out page after page, my father occasionally examining them, brow wrinkled with scrutiny, to ensure its quality."
"One day my father returned home with a small book he had been printing that day. It was a collection of legends from Robert Bartels and my father had been tasked with the printing of the book. My story is a variation of a story in that collection". – Antje S.
“I was born and raised in northern Germany. My father was a printer and some of my most treasured childhood memories are from spending time with him at his printshop. His workshop consisted of a couple of rambling old buildings with high ceilings supported by gigantic beams that seemed as grand as a cathedral to me then. The wooden floors were worn by my father’s steps, those of his assistants, and the generations before them as they moved all day between wooden layout tables, setting machines, and printing presses. I spent many of my childhood days there and remember well its many treasures: ancient, hand-carved wood block letters, cabinets with hundreds of drawers of lead letters waiting to be arranged into sentences, those sentences then turned into paragraphs, and finally bound with red wax string ready for the presses. Powered by steam, they hissed and puffed as they spit out page after page, my father occasionally examining them, brow wrinkled with scrutiny, to ensure its quality."
"One day my father returned home with a small book he had been printing that day. It was a collection of legends from Robert Bartels and my father had been tasked with the printing of the book. My story is a variation of a story in that collection". – Antje S.
Anna's adaptation of what is arguably one of the finest monologues for women ever to be written is from the comedy Lysistrata by well-known ancient Greek comedic playwright, Aristophanes. The play was first performed in the Lenaia Festival of 441 BCE, one of many Greek festivals of theatre, which contained mainly comedies.
"The main protagonist of this monologue, is Lysistrata. An Athenian woman who is completely fed up with the war between the cities of Athens and Sparta (the Peloponnesian War, to be precise). Lysistrata rallies the women of Greece to use the only power of persuasion they have in that day and age - withholding sex from their husbands. The purpose is to pressure the men to peace talks. She eventually succeeds in getting all the women, on both sides of the war to agree. In this scene, the women’s activism has progressed. They have now taken over the Acropolis citadel in Athens, where the gold and other sources of funding for the war and the city are kept. The Magistrate comes to arrest them, however he finds himself in a battle of words with Lysistrata. She has a few choice words for him as she describes the women's plight during the war."
"Though the play is a comedy, the scene I have chosen is no farce. My version is a modernized adaptation for 2022 and is sadly as relevant today as it was when Lysistrata was written 2,463 years ago. Let that sink in for a moment. It is 2,463 years later and we are still having largely the same conversation. Granted, it is a conversation that has changed and shifted over time. It is thankfully often no longer one that is specifically between men and women. Gender roles have evolved in highly positive directions, at least in some parts of the world. We are recognizing what positive masculinity looks like compared to toxic masculinity. We are also recognizing what positive femininity looks like compared to toxic femininity. We are recognizing that the positive forms of each of these involve all genders being in balance with the masculine and feminine that lives in each of us, regardless of what sexual organs we happen to be born with."
"The conversation about war and peace, however, has not progressed as much. The wars continue, the purpose for the wars remains the same, and the mass devastation that they wreak on the many for the profit of the few remains unchanged. Sometimes war still looks like bombs and bullets. Other times it looks like undermining economies and political systems, and/or destroying ecosystems or souls. This too is changing however, step by step. Humanity’s job is to keep moving along the positive evolutionary path that we are already on. We still have some ways to go, but we have also already come a long way. The energy and courage to keep steadfastly moving along the path of connection, cooperation and compassion comes from recognizing that and taking a moment to appreciate that whenever we can.” – Anna S.
"The main protagonist of this monologue, is Lysistrata. An Athenian woman who is completely fed up with the war between the cities of Athens and Sparta (the Peloponnesian War, to be precise). Lysistrata rallies the women of Greece to use the only power of persuasion they have in that day and age - withholding sex from their husbands. The purpose is to pressure the men to peace talks. She eventually succeeds in getting all the women, on both sides of the war to agree. In this scene, the women’s activism has progressed. They have now taken over the Acropolis citadel in Athens, where the gold and other sources of funding for the war and the city are kept. The Magistrate comes to arrest them, however he finds himself in a battle of words with Lysistrata. She has a few choice words for him as she describes the women's plight during the war."
"Though the play is a comedy, the scene I have chosen is no farce. My version is a modernized adaptation for 2022 and is sadly as relevant today as it was when Lysistrata was written 2,463 years ago. Let that sink in for a moment. It is 2,463 years later and we are still having largely the same conversation. Granted, it is a conversation that has changed and shifted over time. It is thankfully often no longer one that is specifically between men and women. Gender roles have evolved in highly positive directions, at least in some parts of the world. We are recognizing what positive masculinity looks like compared to toxic masculinity. We are also recognizing what positive femininity looks like compared to toxic femininity. We are recognizing that the positive forms of each of these involve all genders being in balance with the masculine and feminine that lives in each of us, regardless of what sexual organs we happen to be born with."
"The conversation about war and peace, however, has not progressed as much. The wars continue, the purpose for the wars remains the same, and the mass devastation that they wreak on the many for the profit of the few remains unchanged. Sometimes war still looks like bombs and bullets. Other times it looks like undermining economies and political systems, and/or destroying ecosystems or souls. This too is changing however, step by step. Humanity’s job is to keep moving along the positive evolutionary path that we are already on. We still have some ways to go, but we have also already come a long way. The energy and courage to keep steadfastly moving along the path of connection, cooperation and compassion comes from recognizing that and taking a moment to appreciate that whenever we can.” – Anna S.
"This monologue is from Long Day's Journey Into Night, by American playwright Eugene O'Neill. Although the play was first published in 1956, it was written more than ten years earlier -- on the brink, and during the first few months, of the United States' engagement in World War Two. This particular piece resonates both in the familial sense and in the historical sense: A dying young man grapples with his place within his family, within his country, within his own skin. While the piece is set in a particular time and place, the themes represented are timeless: dysfunctional family, the notion of being a bastard child, addiction, deep-rooted fear, death."
"I have always been drawn to the bastard children of theater, starting with Shakespeare's Edmund. This piece resonated with me as a modern take of the notion of bastardization, that is, of someone whose place in the world exists outside of what is considered 'normal,' someone who exists in the feeling of being "alone, and above and apart." As a transgender person, such a feeling of bastardization is enacted in my daily existance. And, like O'Neill's Edmund, I find solace and belonging in the natural world."
"The natural world is full of rebirth and death and rebirth. There is comfort in the cyclical nature of things. In this time that we live in, too, we are surrounded by loss. We have all lost people over the past couple of years, whether to the virus, or to political strife, or to other illnesses that take people too young. As it is, we must always be familiar with – and "just a little bit in love with" – death." - Fionn S
"I have always been drawn to the bastard children of theater, starting with Shakespeare's Edmund. This piece resonated with me as a modern take of the notion of bastardization, that is, of someone whose place in the world exists outside of what is considered 'normal,' someone who exists in the feeling of being "alone, and above and apart." As a transgender person, such a feeling of bastardization is enacted in my daily existance. And, like O'Neill's Edmund, I find solace and belonging in the natural world."
"The natural world is full of rebirth and death and rebirth. There is comfort in the cyclical nature of things. In this time that we live in, too, we are surrounded by loss. We have all lost people over the past couple of years, whether to the virus, or to political strife, or to other illnesses that take people too young. As it is, we must always be familiar with – and "just a little bit in love with" – death." - Fionn S
For Power of One 2.0, Ana Claudia chose a type of story called cordel, in Brazil. The genre is very common in the Brazilian Northeast and has a Portuguese origin. The stories are written as a poem and sold in little books decorated with woodcuts in popular markets. In general, they talk about the nature of the region, or funny stories, or typical situations of people’s everyday lives and real characters who lived in the region in the past.
The story, “The arrival of lampião in the sky”, written by Guaipuan Vieira, talks about Lampião – a very famous character of Brazilian Northeast culture – and his arrival in Heaven to ask for rain to Father Cicero – another very famous character in the region. Lampião was a mix of Robin Hood, a thief, a killer and a punisher who lived during the first half of the twentieth century, in Brazil. A hero for a large part of the population and a villain for the Brazilian police and the State, he was hunted to death. Because of that, he isn’t welcomed in heaven by St. Peter, with whom he speaks throughout the story.
“I chose this piece because it is an example of the creativity and genius of Brazilian folk. Cordels are traditionally produced and circulated among very poor people, who have had little education, in most cases. However, despite lacking access to formal education, they produce poetry with great genius, adapting an expression of oral culture into written narrative. In addition, this particular story is a fascinating mix between historical characters and characters from the Catholic religion. The way Lampião is received in heaven by São Pedro, who is portrayed as an arrogant figure, delicately portrays the feelings of the underrepresented lower class, excluded from an extremely ritualistic religion that is distant from the reality of the majority of the population." Ana Claudia Pitol
The story, “The arrival of lampião in the sky”, written by Guaipuan Vieira, talks about Lampião – a very famous character of Brazilian Northeast culture – and his arrival in Heaven to ask for rain to Father Cicero – another very famous character in the region. Lampião was a mix of Robin Hood, a thief, a killer and a punisher who lived during the first half of the twentieth century, in Brazil. A hero for a large part of the population and a villain for the Brazilian police and the State, he was hunted to death. Because of that, he isn’t welcomed in heaven by St. Peter, with whom he speaks throughout the story.
“I chose this piece because it is an example of the creativity and genius of Brazilian folk. Cordels are traditionally produced and circulated among very poor people, who have had little education, in most cases. However, despite lacking access to formal education, they produce poetry with great genius, adapting an expression of oral culture into written narrative. In addition, this particular story is a fascinating mix between historical characters and characters from the Catholic religion. The way Lampião is received in heaven by São Pedro, who is portrayed as an arrogant figure, delicately portrays the feelings of the underrepresented lower class, excluded from an extremely ritualistic religion that is distant from the reality of the majority of the population." Ana Claudia Pitol
“This piece is from a small old village in Korea. The village name is ‘Pilbong’ village, which has never been wealthy as it is located in the middle of a mountain. Madangbalbi is an event to celebrate the new year. Villagers (20-30 people) form a band of drummers, visit each house, play music, and wish all good luck in the hope that only good things will happen during the year. This ceremony not only wishes good luck, but also strengthens safe community bonds, while providing community members with opportunities to assess the situation of each household."
"Wishing good luck and health, eating and drinking, and caring must have a fairly long history though, for the music and dance is dated about 300 years in the same style. Many people enjoy the full moon and Madangbalbi by sharing food and wishing for a good year. After the first full moon, it's farming season. So this is often considered as the last chance of playing and a sort of warming up for work."
"This practice was pretty common in the past in Korea, practiced in every community. I brought this story from Pilbong because that's where I learned it from. The first full moon - technically that means the 15 days from Lunar new year day till the full moon, is a symbol of new year's hope."
"Madangbalbi was originally connected to old beliefs people had. A Tree, a house, water and all others have thoughts and life. They are usually thankful beings as they give you shelter, water and resources. So people care about non-living things precisely as well. Although the beliefs in spiritual beings have faded away these days, people still play and celebrate the first full moon as a traditional custom and a festival."
"In reality, this is a good opportunity to check out the neighbors, the common areas such as the well, the bridge, the road. Confirming community bond and friendship.” - Jaehong Jin
"Wishing good luck and health, eating and drinking, and caring must have a fairly long history though, for the music and dance is dated about 300 years in the same style. Many people enjoy the full moon and Madangbalbi by sharing food and wishing for a good year. After the first full moon, it's farming season. So this is often considered as the last chance of playing and a sort of warming up for work."
"This practice was pretty common in the past in Korea, practiced in every community. I brought this story from Pilbong because that's where I learned it from. The first full moon - technically that means the 15 days from Lunar new year day till the full moon, is a symbol of new year's hope."
"Madangbalbi was originally connected to old beliefs people had. A Tree, a house, water and all others have thoughts and life. They are usually thankful beings as they give you shelter, water and resources. So people care about non-living things precisely as well. Although the beliefs in spiritual beings have faded away these days, people still play and celebrate the first full moon as a traditional custom and a festival."
"In reality, this is a good opportunity to check out the neighbors, the common areas such as the well, the bridge, the road. Confirming community bond and friendship.” - Jaehong Jin
The story of Jelani is a classical South African tale passed down through the ages. It is told in almost all the tribes as a children’s story. These days you can find this story written through various folklore books.
“When I was growing up in the Township in Johannesburg our neighbor, who was an amazing storyteller, would sit us around in his backyard and tell us the most amazing stories; about a land far away, incredible giants, animals and sceneries. He was such a brilliant storyteller that we all thought we knew what a forest looked like, what ogres looked like and how the animals sounded when they spoke."
"When he told us the story of Jelani, the idea of being left ‘emarhumbini’, alone, enthralled me. I can still hear the ogre singing the song and how different it sounded from the mother’s voice. When I came to Newfoundland and saw a real forest for the first time, it reminded me of the story of Jelani. When I walk through the trails surrounded by the forest, I feel like I never want to leave just like her in the story."
"My parents always told me how they were removed from their village because somebody bought it and turned it into a private game park, and they had to leave the graves of their loved ones behind. They call the place ‘emarhumbini’ and in my head the folks left behind in their graves are the Jelanis who must be visited despite the dangers posed by the wild animals and the animosity of the game park owners." - Mercy Muyanga
“When I was growing up in the Township in Johannesburg our neighbor, who was an amazing storyteller, would sit us around in his backyard and tell us the most amazing stories; about a land far away, incredible giants, animals and sceneries. He was such a brilliant storyteller that we all thought we knew what a forest looked like, what ogres looked like and how the animals sounded when they spoke."
"When he told us the story of Jelani, the idea of being left ‘emarhumbini’, alone, enthralled me. I can still hear the ogre singing the song and how different it sounded from the mother’s voice. When I came to Newfoundland and saw a real forest for the first time, it reminded me of the story of Jelani. When I walk through the trails surrounded by the forest, I feel like I never want to leave just like her in the story."
"My parents always told me how they were removed from their village because somebody bought it and turned it into a private game park, and they had to leave the graves of their loved ones behind. They call the place ‘emarhumbini’ and in my head the folks left behind in their graves are the Jelanis who must be visited despite the dangers posed by the wild animals and the animosity of the game park owners." - Mercy Muyanga
“The story I presented is an excerpt from the Saga of Greenlanders, one of the many Icelandic Sagas composed in the 11-13th centuries. The sagas were oral stories, memorized and recited for entertainment around feasting tables in Viking Age Iceland. They recounted the adventures of Iceland’s greatest heroes and recorded the legacies of the first Norse families to settle there. The sagas are considered one of the great world literatures.”
“I learned the Sagas for my role as an interpreter for Parks Canada. I was fascinated by them. Stories that come down to us from centuries gone by can be quite inaccessible for the modern reader. Yet, when I read these Viking Age stories, they were so captivating and relatable that I could glimpse a world gone for a thousand years. I could see myself in some of the characters, people who lived in time so misunderstood that we call it the Dark Ages. When we read these stories, we understand that those people were us. They valued hospitality and community. They were vain and cared deeply about their image. They loved their children. There is power in voices that come to us from long ago.”
"If there is a lesson I have taken from my studies of the Norse Sagas, it’s the unifying power of art. What do I have in common with a 10th century Norwegian sailor? Basically nothing, save humanity itself. And that is what these stories highlight and celebrate. The sagas were not composed to glorify a leader, nor to make money, nor to showcase the talent of an artist. They were composed because its what we do. We reach out with words to one another, and in the process we render the mundane humdrum of life into beauty and meaning. I think we need to remember that art is not only a matter of discipline and accolades, but something we should all engage in, organically, regardless of talent. Storytelling is as natural to us as breathing. Singing is as basic as eating. They can tie us together and remind us who we really are."– Ethain Arsenault
Ethain shares the words of Odin:
“Never let the grass
Grow on the paths
Between the houses of friends”
“I learned the Sagas for my role as an interpreter for Parks Canada. I was fascinated by them. Stories that come down to us from centuries gone by can be quite inaccessible for the modern reader. Yet, when I read these Viking Age stories, they were so captivating and relatable that I could glimpse a world gone for a thousand years. I could see myself in some of the characters, people who lived in time so misunderstood that we call it the Dark Ages. When we read these stories, we understand that those people were us. They valued hospitality and community. They were vain and cared deeply about their image. They loved their children. There is power in voices that come to us from long ago.”
"If there is a lesson I have taken from my studies of the Norse Sagas, it’s the unifying power of art. What do I have in common with a 10th century Norwegian sailor? Basically nothing, save humanity itself. And that is what these stories highlight and celebrate. The sagas were not composed to glorify a leader, nor to make money, nor to showcase the talent of an artist. They were composed because its what we do. We reach out with words to one another, and in the process we render the mundane humdrum of life into beauty and meaning. I think we need to remember that art is not only a matter of discipline and accolades, but something we should all engage in, organically, regardless of talent. Storytelling is as natural to us as breathing. Singing is as basic as eating. They can tie us together and remind us who we really are."– Ethain Arsenault
Ethain shares the words of Odin:
“Never let the grass
Grow on the paths
Between the houses of friends”
The legend of Boya and Ziqi, which was first recorded in Master Lü’s Spring and Autumn Annuals compiled by Lü Buwei around 239 BC, has been passed down through generations for more than two thousand years. It is classical and timeless because this story exemplifies the Chinese ideal of friendship, and it is where the term zhiyin (知音, literally “to know the tone”) comes from. Chinese people use zhiyin to describe a soulmate or bosom friend.
“As a musician myself, I strongly empathize with what Boya experienced in the story. Oftentimes, I find myself communicating better with friends through music than spoken languages."
"As indicated in the story, Boya found his soulmate through music. I strongly believe that music has the power of connecting people across class, gender, ethnicity, and culture. In my first few years of living in Newfoundland, like many new residents, I was overwhelmed and sometimes anxious about the unfamiliar cultural environment. It was music that helped me get involved in local communities, and I felt at home when playing and communicating with other fellow musicians without saying a word."
"From my experience, although there is a growing interest and support for multicultural music, many ethnic musicians’ arts have been underestimated in Canada. Few of them can make a living through music, and I sincerely hope that more people would see and appreciate these niche-genre musicians’ efforts in building prosperous multicultural music scenes in Canada.” – Jing Xia
“As a musician myself, I strongly empathize with what Boya experienced in the story. Oftentimes, I find myself communicating better with friends through music than spoken languages."
"As indicated in the story, Boya found his soulmate through music. I strongly believe that music has the power of connecting people across class, gender, ethnicity, and culture. In my first few years of living in Newfoundland, like many new residents, I was overwhelmed and sometimes anxious about the unfamiliar cultural environment. It was music that helped me get involved in local communities, and I felt at home when playing and communicating with other fellow musicians without saying a word."
"From my experience, although there is a growing interest and support for multicultural music, many ethnic musicians’ arts have been underestimated in Canada. Few of them can make a living through music, and I sincerely hope that more people would see and appreciate these niche-genre musicians’ efforts in building prosperous multicultural music scenes in Canada.” – Jing Xia
Le Coq Fâché is a tale by Lamine Mbengue from Senegal of a rooster that is angry at not being appreciated. This rooster wants to prove his worth to everyone in the village because they do not acknowledge his role in society - until he isn’t there. The origin of this story is from West Africa. In West African culture, every ethnicity or tribe has a specific part to play in a complete society, but there are those that think that some roles are not important. This is not true and this story shows that everyone, even a rooster, has an important part to play in our world and we should be grateful.
“This story shows how important it is to say thank you and to show gratitude. We all have to be grateful for what we have. It is important to say thanks to God, or a higher power if that is your belief, and thanks for life. We have to say thanks that we can be Canadian and be living in Newfoundland instead of complaining about the weather :) ”
“We, who have come here from all parts of the world, have to say thank you” - Navel Sarr
* Filmed on location at Briny Acre Farm in Outer Cove, Newfoundland and Labrador with special thanks to Zoë Balsom, Tim Sullivan, and their rooster, chickens, and family of goats.
“This story shows how important it is to say thank you and to show gratitude. We all have to be grateful for what we have. It is important to say thanks to God, or a higher power if that is your belief, and thanks for life. We have to say thanks that we can be Canadian and be living in Newfoundland instead of complaining about the weather :) ”
“We, who have come here from all parts of the world, have to say thank you” - Navel Sarr
* Filmed on location at Briny Acre Farm in Outer Cove, Newfoundland and Labrador with special thanks to Zoë Balsom, Tim Sullivan, and their rooster, chickens, and family of goats.
"The Story of Sedna is a creation myth that has been shared by Inuit for centuries across Inuit Nunaat, which includes Canada, Alaska, Greenland and Chukotka (Russia). The name of the Sea Goddess and details of her story vary across these regions. I am proud to share Sedna’s story as I know it."
"As an Inuk woman, this piece speaks volumes to me about how we must be in tune with ourselves and others in our circle, to take care of each other as well as the land and water, in order to thrive.” (Deantha Edmunds)
“All that we are is story. From the moment we are born to the time we continue on our spirit journey, we are involved in the creation of the story of our time here. It is what we arrive with. It is all we leave behind. We are not the things we accumulate. We are not the things we deem important. We are story. All of us. What comes to matter then is the creation of the best possible story we can while we’re here; you, me, us, together. When we can do that and we take the time to share those stories with each other, we get bigger inside, we see each other, we recognize our kinship – we change the world, one story at a time."
Quote by award-winning Ojibway author and journalist Richard Wagamese.
"As an Inuk woman, this piece speaks volumes to me about how we must be in tune with ourselves and others in our circle, to take care of each other as well as the land and water, in order to thrive.” (Deantha Edmunds)
“All that we are is story. From the moment we are born to the time we continue on our spirit journey, we are involved in the creation of the story of our time here. It is what we arrive with. It is all we leave behind. We are not the things we accumulate. We are not the things we deem important. We are story. All of us. What comes to matter then is the creation of the best possible story we can while we’re here; you, me, us, together. When we can do that and we take the time to share those stories with each other, we get bigger inside, we see each other, we recognize our kinship – we change the world, one story at a time."
Quote by award-winning Ojibway author and journalist Richard Wagamese.
