Wind Princess

⾵ 之 公 主

WIND PRINCESS

16-18April 2024

TheISF Auditorium 7:30pm

Original Music & Orchestrations

Composed by Jaime Wilkin

Lyrics by Jaime Wilkin & Keren Chaukria

Script by Keren Chaukria & Alexandra Campion

Some say it began, some say it ended, with the Seven Days of Fire. The story, our story, handed down for generations, told how nuclear destruction created an endless night...

Director’s Note

“Reality is never as good as your imagination.”

Imagination is what allows for endless possibilities, but those possibilities can never happen if you don’t have a team of people working alongside you. Ms. Campion had a dream, she dreamt about the Wind Princess making a difference and change in the world in which we live. Some say it began when she moved to Hong Kong, immersed in animation for the first time and introduced to Studio Ghibli. Some say a world was opened up for her and with that world an idea was born; an idea handed down to the next generation. In this world a journey began.

The journey of the Wind Princess.

DIRECTOR KEREN CHAUKRIA

When Ms. Campion asked me to direct Wind Princess I knew at this moment I was handed a world of endless possibilities, and a responsibility to keep a dream alive. I see life as an adventure and that is exactly how I see the stage. As a dreamer I wanted the world to see what I see through my eyes, moments of heavy topics such as climate change and how this can be communicated in a lighter tone. I am always finding ways to bring imagination to reality. I am a storyteller at heart and a believer that stories are on a constant cycle of evolution, constantly regenerating, waiting for humanity to learn from its words. Everyone has a story to tell but it is how we tell it that lives in peoples minds forever. The journey of writing was always about staying true to Hayao Miyazaki and so we did but with a few twists that can only be revealed once you watch the show.

So the feast began…to understand and explore Japan's rich theatrical style of storytelling. Kabuki, Rakugo, Bunraku. Storytelling techniques to feed me. Wind Princess is heavily influenced by these practices, however it was important for Mr. Wilkin and I to find our story and our truth. It was important for us to find our tale both through music and movement. We wanted the story to feel like the stories that people told in their own communities, families and homes. We brought it to life with puppetry to highlight a friendship, Rakugo for the Elders as they tell their story and Kabuki to define the physicality of characters.

When staging the set for Wind Princess the journey began thinking about how stories are passed down through generations. I wanted to take this concept and look at how this could be staged visually representing an oral history through sight, with the Elders being heightened they would always be passing down the story. As the flow of a story is essential for audience engagement, I believe the simplicity in the way the set translates the story with minimal transitional moments is a fragile balance held by a thread. In a story with such rich worlds, I had to consider how to capture them without having to change sets. This is when animation was introduced. With Ms. Ashley’s animation, we navigated the depths of the scenery with grace thinking about how we could use projection mapping and architecture to create a three dimensional world. My words were just a starting point for Ms. Ashley. She took the script and our discussions and transformed them into beautiful animations, stepping toward the fate of what Wind Princess was to be. Working alongside her made it easier to face the wind!

Mr Wilkin’s music and choices and his understanding of my internal voices is what allowed this vision to find its way. Working alongside him has been a gift I never knew I needed, no idea was ever too wild, every thought considered from different perspectives, and the journey we embarked on is a story within itself. In the music he composed you can hear how narratives are intertwined, how stories all live within one another through motifs and sounds but most importantly I hear the magical moments where the music also replicates the journey that we have been on as teachers. Our imaginations captured, intertwined between realities and imagination and this would never have been possible without him.

So you better watch out… for a story that is told not just through words, but a story that is expressed through movement too. Physicality and music is at the heart of Kabuki theatre and you will see moments of inspiration from the Mié pose running throughout the piece highlighting characters and moments. The pathway in which the actors travel was also inspired from the staging of kabuki and the hanamichi pathway. This concept inspired me to highlight moments of performers running through the audience but, of course, as always with a twist of humour.

A story took flight and suddenly I could feel it, the music flowed and showed us which way to go, there was something there, the creativity, the magic and it whispered…. to Ms. Campion, Mr. Wilkin, and I and we hope this production of the Wind Princess also whispers to you. These aren't just words, it's now just how the students move, how they breathe, how they dance and how they sing, this is imagination becoming the reality in which we live and which we will now all share together.

Composer’s Note

‘There is no greater power on this earth than story’ - Libba Bray

All art begins its journey with a leap of faith; a big step into the unknown to find the first few words, the beginnings of a sketch, or the first few notes of a melody… the beauty and simplicity of which is near impossible to capture once it is translated from mind to reality. We have all been there. We’ve all stared straight into a blank page, waiting for inspiration to strike. Countless hours pleading with yourself to author something so special, that you find the notes needed to lift and convince your audience to open their minds and join you in the realm of imagination.

I remember when Ms. Campion first suggested we write our own musical. “Sure”, I thought, “Sounds like loads of FUN!”. It wasn’t until later, sitting at my piano, that I realized what I’d agreed to, and started to doubt whether I was actually able to pull this off. A full length musical? What was I thinking? As I started to rationalize and overthink the situation I was now in, it became clearer and clearer to me that I was going to have to admit defeat.

JAIME WILKIN

MUSIC DIRECTOR + COMPOSER

I needed to rethink the situation. Look at things differently. It wasn’t until a few days later that it came to me. I wasn’t stuck in a situation - I was standing at the beginning of an exciting opportunity. Ms. Campion had a vision where the community came together to share in the act of creation, and she had invited me to be a part of it. Our ideas, thoughts, and visions are precious, the substance of which offer a glimpse into who we are and I thank Ms. Campion for trusting me with hers. Her act of trust gave me the chance to indulge my creative side again and to remember what it feels like to be a composer.

I had recently spent some time in Tokyo to explore and familiarize myself with traditional Japanese music and knew that one of my primary objectives for this score was to create a unique fusion by incorporating compositional features from Japan, while maintaining a westernized style of musical composition writing. It was a delicate balancing act, but one that allowed me to explore the cultural nuances and musical heritage of Japan while creating a blend with the Western musical tradition.

The entire sound world and musical score for Wind Princess was born out of the simplest ideas - a leitmotif used to represent the theme of regeneration. It serves as both an invitation and an answer; to join us ‘In This World’ where ‘strife and fear’ fuel an ongoing pandemic of decay. The leitmotif develops through an act of self-consumption and regeneration, a compositional technique used as a nod to the act of sustainability.

In fact, much of the musical material you will hear this evening has been recycled, repurposed, reimagined and reinvented. I invite those you that are musically inclined to wear your detective caps and look out for the key leitmotifs.

This initial motif, and much of the later material I generated, was highly influenced by the compositional style of Stephan Sondheim.

If we were going to indulge in the world of story-telling, there would be no greater inspiration. If you listen closely, you might notice the ways in which motivic development keels over in favor of capturing the prosody of the text, punctuating the rhythm of speech with musical devices such as motivic stops, repetitions, and large intervallic diversions that set out to disrupt the sense of meter.

Many Japanese compositional features have found their way into the musical essence of Wind Princess, including the use of Japanese scales, such as the ryo scale. These scales, with their distinct intervals and evocative tonal qualities, lend a touch of authenticity and transport the audience into the realm of Japanese storytelling.

Delicate ornamentations, reminiscent of the koto's graceful plucking, add a layer of intricate beauty to these melodic lines, particularly in the orchestrations whilst the interplay between silence and sound, inspired by the concept of "ma," creates moments of breath and contemplation, allowing the emotions to resonate and the narrative to unfold.

The use of the distinctive "tokidaiko" rhythm, and syncopated, asymmetrical metres often associated with taiko drumming, reverberates through the percussion sections to infuse the music with an energetic pulse. These rhythmic motifs serve as a unifying force, connecting the narrative arcs and underscoring battle scenes.

Countless hours were spent in the realm of imagination, carefully crafting the music to infuse this production with a sense of wonder and enchantment. Every note, every melody, and every harmony was composed to spark life into the narrative, transporting you to a world where the wind whispers its secrets and the princess dances with grace and resilience.

I am so excited to not only welcome you into the world that we have crafted, but to also invite you to celebrate this achievement with us. Wind Princess is more than just a story. It is a testament to what teams can do when they are given and commit to an idea and goal. Wind Princess embodies all that ‘The Arts’ stand for; creativity, collaboration, and craft. We did it.

None of this would have been possible without the formidable vision and leadership of Ms. Chaukria, whose unrelenting energy and passion has been a constant source of motivation for me. She epitomizes everything you could ask for in a colleague and friend; I admire that she holds everyone to the highest expectations, yet finds a way to carry them there with warmth and humility. Her infectious enthusiasm and ‘can do’ attitude have taught me that anything is achievable; all you need is a little bit of humor, a dash of crazy, and a whole lot of love.

Finally, the students. Celebrate them. They have not only embraced their roles (on and off stage) with talent and dedication but have been so willing and flexible in co-piloting the unknown with us. Their unwavering support and eagerness to offer us the grace to make mistakes and embrace this project as ‘practitioners of our art’ is testament to the values and character we strive to instill in our students. I, we, are so lucky to be able to work with them; it is an immense privilege.

May Wind Princess carry you through the soaring skies and ancient landscapes, where tales of courage and compassion unfold. Allow yourself to be captivated by the magic of theatre as the characters come to life before your eyes, their hopes and dreams echoing in each carefully crafted melody. Let OUR story ignite your imagination, touch your heart, and transport you to a world where anything is possible; where the power of story shines brightly.

Animator’s Note

Studio Ghibli has been a childhood essential for me; It’s art and stories stay with me well into the present day. When I heard about Wind Princess being in the works (or more like, my sneaky glimpses of the Nausicaa official art book on Ms. Campion’s desk), I was beyond excited. It has been an absolute privilege and a pleasure to create animated backgrounds and assets for this year’s original Academy Production: Wind Princess. Creating for a stage production was a brand new challenge to take on, so I am particularly excited to share pieces of the months-long process here with everyone!

To take it back to the very beginning (think…the warmest November in all of Hong Kong’s history), it was first priority to understand the director’s vision. I had many key conversations with Ms. Chaukira to explore which scenes could be best supported with animation, and to further consolidate the possibilities in 2D animation for a real-life stage and actors given the time frame.

ANIMATOR ASHLEY MA

At that time, the original score was already in the works by the incredible Mr. Wilkin, which also brought about an idea of the mood and motion to pair with the script. A giant mood board was created to propose color/style, and then thumbnail sequences (tiny little frames and quick drawings) to propose key ideas to the director and team. These were key to ensure that there is a cohesive vision and expectations before assets are fully created. At this stage, aspects could also be changed and discussed, aided by these preliminary visuals.

This was also the beginning of the animation production schedule that noted every instance that animation needed throughout the script. This later became a point of reference for every member of the projection team, and I worked closely with Mr. Mok to communicate which assets were needed, in progress, or needed tweaking to better fit in the larger puzzle that was the production.

It is one thing to be painting for a scalable animated character, but another for a projection that a real person will be walking in front of, sometimes with unpredictable timing that could occur during the magic of a live show. To make sure things were in the right place, a series of rehearsals were had to use rough animatics (sequenced and roughly timed storyboards) for the earliest timing/scale adjustments were done.

With help from Elva Yang (G10), backgrounds were hand painted and brought to life using Procreate and Adobe Animate, Clip Studio Paint, and Adobe Premiere. This was one of the most time consuming parts of the process – the moodboard was used to guide the various art styles present, and largely took inspiration from Nausicaa.

The particular, pencil-drawn style of the Sea of Decay was taken from the use of blue tone pencils in manga, animation and design – these pencils were traditionally used for sketching, typically, and when lined over with darker colors, will disappear in a printer’s scan due to the lightness of the pencil. In the context of the story, the Sea of Decay was a no-man’s land – a place where people of the valley did not wander into, yet Nausicaa discovers its importance to the livelihood of her beloved home and people. Much like the sketches that are usually unseen by the end, this blue-pencil style hopefully conveys a more stripped back tone, contrary to the fullness of the rest of the visuals in the production.

It is my first time creating animation for a stage production, and to have such a clear vision and grace from the production team was the ultimate gift. It is my hope that these backgrounds can provide a glimpse into the rich world of the Wind Princess — from the valley of the wind, to the sea of decay, to the skies of the valley.

To see it come together through the tireless efforts of so many different experts and enthusiasts, I absolutely cannot wait to see the final product along with everyone else. To the cast and crew: I’ve seen just how hard you’ve worked on every aspect of this production, and I hope you are so proud of yourself. Thank you for having me be a part of this incredible show that has detail, thought and love in every thread of its fabric. Enjoy!

In this world our story starts. Despite the human struggle for survival there is still hope. A young woman, Nausicaa, our hope. She walks alone in the jungle where no one else dares to go.

Cast

NAUSICAA HAYLEY TANG

ASBEL SINGING CAPTAIN SAIGE AVEN MCKEE

Hayley is a grade 8 student at the ISF Academy and is thrilled to be part of her second Academy Production, Wind Princess. With a lifelong passion for acting and theatre, she feels incredibly fortunate to have the opportunity to play the role of Nausicaa this year. Her journey in the performing arts began at the age of3atKid'sGallery,wheresheenjoyedvariouspresentationslike"TheWizardof Oz," "Matilda," and "The Lion King." Hayley's dedication to her craft is evident through her involvement in the Hong Kong Children's Choir since the age of 4 and her participation in musical performances organized by Faust International. Last year, she portrayed Hermia in ISF’s Academy Production - A Midsummer Night's Dream, further fueling her love for the stage. Hayley's unwavering passion for the school production showcases her commitment to honing her actingskillsandpursuingherdreamsintheworldofperformingarts.

CHRISTOPHER LEE

Saige McKee has been acting since 2017 where she made her debut in a pre-school performance as an ensemble member. Saige is a diverse actor that enjoys physical theatre and characterization of voice. In the 2022 ISF Primary Academy Production - The Brothers Grimm she played the role of the child and ravens for brothers. In the 2023 she played the characters of Beatrice in Much Ado About Nothing and Ferdinand in The Tempest. She is currently involved in an immersive theatre piece named "friends and fables".

EMMA ZHU

Christopher has been acting since he was 11, though his debut performance only came when he was 14. He's appeared in the ISF Primary Academy Production - Into the Woods as well as the ISF Secondary Academy Productions - Bugsy Malone and A Midsummer Night's Dream His favourite role so far is playing Nick Bottom in A Midsummer Night's Dream; he describes it as an "unreal experience". Christopher says his favourite part of being in the Academy Production is being able to socialise with many people, find other talented performers, and to be able tospendtimewiththem.

Emma has been acting since she was 7 years old. She likes musical theatre and has appeared in Horton Hears a Who, Alice in Wonderland, Peter Pan, Mulan, Legally Blonde, and Immersive Theatre production The Devil's Party. Her favourite role so far was playing the character of Horton in Horton Hears a Who and the witch in the immersive theater The Devil's Party Wind Princess is Emma's debut performance as part of ISF’s Academy Production.

LORD YUPA

OBABA

MATHEA NG

KING JIHL

Mathea has been acting since she was seven years old. She has appeared in several ISF Primary Academy Productions and 2023's A Midsummer Night's Dream, and, of course, 2024's Wind Princess. Her favourite role so far was playing the character of Oberon in A Midsummer Night's Dream. Her favourite part of being in the Academy Productions is being able to channel her creativity to develop innovative art with hercastmatesandteachers.

ROSEMARY WONG

MITO

DANCE CAPTAIN

Rosemary has been acting since she was 11 years old. She has been part of ISF shows A Midsummer Night's Dream and The Wind Princess. Her favorite role so far has been playing ‘Rosemary’ one of the fairies from A Midsummer's Night Dream. A dancer outside of school, Rosemary says her favorite part of being involved in the Academy Production is being able express her feelingandmessagesthroughdifferentwaysoftheater.

DIANE NG

Abby has been acting since she was 9 years old. Some shows she has appeared in are The Lion the Witch and the Wardrobe, Beauty and the Beast, Cinderella, and A Midsummer Nights Dream (ISF Academy Production 2022-2023). Her favourite role so far was playing the character of Claudette in Beauty and the beast. Abby says her favourite part of being in the Academy Production is the fun that she has watching her cast mates learn, rehearse and explore their roles and lines. TETO

Diane has been acting since 2020, when she was 9 years old. Shows she has appeared in are Robin Hood and Degas, C'est Moi. Her favourite role so far is playing Teto in the Wind Princess. Diane says her favourite part of being in the Academy Production is having fun

ABBY YU

OTIM

Christopher has been acting since he was 9 years old, ISF shows he has appeared in include The Brother's Grimm Fairy Tales had a principal role in) Much Ado About Nothing (In which he had a principal role) The Tempest (In which he was a member of the ensemble) and now Wind Princess. His favorite character he’s played

GRACELYN YIP

AMBER HONG

LASTEL / GOU / KUSHANA / TOLMEKIAN

DANCE CAPTAIN

Gracelyn Yip started singing and performing at the age of 3, and she has performed in both solo and choral capacities at many different venues around festival seasons and three large scale concerts organized by Real Music. She also played the role of Snowflake 4 at Yip Children Choir's opera The Snow Queen She is very excited to play the role of Chinook in the Academy Production's Wind Princess, as this is her debut performance for the ISF Academy Production.

Amber has been acting since she was 5 yrs old. Shows she has appeared in are Peter Pan, Midsummer Nights Dream, Big, Matilda, Wizard Of Oz and Wind Princess. Her favourite role so far was playing the character of Wendy in Peter Pan from Dragonesque. Amber says her favourite part of being in the AcademyProductionsis;meetingnewfriendsandbeingapartof thiswonderfulcast.

Mila has been acting since she was 3 yrs old. Shows she has appeared in are Much Ado About Nothing, and The Tempest, Beauty and the Beast, Wizard of Oz, The Little Mermaid and Pinocchio. Her favourite role so far was playing the character of the Watchman in Much Ado About Nothing. Mila says her favourite part of being in the Academy Productions is; watching the whole play come together since the very beginning. The Wind Princess is Mila's debut performance for The Secondary Academy Production.

CHINOOK ANEMOI

MJ Has been acting since she was 10 years old. Shows she has appeared in are The Tempest and MuchAdoAboutNothing.Herfavoriterolesofarwas playing Miranda from The Tempest. The Wind Princess isMJ'sdebutperformanceforTheSecondary AcademyProduction.

Heidi has a strong interest in theatrical acting, and her current favorite role is playing the character Alpine in the Wind Princess. The reason she enjoys being in The Academy Production is that it allows her to express her passion for the arts through this is Heidi's debut performance

ALEXA YEOH

GLEN

Alexa has been acting since she was 9 yrs old. Shows she has appeared in are, Brother's Grimm Fairy Tales (2022), and The Tempest with Much Ado About Nothing (2023). Her favourite role so far was playing the character of Caliban in The Tempest. Alexa says her favourite part of being in the Academy Production is working as a team and producing a final performance that makes her proud. Wind Princess (2024) is Alexa's debut performance for The Secondary Academy Production. Her favorite type of theater is musical theater and she hopes to continue performing in as many musicals as possible.

In This World

Act One

Elders, Children, Villagers

The Ohm Instrumental

The Valley of the Wind

Nausicaa, Children

Ensemble

Do We Have to Start Our Journey Now? Instrumental

Lord Yupa Arrives Instrumental

The Feast Ensemble

Teto, Look! Instrumental

Face The Wind

Nausicaa

The Battle Instrumental

We’re Done For (Melody and lyrics by Keren Chaukria, adapted by Jaime Wilkin)

Mito & Otim, Ensemble

Act Two

You Better Watch Out Villagers

Mito Has Something to Tell You Instrumental

Silence Instrumental

What a Strange Place

I Will Find You There

Instrumental

Nausicaa & Asbel

Tolmekian’s Gather Instrumental

Battle Music

Instrumental

Nausicaa Glides Instrumental

The Battle Instrumental

A Foreshadowing Instrumental Teto (Melody and lyrics by Keren Chaukria, adapted by Jaime Wilkin)

Nausicaa

A postlogue Instrumental

In This World - Reprise

Ensemble

Production Team

Technical Crew

Zoe AROSTI | Stage Manager/ Set Design Assistant

Daisy POON | Deputy Stage Manager/ Set Design Assistant

Camellia TZE | Assistant Stage Manager/ Stage Manager

Davonna POON | Assistant Stage Manager/ Followspot Operator

Wendy WANG | Lighting Operator/ Set Design Assistant

Bernice LO | Sound/ Projection Operator/ Set Design Assistant

Ray KNAPP | Followspot Operator/ Deputy Stage Manager

Odellia CHAN | Followspot Operator/ Lighting Operator

Emily YANG | Sound/ Projection Operator

Make-up and Costume

Isabella LI | Makeup Manager

Amy LIU | Makeup Artist

Carrie-Ann CHAN | Makeup Artist

Allison CHENG | Makeup Artist

Jasmine CHENG | Costume Assistant

Caitlin CHEUNG| Makeup Artist

Josephine LAU | Makeup Advisor/Artist

Mia LEE | Makeup Advisor/Artist

Norah LI | Makeup Artist

Heidi LIANG | Makeup Artist

Davona POON | Makeup Artist

Claudia MA | Makeup Assistant Manager

Cheriann MAK | Makeup Artist

Myranda SHANG | Makeup Artist

Jessica SY | Makeup Artist

Anna WONG | Makeup Artist

Katie ZHANG | Makeup & Costume Assistant

Props Team

Mingming Bu

Benjamin Chen

Lucas Ho

Janet Hon

Julian Cheuk Yin Lui

Odelia Lee

Carolyn Li

Jessica Li

Carl Lu

Liann Mejia Gao

Rowan Siu

David Wang

Lily Wang

Zixi Isabelle Wei

Jarvis Wong

Nathan Wong

Emily Yang

Jim Yang

Alexandre Juan Maurellet

ALEX CAMPION

PRODUCER

TIMOTHY ACKERMANN

SOUND ENGINEER

EMILY DIXON + IRIS LAW

PROP MASTERS

FELICITY DONNOLI

MAKE-UP (BACKSTAGE CREW COORDINATOR)

LUIS ALZATE

CARL MOK

PRODUCTION DESIGN (STAGE MANAGEMENT COORDINATOR)

PROJECTION MAPPING

COMMUNICATIONS OFFICER

KELSEY ANG

CONSULTANT CHOREOGRAPER (SHIFT DANCE)

SARAH SHELDON

PUPPET MAKER

Real World ‘Seas of Decay’

Chloe Chau and Allison Chen

The intricate and interconnected web of life that forms an ecosystem has a remarkable ability to regenerate and restore itself, sometimes when it is left undisturbed by human activities, much like the Sea of Decay in Wind Princess. Here we provide some examples of where there are ecosystems that have bounced back and thrived without any human involvement, in some cases, in spite of it. We will present where we see some real world examples of ‘The Sea of Decay’ in our natural world.

The Chernobyl Exclusion Zone stands as a haunting reminder of the 1986 nuclear disaster. Following the catastrophic accident, the area was abandoned by humans, slowly allowing nature to reclaim the land. The absence of human activity has resulted in the resurgence of wildlife and the emergence of an unexpected yet thriving ecosystem. Endangered species such as wolves, lynx, and European bison have made a comeback, while flora has flourished, including rare and unique plant species, very much mirroring the places Nausicaa explores in WInd Princess, wearing her mask as humans cannot survive there without protection.

Other examples of ecosystems flourishing without human contact include The Palmyra Atoll, located in the Pacific Ocean, which is a coral reef ecosystem. Due to its remote location and protected status, it has remained largely untouched by human activity. The coral reefs surrounding Palmyra are among the healthiest in the world, supporting an incredible diversity of marine life. The absence of pollution, overfishing, and destructive practices has allowed the coral ecosystems to thrive, providing a refuge for endangered species and serving as a valuable research site.

Białowieża Forest, straddling the border between Belarus and Poland, is one of the last and largest remaining parts of the primeval forest that once covered much of Europe. This ancient woodland has experienced cycles of natural disturbance and regeneration for thousands of years. Despite human activities such as logging and hunting, portions of the forest have been preserved, allowing it to regenerate over time. Białowieża Forest is home to a rich tapestry of plant and animal life, including the iconic European bison. One can’t help but draw comparison to the secret forest Nausicaa and Asbel find themselves navigating during Wind Princess.

Real-life Ecosystems, like the fictional Sea of Decay, have the remarkable ability to regenerate and develop when human interference is minimized or in some cases excluded. Through the examples of the Chernobyl Exclusion Zone, the Palmyra Atoll, and the Białowieża Forest, nature’s resilience is showcased. Preserving and protecting our natural environments will allow ecosystems to rebound and regenerate, and ultimately find a way to provide much needed spaces for the rich biodiversity of life to survive. The bigger question and thought is - aren’t humans are part of nature itself? How do we fit into the natural order, without destabilising or unbalancing what exists? What can we learn from Nausicaa’s adventure and Wind Princess about ways to coexist as we are supposed to?

References:

Chernobyl Exclusion Zone | area, Ukraine | Britannica. (2024). In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/place/Chernobyl-Exclusion-Zone [Accessed 25 Mar. 2024].

Doi.gov. (2015). Palmyra Atoll | U.S. Department of the Interior. [online] Available at: https://www.doi.gov/oia/islands/palmyraatoll [Accessed 25 Feb. 2024].

FWS.gov. (2023). Palmyra Atoll National Wildlife Refuge. [online] Available at: https://www.fws.gov/refuge/palmyra-atoll [Accessed 15 Mar. 2024].

Iaea.org. (2016). Frequently Asked Chernobyl Questions | IAEA. [online] Available at: https://www.iaea.org/newscenter/focus/chernobyl/faqs [Accessed 6 Mar. 2024].

Ireneusz Zacharewicz (2024). Bialowieski Park Narodowy - Bia�owie�a National Park. [online] Bpn.com.pl. Available at: https://bpn.com.pl/index.php?Itemid=178&id=104&option=com_content&task=view&lang=en [Accessed 10 Mar. 2024].

Palmyra Atoll | Wildlife, Coral Reefs & Marine Life | Britannica. (2024). In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/place/Palmyra-Atoll [Accessed 2 Mar. 2024].

piotr (2023). Białowieża Forest - the National Park - Poland Travel (EN) PROD. [online] Poland Travel (EN) PROD. Available at: https://www.poland.travel/en/bialowieza-forest-the-national-park/ [Accessed 4 Mar. 2024].

Turner, B. (2022). What is the Chernobyl Exclusion Zone? [online] livescience.com. Available at: https://www.livescience.com/chernobyl-exclusion-zone [Accessed 4 Mar. 2024].

World, U. (2018). Białowieża Forest. [online] Unesco.org. Available at: https://whc.unesco.org/en/list/33/ [Accessed 15 Mar. 2024].

Www.wwf.eu. (2024). Saving Białowieża forest. [online] Available at: https://www.wwf.eu/what_we_do/forests/saving_biaowiea_forest/ [Accessed 15 Mar. 2024].

Are you wondering how you can get involved in ISF Arts Faculty’s programmes next year?

ISF Arts Faculty Hao Xue including: Acapella!, Musical Theatre Vocal Course, Battle of the Bands (Rock and Pop), World Music, Music Production and DJ-ing, One Act Play, Friends and Fables, 5 Minute Play Festival, Stagecraft + Backstage, Ceramics, Animation, Painting

ISF Arts Faculty CCA Programmes including: Academy Production 2024/25 - The Lightning Thief (Percy Jackson), Georgetown (Malaysia) Festival - ‘The Company’, Music Academy’s various ensembles including: Orchestra, Jazz band, Sound Design&Music Production and Choir Still want to see more?

Don’t forget to visit us during our MYP Arts Week (6 - 10th May)!

In a world, A land enshrined in ancient lore, where, Tow’ring trees, Kiss the sky and whispered secrets never die, In a world, A tale unfolds, a legend true, of a princess bold...

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Felix Rivera

SHIFT DANCE - Kelsey Ang

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BY ETHAN YIYAO HO