THE STORY BEHIND THE STORY

Honouring the land on which the opera is being performed is a way to activate the teachings of reconciliation.

This is an old story.
It is older than any tree but still younger than the mother forest
It is older than any paved highway but still younger than the mountains
First told on a mountain in the Altiplano
Then inscribed into the earthen walls under a roof that brushes the edge of the sky
It is a timeless story.
It does not begin with “Once upon a time”
It doesn’t really have an end
It does not have fantastical heroes defeating evil forces and
Maybe that is because these things are not really as important as the one thing this story has
It has you
And the something you will do

—Michael Nicoll Yahgulanaas
Author Flight of the Hummingbird – A Parable for the Environment

AN INVITATION TO CONSIDER

The story behind the opera itself is equally important. From the beginning of the creative process, it has been Michael Nicoll Yahgulanaas’s interpretation of the parable that is at the centre of the opera. This is an important distinction because as producers, Vancouver Opera and Pacific Opera Victoria were not seeking to create an opera based on an Indigenous story – the intent was to produce an opera written and created by an Indigenous artist.

Michael’s mother is Haida, his father Scottish. Self-taught, his unique artistic style is informed by lessons learned from Chinese painter Cai Ben Kwon. The result is a conscious fusion of Haida and Asian artistic influences called Haida manga. Michael describes Haida manga as ‘blending North Pacific Indigenous iconographies and frame lines with the graphic dynamism of Asian manga. It is committed to hybridity as a positive force that opens a third space for critical engagement’. The artistic heritage of the opera is informed by the lived experience of not only Michael, but of the other members of the creative team, composer Maxime Goulet, and director Glynis Leyshon. This collaboration is informed by a living Indigenous culture, the Haida and their outreaches into other regions of the world.

AN INVITATION TO CONSULT

Consulting with leaders from the local Indigenous Peoples’ government is an important aspect of preparing for the performance. Part of this process will include establishing expectations for remuneration and gifting for all Indigenous officials, Elders, storytellers, and/or knowledge keepers who participate in the work related to the performance. If your district does not have such staff members, you might consider contacting local native friendship centres, and Indigenous leaders within the community.

AN INVITATION TO ACKNOWLEDGE

Once the audience has gathered and before the performance begins, ensure that either a welcome from an Indigenous community member or an acknowledgement takes place. Use this moment as one of recognition, a welcome for all involved, and an invitation into relationship.

• Ask if it is possible to invite an Elder or other community member to offer a welcome to the territory and acknowledge that you will offer an honorarium.

• If an Elder or local leader is not available, begin with a land acknowledgement. Please see Bob Joseph’s (Gwawaenuk Nation) website for his article on First Nation Protocol on Traditional Territory for guidance in creating your own.

• Recognize the history of the story and the opera’s origins. Honouring the land on which the opera is being performed is a way to activate the teachings of reconciliation.

PRE-PERFORMANCE INSPIRATION

Here are some ideas from teachers who hosted a performance of The Flight of the Hummingbird in early 2020.

“We consulted and worked with our Indigenous Education Department to prepare for the performance. On the morning of the performance, we began with a local territorial acknowledgement and then the whole school came together in singing and drumming a Lekwungen celebration song.”

“Students from our local Nation led a presentation about their history and their families with the intermediate classes. Before the performance, two of the students did the land acknowledgement”

“We invited members of our local Nation to the performance as well as the head of Indigenous education at our district. We opened the assembly singing the Coast Salish anthem after the land acknowledgement was shared.”

“I worked with the Indigenous Support Worker at our school to invite members of our local Nation to the performance. Our ISW also led the land acknowledgement before the performance.”

“We watched the animated short before the performance. Afterwards, the Indigenous Support Worker spoke with the students about the story.”