Posts Tagged ‘Inang-Bayan’

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In Promotion of FSL as National Sign Language of Deaf Filipinos_A MI PATRIA / To My Motherland/ Inang-Bayan

January 10, 2013

Sa pagsusulong ng Filipino Sign Language Bilang Pambansang Wikang Senyas ng mga Bingi sa Pilipinas

Inihahandog ng

 DLS-CSB School of Deaf Education and Applied Studies

Philippine Federation of the Deaf

Support and Empower Abused Deaf Children

Filipino Deaf Women Health and Crisis Center

at

UP College of Arts and Letters

Ang KAUNA-UNAHANG INTERPRETASYON sa

FILIPINO SIGN LANGUAGE ng

LIMANG MGA NATATANGING TULA NI DR. JOSE RIZAL

A MI PATRIA / TO MY MOTHERLAND/ INANG-BAYAN

ni Miranamedina

3 p.m., Saturday /  FEBRUARY 2, 1013 / UP FILM CENTER THEATER

Diliman, Quezon City

A MI FINAL POSTER FINAL POSTER

—————————————————————-

Meeting this afternoon with Dr. Belen Calingacion, UP CAL Representative and Program Facilitator to discuss the program and related acitivites with Deaf org representatives led by Giselle Montero, SDEAS OPD Director.

2 pm., Faculty Center, UP Diliman

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Anthology of Rizal’s Patriotic Poems_A mi Patria

February 16, 2012

Finally!!! I now have the list of my omnibus film consisting of five Rizal’s poems each x four versions and their durations, as follows:

A mi Patria: Filipino Sign Language [FSL] version – 47:33 mins. [with English subtitles]; Deaf Interpreters: Aldrin Gabriel, Mark Steven Gaspar, Jorelle Faytaren and Romalito Mallari

A mi Patria: Spanish Language version – 24.27 mins [with Filipino subtitles and interpreted in FSL by the members of the Silent Steps]; Poem Readers: Belen Tangco, Fernando Ramos, Anna Marie Yglopaz, Beatriz Tardio-Alvarez, Wystan de la Pena

Inang-Bayan: Filipino Language version – 28.32 mins. [with English subtitles and interpreted in FSL]; Poem Readers: Apolonio Chua, Roselle Pineda, Jannette Pinzon, Crisanta Flores, Vim Nadera

To My Motherland: English Language version – 26.10 mins [with Spanish subtitles and interpreted in FSL]; Poem Readers: Apolonio Chua, Roselle Pineda, Jannette Pinzon, Belen Calingacion, Rex Flores

Featured Poems: A FILIPINAS, A LA JUVENTUD FILIPINA, CANTO DE MARIA CLARA, A LAS FLORES DE HEIDELBERG and ULTIMO ADIOS.

It took me a year to finish these films. At this point in time, I have yet to do the DVD authoring. It’s worth the effort though. And definitely more fulfilling than working on Manila Kingpin which I alternately did with Project Rizal! But what a waste to work on a film where you have put in a lot of your time, mind and energy then lost its film form, meaning and sense because of producer’s interferences! Really better to work on your own. Budget was a problem but it’s just one of those realities I have learned to contend with.

In A mi…, I met new people specially some of Rizal’s descendants, made new friends, learned new things, but above all, met new challenges, and SUCCEEDED!!! I have met a lot of good, positive people with creative minds! And I worked with group of people full of dedication and commitment in their hearts.

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Edit Work on INANG-BAYAN Halted

January 6, 2012

My work on the Filipino version of Inang-Bayan [A mi Patria] stopped last night because of technical problem — I could’t import clips to edit in my timeline. Inang-Bayan is my collection of 5 Rizal’s poems in Filipino Sign Language interpreted by Deaf performers, read in Filipino language by UP KAL Professors: Dok Apolonio Chua, Dr. Belen Calingacion, Prof. Jannette Pinzon and Roselle Pineda [film’s music scorer], Dr. Marot Flores and Dr. Vim Nadera [pwede na naman siguro ang title ano, kasi nagdefend ka na ng dissertation mo!!!] with subtitles in English. Trilingual sya! At least, I managed to finish the FSL version [with music only and subtitled also in English] before the malfunction.

Re-formatting is needed I guess; and as a consequence I need to buy another external hard drive…gastos na naman!

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Sina JP Rizal at Kingpin Asiong sa Buhay Ko

January 1, 2012

As the year starts, I want to reflect on Jose “Pepe” Rizal and Nicasio “Asiong” Salonga –  ang 2 Astig na kumuha sa oras at panahon ko noong 2011. From the time I started working on the films focused on them, they automatically became part of my subconscious…my being, having been part of the team that helped in resurrecting their acitvities. I am still in fact, still unfinished with my Jose Rizal film.

Salonga, the Manila Kingpin, and Dr. Jose Rizal, the Renaissance Man cannot be compared, SHOULD NOT be compared. But I have reason to compare the two because I got involved in glorifying both…as editor of the DIRECTOR’S CUT of the first, [Tikoy Aguiluz’s version]; and as director-editor of the 50-min medium length film, A mi Patria /Inang-Bayan featuring Rizal’s poems, including Mi Ultimo Adios. The poems were all interpreted for the first time in Filipino Sign Language [The FSL version of Ultimo Adios is the 132nd translation since 1897]. Both were shot in digital format: the first used Alexa, the latest pro-cam; the second used simple DSLR’s, Canon 7D and 5D. The first spent P75M to produce; the latter, less that P1M. Technically, they too should not be compared at all because of that. The first is outright commercial; the latter, purely educational. Should I stop comparing the two??? Of course not! I have just began.

It was in summer 2011 when I started alternately working on Manila Kingpin: The Asiong Salonga Story; and A mi Patria. Why since summer? Because I was asked by Tikoy to join him in the pre-production of the film, that is, from studying the incomplete script, storyboarding the OK’d scenes, and brainstorming with him and the writer, Rey Ventura on the story ideas which Tikoy wanted added to the film. All the new ideas you find in the film— the calesa chase, the fight at the lahar-looking zone they call Magdalena, the prison scenes with Guardame, etc. all came from Tikoy’s fertile mind. Those were his ideas, not the writers nor the producers.

Asiong Salonga was a gangster, a badass; Dr. Jose Rizal was a scholar, a well-educated man. But both are heroes: Asiong Salonga to Tondeños during his lifetime; Rizal to all Filipinos, not only in Manila where Tondo is located but wherever there are Filipinos in the world, during his lifetime until now. Asiong’s life has been filmed four times; Rizal, many times over of course since he lived 150 years ago. The first film on him was made in 1912; the latest and the one that would inarguably be the film that will come out a hundred years hence is what we are doing now, in digital form though.

Both of them lived not too long in this world: Asiong died at the age of 28, some says at the age of 27; Rizal at the age of 35. Both were killed by a bullet: Asiong was assassinated by Erning Toothpick; Rizal by a firing squad consisting of 8 Filipino soldiers working for the Spanish government. Asiong was shot behind the back by Erning; Rizal was ordered to turn his back and face the sea towards Cavite. Rizal died facing the sky; in Kingpin, Asiong fell with his face towards the ceiling since it was shot indoors [Director’s Cut version]. In the film, he died in the morgue. In reality, Asiong was reported to have been killed in front of a store. Both were killed in Manila: Asiong in Tondo; Rizal in Bagumbayan,now Luneta. The GUN was Asiong’s weapon; the PEN was Rizal’s. Asiong used violence to become what he was: feared but said to have a good heart for the poor; Rizal used non-violence, and wasn’t sold to the idea of a revolution without preparations- but feared by the Spanish government because of his mighty pen that sparked the revolution. Both were jailed, and both continue to be models and inspirations to whosoever fancy themselves to be like any of the two. Gov Jeorge Estregan loved Asiong’s character so much that he wanted to remind the present generation of Filipinos about Asiong. He already made one in 1991 but again spent millions with SCI to produce it. I am making a small film that will preserve Rizal’s poems in sign language – the first-ever in Philippine history – to remind all Filipinos of his greatness and nationalism with a budget equivalent to the value of making a day’s sequence [a couple of days at the most] of Manila Kingpin.

In the editing room while watching tons of footages of Asiong Salonga in the making, I couldn’t help but muse on the above thoughts. When told that in editing out a scene, I should consider that P500K will be thrown away so just trim the scene here and there, I couldn’t help but think on how I struggle to  raise that amount to be able to make a decent film that will glorify the thoughts and wisdom of a great, inspiring and learned man. But I did despite odds! And responses, especially of the Rizal descendants are my gauge in shouting to the world that — yes! the Deaf succeeded in getting their message through – that FSL can possibly touch the hearts and minds even of the hearing viewers too, as exemplified by ULTIMO ADIOS; that FSL is indeed beautiful and Deaf Filipino poetry is possible; that FSL should be recognized as medium of instruction to Deaf students because it is their VOICE.

Sino talaga ASTIG: Si Asiong o si Pepe? Interestingly, both were on the front pages of the newspapers when they died…bongga sila nang mamatay! The only difference being the fact that there is not one monument in honor of Asiong in the Philippines. Well, I am not aware of any. Can anyone tell me if there is one so we can post it here? Rizal monuments and markers can be found in almost all places in the Philippines, even abroad. ULTIMO ADIOS and the 50-min FSL film INANG BAYAN / A MI PATRIA are the simple monuments that I built in honor of Dr. Jose Rizal, a great man for all seasons, for all peoples…in celebration of his 150th Birth Anniversary.

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Inang-Bayan [A mi Patria]_Filipino Version Edited

December 5, 2011

Except for the OBB, all five poems for the Filipino version of A mi Patria, to be titled INANG-BAYAN, are ready for music and effects layin. The title was suggested by Vim Nadera, Project Consultant. The Filipino version readers are: Dok Apo Chua [Sa Filipinas], Roselle Pineda [Sa Kabataang Filipino], Jannette Pinzon [Ang Awit ni Maria Clara], Marot Flores [Sa Mga Bulaklak ng Heidelberg], and Vim Nadera [Huling Paalam]. Translations in Filipino by Mr. Virgilio Almario of Sa Filipinas, Sa Kabataang Filipino and Sa Mga Bulaklak ng Heidelberg were read;  while the translation of Guillermo Tolentino was used for Ang Awit ni Maria Clara. Vim read the Andres Bonifacio version of Ultimo Adios.

I have finished editing the Filipino version yesterday. Today, I’ll concentrate on the English version of A mi… I moved the schedule of Bert de Santos to premix the effects for the FSL version.

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“Inang-Bayan”

November 10, 2011

Over “A mi Patria”, film consultant Vim Nadera has suggested to title the collection “Inang-Bayan.” But I have already fixed my mind [and heart] to title it as such. It is because of instinct. I do relie on instincts at times. My first reaction when I saw the dedication page of Noli Me Tangere on our reproduced copy of the book, was, as I told Vim: “Eureka!” For many months, I have been looking, and asking friends for suggestions on what to title my film to replace my NCCA proposal’s title:  “Mga Natatanging Tula ni Rizal sa Wikang Senyas.” FILIPINAS was in my list, but it is quite common. Until I found the Noli and opened its pages.

BUT… I will take the suggestion of Vim. I will use INANG-BAYAN as title for the Filipino version of the film. Thanks Vim!

A mi…is not meant solely to benefit the Deaf, but all Filipinos in the world!!! By making versions in four languages, my objectives are mainly to reach out — not only to the Deaf, but the Blind; the ordinary student of Rizal course or those specializing in Spanish language, including scholars on Rizal studies; and to help preserve the thoughts, wisdom, and the spirit of Rizal in a form I am comfortable in being able to share my own thoughts with— via “moving pictures.” There will be four distinct versions of the film – multi-layered, as it is going to be multilingual. All will have the Filipino Sign Language interpretations by Deaf performers.

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Silent Odyssey During SDEAS Deaf Fest?

November 3, 2011

When I went to CSB’s SDEAS, Giselle [Montero] told me about the plan to show SO in the coming 2011 Fest…but I am also planning to soft launch the FSL version of A MI PATRIA [To My Motherland] – my collection of Rizal’s 5 poems interpreted in sign language during the same fest. SO was produced for over a year from mid-2006-2008. It is about my journey into Deaf world. The production of A MI.. started in February 2011 [and is targeted to finish by next month] but the idea germinated about a couple of years back. Old and new to be shown??? Let’s see!

By the way, “Patria” literally means ‘father.’ But when we refer to our country, we say Inang-Bayan. So I’ll stick to it. Afterall, it sounds million times better than saying “Tatang-Bayan.” LOL! Though of course,’ Fatherland’ is common and does not sound funny as the Filipino equivalent.