'Nosebleed' wins in digital film awards
abs-cbnNEWS.com
A Kapampangan independent film titled "Balangingi (Nosebleed)" won the [ETC] Best Short Film award from the recently concluded Philippine Digital Music and Short Film Festival held at the World Trade Center in Pasay City last March 12.
"Balangingi" is created by a group of young people calling themselves as Kamaru. The bilingual film, which uses English and the native Kapampangan [language], has a mix of intellectual humor and romance.
Jason Paul Laxamana, director and writer of a young group called Kamaru, said the film is about the romantic relationship of two philosophers and touches the Kapampangan culture.
"Pinaghalong intellectual at love story na may bearing sa kultura," Laxamana said.
The film's three characters Xoo, April and Jane were played by actors Jayvie Dizon, Frency Rodriguez and Raco del Rosario, respectively.
The three indie stars were thrilled by the award and look forward to making more Kapampangan digital films.
"Para sa iba, kung ano ang hilig nila, dapat linangin ang kanilang talento," says Diego Marx Dobles, assistant director of Kamaru, adding that they would encourage young Cabalens to develop their skills in digital film making.
Kamaru is now gearing up for the 1st Cine Kabalen Philippine Film Festival. With a report from Mylene Valencia, ABS-CBN News Pampanga
March 27, 2009
March 19, 2009
How to make the next gen of Kapampangans smarter
Kapampangan as medium of instruction will produce Brighter Kapampangans
By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily
Are you aware of DepEd's Lubuagan experiment? If not, watch this first:
Weeks ago, I got this message in my YouTube Mail from a certain user called Pachungchung:
“I am a preschool teacher and I am so sad na king school a pituturuanan ku, bawal ing mag-Kapampangan; it's a mortal sin ada pin ding Supervisor mi. I don’t know why, pero siguru effect na ning modernization.”
I frowned at the idea that the Supervisor’s knowledge on the relationship between language and education is still obsolete. I am quite sure many teachers, principals, and even parents scattered all around Pampanga are still thinking that the best way to excel in school and later on in the professional world is to expose kids as early as preschool in English—a method discouraged by linguists and education scholars.
That being proficient in English is equal with being professionally viable is another contestable issue, but I want to share with you excerpts from a primer on MLE or Mother Tongue-based Multilingual Education written by Former KWF Chairman Ricardo Nolasco. The author is also an Associate Professor in the Department of Linguistics of UP Diliman and an Adviser on Multilingual Education Initiatives in the Foundation for Worldwide People Power.
Introduction
International and local research studies in the use of languages in education are conclusive—when the mother tongue is the medium in primary instruction, learners end up being better thinkers and better learners in both their first AND second language(s).
Sadly, legislators at the House of Representatives continue to ignore the studies and are in fact set to approve a bill “strengthening” English as the medium of instruction (MOI) from the elementary grades to the tertiary level.
This primer aims to clarify the issues related to language-in-education in the Philippines by addressing 21 frequently-asked questions about mother-tongue based multilingual education (MLE).
1. What is mother tongue-based multilingual education or MLE?
MLE is the use of more than two languages for literacy and instruction. It starts from where the learners are, and from what they already know. This means learning to read and write in their first language or L1, and also teaching subjects like mathematics, science, health and social studies in the L1.
2. When will children start learning Filipino and English?
As they develop a strong foundation in their L1, children are gradually introduced to the official languages, Filipino and English, as separate subjects, first orally, then in the written form.
3. Does MLE only involve changing the language of instruction and translating the materials into the local languages?
MLE is an innovative approach to learning. Apart from programming the use of several languages, it also involves the following: (a) the development of good curricula (i.e. cognitively demanding); (b) the training of good teachers in the required languages for content and methodology; (c) the production of good teaching materials (i.e., error-free and culturally relevant); (d) the empowerment of the community (i.e. school-based management). MLE will not work when one simply changes the language by translating existing materials into the local languages.
4. What kind of learners does MLE intend to produce?
MLE aims to produce learners who are: Multi-literate—they can read and write competently in the local language, the national language, and one or more languages of wider communication, such as English; Multi-lingual—they can use these languages in various situations; Multi-cultural—they can live and work harmoniously with people of culture backgrounds that are different from their own.
5. What specific weaknesses in the Philippine educational system does MLE seek to address?
MLE seeks to specifically address the high functional illiteracy of Filipinos where language plays a significant factor. As one educator, Professor Josefina Cortes, has observed, we have become “a nation of fifth graders.”
6. Why use the mother tongue or the first language (L1) in school?
One’s own language enables a child to express him/herself easily, as there is no fear of making mistakes. MLE encourages active participation by children in the learning process because they understand what is being discussed and what is being asked of them. They can immediately use the L1 to construct and explain their world, articulate their thoughts and add new concepts to what they already know.
7. But our children already know their language. Why still learn it in school?
What we and our children know is the conversational language or the everyday variety used for daily interaction. Success in school depends on the academic and intellectualized language needed to discuss more abstract concepts.
8. Why use the national language or Filipino in school?
The Philippines is a multilingual and multicultural nation with more than 150 languages. A national language is a powerful resource for inter-ethnic dialogue, political unity, and national identity.
9. Will the use of Filipino as medium of instruction and as a subject be advantageous to native Tagalog speakers?
It is partially true that native speakers of Tagalog enjoy a small advantage under the present bilingual education set-up in which some subjects are taught in their L1. But this is nothing compared to the overwhelming bias of the present system for English.
10. Will the use of the local and regional languages be detrimental to building one nation?
No, it won’t. On the contrary, it is the suppression of local languages that may lead to violent conflicts, disunity, and dissension.
11. Why use an international language like English in school?
Languages of wider communication like English should be part of the multilingual curriculum of a country. The graduates of this system should find relevance beyond their ethnic and national boundaries. Most world knowledge is accessible in English, and so, knowledge of English is certainly useful. It is not true, however, that students will not learn science and mathematics if they do not know English. The ideas of science are not bound by one language and one culture.
12. Will using the mother tongue as language of instruction hinder the learning of a second language like English?
No. Many studies indicate that students first taught to read in their L1, and then later in an L2, outperform those taught to read exclusively in an L2. Learning to read in one’s own language provides learners with a solid foundation for learning to read in any L2.
13. Will increasing the time for English or making it the exclusive medium of instruction improve our English?
No. This popular belief is increasingly being proven untrue. Large scale research during the last 30 years has provided compelling evidence that the critical variable in L2 development in children is not the amount of exposure, but the timing and the manner of exposure.
14. What is the best way to attain proficiency in English?
For non-native speakers of English, the best way is to teach it as an L2 and to teach it well. This depends on the proficiency of teachers, the availability of adequate models of the language in the learner’s social environment, and sufficient reading materials. Simply increasing the time for English will not work.
15. Are local languages capable of being used as languages of instruction?
Definitely yes. As far back as 1925, during the American colonial period, the Monroe Commission already recommended the use of the local languages in education.
Beginning 1957, the local languages, or vernaculars, became the medium of instruction in Grades 1 and 2. This vernacular education policy was abruptly abolished in 1974, when the bilingual education policy was launched by the Marcos government.
Languages grow and change in response to changes in the physical, social, political, spiritual and economic environments in which they are used. As a language is used for instruction, for example, it intrinsically evolves to adapt to the demands of its users.
16. Why not use an early exit program where the L1 is used from pre-school up to Grade 3 and English is used as the exclusive medium of instruction thereafter?
Early-exit programs can help but may not be enough. The international experience on the use of L1 and L2 in education, especially in Africa, reveals that children need at least 12 years to learn their L1. It takes six to eight years of strong L2 teaching before this can be successfully used as a medium of instruction.
The consolidated Gullas, Villafuerte and Del Mar Bill (or the “English-only” MOI Bill) pending in Congress appears to support the use of the local languages and also the national language in education, as it provides that “English, Filipino or the regional/native language may be used as the MOI in all subjects from preschool until Grade III.” However, the Declaration of Policy section betrays the Bill’s real intention and this is to strengthen English “as the medium of instruction in all levels of education, from the preschool to the tertiary level.” The optional use of L1 and the national language as MOI really means that they may not be used at all.
17. Don’t we need more English since the language will provide more jobs for our countrymen, such as in the call center industry?
Many believe that this is an extremely shortsighted view because not all Filipinos will become call center agents. The more important concern is how to solve the current mismatch between industry and the educational system. According to former Education Undersecretary Miguel Luz, the consensus among employers is that a high school diploma with its current coverage is inadequate for its purposes because Filipino high school graduates are weak in their ability to communicate, to think logically, and to solve problems. Luz adds: “It (the Gullas Bill) is a dangerous bill, however, because it places a misleading emphasis on English as the medium of learning. As such, the young learners and their teachers will concentrate on the language, not on Science and Math and literacy (that is more fundamental to learning).” The best way to learn basic science and math, problem solving skills, and reasoning skills is through the L1.
18. What is a better alternative to the English-only Bill?
A better alternative is House Bill No. 3719, filed by Congressman Magtanggol Gunigundo II of Valenzuela. The Bill is also known as the Multilingual Education and Literacy Bill, or the Gunigundo Bill, which is far superior to the English-only Bill in many respects.
19. Is it costly to practice MLE?
Contrary to popular belief, L1-based education may actually cost less than a system that is based on L2. If we consider the money wasted on drop-outs, repeaters, and failures, as well as other added costs, studies show that L2-based education systems are more costly than L1 systems.
20. What do Philippine stakeholders say about MLE?
• The Department of Education, through Secretary Jesli Lapus: “We find the bill (the Gunigundo bill) to be consistent with the Basic Education Sector Reform Agenda (BESRA) recommendations and the bridging model proposed by the Bureau of Elementary Education where pupils were found to comprehend better the lessons in class.”
• The National Economic Development Authority, through NEDA Director General Ralph Recto: “From the economic and financial vantage points, we believe that adopting this education policy (HB 3719), in the final analysis, is cost-effective...
• The Philippine Business for Education (PBED), one of the largest associations of businessmen in the country: “English and Filipino are languages `foreign’ to most children and legislating either as medium of instruction will do more harm to an already ailing system of education.”
• The Department of Foreign Affairs and UNESCO Philippines, through Secretary Alberto Romulo: “Multilingualism is the order of things in the UN and in the world. The unique richness of the world’s national identities draws on the many traditions that make up different countries and are expressed through local and indigenous languages. UNESCO supports mother tongue instruction as a means of improving educational quality by building upon the knowledge and experience of the learners and teachers.”
21. Do we have to wait for legislation to implement MLE?
No. The Lubuagan experience, the DepEd Lingua Franca Project, and other existing programs using the local languages tell us that it is already possible to undertake an MLE program without waiting for legislation.
Read the complete version here: http://mothertongue-based.blogspot.com
Below is a video by Rey Maniago documenting a certain Kapampangan class in San Fernando's Filbern school. Check it out:
By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily
Are you aware of DepEd's Lubuagan experiment? If not, watch this first:
Weeks ago, I got this message in my YouTube Mail from a certain user called Pachungchung:
“I am a preschool teacher and I am so sad na king school a pituturuanan ku, bawal ing mag-Kapampangan; it's a mortal sin ada pin ding Supervisor mi. I don’t know why, pero siguru effect na ning modernization.”
I frowned at the idea that the Supervisor’s knowledge on the relationship between language and education is still obsolete. I am quite sure many teachers, principals, and even parents scattered all around Pampanga are still thinking that the best way to excel in school and later on in the professional world is to expose kids as early as preschool in English—a method discouraged by linguists and education scholars.
That being proficient in English is equal with being professionally viable is another contestable issue, but I want to share with you excerpts from a primer on MLE or Mother Tongue-based Multilingual Education written by Former KWF Chairman Ricardo Nolasco. The author is also an Associate Professor in the Department of Linguistics of UP Diliman and an Adviser on Multilingual Education Initiatives in the Foundation for Worldwide People Power.
Introduction
International and local research studies in the use of languages in education are conclusive—when the mother tongue is the medium in primary instruction, learners end up being better thinkers and better learners in both their first AND second language(s).
Sadly, legislators at the House of Representatives continue to ignore the studies and are in fact set to approve a bill “strengthening” English as the medium of instruction (MOI) from the elementary grades to the tertiary level.
This primer aims to clarify the issues related to language-in-education in the Philippines by addressing 21 frequently-asked questions about mother-tongue based multilingual education (MLE).
1. What is mother tongue-based multilingual education or MLE?
MLE is the use of more than two languages for literacy and instruction. It starts from where the learners are, and from what they already know. This means learning to read and write in their first language or L1, and also teaching subjects like mathematics, science, health and social studies in the L1.
2. When will children start learning Filipino and English?
As they develop a strong foundation in their L1, children are gradually introduced to the official languages, Filipino and English, as separate subjects, first orally, then in the written form.
3. Does MLE only involve changing the language of instruction and translating the materials into the local languages?
MLE is an innovative approach to learning. Apart from programming the use of several languages, it also involves the following: (a) the development of good curricula (i.e. cognitively demanding); (b) the training of good teachers in the required languages for content and methodology; (c) the production of good teaching materials (i.e., error-free and culturally relevant); (d) the empowerment of the community (i.e. school-based management). MLE will not work when one simply changes the language by translating existing materials into the local languages.
4. What kind of learners does MLE intend to produce?
MLE aims to produce learners who are: Multi-literate—they can read and write competently in the local language, the national language, and one or more languages of wider communication, such as English; Multi-lingual—they can use these languages in various situations; Multi-cultural—they can live and work harmoniously with people of culture backgrounds that are different from their own.
5. What specific weaknesses in the Philippine educational system does MLE seek to address?
MLE seeks to specifically address the high functional illiteracy of Filipinos where language plays a significant factor. As one educator, Professor Josefina Cortes, has observed, we have become “a nation of fifth graders.”
6. Why use the mother tongue or the first language (L1) in school?
One’s own language enables a child to express him/herself easily, as there is no fear of making mistakes. MLE encourages active participation by children in the learning process because they understand what is being discussed and what is being asked of them. They can immediately use the L1 to construct and explain their world, articulate their thoughts and add new concepts to what they already know.
7. But our children already know their language. Why still learn it in school?
What we and our children know is the conversational language or the everyday variety used for daily interaction. Success in school depends on the academic and intellectualized language needed to discuss more abstract concepts.
8. Why use the national language or Filipino in school?
The Philippines is a multilingual and multicultural nation with more than 150 languages. A national language is a powerful resource for inter-ethnic dialogue, political unity, and national identity.
9. Will the use of Filipino as medium of instruction and as a subject be advantageous to native Tagalog speakers?
It is partially true that native speakers of Tagalog enjoy a small advantage under the present bilingual education set-up in which some subjects are taught in their L1. But this is nothing compared to the overwhelming bias of the present system for English.
10. Will the use of the local and regional languages be detrimental to building one nation?
No, it won’t. On the contrary, it is the suppression of local languages that may lead to violent conflicts, disunity, and dissension.
11. Why use an international language like English in school?
Languages of wider communication like English should be part of the multilingual curriculum of a country. The graduates of this system should find relevance beyond their ethnic and national boundaries. Most world knowledge is accessible in English, and so, knowledge of English is certainly useful. It is not true, however, that students will not learn science and mathematics if they do not know English. The ideas of science are not bound by one language and one culture.
12. Will using the mother tongue as language of instruction hinder the learning of a second language like English?
No. Many studies indicate that students first taught to read in their L1, and then later in an L2, outperform those taught to read exclusively in an L2. Learning to read in one’s own language provides learners with a solid foundation for learning to read in any L2.
13. Will increasing the time for English or making it the exclusive medium of instruction improve our English?
No. This popular belief is increasingly being proven untrue. Large scale research during the last 30 years has provided compelling evidence that the critical variable in L2 development in children is not the amount of exposure, but the timing and the manner of exposure.
14. What is the best way to attain proficiency in English?
For non-native speakers of English, the best way is to teach it as an L2 and to teach it well. This depends on the proficiency of teachers, the availability of adequate models of the language in the learner’s social environment, and sufficient reading materials. Simply increasing the time for English will not work.
15. Are local languages capable of being used as languages of instruction?
Definitely yes. As far back as 1925, during the American colonial period, the Monroe Commission already recommended the use of the local languages in education.
Beginning 1957, the local languages, or vernaculars, became the medium of instruction in Grades 1 and 2. This vernacular education policy was abruptly abolished in 1974, when the bilingual education policy was launched by the Marcos government.
Languages grow and change in response to changes in the physical, social, political, spiritual and economic environments in which they are used. As a language is used for instruction, for example, it intrinsically evolves to adapt to the demands of its users.
16. Why not use an early exit program where the L1 is used from pre-school up to Grade 3 and English is used as the exclusive medium of instruction thereafter?
Early-exit programs can help but may not be enough. The international experience on the use of L1 and L2 in education, especially in Africa, reveals that children need at least 12 years to learn their L1. It takes six to eight years of strong L2 teaching before this can be successfully used as a medium of instruction.
The consolidated Gullas, Villafuerte and Del Mar Bill (or the “English-only” MOI Bill) pending in Congress appears to support the use of the local languages and also the national language in education, as it provides that “English, Filipino or the regional/native language may be used as the MOI in all subjects from preschool until Grade III.” However, the Declaration of Policy section betrays the Bill’s real intention and this is to strengthen English “as the medium of instruction in all levels of education, from the preschool to the tertiary level.” The optional use of L1 and the national language as MOI really means that they may not be used at all.
17. Don’t we need more English since the language will provide more jobs for our countrymen, such as in the call center industry?
Many believe that this is an extremely shortsighted view because not all Filipinos will become call center agents. The more important concern is how to solve the current mismatch between industry and the educational system. According to former Education Undersecretary Miguel Luz, the consensus among employers is that a high school diploma with its current coverage is inadequate for its purposes because Filipino high school graduates are weak in their ability to communicate, to think logically, and to solve problems. Luz adds: “It (the Gullas Bill) is a dangerous bill, however, because it places a misleading emphasis on English as the medium of learning. As such, the young learners and their teachers will concentrate on the language, not on Science and Math and literacy (that is more fundamental to learning).” The best way to learn basic science and math, problem solving skills, and reasoning skills is through the L1.
18. What is a better alternative to the English-only Bill?
A better alternative is House Bill No. 3719, filed by Congressman Magtanggol Gunigundo II of Valenzuela. The Bill is also known as the Multilingual Education and Literacy Bill, or the Gunigundo Bill, which is far superior to the English-only Bill in many respects.
19. Is it costly to practice MLE?
Contrary to popular belief, L1-based education may actually cost less than a system that is based on L2. If we consider the money wasted on drop-outs, repeaters, and failures, as well as other added costs, studies show that L2-based education systems are more costly than L1 systems.
20. What do Philippine stakeholders say about MLE?
• The Department of Education, through Secretary Jesli Lapus: “We find the bill (the Gunigundo bill) to be consistent with the Basic Education Sector Reform Agenda (BESRA) recommendations and the bridging model proposed by the Bureau of Elementary Education where pupils were found to comprehend better the lessons in class.”
• The National Economic Development Authority, through NEDA Director General Ralph Recto: “From the economic and financial vantage points, we believe that adopting this education policy (HB 3719), in the final analysis, is cost-effective...
• The Philippine Business for Education (PBED), one of the largest associations of businessmen in the country: “English and Filipino are languages `foreign’ to most children and legislating either as medium of instruction will do more harm to an already ailing system of education.”
• The Department of Foreign Affairs and UNESCO Philippines, through Secretary Alberto Romulo: “Multilingualism is the order of things in the UN and in the world. The unique richness of the world’s national identities draws on the many traditions that make up different countries and are expressed through local and indigenous languages. UNESCO supports mother tongue instruction as a means of improving educational quality by building upon the knowledge and experience of the learners and teachers.”
21. Do we have to wait for legislation to implement MLE?
No. The Lubuagan experience, the DepEd Lingua Franca Project, and other existing programs using the local languages tell us that it is already possible to undertake an MLE program without waiting for legislation.
Read the complete version here: http://mothertongue-based.blogspot.com
Below is a video by Rey Maniago documenting a certain Kapampangan class in San Fernando's Filbern school. Check it out:
March 17, 2009
Kapampangan art is not acclaimed in Pampanga
‘Balangingi’ is ETC Best Short Film Awardee
Why are Kapampangan artworks awarded in other places but not in the province?
By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily
World Trade Center, Metro Manila—our Kapampangan short film ‘Balangingi’ (Nosebleed) wins the ETC Award for Best Short Film at the First Philippine Digital (Phil Digi) Music and Short Film Awards last March 12. Competing in a certainly Tagalog-dominated category, ‘Balangingi,’ in spite of being the only regional language entry, still impressed the Board of Judges from Entertainment Central (ETC), causing them to declare it the winner.
‘Balangingi’ tells the story of Xoo, who seems to be a standard teenager who lives boringly like everyone else, but unknown to people in his surroundings is what happens in his head—philosophizing about things average people would deem mundane, down to the minutest detail. One day, he is forced to attend a blind date. To avoid turning off his date, he struggles to suppress his intellectual side. The short film gives a peek to that minority in Philippine society who are unlikely to survive socially by being themselves—the Filipino intellectuals. Thus, the negative connotation of the local word “pilosopo” when it’s supposed to mean a lover of wisdom (philosopher).
According to the official website of the Phil Digi Awards: “There have been a lot of songs composed that are worth listening to. Quality short films are created even with low budget but are amazingly filled with art, ideas and moral values. Unfortunately, because of budget constraints, tough competition in getting radio airplays and film screens, and lack of knowledge, these great songs and films are being shelved. This is why iSYS Business Solutions and Blue Fish Asia came up with first Philippine Digital Music and Short Film Festival.”
Kapampangan Kompetes!
As usual, being a cultural worker seeking to empower the Kapampangan identity, I participated in the contest to “advertise” what Kapampangan can offer.
Note: I said what Kapampangan can offer, not what Kapampangans can offer. There’s a difference. It’s easy to show the world that Kapampangans (by blood) can be excellent. But oftentimes, these Kapampangans drop their being a Kapampangan—either consciously or not—to command the spotlight unto them. This, in my opinion, doesn’t empower the Kapampangan identity much. Whenever this happens, I just shake my head and whisper, “We’ve lost another one.”
In the venue of the Phil Digi Awards, there were huge tarpaulins where participants and guests can write anything—a freedom wall. Amidst the Pinoy pride slogans, individual promotions, and indie artist empowerment statements, we decided to write a message: “Kapampangan Ku, Pagmaragul Ku.”
Hours passed, and messages became more cramped in the tarpaulins. Checking out the “Kapampangan Ku, Pagmaragul Ku” again, we were surprised to see a reply written by a certain Larry, saying, “Kapampangan ku mu rin!”
Fast forward. ‘Balangingi’ was declared winner in the ETC category. I went up the stage to nervously deliver the first acceptance speech of my life—which started with “Mayap a bengi pu” and ended with a message on promoting Philippine cultural diversity—before an audience of both indie and mainstream artists, while being covered by the media.
And then we left, but not before checking out again the tarpaulin. Another reply, written by someone else, was suddenly added: “Aliwa la talaga ring Kapampangan!”
Perhaps we need more of these, as I call them, contemporary sources of Kapampangan pride—those that genuinely bring elements of Kapampangan identity to a more prestigious ground. For if we keep on drawing pride from Kapampangans who are successful but don’t carry with them elements of our identity (such as language, heritage, etc.), then we’re perpetuating the idea that the path to being successful is to drop our Kapampangan identity, when it is very possible to stick with Kapampangan (or make it the foundation of our works) and still get national or even global recognition.
Ligligan Kilual
The very reason I join film, music, and other competitions outside Pampanga is because Pampanga doesn’t have these. Hence, if I depended on what the province has, then I would have no means of increasing the symbolic value of my works, in spite of some of them probably being valuable to a certain degree.
There are no renowned music awards in Pampanga that would honor the best of the locally produced original songs annually; only specialized areas like those Battle of the Bands and so-so solo and choral singing contests. There are no film festivals. There are no province-wide literary contests except for municipality-level poetry tilts that produce Poet Laureates irregularly.
In result, a lot of Kapampangan artists who wish to prove something, feast their eyes on Manila and other countries, where it is actually easier to get formal acclamation than in their own homeland, just for the sole reason that the province doesn’t care much about the artistic capabilities of its residents, as seen in the scarcity of serious award-giving bodies.
An unrelenting source of funds, a board of credible judges, sincere support from the government, and media hype—these are the key ingredients in carrying out annual contests which are supposed to be looked forward to by the community, and looked up to by the people. Emerging as a first-time victor in these contests should make one feel as if he has undergone a birth of fire. He should feel several notches prouder, being aligned with the past winners who are supposed to be icons of excellence, as well.
But we have none. Probably the highest award from the province that can be bestowed to a writer, musician, visual artist, photographer, filmmaker, or actor would be the Most Outstanding Kapampangan Award for Culture and the Arts. So all your life, you have to struggle with your craft, reap awards from anywhere but your homeland, and when you have enough nice foreign awards up your sleeve, that’s when the province honors you.
But the province itself doesn’t make impressive actions in encouraging the best in the various areas of art.
Sindi, Patda
Contests are often held because they serve significant purposes—to encourage the creation of excellent artworks amidst art being a financially unrewarding career path in the country (especially in the province), and to invite the participation of the community in a certain field of art.
In a seemingly robotic world where almost everyone is reduced to a mechanical being tasked to perform a dehumanizing routine to survive, sustainable development in the arts will remind people of their humanistic side. I believe that the acknowledgment and exploration of our humanistic side prevent us from being insane from routines; and permit us to choose wisely and embrace elegant world views that will guide us sensibly in our decisions in life.
I know for a fact though that fields of art like music and sculpture thrive both in rural and urban Pampanga, but as Phil Digi Awards mentioned, these are usually shelved. They are made, but not distributed. Not all of them are excellent, but I’m sure a couple are, and they deserve to be known.
Now I ask: What efforts does the province make to seek for these artworks that deserve attention? What steps does the province take to collect these pieces of consciousness, which in the far future will remind the people how the art scene—which reflects culture, too—in Pampanga used to be?
Pampanga is becoming more and more like a parent who doesn’t care much about the promising talent of his/her child. What will the child do? He will either suppress his talent out of discouragement and choose the “more practical ways of life” (read: be like everyone else, go where the flow is, don’t innovate, don’t lead, just follow); or he will seek for other people who will greatly acknowledge his skill—and stick with those people in spite of not having the same blood relation.
Or is Pampanga that poor for it to not think about these things? I thought we were boasting of economic progress for the past years. If indeed we are poor, doesn’t the Pampanga government bother to take advantage of national grants, like for example, those of the National Commission on Culture and the Arts, to organize decent tilts?
If this is how lifeless the Kapampangan region will be in the realm of arts, then let me have my second thoughts on federalism and having a separate state for Kapampangans.
Why are Kapampangan artworks awarded in other places but not in the province?
By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily
World Trade Center, Metro Manila—our Kapampangan short film ‘Balangingi’ (Nosebleed) wins the ETC Award for Best Short Film at the First Philippine Digital (Phil Digi) Music and Short Film Awards last March 12. Competing in a certainly Tagalog-dominated category, ‘Balangingi,’ in spite of being the only regional language entry, still impressed the Board of Judges from Entertainment Central (ETC), causing them to declare it the winner.
‘Balangingi’ tells the story of Xoo, who seems to be a standard teenager who lives boringly like everyone else, but unknown to people in his surroundings is what happens in his head—philosophizing about things average people would deem mundane, down to the minutest detail. One day, he is forced to attend a blind date. To avoid turning off his date, he struggles to suppress his intellectual side. The short film gives a peek to that minority in Philippine society who are unlikely to survive socially by being themselves—the Filipino intellectuals. Thus, the negative connotation of the local word “pilosopo” when it’s supposed to mean a lover of wisdom (philosopher).According to the official website of the Phil Digi Awards: “There have been a lot of songs composed that are worth listening to. Quality short films are created even with low budget but are amazingly filled with art, ideas and moral values. Unfortunately, because of budget constraints, tough competition in getting radio airplays and film screens, and lack of knowledge, these great songs and films are being shelved. This is why iSYS Business Solutions and Blue Fish Asia came up with first Philippine Digital Music and Short Film Festival.”
Kapampangan Kompetes!
As usual, being a cultural worker seeking to empower the Kapampangan identity, I participated in the contest to “advertise” what Kapampangan can offer.
Note: I said what Kapampangan can offer, not what Kapampangans can offer. There’s a difference. It’s easy to show the world that Kapampangans (by blood) can be excellent. But oftentimes, these Kapampangans drop their being a Kapampangan—either consciously or not—to command the spotlight unto them. This, in my opinion, doesn’t empower the Kapampangan identity much. Whenever this happens, I just shake my head and whisper, “We’ve lost another one.”
In the venue of the Phil Digi Awards, there were huge tarpaulins where participants and guests can write anything—a freedom wall. Amidst the Pinoy pride slogans, individual promotions, and indie artist empowerment statements, we decided to write a message: “Kapampangan Ku, Pagmaragul Ku.”
Hours passed, and messages became more cramped in the tarpaulins. Checking out the “Kapampangan Ku, Pagmaragul Ku” again, we were surprised to see a reply written by a certain Larry, saying, “Kapampangan ku mu rin!”
Fast forward. ‘Balangingi’ was declared winner in the ETC category. I went up the stage to nervously deliver the first acceptance speech of my life—which started with “Mayap a bengi pu” and ended with a message on promoting Philippine cultural diversity—before an audience of both indie and mainstream artists, while being covered by the media.
And then we left, but not before checking out again the tarpaulin. Another reply, written by someone else, was suddenly added: “Aliwa la talaga ring Kapampangan!”
Perhaps we need more of these, as I call them, contemporary sources of Kapampangan pride—those that genuinely bring elements of Kapampangan identity to a more prestigious ground. For if we keep on drawing pride from Kapampangans who are successful but don’t carry with them elements of our identity (such as language, heritage, etc.), then we’re perpetuating the idea that the path to being successful is to drop our Kapampangan identity, when it is very possible to stick with Kapampangan (or make it the foundation of our works) and still get national or even global recognition.
Ligligan Kilual
The very reason I join film, music, and other competitions outside Pampanga is because Pampanga doesn’t have these. Hence, if I depended on what the province has, then I would have no means of increasing the symbolic value of my works, in spite of some of them probably being valuable to a certain degree.
There are no renowned music awards in Pampanga that would honor the best of the locally produced original songs annually; only specialized areas like those Battle of the Bands and so-so solo and choral singing contests. There are no film festivals. There are no province-wide literary contests except for municipality-level poetry tilts that produce Poet Laureates irregularly.
In result, a lot of Kapampangan artists who wish to prove something, feast their eyes on Manila and other countries, where it is actually easier to get formal acclamation than in their own homeland, just for the sole reason that the province doesn’t care much about the artistic capabilities of its residents, as seen in the scarcity of serious award-giving bodies.
An unrelenting source of funds, a board of credible judges, sincere support from the government, and media hype—these are the key ingredients in carrying out annual contests which are supposed to be looked forward to by the community, and looked up to by the people. Emerging as a first-time victor in these contests should make one feel as if he has undergone a birth of fire. He should feel several notches prouder, being aligned with the past winners who are supposed to be icons of excellence, as well.
But we have none. Probably the highest award from the province that can be bestowed to a writer, musician, visual artist, photographer, filmmaker, or actor would be the Most Outstanding Kapampangan Award for Culture and the Arts. So all your life, you have to struggle with your craft, reap awards from anywhere but your homeland, and when you have enough nice foreign awards up your sleeve, that’s when the province honors you.
But the province itself doesn’t make impressive actions in encouraging the best in the various areas of art.
Sindi, Patda
Contests are often held because they serve significant purposes—to encourage the creation of excellent artworks amidst art being a financially unrewarding career path in the country (especially in the province), and to invite the participation of the community in a certain field of art.
In a seemingly robotic world where almost everyone is reduced to a mechanical being tasked to perform a dehumanizing routine to survive, sustainable development in the arts will remind people of their humanistic side. I believe that the acknowledgment and exploration of our humanistic side prevent us from being insane from routines; and permit us to choose wisely and embrace elegant world views that will guide us sensibly in our decisions in life.
I know for a fact though that fields of art like music and sculpture thrive both in rural and urban Pampanga, but as Phil Digi Awards mentioned, these are usually shelved. They are made, but not distributed. Not all of them are excellent, but I’m sure a couple are, and they deserve to be known.
Now I ask: What efforts does the province make to seek for these artworks that deserve attention? What steps does the province take to collect these pieces of consciousness, which in the far future will remind the people how the art scene—which reflects culture, too—in Pampanga used to be?
Pampanga is becoming more and more like a parent who doesn’t care much about the promising talent of his/her child. What will the child do? He will either suppress his talent out of discouragement and choose the “more practical ways of life” (read: be like everyone else, go where the flow is, don’t innovate, don’t lead, just follow); or he will seek for other people who will greatly acknowledge his skill—and stick with those people in spite of not having the same blood relation.
Or is Pampanga that poor for it to not think about these things? I thought we were boasting of economic progress for the past years. If indeed we are poor, doesn’t the Pampanga government bother to take advantage of national grants, like for example, those of the National Commission on Culture and the Arts, to organize decent tilts?
If this is how lifeless the Kapampangan region will be in the realm of arts, then let me have my second thoughts on federalism and having a separate state for Kapampangans.
March 13, 2009
BALANGINGI (Nosebleed) WINS @ PHIL DIGI AWARDS!
1:30 am.
Just got home!
World Trade Center, Metro Manila—our Kapampangan short film Balangingi (Nosebleed) wins the ETC award for best short film at the 1st Philippine Digital Awards! Dakal a salamat pu!
I'd love to elaborate, but, sorry, I need to rest for now.Have to return to manila tomorrow/later for Cinema One Originals 2009. I'm submitting a screenplay there, too.
Para king Indung Kapampangan!
(L-R): Jason Paul Laxamana, Writer-Director-Editor of Balangingi, etc.; Jayvie Dizon, lead actor; Jeremy Cortez, dubbing assistant; Diego Marx Dobles, Asst. Director-Music Scorer-Location Manager, etc. Photo was NOT taken during the Awarding. Photo was taken backstage after the last run of Oedipus Rex at the Angeles University Foundation, where Dizon played the lead role as well.
March 8, 2009
'Balangingi' is Jack TV/ETC short film category finalist
I was told just minutes ago that my Kapampangan short film Balangingi (Nosebleed) is a finalist in the Philippine Digital Music & Short Film Festival.
Since people love Balangingi (and it seems it's effective as comedy), we decided to make a 15-minute version of it and submitted it to the Jack TV category. I don't know how the screening committee reacted to it, especially since it's in Kapampangan, but, uyta, it's a finalist.
It will be a two-day event, but I might be attending just the second day (even though I also want to attend the first day, which has a series of discussions on artist management and other stuff about commercial music, an area I would love to know more about).
The second day, the program will be more of a film and business forum:
8:00 – 9:30 Registration
9:30 – 10:00 Opening Ceremony
Opening Remarks
10:00 – 10:30 Trends and Opportunities in animation
10:30 – 11:00 Producing an Original Content in Animation
11:00 - 11:30 Setting up your own Business in Animation
11:30 – 12:00 Animation Open Forum
12:00 – 1:00 Screening of Short Film Entries
1:00 – 1:30 Movie copyrights and Publishing Rights
1:30 -2:30 Producing an original film contents
2:30 - 3:00 Finding Grants
3:00 – 3:30 E Commerce
3:30 – 4:00 Broadcasting and Marketing your Content
4:00 – 4:30 Film Business Outsourcing through the internet
4:30 – 5:00 Trends and Technologies in Film Making
At 8PM of March 12, it will be the awarding of the winning entries of PhilDigi Awards. The event will be graced by the presence and performances of Heber Bartolome, Dulce, Hilera, Typecast, Session Road, Zelle, Moonstar 88, Yosha, DJ Benjo and more.
I'm after the screening of the finalists, because I enjoy observing the reactions of people. Balangingi proved to be effective to Kapampangans; now let's see it fare in Manila. I'm not sure though if many people will be watching, but nonetheless, it's something I'd like to see.
Jack TV and ETC have joined Isys business solution and Blue Fish Asia in the Phil Digi Awards. The Stylish and posh ETC and the Outrageous and Manly Jack TV channels launched their new categories in the Phil Digi Awards Short film competition. The Jack Short Film Category and ETC Short Film Category are the latest addition in the Phil Digi Awards Short film Competition.
Jack TV is looking for chic, witty and funny short films, may it be with a Live cast or better yet an Animated one as long as it can tickle the funny bones and can made a ton of laughs, it's a sure ball for the Jack TV Short film category. ETC on the other hand is looking for reality based Short films, so for those who has a keen and sassy eye for making reality based Short Films, the ETC Short film category is for you.
Since people love Balangingi (and it seems it's effective as comedy), we decided to make a 15-minute version of it and submitted it to the Jack TV category. I don't know how the screening committee reacted to it, especially since it's in Kapampangan, but, uyta, it's a finalist.
It will be a two-day event, but I might be attending just the second day (even though I also want to attend the first day, which has a series of discussions on artist management and other stuff about commercial music, an area I would love to know more about).
The second day, the program will be more of a film and business forum:
8:00 – 9:30 Registration
9:30 – 10:00 Opening Ceremony
Opening Remarks
10:00 – 10:30 Trends and Opportunities in animation
10:30 – 11:00 Producing an Original Content in Animation
11:00 - 11:30 Setting up your own Business in Animation
11:30 – 12:00 Animation Open Forum
12:00 – 1:00 Screening of Short Film Entries
1:00 – 1:30 Movie copyrights and Publishing Rights
1:30 -2:30 Producing an original film contents
2:30 - 3:00 Finding Grants
3:00 – 3:30 E Commerce
3:30 – 4:00 Broadcasting and Marketing your Content
4:00 – 4:30 Film Business Outsourcing through the internet
4:30 – 5:00 Trends and Technologies in Film Making
At 8PM of March 12, it will be the awarding of the winning entries of PhilDigi Awards. The event will be graced by the presence and performances of Heber Bartolome, Dulce, Hilera, Typecast, Session Road, Zelle, Moonstar 88, Yosha, DJ Benjo and more.
I'm after the screening of the finalists, because I enjoy observing the reactions of people. Balangingi proved to be effective to Kapampangans; now let's see it fare in Manila. I'm not sure though if many people will be watching, but nonetheless, it's something I'd like to see.
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