Schedule
Nov. 28, 2024 | 2:30–4:00 PM
Room
Rm 4, Jade-Onyx
Moderator
Jay Yacat
University of the Philippines Diliman
F4.1
Mindanao Cinema: Unsettling National and Redrawing Regional Cinemas
Patrick F. Campos
University of the Philippines Diliman
The rise of multilinguistic “regional cinema” in the twenty-first century, a term used to refer to filmmaking beyond Manila, where most of the Tagalog-language-based film industry’s one hundred-year history was centered, has invited a fresh wave of inquiry regarding the much contested notion of National Cinema. In this paper, I investigated the moving-image production in the country’s southernmost island cluster, Mindanao. Based on interpretations of selected films and assessments of emergent film practices, I argue that Mindanao cinema not only completes National Cinema but more importantly, reveals the heterogeneity, contingency, and ongoing formation of nationhood and reorients this formation outward. In the last 25 years, through various forms and aesthetics, Mindanaoan artists, some of whom receive international support and circulate transnationally, have addressed the problems of nation-making in the Philippines whose troubled colonial and Filipino history have marginalized Mindanao, planted seeds of conflict, and entrenched violence. Refusing homogenization from the center and drawing upon a cultural history longer and broader than modern Philippines, they have imagined an autonomous and separatist Moro nation (Bangsa) with its internal and external conflicts. They have offered a sensitive account of contemporary radicalized Muslims who count themselves as among an international non-state movement. Moreover, they have presented the narratives of armed revolutionaries fighting for land, battling the state military, and advocated indigenous (nations without states) rights to self-determination and their ancestral domain. Finally, they have tracked the lives of migrants and itinerants pining for home as well as refugees and sea nomads who cross porous borders, some of whom relocate or become stateless in nation states and places deeply connected to Mindanao.
F4.3
Ang Kasaysayan Sang Komentaryo Sa Kahanginan: The Evolution of Bombohanay Bigtime in DYFM Bombo Radyo Iloilo
Aljohn T. Torreta
University of the Philippines Visayas
Radio commentary programs play a vital role in society. As a watchdog of the government, it serves as an avenue for public scrutiny as well as a platform for discussions. It is a powerful medium as it affects and shapes the listeners’ views and beliefs towards issues, events, and even personalities. This research is made to document the evolution of DYFM Bombo Radyo Iloilo’s Bombohanay Bigtime, a commentary program that runs in the primetime of the said station. Bombo Radyo started its operation in Iloilo and has expanded on a national level. This research can serve as a basis for program assessments as well as a foundation for future research in the field of radio broadcasting as it provides a background and explanation for the patterns of the said commentary program. The constraint posed by limited regional literature on radio broadcasting and commentary programs is also one of the gaps that this research aspires to contribute to. Its main objective is to describe the evolution of DYFM Bombo Radyo Iloilo’s Bombohanay Bigtime since the 80s. It employs the theories of organizational culture by Nick O’Donnell and Michael Pakanowsky, and agenda-setting by Maxwell McCombs and Donald Shaw. The researcher conducted the study through expert’s interview using purposive and snowball sampling. The results showed that the patterns exhibited in the commentary program Bombohanay Bigtime are manifested in the medium requirements: content element (format and content), people (commentator and delivery), and production element (technological innovation). Moreover, the operating environment, current leadership, early dominant leaders, and the national culture are the factors that affect the said program.
F4.4
Mga Tunog ng Pangkulturang Pagpupumiglas: Masusing Pagbasa (Close Reading) ng mga Samplings sa “Kolateral” Kaugnay sa “War on Drugs”
Brandon L. Parreñas
University of the Philippines Diliman
Tinukoy ni Harry Allen (2009) na ang “samplings” ay proseso ng “re-contextualization” sa pamamagitan ng pagbabago ng mga serye ng mga pangkaraniwang tunog or nalimbag nang ritmo na may layuning magbigay ng karagdagang kahulugan o mas lalong paunlarin ang kahulugan ng isang mensahe. Ang “sampling” ay ang paghiram o paggamit ng isang tunog o “sample” para ilapat sa ibang tugtugin bilang karagdagang lahid (sound effect). Ang mga karaniwang halimbawa nito ay ang tunog ng tambuli bilang panimula sa kantang “Ako ay Pilipino” o ang mga huni ng ibon at agos ng tubig sa kantang “Paraiso.” Sa pamamagitan ng masusing pagbasa (close reading) sa Pinoy rap album “Kolateral” bilang pangunahing teksto ng pag-aaral, ang papel na ito ay nakatuon sa mga “samplings” na ginamit sa album bilang makabuluhang lahid na nagbibibigay ng bagong konteksto sa mensahe ng mga awitin upang mapaunlad ang ating pang-unawang musikal sa mga naratibo at testimonya na may kaugnayan sa giyera laban sa droga (war on drugs). Layunin ng papel na ito na pag-aralan ang mga “samplings” sa album tulad ng pagkislap ng orasan, pagkasa ng baril, kagat ng balita (news bites), alulong ng aso, at iba pa bilang pagsasalamin sa mga inaping kalagayan ng mga biktima ng giyera laban sa droga at bilang pagsasalita laban sa mapangabusong patakaran ni Rodrigo Duterte.
F4.5
Dulambayan and Pagbabanyuhay: Writing and Performing Practices Narratives of Tanghalang Banyuhay Incorporated
Ian Jay B. Formacion
University of the Philippines Diliman
This paper serves as an initial exploration on the practices of writing and performing plays in Tanghalang Banyuhay Incorporated (TBI). It answers two research questions: (1) what are the narratives that can be observed in the practices of writing and performing play in the context of dulambayan? (2) How have the TBI members changed their lives through plays based on Reformance or Pagbabanyuhay? Moreover, two (2) methodologies were used to answer the research questions. First is phenomenology through a personal interview with Roderick Alo which analyzed the experiences and narratives from writing and staging plays. Secondly, archival research was used on the selected TBI’s production books namely Paglalakbay ni Poknat (2007) which became Huling Paraiso (2016), Ginumon ng Laro (2009), and High Five (2008) which became High Five Meets Kapitan VADAC (2015).
The dulambayan is evident because the advocacies of TBI were based on the public interest that will inspire the audience to become a performative spectator. Collaboration within the members is crucial in mounting a smooth and relevant performance. They actively collaborate with different organizations, institutions, and local governments to sponsor and support each performance. However, the TBI does not allow them to use plays as a means of propaganda. The continuous performing of plays resulted in pagbabanyuhay among TBI members; they were able to hone their theater skills and improve their behavior that influences others to be disciplined and be a catalyst of change. Meanwhile, spectators gain new insights and hope to choose the right path and follow their dreams. Some of them joined as a TBI member, encouraging them to be part of the advocacy and collaboration in the arts and culture of performance. Therefore, it demonstrates and reflects the impact of the local theater community on the lives of the members of the community.