Cuyonons and Kapampangans / Kuyonons and Capampangans

By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily
Sino manga tao nga Cuyonon?

There are many ethnolinguistic groups in the Philippines, but we know only the major ones such as the Tagalogs, Cebuanos, Ilonggos, Kapampangans, Ilocanos, Bicolanos, Pangasinenses, Warays, and to some extent, the Tausugs, Badjaos, Maranaos, and Maguindanaos. For us Luzonians, the Cuyonon people are most of the time unheard of. However, if we have seen the movie “Ploning” starring Judy Ann Santos, we might have an idea about the Cuyonon people of Cuyo Island of the Palawan province and the Western Visayan language that they usually speak.


Surprisingly, I actually knew people in Angeles City of Cuyonon descent. JC Lim, a high school classmate of mine at the Chevalier School, along with his big brother Vincent Lim, who became the Valedictorian of his batch in the same school, have a Cuyonon mother. Their identification of themselves back when I often encountered them in the city has always been either Chinese or Kapampangan though.

In our production trip to Puerto Princesa City weeks ago, we got to know more about the Cuyonons—although there is still much to know about them. But in a span of a week, we were able to discover things about them that might interest us Kapampangans, especially those engaged in cultural work and literature.

The Letter H

Dorong dagon den ang ag lolobas Ang adlao na ikaw mabagat ko Indi ko pa ra engued malipatan Imong matang midyo biton sa langit Imong mga ngirit indi agpakatorog Pirmi ko ing sasadyap imong mga arek

This is a stanza from the song “Ploning Adin Ka Ren” (Ploning, Where Art Thou) by Bulyaw Mariguen, a rock band that makes contemporary Cuyonon songs. The shooting of the music video of the song was our purpose in flying there. Do you notice anything about the stanzas and the Cuyonon language?

In one of our idle sessions, Engr. Johnny Fabello, who is the owner of the house were were lodging in and the father of the executive producer of the music video, told us, “Suwerte kayong mga Kapampangan, immune kayo sa swine flu.”

When we asked why, he comically replied, “Kasi wala kayong H!” referring to the presence of the letter H in H1N1. Apparently he knew about the infamous Kapampangan stereotype of H-deficiency in speech.

After laughing with his joke, I responded, “E di kayo rin po, immune din kayo? Wala rin po kasi kayong H.” He paused for a moment to think about it... no, they do not have the letter H either! And we found it amusing that they, despite being Cuyonon speaker, never noticed. Take for example the following Cuyonon words, their Tagalog counterparts, and their lack of H.

“Indi” for “hindi,” “arek” for “halik,” “kasiguraduan” for “kasiguraduhan,” and “kabui” for “buhay” (“buhi” in several Visayan languages).

But since Kapampangans are a major language group—the seventh biggest ethnolinguistic group in the country, with around two million native speakers, versus the Cuyonon speakers who are only approximately a hundred thousand—we have earned the dunce hat of H-deficiency in the world of stereotypes.

Enam, Anem, Anam, Anim

In Kapampangan, the rootword “atas” (height), when turned into an adjective, becomes “mátas,” because the prefix “ma-” is added. It's a general rule in Kapampangan to drop the 'a' from “ma-” (or “ka-”) thus making it “mátas,” not “maatas” or “mayatas.”

The same goes for the following words: “máyap/káyap” (not “maayap”), “maslam/kaslam” (not “maaslam”), “málimum” (not “maalimum”) and “málat” (not “mayalat” or “maalat”).

It's the same for Cuyonon. “Mayad” (good) is “ma-” and “ayad” combined, but the sum is only “mayad,” with stress on the last syllable.

Unlike Tagalog and Kapampangan, Cuyonon can have glottal stops in the middle of their sentences like the Cebuano speakers. This glottal stop is written in the symbol of an apostrophe. However, fast speech can conceal the glottal stop in the middle of Cuyonon sentences.

A last observation we had was regarding the way they pronounce the letter E. It's not like how we say the letter E in Kapampangan words like “sukle,” “betute,” and “eran.” It's more like the way Bahasa Indonesia/Melayu speakers pronounce the letter E—like an “uh” sound—making the Indonesian word “setelah” read as “suh-tuh-lá” and “lelaki” as “luh-lá-kee.” Therefore, in Cuyonon, “gegma” (love) is read as “guhg-má” and “aken” as “áh-kuhn.”

With this characteristic of Cuyonon, it makes some words sound like they're Kapampangan. The Kapampangan “anam” (six), even though it has two letter As written the same way, the first A is actually longer compared to the A in the second syllable. Its pronunciation is “ah-nuhm.” In Cuyonon, the number six is “anem.” With what we've discussed with the Cuyonon E sound, can you now try to read “anem”?



CQ vs K Dispute

Since Cuyonon is not a national or official language, no group or institution has the authority to dictate how the Cuyonon language should be written.

The older generation, like those from Cuyonon.org, are advocating for the use of the CQ orthography—just like how the older generation of Kapampangans insist on CQ—because, according to them, “the letter K is not Cuyonon,” just as how confused Kapampangan elders would reason, “the letter K is not Capampangan.”

The younger generation goes for the K orthography though, because of their Abakada education, and find it more efficient to write because instead of having two symbols for one sound such as C and Q for the “k” sound and C and S for the “s,” they only need one.

Pursuant to the Ordinances

In Pampanga, the Governor has declared an “Aldo Ning Amanung Sisuan” to be celebrated on the last Friday of August, the Languages Month, and had formed a Pampanga Provincial Language Council to spearhead events that would promote the use of the Kapampangan language. Language advocates rejoiced with the declaration, because they have begun to notice that Kapampangan children born to Kapampangan parents are gradually being turned into native Tagalog speakers with no knowledge or understanding of Kapampangan.

A similar case can be seen with the Cuyonons. Years ago, the Vice Governor of Palawan authored an ordinance they called the Cuyonon Provincial Dialect Ordinance (albeit they got it wrong calling Cuyonon a dialect instead of a language). Cuyonon was declared the “Official Dialect” of the Palawan province; a committee had been designated to work on its function of promoting Cuyonon language, literature, traditions, and culture, and institutions were encouraged to take part in the movement to counter the case of Tagalog-speaking Cuyonon children born to Cuyonon parents.

Because Palawan must be one of the most linguistically diverse provinces in the Philippines, Tagalog has often served as the lingua franca of the dwellers. Its reputation as tourist destination must also contribute to the interest of the natives in learning the outsiders' languages. However, hints of the struggling dominance of Cuyonon in Palawan is evident—aside from the provincial ordinance supporting its promotion—is evident in the penetration of the Cuyonon language in FM and AM radio stations such as DYPR and DYER and cable television. The Philippine Airlines also acknowledges Cuyonon as the dominant native language of Palawan, as it uses the Cuyonon language in some of its greetings and announcements in domestic flights taken in Puerto Princesa.

Pampanga, although diverse in its own right due to the in-migration of Visayans, Maranaos, Koreans, Aytas, Tagalogs, Ilocanos, Pangasinenses, and Ilocanos, is still acknowledged to be a Kapampangan-speaking area, and Kapampangan continuously penetrates various forms of mass and interactive media.


Now back to the ordinances—laudable declarations, I must say. But the question is: how well-implemented are these ordinances and the activities spearheaded by the designated councils? Are they even effective in promoting the local language especially to the modern youth?

Or do the celebrations just come and go, creating the illusion that the local language is being saved?

That we'll have to see.

Please save the youth from UNO

By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily

If you ever pass by Balibago on your way to SM Clark, you certainly will not miss a certain area somewhere along the Pagcor building where a lot of people—most of them teenagers and young adults—are chatting with one another as if they are a newly founded religion. I used to think it was a new branch office of some call center or something opening itself to agent-wannabes; hence, the proliferation of people my age wanting to earn something. That was until a close friend became part of that cult and tried to lure me into its cleverly structured clutches.


Unlimited Network of Opportunities or UNO is the name of the company. To use a no-connotation term, we can say that it's all about MLM or Multi-Level Marketing—a more credible term than “networking” or worse, “pyramid scam.” When my friend was trying to introduce UNO to me, I at once asked if he's trying to recruit me in a networking company.

Bad college experience

I certainly had my inhibitions, because back in college, my fellow boarders and I were recruited by the son of our landlady to Legacy, which all also claimed to do Multi-Level Marketing business. We were taken to a confident adult who oriented us about how huge amounts of money could come to our grasps by merely investing Php14,000 and inviting others to do the same. The way the whole thing was presented was so believable and overwhelming, such that my big brother and I weren't able to sleep because we were so overjoyed, thinking “This is it! We're going to be filthy rich!”

My mother was KJ then though. When we excitedly told her about the financial opportunity, she quickly aired her protest and told us it was just one of those pyramid scams. Of course, we were offended. We argued back and harshly told her that she was close-minded, and she would definitely fail in life financially by being the skeptic that she was. No matter how hard we fought for it, my mother wouldn't lend us Php14,000.

Our co-boarders had some money though. They decided to volt in their money—seven thousand from one person, and the rest from the other person—so they were able to invest the required Php14,000. They began recruiting various people like their classmates and org-mates in UP Diliman, their high school batchmates, and even their relatives. Alas, not one was fazed with the so-called opportunity. After several failures, they gave up. Bye-bye Php14,000.

It was a good thing my mother didn't lend us money when we demanded for it. After a few weeks, the excitement resulting from the hypnotizing sweet-talk of the recruiter faded away and Koya and I came to our senses: it was a difficult job—too difficult for the average person, you'd think it's designed to be that way—disguised as a legal and easy-money business.

How I was reduced from friend to prospect

I admit—I am not in speaking terms with the friend I am talking about just because of this UNO thing. Let's call him Karl.

He used to work in a call center in Clark. One day, he texted me and other friends, begging for us to come to Pagcor. He also begged us to not ask why, because it was something very complicated. The way the message was constructed, I thought he was having some serious problem, probably related to his girlfriend or his family. Unfortunately, I was busy with other matters at that time so I didn't go.

Concerned and curious, I called him (from landline to cellphone) early in the morning to ask what his message was all about. He sounded very desperate, like he was receiving death threats from a certain gang, or he had accidentally killed someone and had no idea what to do. Unable to explain via phone his predicament, he asked if he could stay in my place for the night. “Sige,” I told him.

Before he even came to my place to sleep over, I found out from common friends that he didn't have the problem I was suspecting he had. Instead, he was recruiting people to try MLM because he joined UNO. To focus on MLM, he quit his call center job without informing his parents. Hence, he sleeps over in the houses of different people including me because he couldn't come home at night. Lest he'll be questioned by his parents about his call center resignation.

When Karl arrived in my place, we were trying to catch up with each other because it has been a long time since we chatted about our lives. After catching up, I asked him what the thing he texted me before was all about. Before him even answering, I emphasized, “Are you trying to recruit me?”

From the persona of a friend, his face turned vendor-like, and told me, “O di ba, ang sama kaagad ng pumapasok sa isip mo kapag nababanggit ang networking? Pero ito, iba ito. Ako rin noong una, talagang duda ako, pero ni-research ko talaga, pati sa Internet, wala akong mahanap na loophole.”

Karl even went as far as assessing my personality. He first flattered me by telling me I am an extraordinarily smart and creative person, but my weakness, he said, was in business; thus, my failure to earn money despite working very hard. “Kilala kita,” he even said. “May tendency kang mag-claim na alam mo na ang isang bagay, pero ang hinihingi ko lang, makinig ka muna. Isang oras lang naman.”

I was also touched by his sentence of emphasis: “Kaibigan kita; yayayain ba kita dito kung alam kong ikakapahamak mo?”

Yet with all that, he didn't even bother listening to my college experience.

The UNO recruitment experience

Fast forward. Despite setting my mind to “I will never join,” I allowed him to take me to the UNO office in Balibago, where I saw members trying to recruit innocent-looking people—probably their friends, co-workers, classmates, or relatives. I even saw a woman dressed like a teacher orienting what seemed like her students about the mechanics of the business.

Karl then introduced me to a person I met and befriended days before at SM Clark. Let's call him Tim. Back when I first met him, he was this shy-looking but cool teenager who knew a lot of people I knew—bands, DJs, and other people. On that night we encountered each other at SM Clark, we talked about plans in life and the difference of burgers from one burger joint to another (since he claimed to want to establish his own burger restaurant someday). I even told him about my friend Karl and his funny attempts of trying to attract me to MLM. With all the laughter and cigarette-smoking, he was a nice and sensible lad, I thought, and I certainly would want to work with him in future projects (he used to have a band, and I used to produce recorded music).

But when I saw him again at UNO, it was as if he was a different person! He spoke like those salespeople you see in department stores promoting state-of-the-art kitchen knives and convenient-to-use floor mops. He wasn't a shy kid after all. He explained MLM like a Master Showman host, joked around sometimes to not bore us, and confidently claimed that in spite of him being just a mere “tambay,” he was already earning as much as Php5,000 per week. He also showed us the products of their company, including strength-enhancing bio-magnetic bracelets worn by ancient royalties and contemporary celebrities, 8-in-1 coffee that boosted energy, and other healthcare and beauty products.


Tim, with the help of Karl, also showed us an AVP explaining UNO and showing the people who had become instantly rich by joining—people of my age having their own cars, lay people casually withdrawing loads of cash from Union Bank, and segments that tried hard to convince the audience that they were a legal business.

Familiar with what they were talking about, thanks to my college Legacy experience, I entertained my mind by identifying what kind of psychological convincing strategy they are using on me. My favorite was that one that used peer pressure (“Huwag niyong isiping pinagkakakitaan namin kayo; kasi, kahit hindi kayo sumama, sasama at sasama pa rin naman yung iba e; ang gusto lang namin, magtulungan tayo sa pag-pag-asenso”).


Trained parrots

In the middle of Tim's talking, a loud tricycle passed by. Unable to continue talking, he pretended to have a grenade in his hand and pretended to throw it to the noisy vehicle. It was the first time I saw someone to that kind of gesture, and I thought it was a cool way to express hatred to loud-engined automobiles.

Minutes after, another noisy tricycle passed by. I saw another recruiter from afar doing the grenade gesture, too. Listening to other recruiters, I heard them tell their prospects the exact words my friend Karl was telling me that morning—about open-mindedness, about financial success, about researching stuff on the Internet, and all that jazz. All of the recruiters know how to write upside down, too, to make their written lecture readable to the target prospect, who is usually seated opposite him.

I even heard someone else say, “Yayayain ba kita dito kung ikakapahamak mo?” That was when disappointment starting growing in my heart. My friend Karl reduced me into an MLM prospect. All the things he said to me, including his knowledge of my need of money to do my dream cultural projects, were all parrot-speak from his fellow UNO members. I would have preferred it if he just told me directly that if I joined, he will be earning. But no, he even used everything he knew about me as a friend just so he could convince me.

However, I didn't join. UNO members say that in case you join, you have to work hard to be successful. It's the same thing outside the MLM business. I am slowly working my way to reach my goals, and it was quite offending for both Tim and Karl to predict that I'll be a failure. “Maraming Pilipino,” they would say, “kayod ng kayod pero hindi pa rin umaasenso.”

My God! I am only 21 years old. Isn't it too early to determine whether I'm successful in life or not? Other people in the UNO office who gave their testimonials were hopeless people, whose last resort was MLM. I doubt though they were earning as much as what they claimed.

Not-so-obvious richness

If they were so rich, how come their office looks very peasant? How come there's no free snacks for the prospects? Why are recruiters dressed casually? How come there's no big promotional event to make their claims more credible? Why was it that when a beggar approached us, they didn't spare him some coins, just to showcase that they were easily earning, and giving a beggar a hundred pesos was no biggie (I, a non-UNO member, was kind enough to give the beggar five pesos)? Why did Tim not pay for our jeepney fare went we decided to go home from SM Clark if he was earning Php5,000 per week, just to show that he was indeed making money comfortably?

Another friend of mine—let's call him Franz—who is witty in his own way, was recruited on a separate session. He asked Tim and other UNO members if they were confident that if he joined, earning money would be a breeze. With big smiles, they said yes.

Franz then said, “Kung ganoon, pahiramin niyo muna ako ng Php7,000 na pang-invest. Pagkatapos, babayaran ko na lang kapag nakaipon na ako. Madali lang naman makapasok ang pera, hindi ba?”

None of the UNO members wanted to lend money. Or was it because they really didn't have money in the first place?

Save thy souls

With that, I call on people: let's save the youth from this legalized scam. Wanting money to sustain their needs and luxurious desires in a period of tough competition, unemployment, and rising prices, they are the easy preys of UNO. The senior members even go as far as discouraging prospects to tell their parents about it because parents will naturally be skeptical about the whole thing.

“Pero sino bang pakikinggan mo?” they would ask. “Silang mga wala naman talagang karanasan sa MLM, o kaming mga may karanasan talaga dito?”

I am not questioning the legality of the business. It could be legal, fine, but not everything legal is for the good. Why are cigarettes sold in spite of the government acknowledging its danger to the citizens' health? If it's dangerous, why is it not banned in the market?

It's the same thing for UNO. In any case, I think I'm really interested in buying one of those bio-magnetic bracelets. I certainly need it in my strength-draining and pressure-laden line of work. After all, I need to work very hard to become successful, right?

I texted Karl when I got home and told him about my disappointment with his treatment of me as a prospect instead of a friend. I told him that I'll be looking forth to the day when he's already rich with UNO. If he does indeed become rich, I told him I promise to blindly obey his every counsel and burn all the books that serve as my guiding principles in life.

Kamaru photographs Palawan music video lead actors

Kalalangan Kamaru is currently in Palawan and will be back the 27th!

MODELS: JR Payuyo, Febbie Sabbaluca
LOCATION: Balsahan, Puerto Princesa City, Palawan

PHOTOGRAPHER: Diego Marx Dobles
POST-PROCESSING: Jason Paul Laxamana
LOCATION MANAGER: Jocelyn Fabello

Models will be the lead actors in the upcoming music video of "PLONING, ADIN KA REN" (Ploning, Where Are You) by Bulyaw Mariguen, a Cuyonon rock band. To be directed by yours truly.

I AM ALWAYS A CONTEST LOSER, WAAAH! But...

For the past months, I have participated in a lot of contests both in the literary field and in the filmmaking field. Sadly, I have failed to become finalist in all of them, except one.

This is the great risk of writing and filmmaking -- you invest so much time, creativity, and even money (because you ship stuff to Manila, you buy DVD-Rs, print scripts and application forms, etc.) only to fail to become a finalist in the end.

Here are the contests I joined in:

Cinemalaya 2009 Short Film Category. My Asst. Director and I submitted two entries, Ing Bangkeru and Balangingi. We were torn between believing we can make it and conceding to the other filmmakers who have the money to produce technically good short films. But then in the end, we failed to penetrate the top 10.


Cinema One Originals 2009 Scriptwriting Contest. Unlike in the Cinemalaya Full-Length Category, where you have to submit only a synopsis of your film, in Cinema One, you have to submit a full-blown script -- which is what I did! I wrote a dramatic 80-page script about a male newbie in the Philippine literary scene and how the US financial crisis is indirectly affecting him. The title is Tagak at Tau (Egrets and People).

After my submission, I reviewed the finalists of the past year (finalists are given P1M to produce their scripts into films) and discovered that Cinema One is looking for out-of-the-box scripts, unlike Cinemalaya where their focus is realism and humanism. Cinema One welcomes experimental, science fiction, fantasy, and even horror. These are the genres I so love doing! Alas, I discovered that fact too late. And so, I lost again.

Carlos Palanca Memorial Awards for Literature. Alright, let me get this straight. I didn't join this year because I already conceded right even before I could start writing my entry to the short story category. I have joined for the past two years already -- first in the full-length Filipino stage play category, second in the English essay category -- and I lost, lost, lost! This year, I tried reading the entries of past winners, because the new Palanca website has made them available. The reading experience brings back memories of high school where you are required to read literary works which you barely understand, full of vocabulary words. I had no idea how my "dumbed down" works could fit in their roster. I decided not to join.

1st Philippine Digital Awards. This contest is very memorable to me because it's the first time I won an actual award/trophy. My entry was my Balangingi short film, which was classified under the ETC Short Film contest. The awarding was held at the World Trade Center in Manila, and it was the first time I delivered an acceptance speech on stage in front of the audience, composed of people I don't know and famous people like Gary V.


Ateneo Video Open 10. We joined in three categories: Short Narrative, Documentary, and Music Video. For short narrative, we submitted Ing Bangkeru and Balangingi. None of them made it to the top 5. For documentary, we submitted Sexmoan Adventures. It made it to the top 5! But when all the documentaries where screened at ADMU, Diego and I already conceded to Ang Pasko Ni Intoy. For music video, we submitted the music video of Oras by Mernuts and Alang Anggang Sugat by 5 Against The Wall. We can't figure out why none of those two became finalist, because honestly, the chosen finalists were blah. But hey, that's life. We got nothing in the end. At least our documentary was the funniest during the screening.

Most Outstanding Kapampangan Awards 2008. Lost in the Youth Category to a doctor who sortof like trained young people or something. Lost in the Culture and the Arts Category to a visual artist. Had I been entered in the Mass Media category, I would have also lost to internationally acclaimed filmmaker Brillante Mendoza. Oh well, another case for a 21-year old trying to compete in the contest of adults -- even in the Youth category.

Here are some more contests I joined, the results of which are still to be determined:

1st Flash Fiction Script Writing Contest by ACPI. ACPI stands for Animation Council of the Philippines, Inc. Yes! They (along with UNESCO) launched this contest that sought for scripts good for a 5-minute animation! Being a fan of anime and cartoons, I told myself I should join no matter what. I have been dreaming for the past few days of having a break in the young Pinoy animation (original content) industry by joining this contest and hoping to win! Not as an animator though; as a writer, because that's what the Pinoy animation industry needs.

I kinda like to think I have an advantage here. You see, scriptwriting for animation is a whole new discipline. It's not just any script. It's a very visual script. Try researching on it and you will understand. Are the literary giants to be feared here? Only if they are into animation and animation scriptwriting. Because no matter how good they are in writing, if they can't transform their works into an animations cript, it won't suffice. On the other side, we have the animators, or the animation students. They have long been exposed to this kind of skill, but the question now is--are they also good in creative writing?

Forgive me for sounding mayabang. I'd just like to think happy thoughts to save me from insanity in case I, again, lose in this contest. Anyway, I submitted Ang Mga Tagapangalaga Ng Bundok Arayat. I have often dreamed of making a comic book out of them, but since I can't draw much except for a couple of poses, I brushed off the idea. But I revived them for this contest.


The Farthest Shore: Fantasy From The Philippines. This is a literary contest seeking for Philippine secondary world-short stories (in English). What's a secondary world? Think Middle Earth of LOTR. Or the world in the Nick toon Avatar. Or the Mario World. Or, heck, even the Ibong Adarna world. In short, they were looking for stories written by Filipinos set in worlds that do not really exist, worlds only created by the writers. I wrote mine while I was having a vacation in the US. Title is The Destiny Twines of Makaru, set in a continent called Quemardican, in the country of Kasulipan. Fusion of local Kapampangan folklore and advanced psychic technology.

On the other hand, even though I often lose in contests, there is this thing I find weird. I may always be a contest loser, but how come I often get invited to screen my works? For instance, just last Friday, I was invited to deliver a talk on indie filmmaking at the Red Horze Muziklaban Rock Challenge, which now also embraces Indie Filmmaking, Tattooing, and Extreme Sports.

I had my own Indie Film booth at the kickoff party where I was able to screen all of my works to those interested to see. Shorts, docus, music videos, PSAs, and even the first episode of Kalam, I all screened! And then, when it was time for me to give a lecture, I also had two music videos shown (Alang Anggang Sugat and Kaplas) on the big screen on stage.

I'd like to think people were "amazed." After the event, I was even approached by this adult man named Bobby who so loved my work, he said he won't leave the party unless I give him a copy of my works.

Speaking of film, I also became the sole Pampanga participant in the Cinema Rehiyon Film Festival last February. Ing Bangkeru was screened at the CCP Dream Theater to represent Kapampangan indie cinema.

The music video of Oras by Mernuts which I directed has been accepted in the Tong Hits segment of MTV Pilipinas, making it the first ever Kapampangan music video to penetrate MTV. Two of my projects have been featured in Kapuso Mo, Jessica Soho separately. First was RocKapampangan, in their feature on the regional-language rock scene in the provinces. Second was Kalam, in their feature on regional-language TV dramas and films.

Ing Bangkeru has also served as front-act film to Brillante Mendoza's internationall acclaimed films (Manoro, Kaleldo, and Foster Child) when they were screened at the Holy Angel Auditorium. Around two thousand pairs of eyes were watching, and it sent shivers down my spine when they applauded after watching Ing Bangkeru (after watching the arrogant student get mentally owned by the lowly boatman).

In the field of literature, I was also chosen by UP Pampanga to represent Kapampangan literary writing (Junior Category) in the 1st Taboan Philippine International Writers Festival held at Quezon City.


In the field of cultural work, I have been invited to speak in various lectures. Language-related. Film-related. Culture-related. In both Pampanga and Quezon City. I've often been interviewed for the theses of different people. Even postgrad theses.

This is what I find weird.

I often lose in contests.

But I often get invited in these non-competition stuff.

I should be proud, I know, but I don't know... Maybe I yearn to win in a competition because it will give me a sense of hard-earned victory, defeating all others who joined... which is more valuable than just being "chosen".

Oh well, Regine Velasquez will always be my constant reminder. How she lost in more than 50 contests, and now, look at her! She's lovers with Ogie! And, oh yeah, she's a Songbird.

New Kapampangan rock music video - Happy Mother's Day!

Happy Mothers' Day (Masayang Kayaldawan da ring Ima) to all of our dear mothers! Before I left for the US, we were able to shoot the band scenes of Mental Floss' music video for their RocKapampangan song "Ing Lugud Ning Indu" (Love of a Mother). We really intended to finish the video by Mothers' Day, but sadly, we didn't.

So I'll just say: Abangan! Here are some screen captures from the video. If you notice, the vocalist is pregnant, too! She's soon to become a mother! Congrats, Nicole!






Meanwhile, here is an old video of Mental Floss performing 'Ing Lugud Ning Indu.' Don't you think it's a nice Kapampangan song?

Kalalangan Kamaru to participate in Cuyonon music video production

(posting this from Joey Fabello's journal)

The Ploning Adin Ka Ren Music Video Auditions

PURPOSE

Bulyaw Mariguen’s Songs are rock and acoustic songs in the Cuyonon language having contemporary society as the setting of each story within the songs. The stories in their songs represent a reality seen through the eyes of urban Cuyonons who are exposed to both traditional Cuyonon practices and rituals and to the effects of a globalized world. Their songs are also the first Cuyonon rock songs broadcasted, promoted and made available in Palawan through one album, thereby making Bulyaw Mariguen innovators of Cuyonon music.

Bulyaw Mariguen’s songs are the first of their kind. Promoting them to the Filipino community thus shows the Filipino community of the existence of the Cuyonons and their drive to be heard in a country monopolized by creative outputs in Tagalog.

GOALS

As a means to have Bulyaw Mariguen's Cuyonon rock and acoustic songs heard by and promoted to a greater number of other Filipino cultural groups (through music video channels broadcasted nationwide), Cuyonons (since a lot of Cuyonons has migrated to different parts of the country already) and Palawenos (since most Palawenos patronize national television), a music video of one of Bulyaw Mariguen's Songs, PLONING ADIN KA REN, will be shot in Puerto Princesa City, Palawan this coming May 2009.

PARTNERSHIPS

Through the help of the Palawan Broadcasting Corporation (DYPR TV PATROL, DYPR PALAWAN RADYO and IFM 99.9), Kalalangan Kamaru, the Iwahig Prison and Penal Farm, cuyopress.com and different individuals (the list of which is ever-increasing as we come closer to the shooting dates of the music video), matinlo productions is able to produce this music video (Ploning Adin Ka Ren).

CASTING CALL/AUDITIONS

Auditions for the lead actor and the lead actress of the music video have already started last April 18 and 19, 2009 at the DYPR Dance Studio (Mabini cor Valencia Street, Puerto Princesa City). Second Batch of auditions starts tomorrow (April 20, 2009) 1 to 3 pm at DYPR.

Should you be interested to contribute your skills for the said project, we are also looking for other individuals to form part of the cast of the music video. Please check the characters needed in the succeeding paragraphs.

THE CONCEPT

The Ploning Adin Ka Ren Music Video is not the usual music video that you see in music television channels. For one, the music video will have English or Tagalog (depending on the market) subtitles to make the songs understandable to the viewers of the music video. At the same time, the concept behind the music video is highly symbolic of what is happening to the Cuyonon culture and the struggle of the music of Bulyaw Mariguen to be accepted by the public who seem to condemn than support such innovations in music.

THE CAST

LEAD:

The Young Modern Ploning
Young Looking (around 20s look)
Good at acting
Experience in TV production (not required)
As long as she is easy to direct

LEAD:

Ploning’s Lover
Young Looking (around 20s look)
Good at acting
Experience in TV production (not required)
As long as he is easy to direct
PLONING’S MOTHER
CORPORATE PEOPLE
MAN IN SUIT OR IN POLO
WOMAN IN SUIT
TEENAGE GIRL AND BOY (ANIME LOOK)
STUDENTS
1 COLLEGE STUDENT (BOY)
1 COLLEGE STUDENT (GIRL)
1 HIGH SCHOOL STUDENT (BOY)
1 HIGH SCHOOL STUDENT (GIRL)
1 TEACHER- WOMAN
RELIGIOUS FIGURE
NUN
BABAYLAN
MUSLIM WOMAN
CLOWN (can perform simple tricks)
MUSICIANS
FOLK GUITARIST
POP GUITARIST
INDIGENOUS PEOPLE
SOMEONE WEARING AN ALAKAYO MASK COVERED IN BLUE DYE (ANYEL)
TAO’T BATO
TAGBANUA (MOTHER AND CHILD)
TAUSUG- FEMALE

NOTES:

It must be noted that the production team took gender issues into consideration. See Religious figure and the attempt to represent girls and boys in most groups. It must also be noted that the indigenous groups chosen to be part of the INDIGENOUS PEOPLE cast are those who can be found in Palawan.

LOCATION


The location of the music video is at Balsahan managed by the Iwahig Prison and Penal Farm. (Thank you for letting us use the location for free...!)

THE PRODUCTION TEAM

The production team behind the music video is composed of people from different production teams such as matinlo productions and KALALANGAN KAMARU and different individuals who are interested to contribute their skills for the production of the music video.

Matinlo productions is owned by Joey Fabello and in this production absorbed the responsibilities of a Producer and a Production Manager. The director and the assistant director of the music video came from Kalalangan Kamaru.

The director of this music video is a multi-awarded Kapampangan director and cultural advocate. He bagged the First Philippine Digital Award in short film category from the Entertainment Channel (ETC) this year, is the director of the First Ever Kapampangan Telenovela in the Philippines (Kalam) and the director of the music video of Mernuts entitled Oras, seen at MTV Pilipinas. He was also the one who spearheaded the Rockapampangan Project together with Holy Angel University.

A detailed list of the cast and the production team will be made available in the succeeding pages. If you are reading this entry from a different site, please visit our official blog site at http://www.bulyawmariguen.blogspot.com/. Also, if you know someone who might be interested to be a part of the cast and or the production team, please contact Joey Fabello at 09276275554 or Mares Krishnaa Bajar at 09085421141 or please forward this entry to them.

MATAMANG SALAMAT, WE NEED YOUR SUPPORT! SEE YOU AT THE AUDITIONS!

ABS-CBN news on 'Balangingi' victory

'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

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.

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.

'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.

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.

Cinekabalen Call for Entries Poster

Click to enlarge, baby.

Scarcity of Young Kapampangan Storytellers

Scarcity of Young Kapampangan Storytellers
Kapampangans at the Taboan Philippine Int’l Writers Festival
By Jason Paul Laxamana
Urban Kamaru
Central Luzon Daily

Last February 11 to 13, literary writers from different provinces gathered in Quezon City to attend the first ever Taboan Philippine International Writers Festival. The gathering is the offering of the Committee on Literary Arts of the NCCA (National Commission on Culture and the Arts), which for the first time celebrated a non-Manilacentric National Arts Month.

‘Taboan’ is a Visayan word meaning assembly, marketplace, meeting place, or rendezvous. In the Kapampangan language, the closest translation is ‘tabnuan’ or ‘sasmuan.’


True to the title’s meaning, the festival gathered both young and old writers from the regions to attend various discussions on topics ranging from writing for a living, literature and publishing in the provinces, new forms of publishing, children’s literature, language and literature, building literary careers, emerging genres of fiction, to transforming literature to stage and screen plays, the non-reading youth, experimental poetry, feminism in literature, and writing for an international audience.

Delegates from the province were Kragi Garcia, representing the older generation, and yours truly, the younger generation, both accompanied by UP Pampanga Directress Prof. Juliet Mallari, who happens to be part of NCCA’s Literary Arts Committee.


Decentralizing Pinoy lit

Like Philippine Cinema, Philippine Literature has often been Manila/Tagalog-centric. The ongoing history of national literature has always put the spotlight on the writers from the center, not taking into account the developing—or perhaps, even the long-existing—literary scenes from the regions.

In my elementary and high school years, all the literary works we were required to read for our Filipino class were Tagalog pieces, rendering me ignorant of works from other provinces and even of Kapampangan literature. Only during my self-imposed literary journey have I been exposed to the works of Jose Gallardo, Juan Crisostomo Soto, and other Kapampangan luminaries.

English and Tagalog literature have for a long time occupied for themselves the box called Philippine or National Literature, that is why non-Tagalog and non-English works settled for their respective regional titles—Cebuano Literature, Waray Literature, Kapampangan Literature, Ilonggo Literature, etc.

If logic be applied, then it means Cebuano Literature is Cebuano Literature, not Philippine Literature, same way as having to coin the term Bisrock for Bisaya Rock, when there’s already Pinoy Rock. This is because Philippine Literature has always been associated with Tagalog and English.

With the organization of Taboan, however, this might begin to change eventually. Any Filipino work, regardless whether it is in Ilokano, Kankanaey, or Maranao, will be called Philippine Literature. If the language be needed to be emphasized, we’ll call a Kapampangan work “Philippine Literature in Kapampangan.”

The undocumented present

By listening to the stories of other people about their respective regions’ contemporary literature, I’ve realized that the Kapampangan literary scene is more endangered than I thought.

It’s not about the dispute over orthography—although this is still a problem. It’s probably not even about the illiteracy of young Kapampangans in their native language. For me, it’s the scarcity of this generation’s authentic storytellers—using whatever medium—that poses the biggest problem.

I was in the Angeles University Foundation last week delivering a lecture about contemporary Kapampangan culture to Communication students. I asked the audience if there were writers among them. No one was raising a hand—not until I complained about the pekat-pekat attitude of my fellow youth, which I said was a disgrace to our mighty ancestors.

So one girl raised her hand and I asked her what she writes. Fictional prose and poetry, she said. Then I asked her to recite the synopsis of her favorite among her own works. She told me the story of a Mindanao-residing boy affected by the war in the Middle East and in Mindanao—or something like that.

Then I asked her if she has ever written anything with a Kapampangan as a main character. She shook her head. “How about a story set in Pampanga?” I received the same answer. It didn’t surprise me though.

Of course she’s just one girl, and I know that to conclude based on the account of one person is illogical—but really, I have been encountering this case as if it’s the norm—a scary one—for the Kapampangan youth, even the supposedly bright ones. Aside from refusing to use their native language in literary writing, they write about stuff happening either nowhere or elsewhere, anywhere but never their homeland.

If one is to get a feel of the Kapampangan region through literature, the present decade and probably the 90s would be murky “mirrors of society.” Or probably, they would be “mirrors of society in the eyes of the elders.” The perspective of the young storyteller has gone missing.

Mystery of the rappers

This might come as a surprise, but, actually, local underground rappers are probably the only consistent homeland-rooted storytellers of my generation. Their rap tracks are available only through the web or through pirated CDs in Angeles City, but if you listen to their lyrics, albeit usually not in Kapampangan, you’ll get the impression that they are writing about their immediate surroundings—something not done even by most erudite college publication writers in the province.

The topics of their rap songs of course are not the type that would win Palancas or even the Buwan ng Wika writing contests, but you can somehow detect the local storyteller within them.

The mainstream example would have to be Apl De Ap’s “Bebot” song. Apl De Ap of the Black Eyed Peas is from Sapang Bato, Angeles City, and in spite of his international fame, some of his compositions still mirror his Kapampangan life. Take for example an excerpt from “The Apl Song.”

Listen closely yo, I got a story to tell
A version of my ghetto where life felt for real
Some would call it hell but to me it was heaven
God gave me the grace, amazin' ways of living
How would you feel if you had to catch your meal?
Build a hut to live and to eat and chill in.
Having to pump the water outta the ground
The way we put it down utilizing what is around
Like land for farming, river for fishing
Everyone helpin' each other whenever they can
We makin' it happen, from nothin' to somethin'
That's how we be survivin' back in my homeland

How to solve

I don’t have the antidote to this dilemma, but I can share my thoughts. First of all, schools play an important role in making students aware of the culture, history, and literature of the Kapampangans. I think if our young storytellers were exposed more to homeland-rooted literary works, they would be somehow swayed to that direction.

Being chained to the past would most likely be the next problem. If these storytellers only read works that speak of life in the peaceful meadows, Japanese period struggles, and other pieces where all female characters are Maria Claras, they might end up writing about the past, the way they imagine it, instead of writing about their own time.

We are a unique generation compared to our predecessors. We are the MTV generation, the DIY generation, the anime generation, the digital generation, the global village generation, and many other things, such that only we can probably write about directly from the heart. We are a generation addicted to social networking simultaneously having Friendster, Multiply, Facebook, MySpace, YouTube, and probably even Xtube accounts, while keeping diverse contacts in our phone books—and to not include these things, along with other “strange” concepts that cause our fights with our parents, in our generation’s literature will be a great denial of reality. Literature then fails.

Also, perhaps we should promote Creative Writing more in our province. I wonder why we don’t have annual writing workshops like those of Cebu, Negros, and Baguio. And how come we don’t have a Kapampangan category for the Palanca Awards? Or better yet, why don’t we have local literary contests, aside from the oral poetry (pamigale) contests where elders dominate?

Creative Writing has always been limited to the school publications, making it seem as though it’s the grandest thing a young Kapampangan literary writer can achieve locally—to be published in the school paper.

Send reactions to sisig_man@yahoo.com.ph

"Ding Musa Ning Minalin" documentary

Kalalangan Kamaru presents its second Kapampangan documentary titled Ding Musa Ning Minalin (The Muses of Minalin). Made in a non-traditional no-commentary format, the documentary seeks to present to the world this unique happening in the quiet town of Minalin every New Year's Day.


For Minalenyos, New Year's Day is not just about firecrackers and noise barrages. It's also about real men dressed in gowns. Watch the documentary here:



Director, Editor: Diego Marx Dobles
Exec Prod, Subtitles: Jason Paul Laxamana
Camera: Dobles, Laxamana
Prod Assts: Bevs Esguerra, Thea Lelay
Local Coordinator: Jon Juico

The 1st Cinekabalen Philippine Film Festival

Makiabe na ka!

It is time for the Kapampangans to participate in the next wave of Philippine Cinema by holding its first ever Kapampangan Film Festival! The Cinekabalen Philippine Film Festival will be an annual event that will aim:

• To make people, especially Kapampangans, aware of the existence of Philippine Kapampangan cinema and to celebrate the capability of Kapampangans to make films
• To encourage Kapampangans, especially students, to make films that tackle the Kapampangan experience
• To promote the patronization of the Kapampangan language for aspiring filmmakers
• To hone the skills of aspiring Kapampangan student filmmakers through seminars, lectures, and workshop
• Provide a venue for aspiring competent filmmakers to showcase their work/s
• To organize a cooperative film community or network among the Kapampangans, especially universities with communication courses

The highlights of the festival will be: 1) the screening of Philippine Kapampangan full-length films, short films, music videos, and documentaries; 2) panel discussions on indie filmmaking; and 3) a short film competition.

Rules and mechanics of the short film competition:

- everyone is allowed to join (no age limit), except members of the core organizing committee

- animated entries are also allowed

- no music videos, only narratives

- no limit of number of entries

- dialogues must mainly be in Kapampangan

- setting of the story does not necessarily have to be in Pampanga or other Kapampangan-speaking regions like Tarlac and Bataan

- film must have English subtitles

- strictly 10-20 minutes in length

- in digital format (submit final work in playable DVD)

- any topic is allowed

- extreme violence and obscenity and unnecessary abuse of foul language are discouraged

- use of copyrighted music is not allowed

- deadline of entries (final DVD, registration form) will be on July 31; they must be shipped or submitted in person to the Juan D. Nepomuceno Center for Kapampangan Studies, Holy Angel University, Angeles City

- 8 to 10 finalists will be chosen (depending on the quantity of submissions) to compete in the festival; prizes are at stake for the top three best short films; special awards (best male performer, best editing, best screenplay, etc.) will also be given

Inquiries: text JASON @ 0918 699 2459 or email sisig_man@yahoo.com.ph

Visit: http://cinekabalen.multiply.com

Kapampangan tries Ateneo Video Open 10

Kalalangan Kamaru tried to join in the annual Ateneo Video Open (AVO), since I am still a college undergrad. We entered four of our Kapampangan works in three categories:

Balangingi (Nosebleed) - Short Narrative category
Ing Bangkeru (The Boatman) - Short Narrative category
Sexmoan Adventures - Documentary category
Alang Anggang Sugat - Music Video category

All these are viewable on YouTube.

Out of the four entries that we submitted, only one was fortunate enough to be deemed "finalist worthy" by the Loyola Film Circle of Ateneo De Manila University: Sexmoan Adventures.

I am not quite sure of what AVO is looking for, and I sometimes scratch my head thinking why some of our entries, especially the music video, didn't make it as finalist when you take a look via YouTube the chosen finalists. Maybe we just love our works too much, or maybe beauty is indeed in the eyes of the beholder. But sociologically speaking, since it's a contest and they're the screeners, we would have to accept their judgment—at least for the AVO. It's their contest anyway.

On the bright side, Sexmoan Adventures, a Kapampangan documentary, made it to the finals and we are delighted. However, knowing the entry An Pasko Ni Tinyo by a fellow Iskolar Ng Bayan, I have already told my fellow Kamaru members that I am personally seceding to that fine piece of craft, which has already garnered the Best Thesis title in UP, Best Student Docu in the Catholic Mass Media Awards, and second prize in CCP's Gawad Alternatibo.

Documentary and Experimental finalists will be screened on February 13 at ADMU. We'll try to be there just to live the spirit of friendly competition. Although really, we expect to come home empty-handed (in some other year, oh sweet cash prize and trophy!).

Never mind that we spent P400 for the reg fee of the four entries (P100 each). Never mind that we had two batches of shipping to Ateneo from Pampanga worth P450 (P225 each). Not to mention the DVDs (three copies per entry, so all in all, 12 DVDs were purchased). That's a total of about P1,000 in participating in this contest (an amount which I can earn in one week, thanks to my twice-a-week journalistic stint in a local newspaper)!

Our sole fulfillment is the capability of a Kapampangan work to stand side by side with other finalists.

Good luck to all the finalists!

My Kapampangan short film @ CCP this Feb!

February is heralded the National Arts Month in the Philippines, and because of this, there is a huge Philippine International Arts Festival to happen in the whole month of Feb.

"The National Commission for Culture and the Arts (NCCA) is making an innovation in the usual National Arts Month (NAM) it has been organizing in the past 18 years. Beginning this year, the NCCA will start calling it the Philippine International Arts Festival. The talents of Filipino artists will be presented while at the same time promoted to the rest of the world. Artists from all over the Philippines will join the events of the PIAF. Local governments and arts groups will also take part with this event, thanks to funding from the NCCA. This year's theme is Ani ng Sining. Instead of celebrating only in Manila, numerous events are slated to happen in Luzon, Visayas and Mindanao."

One of the events will be Sinerehiyon. This is a showcase of nascent cinema from the regions. From the highlands in and around Baguio to the heart of Bicolandia that is Naga City; across the thriving Visayas cities of Cebu, Bacolod and Iloilo; and through Mindanao between Cagayan de Oro and Davao, a new generation of artists is telling stories of their own cultures and people in cinematic form. This will be from February 17 to 19 at the CCP.


Representing Kapampangan cinema is this short film I wrote and directed Ing Bangkeru (The Boatman)! We're gonna go there to see our work screened at a national event! Glory be to the regions!