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Company Dancer Marc Petrocci, Photo by Michael S. Levine
PETER PAN
Study Guide
Presented by the Department of Education
SECOND STAR TO THE RIGHT,
AND THEN STRAIGHT ON TILL MORNING!
That’s where we’re going! We’re so glad you are joining us for the broadcast of Michael Pink’s Peter
Pan at Milwaukee Ballet. Our journey to Neverland has been an incredible adventure and we are
thrilled that you can watch it on public television. Take some time to learn more about the
production, and the subject matter of this most famous tale of a boy who refuses to grow up!
When we think of Peter Pan, we tend to think of the Walt Disney; but Michael Pink based his ballet
on the novel, Peter Pan by J. M. Barrie. This novel, originally published in 1911, is not the most kidfriendly novel, but this study guide utilizes quotes and references from it so that you can see where
the inspiration came from; be warned if you do read the novel, some of it is dated and politically
incorrect and some of it is downright frightening (Neverland was not as fun a place as we may have
imagined!) However, Milwaukee Ballet’s production of Peter Pan IS child and family friendly and
the size and swash-buckling fun of it will knock your socks off and make you a believer!
So come along, into a world where dogs take care of you, where pirates and braves reign, to the
home underground of Lost Boys and a group of lost Darlings, to a place where fairies depend on
your genuine belief in them and where all children, except one, grow up. Welcome to Peter Pan!
He was a lovely boy, clad in skeleton leaves and the
juices that ooze out of trees, but the most
entrancing thing about him was that he had all his
first teeth. When he saw she [Mrs. Darling] was a
grown-up, he gnashed the little pearls at her. *
In 1929, J. M. Barrie donated all the rights in Peter Pan
to Great Ormond Street Children’s Hospital. In 1987,
fifty years after Barrie’s death, copyright expired under
UK law. However, the following year a unique act of
Parliament restored royalty income from all versions of
Peter Pan to the hospital, which means that very sick
children will continue to benefit from J. M. Barrie’s
generous gift for as long as the hospital exists.
*All quotes throughout the Study Guide are from
Peter Pan by J. M. Barrie
Peter Pan costume sketch by Judanna Lynn
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TABLE OF CONTENTS
From the Diary of Wendy Moira Angela Darling
Michael Pink
Pink Ballet – Acting and Dancing
Makers of Magic
Peter Pan Word Search
Family Ties
Me and My Shadow
Native Manajiwin
What is a Dream Catcher?
Aaaargh Matey!
Ahoy There!
Make a Pirate Sword
Stage a Sword Fight
In the Doghouse
Fairy Dust
Sweet Little Fairies
Gifts for the Fairies
Calling All Fairies
Were you Paying Attention?
Sources and Special Thanks
Appendix A – Wisconsin Model Content Standards
Appendix B – Being a Good Theatre Audience
Sponsors
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“I say, Peter, can you really fly?”
Instead of troubling to answer him Peter flew round the room, taking the
mantelpiece on the way.
…It looked delightfully easy, and they tried it first from the floor and then
from the beds, but they always went down instead of up.
“I say, how do you do it?” asked John, rubbing his knew. He was quite a
practical boy.
“You just think lovely wonderful thoughts,” Peter explained, “and they lift you
up in the air.”
…Of course Peter had been trifling with them, for no one can fly unless
the fairy dust has been blown on him. Fortunately, as we have mentioned,
one of his hands was messy with it, and he blew some on each of them,
with the most superb results.
One of the reasons, Peter Pan works so well as a ballet is that people frequently
frequently say that ballet
dancers appear as if they can fly when they jump, leap and soar across the stage. You’ll see, thanks
to ZFX, Inc. that the dancers really DO fly in this show! You should experience the magic of this
firsthand when you watch the show so we won’t give all of our theatrical secrets away –
but think happy thoughts and have fun!
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Dear Children,
I came across this diary when I was in England a few summers ago. It tells the tale of Peter Pan,
Pan, a
story that will be passed on from generation to
to generation as long as there are those who believe in
childhood innocence and the wonderful sense of adventure. Peter Pan is dedicated to my own
darlings, Chloe, Max and Georgina.
Onward to Neverland!
Michael Pink
FROM THE DIARY OF WENDY MOIRA ANGELA DARLING…
March 25, 1941
Dear Diary,
Today I saw Peter Pan in Kensington Gardens! As you know, we always play make-believe and I
am Peter in our nursery games. John is a rather dastardly Captain Hook and little Michael is a
really silly Tiger Lily.
Father came home with an invitation to a very grand party. Mother seemed more concerned about
Peter Pan, though. Does she really know who he is?
March 26, 1941
Last night I dreamt that a magical fairy was flying around the nursery with Peter himself chasing
her about! He sat on my bed until Mother and Nana chased him away. Oh, how I wish my dreams
would never end!
March 27, 1941
Sometimes I think Father is as mean as Captain Hook. Today when it was time for our medicine,
he tricked Michael into taking his and then poured his own into Nana’s bowl. Then he got very
angry at Nana and banished her from our nursery – he thinks she is “just a dog” but we know better.
Poor Nana!
I do not know if this was a dream or not but Peter came back into the nursery because I had to help
him sew his shadow back on. I told him he may give me a kiss but instead he gave me an acorn
necklace. Diary, I don’t think Peter even knows what a kiss really is!
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The most amazing thing happened next. Peter showed all of us how to fly and he’s taking us to
Neverland! It is just as he said, “second to the right and then straight on till morning!” If this really
is a dream, I hope I never wake up.
March 28, 1941 (I think…)
In all the times we’ve played Neverland we always had Pirates led by Captain Hook, Tiger Lily and
the Indian Braves - and it is just so in Neverland! Let’s see if I can recount all that has happened.
Time seems so different in Neverland than it does at home…
I suddenly had a most curious feeling of falling out of the sky – and indeed I had! The acorn
necklace Peter gave me must have saved my life! Peter introduced us to the lost boys – these poor
creatures need a mother and they seem to think I’m the one to do it. I don’t know if I’m ready for
that yet.
Peter has told me many stories. Did you know that he was the one who cut off Captain Hook’s
hand and threw it to a crocodile? The crocodile not only swallowed the hand, but a clock too and
that’s the only way Hook knows he’s coming! Peter took me to an enchanting mermaid lagoon.
Peter is so charming and I feel butterflies in my stomach when I’m around him.
Then the adventures really began… There were Pirates chasing the Indian Braves and Peter had to
come to the rescue. He saved Tiger Lily, but I won’t bother with that. I’m not sure I like her. In
fact there are lots of things here that need fixing in this home under the ground. For one, Peter and
those boys need more discipline – they simply must take their medicine! I suppose I’ll try and be a
mother to them – I read them a bedtime story and I do enjoy this sort of thing. It reminds me of
home…
Tiger Lily must have been outside all night because I heard the beat of Indian drums. Speaking of
home, I decided it’s time we return before John and Michael forget all about it. I hope Peter will
take his medicine when we go. Tinkerbell is going to help us find our way out, although I don’t
know that we can trust her.
We were just about to leave when the most horrid thing happened – Captain Hook captured John,
Michael, the lost boys and me!
Perhaps March 29, 1941…
Oh Diary! That dastardly Captain Hook took us captive to the Jolly Roger, his enormous pirate
ship. Of course, John couldn’t have been more excited. Neverland seems to confuse what is real
and what is make-believe. Once aboard, Captain Hook asked me to read him a bedtime story – do
none of these people have a mother here in Neverland?! That Hook must be the naughtiest child
I’ve ever met!
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Suddenly his mood changed and he or
ordered
dered John to walk the plank! Peter arrived to save the day.
He dressed up like me thus fooling that cowardly Captain and made him walk the plank! What a
skirmish!
It was definitely time for us to leave Neverland and we want to take the lost boys with us. How I
wish Peter would come along, but he just doesn’t want to grow up. Thankfully when we got to the
nursery Mother and Nana were there and you just can’t imagine where we found Father! I’ve never
been so happy to be home but I hope I never ever forget Neverland and I hope Peter will come back
to see me someday.
Goodnight Diary.
Love,
Wendy Darling
Wendy Darling in the Nursery costume sketch by Judanna Lynn
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Michael Pink is the longest serving Artistic Director in the organization’s history. Since joining the
Company in December of 2002, he has established himself as a prominent member of the Milwaukee
arts community, demonstrating his commitment to the future of dance through new work,
education and collaboration. He continues to build a strong working relationship with Milwaukee
Repertory Theater, where his collaborations include A Christmas Carol, Assassins, Cabaret and Next to
Normal. His artistic vision for Milwaukee Ballet continues to be exciting and challenging. His long
awaited production of Peter Pan signified a major landmark in the Company’s history and was
filmed by Milwaukee Public Television during its recent performances. Mr. Pink’s theatrical
productions of Dracula, Esmeralda, Swan Lake, Giselle 1943, The Sleeping Beauty, Cinderella and Romeo &
Juliet have been hailed as ‘Classical Ballet for the 21st Century’.
Michael Pink is an international choreographer and teacher. He trained as a classical dancer at the
Royal Ballet, joining English National Ballet in 1975. During his ten years with the Company, he
danced many leading roles, most notably his partnership with Natalia Makarova in John Cranko’s
Onegin. From 1986 to 1998 he worked alongside Christopher Gable as founding director of Ballet
Central and Associate Artistic Director of the Northern Ballet Theatre.
Throughout his career he has worked with such luminaries as Dame Ninette de Valois, Sir
Frederick Ashton, Rudolf Nureyev, Léonide Massine, Nicholas Beriosoff and Glen Tetley.
His early choreographic work won him first place in the Ursula Moreton Choreographic
Competition and the Royal Society of Arts Competition. He has worked as répétiteur for Rudolf
Nureyev at the Paris Opera and La Scala Milan.
His first professional work, 1914, was nominated for a West End Theatre Award.
A long standing friendship with composer Philip Feeney has produced over 20 original works. His
other works include Don Quixote, Strange Meeting, Esmeralda, Solstice, Don’t Touch, Aubade, as well as
works for theatre and television. In 2008 Mr. Pink was recognized by the Wisconsin Dance Council
with the Choreography/Performance Award.
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PINK BALLET – ACTING AND DANCING
Michael’s choreography is sometimes funny, sometimes terrifying, sometimes romantic and always
full of drama. One of the things that sets him apart from other choreographers is his desire to see
his dancers really take their roles seriously and do some acting. Often times when you see an art
form such as ballet or opera, the artists forget that they are telling a story to people – not just
performing amazing footwork or singing incredible arias. He wants the dancers to really think
about the character they are playing so that they can bring truth and honesty to the role, so that we,
the audience, can follow the story and connect with what’s happening on stage.
Michael likes to take famous stories and turn them into big, lavish, theatrical ballets – like Dracula,
Romeo & Juliet, Esmeralda (based on Hunchback of Notre Dame) and of course, Peter Pan.
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What is a story that you love that might work as a ballet?
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Why do you think dance would be a good way to express this story on stage?
As you know, ballets don’t have any words in them. So, how do the dancers tell the audience what’s
happening? How does someone become as good an actor as they are a dancer? Whether you realize
it or not, people can sometimes just look into your eyes and know how you feel – but gestures and
body language also help. Let’s see how well you do this. Go stand in front of a mirror and perform
the following emotions, just by using your face:
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Happy
Sad
Angry
Scared
Those are pretty easy! Now,
Now, try these:
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Cautious
Nervous
Overwhelmed
Ecstatic
Shocked
Ashamed
Confused
Mischievous
Now do all of them again using your whole body. Remember, you can’t use any words or sounds!
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Would someone be able to tell what you felt if you didn’t say anything and just made these faces?
In ballet, this is called pantomime (or sometimes just “mime”). In classical ballet, there are universal
gestures that tell the story. Read these descriptions and try the movements. Then, see if you can
put the ballet “sentences” together just using mime.
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Anger – fist shaken
Ask – hands clasped together in a pleading gesture
Beautiful – hand circling face
Call – hand or hands cupped around mouth
Death – arms straight in front, crossed at wrists with hands in fists
Fear – body leaning away with hands open and palms out
Hear – hand pointing to or cupping ear
I/Me/Mine – hand to chest indicating oneself
Love – hands over heart
Marriage
Marriage – index finger pointing to ring finger on left hand
No/Never – with palms down, hands waving over each other crossing at wrist
Quiet/Don’t Speak – finger pressed against lips or hand clasped over mouth
Remember/Think – touch or point to temple
Royal – hand circling top of head to indicate crown
Sad – finger tracing tears down face or wiping tears away off cheek
See – finger pointing to eyes
Shoot – pretending to aim bow and arrow
Sleep – hands in praying position held on side of face with head inclined as though resting on
a pillow
Why/Where/What – hands open, palms up in front or on sides of body
You – arm extending to another person with hand open, palm up or direct point with finger
Can you put these sentences together with mime?
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You are beautiful and
and I want to marry you.
Come here! I’m angry with you!
I’m afraid. I hear the queen.
The king is dead.
What other sentences can you make up using classical ballet pantomime?
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MAKERS OF MAGIC
Philip Feeney
Philip Feeney is the composer of the ballet. He has worked with Michael Pink a number of
times to create original music for his ballets including the ballet we opened this season with –
Dracula! The music for both these ballets (as well as for Esmeralda based on Hunchback of
Notre Dame) is cinematic, grand, gorgeous, mysterious and emotional!
"Milwaukee Ballet’s new Peter Pan is visually and aurally ravishing. The bedrock of the work is Philip
Feeney’s thrilling score, commissioned by the company for this world premiere and triumphantly
performed by the Ballet Orchestra and the Milwaukee Children’s Choir under conductor Pasquale
Laurino. In the music as in the dancing, ever more wonderful adventures tumble head over heels in a
seamless flow." John Schneider, Shepherd Express, 2010
Find out more about Philip at www.philipfeeney.com
The Milwaukee Ballet Orchestra
The Milwaukee Ballet Orchestra is playing live for Peter Pan! This is an incredible treat for you, the
audience, and for the dancers. Milwaukee Ballet is one of only a few companies in the nation to
include live music in its performances, a core part of our artistic repertoire. Go to our website to
complete this PETER PAN POP QUIZ – we’ll let you use notes!
Answers in the back of the Study Guide
http://www.milwaukeeballet.org/about-us/orchestra
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For what other famous ballet company was our Music Director, Andrews Sill, appointed
Conductor in 2009?
Cello
o players are there?
How many Cell
List the people who play more than one instrument and the instruments they play.
Lori Babinec is our Orchestra Manager but she also plays what instrument?
What instrument does Pasquale Laurino, our Associate Conductor, play?
play?
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Our Lighting Designer, David Grill,
Grill, has won Daytime and Primetime
Emmys for his amazing lighting designs! In addition to lighting the
Opening Ceremony of the Salt Lake 2002 Olympic Winter Games and
the Opening Ceremonies of the Pan American Games Rio 2007, he has
also lit the halftime shows at Superbowls XLI, XL, XXXII, XXXIII,
XXXV!!!
Rick Graham designed the magical set – which fits
together almost like a puzzle and changes shape right
before your eyes! Somehow we’re able to fit the entire
set into Studio A at the Jodi Peck Center for Rehearsals
even though the Jolly Roger, Captain Hook’s ship, is
nearly as big as a real ship! Rick comes to Milwaukee
Ballet locally from the University of Wisconsin –
Milwaukee!
Judanna Lynn designed the costumes –
you’ll see her drawings throughout the
study guide! How awesome is it that her
gorgeous drawings were brought to life by
Milwaukee Ballet’s Wardrobe Department?
Under the direction of Mary Piering – all of
these costumes (except Nana – who was
built in New York) were made in house in
2010 – some of the dancers even helped out
by hand painting all of the feathers on the
Indian Braves’ dresses!
Mary Darling costume sketch by Judanna Lynn
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PETER PAN WORD SEARCH
Find and circle the words listed on the right. Answers in the back of the Study Guide.
P E T E R P A N M I Y K R O Z
I
J J E T I N K E R B E L L F
R V O J W E N D Y U H I C T M
A X L H M I C H A E L G N O A
T G L L N A G Q J B W F R L R
E E Y S H S U J M L A Y Q N Y
S O R Y Y A M D A R L I N G T
N R O Y B V R J S H A D O W I
J G G A L O S T B O Y S M L G
S E E Q G N E V E R L A N D E
M E R H N A N A U S W O R D R
E T A G V Q M P M T F O R H L
PETER PAN
WENDY
CAPTIAN HOOK
JOHN
MICHAEL
NANA
DARLING
SMEE
NEVERLAND
TINKER BELL
TIGER LILY
LOST BOYS
PIRATES
SWORD
CROCODILE
SHADOW
GEORGE
MARY
FLYING
JOLLYROGER
E D C A P T I A N H O O K M I
O M U W F L Y I N G K B W X L
O H D X C R O C O D I L E L Y
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FAMILY TIES
Family (and the lack thereof) is a major theme in Peter Pan. Peter Pan introduces himself by flying
into the minds of children at night. If you watch Wendy, John and Michael playing in the Nursery,
you’ll see that they have dreamt him and Neverland up with their pirate games and crocodile arms
outstretched. However, it is Mrs. Darling who first hears of his real name; in fact, she herself
probably went to Neverland when she was a child, as will Wendy’s daughter and so on and so on for
all of time. You would think everyone would know who Peter Pan was and that he would be
familiar with the Darlings… Not so. Once the children actually fly to Neverland, they start to
forget about their family! The Lost Boys can’t remember their own mothers and Peter gets very
angry when the subject is brought up in conversation or during bedtime stories. Read the following
excerpts from the novel…
Mrs. Darling first heard of Peter when she was tidying up her children’s minds… When you wake in the
morning, the naughtinesses and evil passions with which you went to bed have been folded up small and placed at
the bottom of your mind, and on the top, beautifully aired, are spread out your prettier thoughts, ready for you to
put on.
Occasionally in her travels through her children’s minds Mrs. Darling found things she could not understand, and
of these, quite the most perplexing was the word Peter. She knew of no Peter, and yet he was here and there in
John and Michael’s minds, while Wendy’s began to be scrawled all over with him. The name stood out in bolder
letters than any of the other words, and as Mrs. Darling gazed she felt that it had an oddly cocky appearance.
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Why do you think Wendy’s mind has Peter written all over it?
But I am afraid that Wendy did not really worry about her father and mother; she was absolutely confident that
they would always keep the window open for her to fly back by, and this gave her complete ease of mind. What
did disturb her at times was that John remembered his parents vaguely only, as people he had once known, while
Michael was quite willing to believe that she was really his mother. These things scared her a little, and nobly
anxious to do her duty, she tried to fix the old life in their minds by setting them examination papers on it, as
like as possible to the one she used to do at school. The other boys thought this awfully interesting, and
insisted on joining, and they made slates for themselves, and sat round the table, writing and thinking hard about
the questions she had written on another slate and passed round. They were the most ordinary questions –
“What was the color of Mother’s eye? Which was taller, father or Mother? Was Mother blonde or brunette?
Answer all three questions if possible.” “(A) Write an essay of not less than 40 words on How I spent my last
Holidays, or the Carakters of Father and Mother compared. Only one of these to be attempted.” Or “(1) Describe
Mother’s laugh; (2) Describe Father’s laugh; (3) Describe Mother’s Party Dress; (4) Describe the Kennel and its
Inmate.”
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If you had to create a 10 question examination a la Wendy Darling about your family that only your
siblings would know, what would the questions be? If you are an only child – create your own quiz
anyway. You would need to bring it along in your pocket to ensure that you wouldn’t forget your
family in Neverland!
My Own Family Test
Hereby Written about
about the ___________ Family
As inspired by Wendy Darling
Examination to be administered weekly in Neverland - after dinner and before bedtime stories!
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
I will not forget my family whilst I’m in
Neverland – no matter how many pillow
fights I have,
have, or battles I get into, nor how
many times I visit Mermaid Lagoon!
(Repeat at the end of each
examination session!)
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ME AND MY SHADOW
When Michael Pink reads a novel he probably starts dreaming up dances with each passing chapter.
Peter Pan is full of moments that naturally lend themselves to dance – in fact when the children are
playing house in Neverland and dancing around, it is written that “Peter was really the best dancer
among them.” Later, when the Pirates are celebrating their success at capturing the Lost Boys and
the Darlings, J. M. Barrie writes that they break into a “bacchanalian dance”. Of course, Michael
Pink calls this part of his ballet the Bacchanal. (See, this was always supposed to be a ballet!) Other
moments might not seem so obvious – such as Mrs. Darling helping Mr. Darling tie his tie or Peter
swaggering around the ship in Wendy’s cloak, pretending to be her. But once you see the
production, these moments break the action off the page and into real life!
One of the most inventive moments of choreography is the Shadow Dance in Act I. This famous
part of the Peter Pan tale, when Peter loses his shadow, is a delight to watch onstage. I’ll leave this
magical moment for you to experience live, but in the meantime, follow the directions to create your
own shadow dance.
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Stand facing a partner. You will need to designate one person as “Person A” and the other as
“Person B”. You are going to take turns leading so it is helpful if a parent, teacher or other
friend can watch and tell you when to switch back and forth by saying “person A is the
leader”, then “person B”, etc.
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Start slowly by only moving your hands – you need
to mirror each other which means you need to
maintain eye contact and do this without talking –
only by quietly observing and reacting.
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As you switch back and forth and get better and
mimicking your hand movements, start to move
your head, torso, legs – anything. If you get really
out-of-sync, go back to basics. Try to change levels
by bending and stretching and seeing how creative
you can be. It will start to look like you are doing a
choreographed dance!
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If you are really getting into it – try it with music!
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NATIVE MANAJIWIN *
* Ojibwe word for “respect”
Unfortunately one of the most upsetting parts about reading J. M. Barrie’s novel, Peter Pan, is the
ignorant way in which the Indian Braves are portrayed. There has been much criticism written
about the negative and stereotypical way the Braves are described. Peter and Tiger Lily are true
friends though; and in Milwaukee Ballet’s production, the Braves are a group of strong women, led
by Tiger Lily, who defend Neverland against the Pirates and Captain Hook. Thankfully we have
learned a lot from the ignorance of the past and have made progress since 1911 when this novel was
written. We shouldn’t take any particular culture and history for granted though; and it’s important
for us to learn about indigenous peoples all over the world and about their culture as they know it –
not as they have been depicted throughout history and in novels, advertisements, cartoons, movies
and popular culture.
Wisconsin is robust with Native
Native American culture so here is a way for you to continue your studies
by learning about two tribes from this region of the United States, and how to create a dream
catcher.
The Original Inhabitants of what is now Wisconsin (diagram left)
THE POTAWATOMI were once a large nation with much land,
but after forced removal and the loss of millions of acres, scattered
pockets of Potawatomi across regions of the United States and Canada
resulted. Although diminished in number, our ancestors who remained
in Wisconsin
Wisconsin would eventually become known as the Forest County
Potawatomi Community, Bodwe'wadmi, Keepers of the Fire. For
many generations, we relied on the environment for sustenance. We
recognized the importance of using what one needs and giving away
what one can. Our tribe took only what the earth and land was able to
replenish. Unfortunately, our people struggled with oppressive poverty
that made for a very difficult life. But throughout our history, we have
maintained our traditional ways, guided by tribal
tribal values that include
reverence for the wisdom of our elders, embracing responsibilities for
family and tribe, respect for the environment, and a willingness to
share.”
share.” From the Forest County Potawatomi Foundation
How do you pronounce the word "Potawatomi"?
"Potawatomi"? What does it mean? And how is it spelled?
It's pronounced "Poh-tuh-WAH-toh-mee." It means "fire keepers." That refers to their traditional role in the Council of
the Three Fires (an alliance with their Ojibwe and Odawa neighbors.) Potawatomi was not originally a written
language, so you may sometimes see it spelled Potowatomi or Pottawatomie instead.
Where do the Potawatomis live?
The Potawatomis are original residents of the eastern woodlands and prairie regions, particularly what is now Michigan.
As more Indian tribes were forced westward into the Michigan and Wisconsin area, many Potawatomi people migrated
into other parts of the Midwest, including Illinois, Indiana, Ohio, and Ontario, Canada. Some Potawatomis still live in
this region today, while others were sent to Kansas and Oklahoma by the US government.
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Potawatomi People at a Tribal Powwow
THE OJIBWE along with the Cree, are one of the most populous and widely distributed Indian groups in North
America, with 150 Ojibwe bands throughout the north-central United States and southern Canada. Ojibwe and Chippewa
are renderings of the same Algonquian word, "puckering," probably referring to their characteristic moccasin style.
"Chippewa" is more commonly used in the United States and "Ojibway" or "Ojibwe" in Canada, but the Ojibwe people
themselves use their native word Anishinabe (plural:: Anishinabeg), meaning "original people." The Saulteaux and
Mississauga are subtribes of the Ojibwe;; the Ottawa, though they are closely related and speak the same language, have
long held the status of a distinct tribe. Today there are 200,000 Ojibwe Indians living throughout their traditional
territories.
The Ojibwe and Ottawa Indians are members of a longstanding
alliance also including the Potawatomi tribe. Called the Council
of Three Fires, this alliance was a powerful one which clashed
with the mighty Iroquois Confederacy and the Sioux, eventually
getting the better of both. The Ojibwe people were less devastated
by European epidemics than their densely-populated Algonquian
cousins to the east, and they resisted manhandling by the whites
much better. Most of their lands were appropriated by the
Americans and Canadians, a fate shared by all native peoples of
North America, but plans to deport the Ojibwe to Kansas and
Oklahoma never succeeded, and today nearly all Ojibwe
reservations are within their original territory.
From www.native-languages.org
Authentic Ojibwe Moccasins
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Sometimes, though not often, Peter had dreams, and they were more painful than the dreams of other boys. For
hours he could not be separated from these dreams, though he wailed piteously in them. They had to do, I think,
with the riddle of his existence. At such times it had been Wendy’s custom to take him out of bed and sit with
him on her lap, soothing him in dear ways of her own invention, and when he grew calmer to put him back to bed
before he quite woke up…
If only Peter had a dream catcher, perhaps his nightmares wouldn’t have been so constant…
WHAT IS A DREAM CATCHER?
Dream catchers are arts and crafts of the Native American people. The original web dream catcher of the Ojibwe was
intended to teach natural wisdom. Nature is a profound teacher. Dream catchers of twigs, sinew, and feathers have been
woven since ancient times by Ojibwe people. They were woven by the grandfathers and grandmothers for newborn
children and hung above the cradleboard to give the infants peaceful, beautiful dreams. The night air is filled with
dreams. Good dreams are clear and know the way to the dreamer, descending through the feathers. The slightest
movement of the feathers indicated the passage of yet another beautiful dream. Bad dreams, however, are confused and
confusing. They cannot find their way through the web and are trapped there until the sun rises and evaporates them
like the morning dew.
Originally the Native American dream catcher was woven on twigs of the red willow using thread from the stalk of the
stinging nettle. The red willow and twigs from other trees of the willow family, as well as red twig dogwood can be
found in many parts of the United States. These twigs are gathered fresh and dried in a circle or pulled into a spiral
shape depending upon their intended use. They used natural feathers and semi-precious gemstone, one gemstone to each
web because there is only one creator in the web of life.
HISTORY OF DREAM CATCHERS
Long ago when the word was sound, an old Lakota spiritual leader was on a high mountain and had a vision. In his
vision, Iktomi, the great trickster and searcher of wisdom, appeared in the form of a spider. Iktomi spoke to him in a
sacred language. As he spoke, Iktomi the spider picked up the elder's willow hoop which had feathers, horsehair, beads
and offerings on it, and began to spin a web. He spoke to the elder about the cycles of life, how we begin our lives as
infants, move on through childhood and on to adulthood. Finally we go to old age where we must be taken care of as
infants, completing the cycle.
But, Iktomi said as he continued to spin his web, in each time of life there are many forces, some good and some bad. If
you listen to the good forces, they will steer you in the right direction. But, if you listen to the bad forces, they'll steer
you in the wrong direction and may hurt you. So these forces can help, or can interfere with the harmony of Nature.
While the spider spoke, he continued to weave his web.
When Iktomi finished speaking, he gave the elder the web and said, The web is a perfect circle with a hole in the center.
Use the web to help your people reach their goals, making good use of their ideas, dreams and visions. If you believe in
the great spirit, the web will filter your good ideas and the bad ones will be trapped and will not pass.
The elder passed on his vision onto the people and now many Indian people have a dreamcatcher above their bed to sift
their dreams and visions. The good will pass through the center hole to the sleeping person. The evil in their dreams are
captured in the web, where they perish in the light of the morning sun. It is said the dreamcatcher holds the destiny of
the future.
From www.dream-catchers.org
18
MAKE A DREAM CATCHER
Supplies:
• Paper plate
• Yarn
• Hole puncher
• Craft beads
• Craft feathers
• Markers
• Scissors
Instructions:
1. Begin by cutting in the center of the paper plate. Leave a rim of 2 inches all around the paper plate
2. Take your hole punch and punch hole in the rim of the paper plate, about ½ inch apart each.
3. Measure out your yarn 5-6 ft long. Tie one end of the yarn to any one of the holes on the rim of the paper plate.
4. Weave the yarn up, over, and all around the paper plate from one hole to the next one. You can make your pattern
any way you like. Make sure to loop through each of the punched holes.
5. You can add the craft beads to the middle of the dream catcher with the yarn as you go through the holes. Simply
slip them onto the yarn and continue with the next hole. They will appear to be in the middle of the dream catcher.
6. Once all of the holes are threaded with the yarn, tie a knot at the end of the yarn with the plate and the last hole.
7. Now, take your hole punch and punch 3 more holes in the paper plate at the bottom of the plate.
8. Cut 3 more pieces of yarn, about 5 inches long each.
9. Take each piece of yarn and tie them to the 3 punched holes at the bottom of the dream catcher.
10. Choose some beads to thread onto each of the 3 yarn pieces and then tie one feather to the end each of the hanging
yarn pieces.
11. Take your markers and decorate the edges of the paper plate.
12. Lastly, make a piece of yarn the length you need to hang it on the
wall. Punch one more hole to the top of your paper plate dream catcher
and tie the yarn to it.
13. Hang your new Dream Catcher in a place where sweet dreams
dreams are
welcome.
Tiger Lily costume sketch by Judanna Lynn
19
AAAARGH MATEY!
Pirate:
Pirate: a buccaneer,
buccaneer, sea robber, sea rover - someone who robs at sea or plunders the land from the sea
The pirates aboard the Jolly Roger are a rotten lot – with Captain Jas Hook as their leader. While
Hook is really an insecure, baby of a pirate with a hook for a hand, he plays a good game of being a
frightening foe to Peter Pan. His rag-tag group of scallywags include Smee, Noodler, Bill Jukes,
Flint, Black Murphy, Gentleman Starkey and Cookson. When Hook captures Wendy, John,
Michael and the Lost Boys he promises to make them walk the plank – but first he allows John and
Michael to choose their own pirate names – John chooses Red-handed Jack and Michael is given the
name Blackbeard Joe, by Hook himself! Why don’t you
you make up your own pirate name? As you
can see from Hook’s crew, there’s no rhyme or reason to a pirate’s moniker but here are some tips if
you need help:
•
•
•
•
Choose the name of bird or a parasitic animal.
animal Think of different birds or animals and the habits, traits and
activities that they are renowned for. Select one that appeals most to you. Some examples include Buzzard,
Crow, Mocking, Raven, Hawk, Snail, Possum or Barnacle.
Change the spelling of the name that
that you have chosen to make it look like a person's name, rather than a bird or
animal name.
name For example raven to rave Hawk to Hawkin, Crow to Crowe, Magpie to Maggie
Add a modifier to your name that describes something about your personality or physical characteristics.
characteristics That
way when you tell people your name it really makes sense. For example Stubborn Mock, Limping Hawkin,
Crowe the One-Eyed or Glowering Maggie.
Choose a first name that will ring with the other two.
two Try using the same sounds in the names so it sounds
smooth to the ear. Some examples include Rowdy Roy Ravenhook or Frank Big-hearted Stoutbeard.
Helpful Tips
• Use your imagination and be creative. There is no ideal "perfect" pirate name, so make yours different.
• Pirates came from all over the world.
world There were Spanish pirates, Asian pirates, English pirates, etc. so decide
which type of pirate you are and speak with that accent. Remember if all pirates spoke with an English accent it
would get boring.
• Remember that usually a pirate's name was something that mentioned some act they did or do, or part of their
appearance, demeanor, their nationality, or even about how or where they were born.
• Also keep in
in mind that sometimes pirates didn't choose their name, they earned it or where called it by fellow
crew members, whether they liked it or not!
• A pirate name without the act is nothing!
• Do not use wimpy animals or birds in your name or you will get ridiculed
ridiculed!
led! How much respect does the name
Canary Harry demand? Or what about Fat Joe Peacock, or even Tall Parakeet Bill? Try to use more ominous
names like Buzzard Bill Longtoe.
I hereby proclaim my new Pirate name,
as verified and honored by the notorious Captain Jas Hook:
20
AHOY THERE!
Pirates still exist but they aren’t as charming as Jack Sparrow or Cap’n Crunch. Let’s learn about
some of history’s real pirates. Choose a pirate from this list of real marauders and answer the
questions below to learn
learn about their adventures
at sea.
sea. Do your research online or at the library.
library.
Pirates:
• Edward Teach
• Mary Read
• Jean Francois Nau (L'Olonnois)
• John Bellamy
• Edward England
• Stede Bonnet
• Grace O'Malley
• Bartholomew Roberts
• Henry Morgan
• The Barbarossas
• Woodes Rogers
• Anne Bonny
• Roche Brasiliano
• Thomas Tew
• Calico Jack Rackham
• Henry Avery
Captain Hook costume sketch by Judanna Lynn
Questions for your Pirate Research:
• Of what nationality was your pirate?
• What are his or her birth and death dates?
• How or why did this person turn to piracy as a way of living?
• In what part of the world did your pirate prowl for treasure?
• Name some persons with whom your pirate came into contact while being a pirate.
• Discuss an adventurous exploit in which your pirate played a key role.
• What eventually became of your pirate? Tell the tale of the ending he or she had.
• What did you think of your pirate? Would you have wanted to serve on board with this
pirate?
From: Amity Learning: Technology Enhanced Learning Joan L. Bigelow, B.S., M.Ed., M.L.S.
21
MAKE A PIRATE’S SWORD
The rapier (a type of sword), which had been in use
in England since 1540, was regulated in 1570 by the
Queen when she proclaimed that the rapier, weighing
in at about two and a half to three pounds, could be no
longer than 36 inches. At each gate of London, a
citizen was posted whose job it was to break the point
of any rapier that exceeded this limit. For members
of the society who engaged in fighting, the rapier’s
quality, as well as the swiftness and cleverness
cleverness of its
owner, was a matter of life and death.
Materials:
• Sheet of newspaper
• Scissors
• 30-inch long cardboard cylinder from tube of
wrapping paper
• Tape
• 2 styrofoam balls or newspaper or aluminum foil
• Crepe paper (gold, silver or any other color)
To make the guard, roll the sheet of newspaper into the shape of a tube. Cut several inches off one end so that the paper
guard will be 6 inches long. Flatten it and cut a hole in the middle of it. The hole should be large enough for the
cardboard wrapping paper tube to fit through it. Slip the tube through the hole until about seven inches of the tube is
left. This seven inches will be the handle of the sword.
Tape the guard to the cardboard tube securely.
Twist the ends of the guard slightly so that they are pointing upwards and look more decorative. Tape the ends of the
guard in their new position to bind the edges.
Cover and decorated the blade of your sword (the cardboard tube) and the guard by wrapping the colored crepe paper
around it. Wrap the paper around and around the blade and the guard many times until it is one unit with no sharp
edges. Tape the crepe paper to the tube and guard as you wind it around to prevent it from unraveling. Don’t wrap the
guard and the blade separately. Rather, wrap the crepe paper around one side of the guard and then cross it over to the
other side, there-by anchoring it even further to the blade portion of the sword. When you are finished wrapping, secure
the crepe paper with tape at the ends.
Push two Styrofoam balls into each end of the tube, letting them stick out a bit. Alternatively, if you can’t find
Styrofoam balls, wad up some newspaper or aluminum foil into a ball and use this for the tip of the sword and to
reinforce the handle.
22
STAGE A SWORD FIGHT
Peter swore this terrible oath: ‘Hook or me this time.’ Now he crawled forward like a snake; and again, he darted
across a space on which the moonlight played, one finger on his lip and his dagger at the ready. He was
frightfully happy.
For theatrical productions, actors have to know not only how to speak the lines effectively but also
how to dance, do stunts, and handle props. In particular, sword fights have to be practiced over and
over again if they are going to be convincing to the audience. The same is true for ballet! Now that
you have your very own rapier, you and a friend can stage a dramatic fight.
Here are some instructions for staging your own sword fight. You will have to go through the steps
and practice first. Once the steps become
become natural, mix them up, make up new ones and then give
yourself a situation in which you can make your sword fight real and dramatic. Practice until it is
perfect and then find an audience of parents, friends, classmates or neighbors and give a
performance.
performance. (Remember, the goal is to choreograph the fight just like a dance, wherein both
participants know exactly what is going to happen. Once you and your partner have rehearsed, you
need to add facial expressions and sound effects to make it look real; that is the goal. If someone
gets hurt, it means there was a variation from the plan or someone wasn’t paying attention and you
haven’t done your job as actors!):
Note: All directions for sword fighting are given for a right-handed person, so lefties, you have to adjust!
Position
Stand facing your opponent with your feet wide apart, your right foot forward and turned out slightly, and your left foot
behind the right one and turned out to a 45-degree angle. Bend your knees slightly.
The HighHigh-LowLow-High Sequence
To begin: Standing a safe distance from each other, hold the sword in your right hand and point it to your left and to
the side of your opponent’s body at about waist height.
Both opponents: Raise your right arm, moving it in a semicircular, clockwise motion around and up and over the head
toward the center line, letting your swords meet in what’s called the “top hat” position. The two swords meet above
your heads and cross in the middle. Let them touch slightly. Now, lower your right arm to your left again, guiding the
sword away (stay away from your opponent’s face and body) in a semicircular, counterclockwise motion, and bring the
swords together in the low position at the feet. The point of each sword should be pointing at your opponent’s foot in
the low position. As your raise and lower your arm with the sword, think of yourself tracing and retracing the outline of
a half moon. From this low position, sweep up in a semi-circle to the top-hat position once more. Repeat this sequence
as many times as you like.
23
Add Footwork
(Note: When you advance forward, beginning with your right foot, you step “heel then toe.” When you retreat, beginning with
your left foot, you step “toe then heel.” Whenever one person advances, the other retreats, which ensures that there will be a safe
distance between the two at all times.)
With your swords in high position, you and your opponent will sweep your swords in that semicircular motion to the
low position. Just as you both reach that low position, right before the blades touch, your opponent steps back as you
step forward. That safe distance spoken of earlier is maintained at all times.
Then, without any stepping, you and your opponent guide your blades back up into the high position using that
semicircular motion once again. From this high position, you and your opponent again sweep your swords in that
semicircular motion to the low position. This time, though, just as you both reach that low position, right before the
blades touch, you step back as your opponent steps forward. You can repeat this sequence as many times as you like.
Thrust and Lunge Movement
From the low position, your sword and your opponent’s sword separate, and you each move your swords to the right.
Then you extend your sword toward your opponent’s navel (this movement is called a thrust). Even with the extension
of your sword, 12 inches of spaces still exist between you and your opponent because, at the same time that your sword is
extended, your opponent steps back. Then, you step forward (lunge), bending your right knee deeply. Then, in defense,
your opponent’s move is a defensive move called “a universal parry.”
Then, you and your opponent slowly guide your swords over you heads using the semicircular motion again. Your
swords are now pointing to your left and away from your opponent’s body at about waist height, which is the starting
position.
You can repeat this sequence of moves, this time
allowing your opponent to be the one who lunges and
thrusts.
Back to the HighHigh-LowLow-High Sequence – and then the
“Kill”
Repeat the High-Low-High sequence without moving
forward or backward.
To end the sword fight – called “the kill” – begin from
the high position. Let the swords meet in the low
position once more, but this time allow the sword to
follow through their arc and disengage. You then go
back to a top hat position at which point your opponent
– from the right – lifts the point of his sword from his
shoulder over his head in a counterclockwise direction
to your right side. With the sword now on your side –
and with the edge, never the point – you opponent leans
forward to tap your right side.
Then your opponent pulls his blade back and establishes
distance before you – with your face high and away
from your opponent’s blade – lower yourself to the floor
gently in defeat, without letting your knees hit the floor
hard and without hitting your opponent with your
sword.
John costume sketch by Judanna Lynn
24
IN THE DOGHOUSE
One of the most delightful characters in J. M. Barrie’s novel Peter Pan, is Nana the Newfoundland
nurse dog. Barrie loved dogs and had a St. Bernard of his own named Porthos – perhaps the real-life
inspiration for this character. Our balletic Nana is also a St. Bernard – perhaps Michael Pink
wanted to honor J. M. Barrie’s dog! The costume is absolutely incredible and sometimes it’s easy to
forget there’s a person (a girl, actually!) inside! In 2010, this costume was sponsored by two special
dogs belonging to some of the ballet’s most devoted fans: Mousse (now passed away) & Dutch
Crocker, two gorgeous and funny Chocolate Labradors!!!
Mrs. Darling loved to have everything just so, and Mr. Darling had a passion for being exactly like his neighbors;
so, of course, they had a nurse. As they were poor, owing to the amount of milk the children drank, this nurse
was a prim Newfoundland dog, called Nana, who had belonged to no one in particular until the Darlings engaged
her. She had always thought children important, however, and the Darlings had become acquainted with her in
Kensington Gardens, where she spent most of her spare time peeping into perambulators, and was much hated by
careless nursemaids, whom she followed to their homes and complained of to their mistresses. She proved to be
quite a treasure of a nurse. How thorough she was at bath-time, and up at any moment of the night if one of
her charges made the slightest cry. Of course her kennel was in the nursery. She had a genius for knowing
when a cough is a thing to have no patience with and when it needs stocking round your throat. She believed to
her last day in old-fashioned remedies like rhubarb leaf, and made sounds of contempt over all this new-fangled
talk about germs, and so on. It was a lesson in propriety to see her escorting the children to school, walking
sedately by their side when they were well behaved, and butting them back into line if they strayed. On John’s
footer days she never once forgot his sweater, and she usually carried an umbrella in her mouth in case of rain.
There is a room in the basement of Miss Fulsom’s school where the nurses wait. That sat on forms, while Nana
lay on the floor, but that was the only difference. They affected to ignore her as of an inferior social status to
themselves, and she despised their light talk.
She resented visits to the nursery from Mrs.
Darling’s friends, but if they did come she
first whipped off Michael’s pinafore and put
him into the one with blue braiding, and
smoothed out Wendy and made a dash at
John’s hair.
No nursery could possibly have been
conducted more correctly, and Mr. Darling
knew it, yet he sometimes wondered uneasily
whether the neighbors talked.
Nana costume sketch by Judanna Lynn
25
Read the following history of Newfoundlands:
There is much uncertainty about the origin of the Newfoundland. Some say that his ancestors are the white Great Pyrenees, dogs brought to the coast
of Newfoundland by the Basque fishermen; others that he descended from a "French hound" (probably the Boarhound); but all agree that he originated
in Newfoundland and that his ancestors were undoubtedly brought there by fishermen from the European continent. Many old prints of
Newfoundlands show apparent evidence of a Husky ancestor, while other traits can be traced to other breeds. At any rate, a dog evolved which was
particularly suited to the island of his origin.
He was a large dog, with size and strength to perform the tasks required of him. He had a heavy coat to protect him from the long winters and the icy
waters surrounding his native island. His feet were large, strong, and webbed so that he might travel easily over marshes and shores. Admired for his
physical powers and attractive disposition, he was taken to England where he was extensively bred. Today, most Newfoundlands of pedigree, even in
Newfoundland, are descended from forebears born in England.
At the present time, the Newfoundland is admired and bred in many different countries besides his native land, including, England, France, Holland,
Germany, Switzerland, Italy, Canada, and the United States.
The breed standard was written for a working dog, essentially a dog as much at home in the water as on dry land.
Canine literature gives us stories of brave Newfoundlands which have rescued men and women from watery graves; stories of shipwrecks made less
terrible by dogs which carried life lines to stricken vessels; of children who have fallen into deep water and have been brought safely ashore by
Newfoundlands; and of dogs whose work was less spectacular but equally valuable as they helped their fishermen owners with their heavy nets and
performed other tasks necessary to their occupations. Although he is a superior water dog, the Newfoundland has been used and is still used in
Newfoundland and Labrador as a true working dog, dragging carts, or more often carrying burdens as a pack horse.
In order to perform these duties the Newfoundland must be a large dog - large enough to bring ashore a drowning man. He must have powerful
hindquarters and a lung capacity which enables him to swim for great distances. He must have the heavy coat which protects him from the icy waters.
In short, he must be strong, muscular, and sound so that he may do the work for which he has become justly famous. Above all things, the
Newfoundland must have the intelligence, the loyalty, and the sweetness which are his best-known traits. He must be able and willing to help his
master perform his necessary tasks at command, and also have the intelligence to act on his own responsibility when rescue work demands it.
Did you know?
• The Newfoundland is particularly suited to the island of its
origin with a thick, heavy coat.
• Exported to England, where it was extensively bred; today,
most Newfoundlands of pedigree, even in Newfoundland, are
descended from forebears born in England.
• The Newfoundland is large enough to bring drowning victims
ashore; lung capacity enables long-distance swimming.
• Although he is a superior water dog, the Newfoundland has
been used and is still used in Newfoundland and Labrador as a true
working dog, pulling carts or carrying burdens as a pack horse.
• The Newfoundland’s great size & strength make him a
wonderful guard dog, but his disposition makes him good for children
& families.
• James Buchanan’s large Newfoundland, "Lara," was a celebrity
around the White House because she would lay motionless for hours
with one eye opened and one eye closed, always sure to keep an eye on
her owner.
• Ulysses Grant’s son, Jesse, owned a Newfoundland named
"Faithful." President Grant, having observed his son’s heartbreak over
the untimely deaths of several of his previous dogs, told his White
House staff, "If this dog dies, every employee in the White House will
be at once discharged."
• Rutherford B. Hayes owned a Newfoundland named "Hector."
Winifred Geoghegan & Arthur Lupino,
Peter Pan, 1904
26
This information comes from the official website for the American Kennel Club. Go to that site,
www.akc.org and answer the following questions about Newfoundlands:
1.
Circle the colors that a pure breed Newfoundland’s coat can be:
Brown
Red
Gray
Black
Blond
Brindle
Black and White
2.
What “Group” is a Newfoundland in by the American Kennel Club standards:
Hound
Working
Terrier
Toy
Non-Sporting
Herding
Miscellaneous
3.
The AKC description of the dog is for the ideal specimen of this breed. According to them, how tall should a
Newfoundland be at the shoulder?
4.
How much should they weigh?
5.
What is the hallmark temperament of the Newfoundland dog.
Answers in the back of the Study Guide
Now you have an example of what a working dog is. Google “Therapy Dog” and read a bit about
what is entailed for a dog to qualify. Now that you’ve seen Nana on stage and read an excerpt of
J. M. Barrie’s description
description of her do you think Nana is more of a Working Dog or a Therapy Dog?
Explain your thoughts below:
WHILE IT WOULD SEEM THAT THE SAYING “IN THE DOGHOUSE”
(BEING IN TROUBLE FOR SOMETHING) WOULD COME FROM THIS
INCIDENT IN PETER PAN, THE PHRASE WAS ACTUALLY COINED
HERE IN THE UNITED STATES. IT WAS A SLANG WORD USED BY
CRIMINALS MEANING “IN DISFAVOR”, AND WAS FIRST DEFINED
IN THE BOOK CRIMINALESE (A GLOSSARY OF THE LANGUAGE
OF CROOKS) BY J. J. FINERTY IN 1926!
27
FAIRY DUST
The loveliest tinkle as of golden bells answered him.
It is the fairy language.
You see, Wendy, when the first baby laughed for the first
time, its laugh broke into a thousand pieces, and they all
went skipping about, and that was the beginning of fairies.
…and every time a child says, ‘I don’t believe in fairies,’
there is a fairy somewhere that falls down dead.
She is called Tinker Bell because she mends the pots and
kettles.
Tinker Bell costume sketch by Judanna Lynn
Although Tinker Bell was thoughtthought-up by an English
English playwright, fairies can
can be found in mythology
throughout the world.
In China,
China you can find house fairies whose favorite thing to do is keep the house sparkling clean. If
you aren’t as crazy about cleaning as these fairies are you might be able to find one by leaving a gift
of cinnamon, peaches, oranges, cherries or white lilies – they love all of these things. They will
choose the family they want and then sleep in their pots and pans!
Sweet Little Fairies
To make your own Sweet Little Fairy here’s what you will need:
• 1 sugar ice cream cone
• 8 oz. white baking chocolate
• 1 marshmallow
• 2 pretzels
• Various candy decorations: sprinkles, Red Hots, M&M’s, jelly beans, etc.
Have a parent or teacher help you melt the chocolate in the microwave. Dip the ice cream cone and the pretzels
in the chocolate so that they are covered. Before the chocolate hardens, connect the pretzels to one side of the
cone, making wings (the bottom of each pretzel should touch, and then the wings will stick out from the body of
the fairy.) Set the cone down (the tip of the cone is the top) on a cookie sheet lined with wax paper. Stick the
marshmallow onto the tip of the cone; this is the fairy’s head. Decorate with candy to make a beautiful
costume. Let set for about 20-30 minutes until the chocolate has completely hardened.
28
In Arabia,
Arabia the fairies are called the Djinn.
Djinn They can shapeshift into
animals such as cats, dogs and birds. Perhaps you have already met a
Djinn! The Djinn make jewelry, charm horses and create magical
phenomena like trees covered in singing and dancing fruit. They are
more powerful than they are smart and tend to lose their valuable
treasures.
The JaJa-gengen-oh fairies of the Iroquois Indians sleep under piles of
raked autumn leaves. They can also take the form of other objects –
such as robins (if you see one this means they are bringing good
news), dogs, butterflies and floating blue lights. Leaving gifts for the
Ja-gen-oh can persuade them to grant you special favors.
Gifts for the Fairies
To leave a gift for the Ja-gen-oh fairies you need to make a Ja-gen-oh Leaf Basket. You will need:
• 10-30 Large leaves (from trees or you can use vegetable leaves)
• A plastic bowl the same size as the basket you want to make
• A paintbrush
• Petroleum Jelly
• Elmer’s glue
• Water
Cover your workspace with newspaper. Turn the plastic bowl upside down to use as your mold. Cover the
outside of the bowl with petroleum jelly. Mix 4 parts glue and 1 part water to make a creamy mixture. Stick
one layer of leaves onto the jelly-covered bowl. (Completely cover the bowl with this layer of leaves.) Cover
the leaves with the glue mixture using the paintbrush and add another layer of leaves, add the glue and so on
until you have at least 3 layers of leaves. When finished, let the basket dry on the bowl mold overnight.
Carefully remove the basket from the mold! Fill with fairy presents and leave outside your door!
The Ojibwa Indians believe that the Weeng fairies make us fall asleep at night by hitting you on the
head with a tiny club as they race around the room flying on mosquitoes and fireflies! You will be
blessed with a long life if you are fast and lucky enough to see a Weeng before you fall asleep.
Whenever it is really windy, snowing or hailing, you know that the Bolivian fairy Anchanchu is
around. He rides a pig, has goat feet and a tail and dresses like a soldier! If you don’t make fun of
what he looks like he may share some of his riches with you.
29
The Huldufolk in Iceland have incredible power over human beings – so much so that once in the
1980’s, highway construction was delayed in Iceland due to broken machines and a large amount of
people working on the project getting sick. The government actually stopped the project when they
realized they must have been building over a Huldufolk town. Once they moved the project, no
more problems occurred!
Calling All Fairies
To call the fairies you need to make an African Fairy Rattle.
Rattle You will need:
• 20 halved walnut shells (you can find these at craft stores)
• 1 small nail
• Wire
• Markers, sequins, beads, foil
• Glue
First decorate the walnut shells in beautiful colors and adorn with sequins beads or foil. Make a small hole in
each walnut shell with the tip of the nail. String the shells onto the wire, leave a few extra inches and cut the
wire. Loop the wire into a circle that is large enough to fit your hand through. Twist the ends of the extra
wire together to close the circle and wrap the end around the looped wire (so that you don’t have a sharp end
sticking out.) Shake to make rhythmic sounds and to call the fairies!
Here’s a description of Tinker Bell’s apartment:
…But there was one recess in the wall, no larger than a bird-cage, which was the
private apartment of Tinker Bell. It could be shut off from the rest of the home by a
tiny curtain, which Tink, who was most fastidious, always kept drawn when dressing
or undressing. No woman, however large, could have had a more exquisite boudoir
and bed-chamber combined. The couch, as she always called it, was a genuine Queen
Mab, with club legs; and she varied the bedspreads according to what fruit-blossom
was in season. Her mirror was a Puss-in-boots, of which there are now only three,
unchipped, know to the fairy dealers; the wash-stand was Pie-crust and reversible, the
chest of drawers an authentic Charming the Sixth, and the carpet and rugs of the
best (the early) period of Margery and Robin. There was a chandelier from
Tiddlywinks for the look of the thing, but of course she lit the residence herself.
Tink was very contemptuous of the rest of the house, as indeed was perhaps
inevitable, and her chamber, though beautiful, looked rather conceited, having the
appearance of a nose permanently turned up.
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WERE YOU PAYING ATTENTION???
How well you were
were paying attention when you saw Peter Pan?
Pan?
Read the sentences below and fill in the blanks with what happened in the ballet.
1.
When we first meet Peter Pan, the Darling children are at the _____________.
2.
George Darling gets in trouble when he tries to feed ____________ his medicine.
3.
Wendy helps Peter Pan by sewing his ____________ back on his foot.
4.
Peter Pan teaches the Darling children how to ___________.
5.
There are ________ Lost Boys who live with Peter in Neverland.
6.
The Crocodile lives in the
__________________________ .
7.
Tinker Bell saves Peter Pan by drinking the
___________ that was meant for him.
8. When Wendy is Captain Hook’s prisoner, he
makes her ___________ him a ______________.
9. Peter Pan tricks Captain Hook by pretending to
be a ________________.
10. When the Darling children return home, their
father is living in the ___________________.
Answers in the back of the Study Guide
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SOURCES AND SPECIAL THANKS
This guide was created by the Department of Community Outreach:
Alyson
Alyson Chavez, Director of Community Outreach & Lori Flanigan, Community Outreach Coordinator
Texts, Articles & Websites
Michael Pink’s Synopis Notes for Peter Pan, 2010
Barrie, J. M. Peter Pan. New York: Harper Collins, 1911 (originally).
Latham, Minor White. The Elizabethan Fairies. New York: Octagon Books, 1972
Yolen, Jane, comp and ed. The Fairies’ Ring. New York: Dutton Children’s Books, 1999.
American Kennel Club
Dream-catchers.org
Native-languages.org
J. M. Barrie Literature Study Guide – www.bookrags.com
Other Special Thanks
Michael Pink
Board & Staff of Milwaukee Ballet
Cast & Crew of Peter Pan
Orchestra Pop Quiz Answers
• New York City Ballet
• 4 Cello players
• Bonnie Cohen (Oboe, English Horn)
Christopher Zello (Clarinet, Bass Clarinet)
• Bassoon
• Violin
Newfoundland Quiz Answers
• Brown, Gray, Black, White and Black
• Working Group
• 26-28 inches
• 100-150 pounds
• Sweetness
Peter Pan Dancing with his Shadow,
Alice Woodward, 1907
Were you paying attention? Answers
• When we first meet Peter Pan, the Darling children are at the PARK.
PARK
• George Darling gets in trouble when he tries to feed NANA his medicine.
• Wendy helps Peter Pan by sewing his SHADOW back on his foot.
• Peter Pan teaches the Darling children how to FLY
FLY.
• There are 5 Lost Boys who live with Peter in Neverland.
• The Crocodile lives in the ORCHESTRA PIT .
• Tinker Bell saves Peter Pan by drinking the POISO
POISON
N that was meant for him.
• When Wendy is Captain Hook’s prisoner, he makes her READ him a STORY.
STORY
• Peter Pan tricks Captain Hook by pretending to be a GIRL
GIRL.
HOUSE.
• When the Darling children return home, their father is living in the DOG HOUSE
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Peter Pan Word Search Answer Key
Key
P E T E R P A N M I Y K R O Z
I
J J E T I N K E R B E L L F
R V O J W E N D Y U H I C T M
A X L H M I C H A E L G N O A
T G L L N A G Q J B W F R L R
E E Y S H S U J M L A Y Q N Y
S O R Y Y A M D A R L I N G T
N R O Y B V R J S H A D O W I
J G G A L O S T B O Y S M L G
S E E Q G N E V E R L A N D E
PETER PAN
WENDY
CAPTIAN HOOK
JOHN
MICHAEL
NANA
DARLING
SMEE
NEVERLAND
TINKER BELL
TIGER LILY
LOST BOYS
PIRATES
SWORD
CROCODILE
SHADOW
GEORGE
MARY
FLYING
JOLLYROGER
M E R H N A N A U S W O R D R
E T A G V Q M P M T F O R H L
E D C A P T I A N H O O K M I
O M U W F L Y I N G K B W X L
O H D X C R O C O D I L E L Y
33
APPENDIX A: WISCONSIN MODEL ACADEMIC STANDARDS
Dance
•
•
•
Standard E. Critical Thinking: Students in Wisconsin will develop critical and creative thinking through their dance
experience.
Standard F. Communication and Expression: Students in Wisconsin will understand the expressive power of dance as a
means of communication and understand that it is subject to multiple interpretations.
Standard G. Appreciation: Students in Wisconsin will reflect upon and appreciate dance as an art form, past and present.
English Language Arts
•
•
•
Standard A. Reading/Literature: Students in Wisconsin will read and respond to a wide range of writing to build and
understanding of written materials, of themselves, and of others.
Standard B. Writing: Students in Wisconsin will write clearly and effectively to share information and knowledge, to
influence and persuade, to create and entertain.
Standard F. Research and Inquiry: students in Wisconsin will locate, use, and communicate information from a variety of
print and non-print materials.
Social Studies
•
Standard B. History – Time, Continuity, and Change: Students in Wisconsin will learn about the history of Wisconsin,
the United States, and the world, examining change and continuity over time in order to develop historical perspective,
explain historical relationships, and analyze issues that affect the present and the future
APPENDIX B: BEING A GOOD THEATRE AUDIENCE
Unlike actors on your television, performers on the stage are aware of their audience. They want very much to
communicate their art to you, and feel your appreciation in turn. In fact, by the time you arrive at a theatre for a
scheduled performance, many people (choreographers, composers, dancers, technicians, costume and lighting designers,
etc.) have worked very hard to bring you their best efforts. In order to show respect for those efforts, every audience
member must give the performance their full attention and avoid any behavior that interferes with anyone else doing
the same. We have rules to help us accomplish this goal, and you should do your best to understand and follow them:
1. No gum, candy or food in the theatre (it makes noise and sticky messes).
2. No shoving or running in the lobby (you know why).
3. No hooting, whistling or yelling in the performance. The performance has begun when the lights go down and the
conductor walks out and the orchestra begins the overture. You are welcome to show your appreciation for the
performance with applause at the end of the ballet or sometimes at the end of a section or solo. You are also welcome to
laugh if someone on the stage is being intentionally funny.
4. No talking or whispering during the performance. You will have plenty of time to discuss your impressions at
intermission or after the show.
5. Always arrive at the theatre with plenty of time to find your seats and settle down into them. Late arrivals mean
disruptions for everyone else, including the performers and you may not be able to enter until an appropriate pause in
the program.
6. Enjoy the show and have fun!
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Alvin and Marion Birnschein Foundation
Greater Milwaukee Assoication of REALTORS’ Youth Foundation
Charles D. Ortgiesen Foundation, Inc.
Jane Bradley Pettit Foundation
Gene & Ruth Posner Foundation
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