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Dec 31, 2009

Rizal in Europe: Portrait of the Traveller as Filipino (First of two parts)


Erwin S. Fernandez

                                                                                                                             Hoja seca que cuela indecisa 
                                                                                                                            Y arrebata violente turbión,
                                                                                                                            Asi vive en la tierra el viajero,
                                                                                                                            Sin norte, sin alma, sin patria ni amor.1
 
Jose Rizal, Canto del Viajero

In commemoration of the Philippine national hero’s 2009 birth and death anniversary, this article describes in detail Jose Rizal’s voyage to Europe in 1882 and his tour of Paris and other European cities prior to his return to the Philippines in 1887. By telling how Rizal encountered and confronted Europe, it arrives at an honest portrait of the Filipino as a traveller, which is no different from the experiences of Filipinos today in the Diaspora.
Without Europe, Rizal could never be the Rizal anybody knew him to be in the same way that without 1872, as he himself had admitted to his fellow propagandists; he could have been a Jesuit (Guerrero, 1998). It was in Europe where he would seek the cure for the malady afflicting his beloved Filipinas. In Europe he would sit and listen to liberal Republican professors; work with French and German doctors; and meet its great sages. All these, however, would be too academic to deal with for someone like Rizal who only wanted to enjoy every minute of his visit and stay in Europe in the 1880s as any traveller would want to today.

Oceanic voyage and reptilian dreams: Manila to Madrid
But Rizal would cross oceans to see in flesh and blood the Europe he had read in Cesare Cantu’s world history about great battles fought, of palaces and courts where royal intrigues and murders happened. The long voyage would take him to Singapore where he was almost cheated by the carriage driver, to Point Galle where on their way there he dreamed of snakes, and Colombo in Ceylon (now Sri Lanka), to Cape Guardafui in what is now Somalia, Gulf of Aden and its city and Suez and its famous canal. On June 7, 1882, they entered the Mediterranean Sea and four days later, they reached Naples and Sicily in Italy. They were allowed for an hour and a half to stay ashore but he was “carried by love and curiosity” so he went down riding in a boat, bringing with him a watch and some orders for the telegraph office (Rizal, 1977, p. 71). He saw “paved streets, squares, buildings, shops, statues” and strolled down the town of Naples (Ibid). Quickly learning his lesson, he returned aboard “without being fooled by the guide and the driver” (Ibid.). Two days after, the Djemnah dropped anchor in Marseille.
The more-than-a-month trip endeared him to his new friends and acquaintances so that he was saddened by their departure. Bidding his goodbye to them, he went to the customhouse where he was treated politely. It was early in the morning when riding a coach on the way to Hotel Noailles he saw magnificent houses along well-paved Rue Canebière, and the Bourse Palace. At the hotel he occupied a room complete with first-class amenities on the second floor overlooking the street. After getting a haircut, he took a walk around becoming enchanted with the large and beautiful houses and captivated by newspaper and flower vendors. Back in the hotel, he caught up with his Spanish friends suggesting to them that they go to chateau d’eau or “the water castle,” the other name for Parc Longchamp. There he saw the Palais Longchamp with the stunning fountain, “the water…falls in a grand cascade” (Ibid., p. 75). It was a memorial to the arrival of water in Marseille via the canal. They visited the botanical and the zoological gardens where he was amused with the monkeys. Then they visited the museum, the Musée des Beaux-Arts in the East Wing and the Museum of Natural History in the West Wing of which it was his first time to see one. It gave him an indescribable feeling; he wanted to spend the whole day there. After his companions left him, he stayed devouring all he could see and then he went home stopping in a shop to buy a pair of candles and a bar of soap. From the hotel, he went to a restaurant to eat, then strolled for a while and went back to the hotel. Having known that his friends were not in the hotel, he went out of the hotel but he was forced to go back because of the blistering cold.
The following morning he woke up late and went to see his companions. They took a stroll going as far as rue de la Republiqué to see the Panorama, then to Belfast Place where they spent a good time. New to their surroundings, they lost their way but found it nonetheless. They spent lunch together and with a companion he went shopping until four o’clock in the afternoon. They returned to the hotel only to see the departure of his Dutch friends. To take away his sadness, he chatted with his friends and planned to take supper at Café Maison Dorée but instead ended in the hotel. Then they went for a walk and stayed in a café listening to concert, songs and drama until midnight. The following day, waking up late again, he went with his friends to take a last stroll going into last-minute shopping so that only twenty-eight pesos remained of the seventy-six pesos he brought from Manila. With a first-class ticket costing twelve pesos, he only had sixteen pesos left. Treated rudely by the carabineers in Barcelona upon his arrival on June 16, he came not as a tourist but as a medical student with a vague if not unknown mission in his head (Ibid., 77-79).

Missing Laguna in the heart of beautiful Paris
After almost exactly a year of studies in Madrid, Rizal went back to France but now in Paris. More than the suggestion of his elder brother who advised him to study there, he was really enchanted by France (Quirino, 1997). Aboard an express train, he would notice the bare landscape of Old Castile from the verdant topography of Hendaye, the first French town. Passing through many cities awakened his memories of their glorious past. He arrived on June 17 and stayed at Hotel de Paris at 37 rue de Maubeuge. “The environs of Paris are very beautiful and very picturesque” he would write to his parents, and that “here everything is dear” (Rizal, 1977, p. 234).  On his first morning he went for a stroll and he could only imagine how big Paris in a description to his parents as the whole area comprising Calamba, Cabuyao and Santa Rosa. He did nothing but walk perhaps to save money for the carriage fare to see the Champs Elysées, Vendome Column, Place de la Concorde, Obelisk of Luxor and the Madeleine Church. About the Champs Elysées, he wrote that it was “a grand avenue from the Place de la Concorde to the Arch of the Carrousel, wide and long, filled with trees, with theatres on both sides in which plays and concerts are held at night…” (Ibid., p.235). In the evening, he went with his Filipino friends to the Theatre of the Opera “the most sumptuous public edifice I’ve seen until the present” (Ibid., p.236). The following day he went to the Laennec Hospital marvelling at the advances the French were doing, then the Bon Marché, one of the five big department stores and the Church of Notre Dame of Paris where it reminded him of Victor Hugo.
The whole summer he spent much in sightseeing and observing and attending French medical institutions. Regarding the latter, he went to see the Lariboisiere Hospital. After attending an operation, he visited the Jardin d’Acclimatation located outside the city where he saw a variety of plants and birds. He also went to see at the end of the grand avenue the Summer Circus in which equestrian and gymnastic performances were performed. The National Panorama, just like what he saw in Marseille and Madrid, depicted historical scenes, this time the Franco-Prussian war. He also visited the Palace of Industry displaying Japanese painting, the Hotel Dieu, a big hospital that can accommodate 300 patients, the Museum of Orfila where he saw human and comparative anatomies, an interest to medical students like him, the Jardin des Plantes, the Luxembourg Garden and Palace, of the latter he was able to see the museum of painting and sculpture, the Hotel des Invalides built to provide shelter to poor soldiers and the Museum of Artillery (Ibid., pp. 239-245).
Apart from the Musée Gavin, a private museum, he did not miss the Louvre Museum spending three days there from ten in the morning until five in the afternoon without taking a rest. He was not the usual tourist who would cursorily look at the pieces and leave. He was there to learn and was even mesmerized by the splendour he saw that he imagined that out of the walls would come out a historic face embodying the tales and stories of which the Louvre had a role through the centuries. At the ground floor, he was delighted with so much antiquity, the sphinxes in the Egyptian Museum, pieces of stone with huge bas reliefs in the Assyrian Museum, a column from a Greek temple in the Asiatic section and sculptures of Michelangelo in the Renaissance section. On the second floor, he saw paintings by great European masters: da Vinci, Ruysdael, Van Dyck, and Murillo among others (Ibid., pp. 247-250).
He did not leave France without visiting the Pantheon where tombs of great French men were kept going down the ground to see Voltaire’s and Rosseau’s with the help of a guide holding a lantern. From Paris, he went with his Filipino friends to the Palace of Versailles by train, a one-hour ride. The former residence of the Bourbons and the Bonapartes built under Louis XIV, it was now a historical museum.  It was a hurried tour but he was able to visit the rooms of Napoleon I, his study, the rooms of Louis XIV, XV, XVI and their wives, the queens. Outside, he marvelled at the garden and the park (Ibid., pp. 251-256).
He would leave Paris more impressed than before of French courtesy, cleanliness and orderliness and more knowledgeable of the French language but he knew that Paris was not Europe. He would learn this in February 1886 in Germany.


Northern Mirror (Dagupan City) December 30, 2009-January 5, 2010: 5-6.

Rizal in Europe: Portrait of the Traveller as Filipino (Last of two parts)


Erwin S. Fernandez


Thinking of Pasig while touring the Rhine
But before he left for Heidelberg, he was in Paris staying there for seven months under Dr. Louis de Wecker, a famous ophthalmologist and had begun studying German (Guerrero, 1998). The moment he arrived at the Franco-German frontier town of Avricourt, he noticed the change of atmosphere because military men ran the railroad. He made a stop in Strasbourg visiting its famous cathedral and went straight to Heidelberg. Beside his compartment was a first-class seat for Russian royalties who were accorded military honours every time they went down making him conclude that Germany was “a country of great order and subordination” (Rizal, 1977, p. 262).  He would stay in Heidelberg, an old university town until August 9, 1886 when he would make a tour of Germany through the Rhine valley.
The train arrived in Mannheim affording him visits to Schlossgarten of which he compared it to the Retiro in Madrid, the Ludwigshafen and the Jesuitenkirche, a beautiful baroque church. Changing trains at Dornberg Gross-Gerau, he arrived at the Central Bahnhof in Mainz. Staying in a first-class hotel, he visited public squares where he saw the statues of Gutenberg and Schiller before leaving Mainz aboard a little steamer the following day. The Rhine river reminded him of the Pasig River, factories on the banks, of Mandaloyon while Beibrich that of San Miguel with its mansions and gardens. “Were it not for the beautiful towns and extensive plantations on these banks, the Pasig would have been superior to them” (Ibid., p. 105).
He got off at Bindesheim, rode a train to Niederwald and then took a steamer in Rudesheim passing the rock of Lorelei, which to him was the Malapad-na-bato, the ruined castles, Coblenz, Neuwied and disembarked in Bonn. In Bonn, he took the train for Cologne in the morning of August 11. From there he saw the Kaiser Glocke, the cathedral, and the Museum of Fine Arts. He left the city aboard a train to Bonn and from there boarded an ugly boat arriving at Coblenz at night. The following morning he toured the city visiting a chapel, the post office, a fortress and a house of the Order of Knights Templars. From Coblenz, he took a steamer getting to the city of Bingen. Aboard a steamer, he arrived at Mainz to ride again in a steamboat for him to take a trip to Kastel and from there take the train to Frankfurt (Ibid., pp. 106-114).
In Frankfurt, he saw the Staedel Institute, the statue of Goethe, beautiful but “he looks more like a rich banker than a poet,” the zoological park, the opera house, the palace of the stock exchange and a Jewish synagogue (Ibid., p 115). From Frankfurt, the second beautiful city in Germany he had seen, he went to Leipzig by train carefully noting the towns and cities he was passing through and finally arriving on August 15.
Staying for two months in Leipzig, he found the food and the lodging there cheaper than anywhere else in Europe. He would meet Dr. Hans Meyer, author and anthropologist; visit two largest breweries in Germany; go to Halle to visit its university and visit Dresden. In Dresden, he visited the picture gallery rich in classical but poor in modern paintings, the Japanese Palace, the Grunes Gewolbe where he was dazzled by the glow of the precious stones kept in there, the Zoological, Anthropological and Ethnographic Museum where he finally met its director, Dr. A.B. Meyer and the Museum Johanneum. On November 1, he went to Berlin. Arriving in early afternoon, he took accommodation at the Central Hotel with a good service, large dining room and a reading room with newspapers and “insignificant” books (Ibid., pp. 119-125).

Threat of deportation and the lure of going home
His tour of Europe did not end in Berlin. On May 12, 1887, he began his tour with his friend Maximo Viola before embarking on a trip to Manila. Prior to this, faced with threat of deportation he had to report to the German police who wanted him to show his passport because he was being suspected as a French spy. Departing from Berlin, they went to Dresden, Teschen, Leitmeritz where he finally met Dr. Ferdinand Blumentritt, Prague, Brunn, Vienna, Linz, Salzburg, Munchen (Munich), Nuremberg, Ulm, Stuttgart, Baden, Rheinfall, Schaffhausen; Basel, Bern, Lausanne and Geneva in Switzerland.  In the last country when the train reached its frontiers they parted ways on June 23: Viola to Barcelona and he to Italy. In Italy, he would write to Blumentritt of his enchantment with Rome and aboard the same Djemnah he would bid farewell to his “beloved Europe” (Ibid., pp. 318-320, 324-333).
Nevertheless, he loved the Philippines more than Europe and like what he said to the departing Dutch sisters on June 13, 1882 in Marseille, “no matter how beautiful Europe may be, I want to return to the Philippines” (Ibid., p. 74). Here was Rizal the traveller who had seen the best of Europe but kept his longing for his country because it is truism that ‘there is no place like home.’

Conclusion
What portrait can we draw from this narrative based on the travel diaries and letters Rizal himself wrote? What can Filipinos in the Diaspora learn from Rizal as an exile? More than a hundred years after his death, Rizal’s life demonstrates the qualities of a quintessential and durable hero whom Filipinos should try to understand toward understanding their own selves as Filipinos. Though numerous books and countless articles were written about every aspect of Rizal’s life, there remains something in his life unexplored just like any other great Asian or European. But Rizal is unique among the world’s great men and women; some Filipinos consider him not only as a hero but as a god, a Christ. Regardless of one’s religious or political beliefs, Rizal displays both divine and human qualities. The latter is emphasized here, which is the portrayal of Rizal as a Filipino traveller.
Rizal’s attachment to his homeland, his homesickness, is reflected in the way he would compare Laguna and Pasig with what he saw in Europe. He was never the lackadaisical tourist who would fritter away his time seeing without learning. But like most of his countrymen today scattered all over the world struggling to survive in an environment where foreigners are regarded with suspicion, he had been subjected to police harassment and threatened with deportation. It is not an exaggeration to say that he prefigured, that’s why he’s the first Filipino, what thousands of Filipinos would suffer in foreign lands for the same reason – love of country. Rizal went to Europe to create a nation while Filipinos go abroad to build the nation. But what makes Rizal the traveller Filipino is his longing to go home, to breathe the same air that nourished his soul in the land of his birth, the nation he fathered causing Filipinos today to leave and seek greener pastures hopeful of coming back.

Note
1.      The late National Artist Nick Joaquin translated the poem as “Song of the Wanderer” with the first stanza in the following lines: “Dry leaf that flies at random, till it’s seized by a wind from above: so lives on earth the wanderer, without north, without soul, without country or love!” A literal translation by unknown translator rendered it “The Song of a Traveller” with the following first stanza: “A withered leaf which flies uncertainly, and hurled about by furious hurricanes, so goes the traveller about the world, no guide, no hope, no fatherland, no love.”

References
Guerrero, L. M. (1998). The First Filipino: A Biography of Jose Rizal. Manila: Guerrero
      Publishing.
Quirino, C. (1997). The Great Malayan. Manila: Tahanan Books.
Rizal, J. (1977). Reminiscences and Travels of Jose Rizal (Encarnacion Alzona, Trans.).
Manila: National Historical Institute.

[Editor’s note: Founding director of an independent research center, the Abung na Panagbasa’y Pangasinan (House of Pangasinan Studies), the author is a former UP Diliman faculty member who taught PI 100, a course about the life and works of Rizal. While revising this, he was attending a summer archaeological field work at the University of Illinois at Chicago under a Luce/ACLS grant. He can be reached at win1tree[at]yahoo.com.]

Northern Mirror (Dagupan City) January 6-12, 2010: 5-6.


Nov 8, 2009

Panangisumpa ray balon opisiales na UPSP, Nobiembri 13, 2009

No Nobiembri 13, Biernes, ed Agew na Pangasinan, alas 9 na kabuasan, diad San
Carlos City gym ed plaza, nagawa so panangisumpa daray balon opisiales na UPSP
(Ulupan na Pansiansiay Salitan Pangasinan) ed panamegley na Konseho na Siudad na
San Carlos, say pangolo na siudad tan si Dr. Marcelo Casillan. Walay misa na
alas 7 na kabuasan tan panangitagey na bandira na alas 8 na kabuasan.

Kekerewen so panatindi da ray balon opisiales na UPSP, say balon manbebenben na
Balon Silew, saray miembro na UPSP, tan saray miembro na sayan ulupan ed yahoo.

Presidente- Mel Jovellanos
Onkumaduan presidente- Erwin S. Fernandez
Sekritaria- Elnora Dudang
Tresurera- Jesamyne Diokno
Tagapakabat (Papaway)- Sonny Villafania
Tagapakabat(paloob)- Mel Orpilla
Bisnis manedyer- Marino Repalda
Tagakwenta- Larry Millanes
Opapetan:
Dr.Rod Javier
Catalina Felicitas
Dir Jaime Lucas
Dr. Linda Andaya Grubb
Vice Mayor Orlando Bartolome

Pangolon manangikurang: Erwin S. Fernandez
Katolong ya manangikurang: Jesamyne Diokno (balita), Santiago Villafania
(anlong), Sergio Bumadilla (antikey ya tongtong), Melchor Orpilla (kopia)

Saray sumusulat: Elnora Dudang, Catalina Felicitas, Napoleon Resultay, Melanio
Malicdem tan arom ni ra

Nov 3, 2009

Panagkerew na anunsio para'd Balon Silew

Saray anunsio so bilay na Balon Silew ta pian ag napoltot so panangipalapag na
magasin. Say bili na sarayan anunsio et: loob na sakob ed arapan: P 1200 (boo),
P 600 (kapaldua), P 350 (kapat); ed loob na sakob ed beneg: P 1200 (boo), P 600
(kapaldua), P 350 (kapat); tan beneg ya sakob: P 2000 (boo), P 1000 (kapaldua),
P 500 (kapat).

Alimbawa na anunsio: panangibano na saray wadmad biektaew, panangibalitay kasal,
binyag, anibersario; doipo dara'y mankaklasi (reunion); produkto odino serbisio;
panangiamta na saray eskuelaan, unibersidad tan antoniran nayarin iyanunsio.

Kabaleyan, dia tan wadma'd biektaew, man-anunsio ki la ed Balon Silew. Naipaamta
ta'y gagaween yo, produkto, odino serbisio, akatolong ki ni ed Balon Silew tan
ed pamabulaslas na koritan tan salitan Pangasinan. Saray man-anunsio et walay
sakey ya kopia da na Balon Silew ya diman pimmaway say anunsio da.

Para'd labay day man-anunsio, ipawit yo'y kaokolan ya naamtaan ed
balonsilew@yahoo.com.

Magnayon lawas so salitan Pangasinan.

Erwin S. Fernandez
Pangolon manangikurang
Balon Silew

Korespondiente para'd Balon Silew

Pian naibilang saray aktibidades na kaluyagan ed arom ya pasen ed Pilipinas
tan diad biektaew, kekerewen na Balon Silew saray nayarin
korespondiente na magasin ed Ibali (Manila), Tarlac, Laguna, Saudi Arabia, Canada, Estados
Unidos tan arom ni ran ag abitlan lugar. Say kimey na korespondiente et
mangisulat ya 500-kataga ya balita ed lugar to ya nipaakar ed Pangasinan (totoo,
agawa, moyongan (organisasion) tan antokaman). Ipawit soy ngaran tan arom ni ran impormasion ed balonsilew@yahoo.com.

Erwin S. Fernandez
Pangolon manangikurang
Balon Silew

Tawag na pangisumiti na artikulo para'd Balon Silew

Kekerewen saray sumusulat ya mangisumiti ray anlong, antikey ya
tongtong, balita tan salaysay. Say pangisumiti et aliwan garantiya na
panangipalapag na saray artikulo. Onsaral ya ed tutul na pangolon manangikurang
tan say ibaga na saray katolong ya manangikurang. Ipawit yo ed
balonsilew@yahoo.com ya ag onlampas na Nobiembri 22.

Erwin S. Fernandez
Pangolon manangikurang
Balon Silew

Salaysay nipaakar ed miting na Balon Silew

Nen Oktubri 24, masakbayak ya nanpa-PSU Lingayen ta pian masakbay ya nasumpal so miting. Akasabiak ya 8:10 na kabuasan. Balet naigapo so miting na 11 na kabuasan ta inalagar niray arom ya kabiangan. Wadman la ya 9 na kabuasan si Madam Elnora Dudang ya maistra ed PSU.

Saray apantongtongan:

1. Say tima na ontumbok ya paway na Balon Silew (Hulio-Disiembri 2009) et say administrasion nen Gobernador Amado T. Espino Jr.

2. Say pangiuksoy na ortograpiya na saray artikulon onpapaway ed Balon Silew ed panamegley na panangipalapag na "Saray Ganggan nipaakar ed Balon Ortograpiya na Balon Silew."

3. Say pangilukas na Balon Silew ya bolong ed Bolinao tan Iloko.

4. Say reorganisasion na liderato na Balon Silew:

Pangolon manangikurang: Erwin S. Fernandez
Katolong ya manangikurang: Jesamyne Diokno (balita), Santiago Villafania (anlong), Sergio Bumadilla (antikey ya tongtong), Melchor Orpilla (kopia)

Saray sumusulat: Elnora Dudang, Catalina Felicitas, Napoleon Resultay, Melanio Malicdem tan arom ni ra

Manag-uksoy (talintao tan nengneng na magasin) Marino Repalda

5. Say pangipawitan ya amin ya artikulo: balonsilew@yahoo.com

6. Saray tima ed saray ontumbok ya paway:

a. Iniro-Marso 2010 - Saray Simbaan ed Pangasinan
b. Abril-Hunio 2010 - Saray Masansanting ya Pasen ed Pangasinan
c. Hulio-Setiembri 2010 - Panagparles na Panaun ed Pangasinan
d. Oktobri-Disiembri 2010 - Kikiew tan Tantanaman ed Pangasinan
e. Iniro-Marso 2011 - Sira-sira ed Pangasinan
f. Abril-Hunio 2011 - Saray Manok ed Pangasinan
g. Hulio-Setiembri 2011 - Saray Industria ed Pangasinan
h. Oktobri-Disiembri 2011 - Tradision ed Inkianak ed Pangasinan

No sarag ya gaween ya kada duaran bulan so paway na Balon Silew et marakep.

7. Pamaakaran nipaakar ed pangalay pondo ta nababalang so pondo na Balon Silew:
a. Pankerew ya tolong pinansial ed saray pilantropo.
b. Saray anunsiyo ed Balon Silew ya itdan say makakerew na 20 porsiento na loob na sakob ed arapan: P 1200 (boo), P 600 (kapaldua), P 350 (kapat); ed loob na sakob ed beneg: P 1200 (boo), P 600 (kapaldua), P 350 (kapat); tan beneg ya sakob: P 2000 (boo), P 1000 (kapaldua), P 500 (kapat).

8. Saray naitdan ya betang nipaakar ed administrasion nen Gob. Espino:
a. administrasion - Catalina Felicitas
b. bilay nen Gob. Espino - Elnora Dudang
c. bilay tan kimey nen Bise-Gobernador Agabas - Jesamyne Diokno
d. Nipaakar ed Agew na Pangasinan - Melchor Orpilla
e. Saray nagawa no Agew na Pangasinan (Nobiembri 13) - Nap Resultay
f. Komiks - Jesamyne Diokno

9. Say kasampotan ya agew ya pangisumiti na artikulo tan arom ni ran sulat (anlong, antikey ya tongtong, balita, salaysay): imbis ya Nobiembri 15, gaween lan Nobiembri  22.

10. Pangiyanap ya mamura balet de-kalidad ya pangigalutan na Balon Silew

Asumpal so miting ya 4 na ngarem. Salamat ya daakan ed kinen Madam Dudang ed pangiwi to'd sikami legan wala kami'd lugar da.

Erwin S. Fernandez

Oct 19, 2009

Panagbasa'y Pangasinan ed Teoria tan Praksis

Say inkorit kon artikulon pinauloan koy "Reclaiming identity toward decolonisation: Pangasinan studies in theory and praxis" et pimmaway la ed AlterNative: An International Journal of Indigenous Peoples 4 (2) 2008: 102-122. Bisita yo'y kawing: http://www.alternative.ac.nz/journal/volume4-issue2

Oct 17, 2009

No say Kastila et salita na lapag a bansa (2)

The policy of Castilianization during the Franco regime, which led to severe
suppression of Catalan, Gallego, Basco, gave rise to clamors for equality of
these languages with Castellano as official languages in their respective
regions. The generalissimo's policy was integration, unification, homogenization
through state education, the imposition of Spanish and repression. It would be
interesting to compare this with the policy of bilingualism that was adopted
during the Marcos years. In 1978, with the return of democracy, a new
constitution was promulgated that recognizes the rights of other Spanish
languages. In other words, this is not "pure speculation." Spanish was imposed
to the detriment of other languages.

The Malolos Constitution did "impose" Spanish as the national language "in the
meantime." It would be straining between the lines to say that Philippine
languages were made "co-equal." This is pure and simple "speculation." It only
says "optional" and since we do not know how they will be regulated by law, we
don't really know if they were contemplated to be "official languages."

At least the Americans taught English in contrast with Spain's refusal to teach
Castilian to the natives although we owe it a little to them that our languages
were kept alive. Spain did not want to assimilate the archipelago and integrate
it to the Spanish nation. Spain in 1898, instead of surrendering to the
revolutionary forces because it considered an abasement to deal with the indios,
the height of imperial hubris, negotiated with the Americans and sold our
country for $ 20 million dollars.

Although we owe to a very little extent the unity of the Philippine nation to
Spain, a unity that served the empire, which was preceded by the racial and
geographic unity of the archipelago and the peoples before Magallanes, it was
Rizal who conceive the idea of a Filipino nation separate and distinct from
Spain and it was the Revolution of 1898 that gave birth to that nation.

"Another chain around our neck." DILA, 3 October 2009.

No say Kastila et salita na lapag a bansa (1)

If the Philippine republic had succeeded in 1899, Spanish could have contributed
to the slow death of languages just like what English and Tagalog are doing now.
Spanish in Latin America replaced the indigenous languages becoming extinct in
the process save for a few others because it was taught to them and when the
creole nationalists won their independence they imposed the language.

Rizal in El Filibusterismo said through Simoun when the latter was arguing with
Basilio regarding the teaching of Spanish: "Os ligais para con vuestros
esfuerzos unir vuestra patria a la Espana con guirnaldas de rosas cuando en
realidad forjais cadenas mas duras que el diamante!" Pedis igualdad de derechos,
espanolizacion de vuestras costumbres y no veis que lo pedis es la muerte, la
destruccion de vuestrad nacionalidad, la aniquilacion de vuestra patria, la
consagracion de la tirania! Que sereis en lo futuro? Pueblo sin caracter, nacion
sin libertad; todo en vosotros sera prestado hasta los mismos defectos. Pedis
espanolizacion y no palideceis de verguenza cuando os la niegan! Y aunque os la
concedieran que quereis? que vais a ganar? Cuando mas feliz, pais de
pronunciamentos, pais de guerras civiles, republica de rapaces y descontentos
como algunas republicas de la America de Sur! A que venis ahora con vuestra
ensenanza del castellano, pretension que seria ridicula si no fuese de
consequencias deplorables? Quereis anadir un idioma mas a los cuarenta y tantos
que se hablan en las islas para entenderos cada vez menos!..."

But when Basilio said that Spanish would make them closer to the government and
it will unite the islands, Simoun declared: "Error craso!... El espanol nunca
sera lenguaje general en el pais, el pueblo nunca lo hablara porque para las
concepciones de su cerebro y los sentimientos de su corazon no tiene frases ese
idioma: cada pueblo tiene el suyo, como tiene su manera de sentir. Que vais a
consequir con el castellano, los pocos que lo habeis de hablar? Matar la vuestra
originalidad, subordinar nuestros pensamientos a otros cerebros y en vez de
haceros libres haceros verdaderamente esclavos!

Rizal would suggest through Simoun: "...os olvidais de que mientras un pueblo
conserve su idioma, conserva la prenda de su libertad, como el hombre su
independencia mientras conserva su manera de pensar." "...tratad de fundar los
cimientos de la patria filipina...""... cultivad el vuestro estendedlo,
conservad al pueblo su propio pensamiento, y en vez de pensamientos
subordinados, pensamientos independientes..."

Need I say more?

Making official all the major languages and creating a provision that would
allow minority languages to be taught in their schools, colleges and
universities would be the best choice rather than electing a foreign tongue to
dominate "nuestra pensamientos" once again. In any case, English and Spanish
should be taught in schools.

"Another chain around our neck." DILA, 2 October 2009.

Oct 1, 2009

Anacbanua: Say unan pilikula ed Pangasinan



Manbantay tayo'y sangkaunaan ya pilikula ed Pangasinan, say Anacbanua (Child of the Sun) ya indirihe nen Christopher Gozum. Finalist yan pilikula ed 2009 Cinemanila International Film Festival. Onpaway ed Cinema 6 na Market, Market! ed Bonifacio Global City, Taguig no Oktubri 17, Sabado, 9 na labi tan Oktubri 22, Huibes, 5 na ngarem.

Sep 30, 2009

Resibo

Erwin S. Fernandez

Sakey ya agew ed bilay nen Mariano, nanpakabit sikato ya extension line parad teleponoda. Walay telepono ed salas da balet diad tagey na abong o ed second floor anggapo. Sikaton no man-internet, awiten to ni ya amin may cpu tan monitor ed beba. Simmawa lad sayan kagagawan beba-tagey sikaton nan-apply.

Kaokolan la natan so internet singa cellphone. Sakey click labat et walay contact mo lad saray kliyente. No gabay mo mangipawit na sulat, idalan mo lad internet ta aga ni nabalang. Wala may agawa ed sikato nen impawit to may sulat tod koreo. Pigaran bulan nen simmabi man ya sulat ed amigo to. Duaran bulan amo.

Limma ed baley; diad opisina, nankorit ya application form.

“No next week et nayarin olla may too mi,” kuanto may maganan bii ed Iloco nen tenepet nen Anoy no kapigan so isabida ramay mankabit. Atepet to la no piga so bayar et so bayar manaya naibilang la ed untombok ya bill. Semmempet ya imbalita tod ina to. Maleket ton imbaga ya no onsabin Biyernes naikabit da la may extension line.

Simmabi so Biyernes, aga akaolla may taga-GIRITEL. Kabebegta nen Sabado, timmawag may too ya olla kono no Simba. “Olla kono may laki nabuas,” kuanen ina to. Mangkelaw si Anoy ta panon Simba ya olla et painawa met ed satan ya agew. Nanalagar sikato balet anggapoy limmad sikara. Nanlinis nid tagey pian aga met kababaing.

Apalabas so sakey, duaran simba anggapoy simmabi ni tawag ya mangibaga komon no akin.

“I-follow-up ko pa ed GIRITEL,” kuanen Anoy ed si ina to. “Tawag ka a tan tepet mo met no pigay bayar no manpakabit ka met ya internet.”

“Hello, i-follow-up ko lang po yung application namin for extension,” kuanen Anoy ed telepono nen adengel to ya nansalita may bii. Agto abosesan ya sikato met manaya may biin akatongtong to. “Nag-apply po kami two weeks ago ni,” kuanen Anoy nen tenepet na bii no kapigan sikaton nan-apply. Apansin nen Anoy ya walay tono ya Pangasinan may bii sikaton nansalita la ed Pangasinan. “Akin ta aga limma may too yo?” say tepet to. “Sir” nantagalog nen sansiya, “kasi po marami po kasi ang ninakaw na cable at kailangan ang tao roon. Pasensiya na po.” “Kailan kaya maikakabit yon?” “Di ko po alam pero sinabihan ko na po yung tao namin.” “Sige at hihintayin ko. Salamat, “ embebato so receiver na telepono.

“Antoy kuanda?” say tepet nen Azon, say ngaran na inaro ton ina. “Antayo met la, nanpalusot ira ya iramay tooda et dakel so gagawaenda.”

“Talagan ontan iratan,” akangngel ya imbaga nen ama to ya si Pilo. Kasemsempet ton nandalos ed dalin dad sagur na alog na Mitura. Akasumpal ya duaran taon ed political science balet timmunda nen agda la sarag na ateng to ya panaralen sikato. Sikaton nankoli ya nantrabaho ed dalinda. Say kesaw tan kasil to et limmad panan-aral na ilalakto. Si Anoy asumpal ed abogasya. Say kumadua ya si Binay, walad London ta nurse diman. Say bolirik, si Mario, et mannaaral ni ed Baguio major ed civil engineering. “Aga duma so public tan private ya burukrasya” kuanto nen nanpensew si Anoy. “Say kuandaray iskolar baleg so itulong na pribatisasyon na GOCCs ta naekal so inefficiency tan ontagey so revenue. Ontagey met so kumpiansa na publiko ed public services. Balet nanengneng naani.”

Agda gabay lan mantrabaho si Pilo balet anawet so ulo to. Binulan met ya mangieter si Anoy tan mangipapawit met si Binay ya dies mil kada kinsinas. Itulok nen amara balet ya kaokolan toy ondalos ta gabay ton nanatnat saray lamanto manlapud takeb inggad sali. Antoy kakanaen to no akairong labat ya lanang?

“Yurong kayo dia ay, ama,” say salita nen Anoy santo inyasingger may plastic ya irongan. Ingaton nen Pilo may awit ton jug ya panginay danum ed lamisaan. “Salamat,” san nanbalita no antoy agawa ed bangkagda ya arawi ed irigasyon. “Sayang iramay intanem ko. Amaga-maga may dalin sikaton inaatey iramay pagey. Kapigan kasi so ipospos na dry spell? Baleg lan kapital so pimmawey ed bulsa na karaklan ya dumaralos.”

“Balet no onuran, delap met so problema,” kuanen Anoy. “Ta lanti,” say ebat nen Pilo. “Aga natalusan so klima natan ya panaon. Kuanda La Niña soy wala natan bangta aga onooran.”

“Pawil tayo pad ibabaga yo niman,” kuanen Anoy ya walad arapan na dalikan. Inerep to may gasul ta aluto la may baaw. Nanaklo la ya sira tan baaw si Azon. “Mangan tila. Manoras kila. Alamla ramay kubiertos, Pilo. Anoy, punasan mo pay lamisaan.” Say sira da et impangat ya galunggong.

Akadongo lan amin. “May ibabagak niman,” inggapo nen Pilo, “saray pribadon kompanya paris tod saray gobyernon kompanya et panlalapuan ya korapsiyon. Say amta na totoo say gobierno labat so lawas tan mabetbet ya nababalitan lanang so red tape. Tua met ingin a. Lurey mo tay natural la so mantakew tan soy kickback et parte la na sistema.” “On lanti,” say ebat nen Anoy. “Diad DPWH, DepED tan arom ni, sikara so number 1 ed graft and corruption.” “No mansabwatan say ahensia na gobierno tan pribadon kompanya,” say imbaga nen Azon, “atan la so ibabaga ran mother of all scams. Neng mo pa tay Expo Filipino, Terminal III tan Diosdado Macapagal highway, inggad natan anggapo ni soy limmad Bilibid.”

“Azon, nanonotan mo ni may agawa ed si Binay?” say olipet nen Pilo. “On. Amay kimmerew may taga-DFA ya P50,000 pian naitdan ya tampol ya passport si Binay. Sakey simba labat la et aalagaren da la sikato ed St. Mary’s Hospital. Anggano agto gabay et nanbayar la.”

Aga akasalita si Anoy ta anonotan to may agawa met ed sikato. Mana-apply sikato ya driver’s license ed LTO nen walay simmenger ya laki. “No kayat mo nga maala nga dagus, siak kon ti makaammo dita, basta agbayad ka laeng iti tres mil.” Agto gabay la so naabala, sikaton: “Mano nga aldaw ngay?” “Two to three days lang.”

Diad NBI met nen kaokolan to so clearance parad biyahe tod Amerikan ondagop ed sakey ya International Human Rights Conference. Diad mismon loob na opisina ed Taft Avenue et wala ray fixer. Pian onbatik may papeles, mangiter ya under the table ya P500.

Sakey ni nen mana-apply ya scholarship ed UK, nan-ofrece may doctor ya pirmaan to la may health certificate anggano aga dimmalan ed check-up. Say catch balet et manbayar ya liman libo.

Nen apalabas ya simba labat, diad legal practice to ni et amay judge ya nannegnay kaso to et abayaran. Maksil so ebidensiya da ya onpabor ed kliyente to may desision. Say kaso et rape ya soy nan-gawa et anak na pulitiko. Imbis na reclusion perpetua et naacquit ni may laki. Natan et akar-akar ed baley ya singa ari.

“Sikaton so korapsiyon nagagawa, ta wala ray totoon onaaboloy. ‘Walang manloloko kung walang nagpapaloko’ kuanda ed Tagalog,” say pangisuma nen Anoy ya amawmawan ed kanononot to.

Diad onsono ya agew, anggapo ni may too. Timmawag si Anoy et apologetic may bii ya agto amta no kapigan makasabi may too ra. Panangan la ngula et satan so topic of conversation da. “Anto ira tan ya totoo? Onsabi lay patey anggapo nira,” makakalek ya kuan nen Pilo.

Talura, apatiran agew, itan lanang so pantutongtongan ed lamisaan. No maminsan say pan-istoriaan saray agawgawa ed bilay na kanayonda. Singa si Laki Asiong ya akiasawa la lamet nen inatey si Bai Goria. Sakey simba labat et wadman lad abong may bii. Pitlo lan asawa si Sion. O si Bai Atang ya ibabaga ran manananem. Tinaneman to kanoy Laki Ponso tan si Bai Goria. Kasal nen Lili no ontumbok ya Lunes. Inlako da la manaya may dalin diad abay na abongda ya pangipalageyanda kanoy ospital. Ed sayan balita, mapaga si Azon ta say datin maulimek ya lugar da et panlapuan lay ingal da ray lugan ya manparadad kulanda. Say paga nen Pilo balet amay pangibantakan day basura. Asingger ed alog may sangpot na dalin. Kuanen Anoy kaokolan ya manpagawa iray incinerator ya panpoolan ed saray hazardous ya gamgamit da ta no andi et manpetisyon ira.

Mierkules, simmabi may duaran toon mankabit na linya. Timmunda may lugan da ed arap na gate. Kaiba da ray duaran bataan dan balolaki. Timmawag ni ra manaya ed abong ya amindua nen kabuasan. Say akatongtong da et si Azon. Binangon nen Azon si Anoy ta olla ira ed baley. Si Pilo et walad dalin da.

Nilukasan nen Anoy may gate. “Pasok po kayo.” Limmoob may duara san timmombok iramay duara met balet atilak ed paway.

“Sa taas po, kuya.” Amay lakin andeket tan melag so simmigep diad tagey. Awit to may kawat na linya. “Ditan nay so pansuldongan,” kuanen Anoy ya ituturo to may kahon na pankabitay linya.

“Ang akala ko kasama na yung box na pagkakabitan ng modem?” say tepet nen Anoy. Mankelaw ta so pakatalos to amay application fee kaiba lan amin. “Hindi pa. Pare, kunin mo nga yung box.” Simmegep met may mataban laki, awit to may box. “Say onsubra balet ed dos metros, walay bayar to ya sinkuenta kada metro,” impatalos to may laki. “On, antak itan,” kuanen Anoy.

Sinukat to may laki may dukey na kawat manlapud veranda inggad computer ya walad loob na silir nen Anoy. “Sampluran metro.” “Agay lan kadukey tan ey?” opapet nen Anoy. “Aleg yo nen puputuren.”

Angalay metros ed beba santo sinukat. “Puter yo labat so limaran metro.”

Asumpal lan naikabit nen nantepet may lakin dismayado ta aga sampluran metro so aputer to, “Bayaren yo la natan o charge la ed bill?” “Pigay bayaren ko a?” “No limaran metros et ekalin so duara, walay talura sikaton P150 tan P200 ni ya application fee. Amin amin et P350.” “Mabli.” “Mitongtong kilad kaibak a sirin.”

Akin ta mitongtong ni sikato ed kaiba to kuan tod nonot to. Walay aliwan gatma da irayan duara. Say gawa da et idukey da may kawat pian baleg so ibayar. No mitongtongka singa gawa da la man ya kwarta. Siguradon aga ira mangiter ya resibo.

“Walay resibo yo?”

Nen tenepet to ya, bimmalangay aping to may lakin singa aka-shabu ta ambalangay mata to san kuanto, “Diad opisina kila sirin mambayar.”

Akaimis ya imbaga nen Anoy, “Sige, diad opisina la.”

Sinubok to may internet connection na desktop to. Asaliw to ya diad unan sweldo to. Anggano daan la et dakel lay naitulong to. Nilukasan to may yahoo account to san to denewet may compose. Aya so inkorit to:

Mita,

Nayari kasin mannengnengen ta nabuas ed Jollibee? Pantongtongan ta so planok ya iyakar ed Court of Appeals say kasom.

Kuyang Anoy

Magayagan binasa to lamet san denewet na cursor may send.

Kabuasan, bimmangon ya masakbay si Anoy. Say tongtongan da et alas otso. Nanames tan nanpatanir ed ina to tan imbagaton man-almusal lad man. Limmugan lad jeep ta agto gabay so natrapik tan makatipid nid gas.

Walay limaran minuton nanalagar sikato ed loob na Jollibee nen anengneng toy Mita ya akakawes ya berden blouse tan akamaong. Tinawag to san imbaga to, “Kumusta ka? Antoy gabay mon orderin? Treat ko lad sika.” Nanimis ya kuanto: “Siki met. Nen aminsan, sikila. Siak met natan.” “Andi. Polyan mo la man.” “Mapilit kayo met. Atay kien labat la sirin, tapa.” Immalagey tan akipila san pimmawil ya awit to may tray.

“O, ilaban ta may kasom?” kuanen Anoy kasumpal ton inakmon may sakey pisag na longganisa. Abayag ya nansalita si Mita. Singa mandurua no ilaban to ni. Si Mita et anak na sakey ya anak na dumadait. Kasumpal tod kolehiyo, limmoob ya sekretaria ed munisipio. Say amo to et mayor na baley balet no maminsan kaokolan toy olla ed abong na mayor. Diman ya agawa so doksa na kapalaran to.

“Andila amo,” maulimek ton kuan nen Mita. “Tan saray ateng ko et tataktakoten da ra.” “Aleg kan mapaga, Mita, ta iloob ta kad police protection program. Wala met soy iposte dad kulan yo.” Nanpiyeng si Mita san kuanto: “No iratay pulis et kasabwat da met, panon totan ey?” “Wala ray pulis met ya maabig tan walay kabat kon aga singad pakanengnengmo.”

Limmagey ya maliwawa so lupa nen Anoy.

Biyernes nen pimmekal sikato ya manpa-Manila. Akasabid Orosa St., diad kulay Court of Appeals ala una ya ngarem santo insubmit iramay dokumento. Manalagar nen pigaran bulan ta iiskedyul day hearing.

Simmabi may notice of appearance duaran bulan ya masolok. Nen naawat nen Anoy et tinawagan toy Mita ta no onsabin Lunes la iman. Diad duaran bulan ya aya, inaral ton maong so komplikasion na kaso. Say DNA test ya nanlapu nid Amerika soy ebidensian bebembenanto. Diad pigaran hearing ya presente sikara et asabiy taluran taon ya pannaalagar.

Sayan agew la et ebeba day desisyon na korte. Nen akairong la may judge, akalagey la may eskribiente san kuan to: “Based on the evidences presented, the court finds the accused guilty of the crime of rape and …” Agtola pinasumpal nen Anoy ta nilakap toy Mita ya manlulua ed sayan panalo.

Balon Silew 8 (1-2) (Enero-Hunio 2008): 26-28.

Jun 28, 2009

The future of Pangasinan filmmaking

By Erwin S. Fernandez

(Editor’s note: Erwin Fernandez is a historian and freelance writer who had interest in deepening his understanding of Pangasinan prehistoric and pre-Hispanic culture and civilization. He is currently attending an archaeological field school at the University of Illinois at Chicago through a scholarship award by the American Council of Learned Societies and the Luce Foundation. Excluding the interview, this article is delivered as introduction to the first screening in Pangasinan of this film at SM City Rosales on June 10, 2009 in the event called “Pamabulaslas: Showcasing Pangasinan in time for Independence Day.”)

It was April 2008 when I received an email from Christopher Gozum although I already encountered him in February in our yahoo group, which I moderate. We have common interest, which is the promotion of Pangasinan language and culture in our respective fields – his work is filmmaking while mine deals with literary and historical researches. It was coincidental that when he was attending the 2006 Asian Film Academy in Pusan, South Korea, I was also there but in Gwangju participating in the 1st Asia Youth Culture Academy.

Born and raised in Bayambang, Chris Gozum is a prizewinning filmmaker who had two Palanca awards to his credit for his plays. Surreal Random MMS Texts para ed Ina, Agui, tan Kaamong ya Makaiiliw ed Sika: Gurgurlis ed Banua (Surreal Random MMS Texts for a Mother, a Sister and a Wife who longs for You: Landscape with Figures) is the fifth in the list of his filmography. Released last year it won the Ismael Bernal Award for Young Cinema during the 10th Cinemanila International Film Festival.

The film is a 15-minute short experimental production in which eighty percent of the footages were taken by a Nokia mobile phone camera while the rest consisted of moving images of an eye surgery by a microscope video camera. Founder of an independent film outfit, the Sine Caboloan, he became the all-around producer, director, editor and scorer of this film. The film is a sort of diary of his thoughts and life as a Filipino overseas worker in the Middle East dedicated to his family in Pangasinan. Divided into four segments, the non-linear narrative uses the translation in Pangasinan of a poem of Binalonan-born writer and activist Carlos Bulosan and the eye surgery as the unifying element.

A film is worth a thousand meanings and, in this film Chris Gozum is not keen to circumscribing its kabaliksan, pakatalos. To those uncomfortable seeing an eye operation, it serves a purpose to the plot and motive. According to Chris, “…the eye surgery we see in the short film is actually performed in the ophthalmology field for a corrective purpose. They are done by the surgeon to improve the patient’s poor vision or to save the patient from further blindness. The eye you see in this film may represent my sight or my vision.”

But the sight is not only his. It is the sight of all Pangasinenses who are being blinded and, thus, could not see the beauty of their culture and their language. Hopefully, with this film, their eyes cured and restored could appreciate what our ancestors had seen. It also means that with their eyes corrected to see Pangasinan in its true form and relevance, there is hope that this film is not and will never be the last. And that Chris blazed the path of Pangasinan filmmaking toward the liberating future.

Here is the transcript of my virtual interview with Chris Gozum to enable everyone to have a view of the director’s mind.

What made you decide to make a film using the Pangasinan language? Is using the language intentional? Or is it an up-to-the-last-minute change in the plan because dubbing in English is possible?

This short experimental film (Surreal Random MMS Texts para ed Ina, Agui, tan Kaamong ya Makaiiliw ed Sika: Gurgurlis ed Banua) is the first in a series of digital films I am producing under my own independent film company called Sine Caboloan. In 2007, I decided to establish this independent film production outfit whose main aim is to produce cutting edge digital films that utilizes Pangasinan, my native language, as a medium to communicate my ideas as a writer-filmmaker who comes from this region in the Philippines.

Recently, for almost four or five years already, I realized that in order to be more sincere, authentic, and honest, I had to situate my cinematic stories in the Pangasinan heartland and communicate them in the mother tongue I have known since birth. So, everything you see and hear in this short experimental film is aligned to Sine Caboloan’s aim of promoting the Pangasinan language in audio-visual media like the cinema.

When did you come up with doing this film?

In December 2007, I purchased for the first time a new Nokia mobile phone with built-in camera. At this point, I have toyed with the idea of coming up with a short experimental film using it. But I did not go through the conventional filmmaking process where at the outset the author has a clear concept of which he writes down into a script. For this short film, I went through a more “organic” process. At the onset, I wanted to make a short film about my life and thoughts as a Filipino migrant worker in the Middle East. And I am fully aware that I only have a mobile phone camera with me, found footages, and a professional video editing software as my resources to finish the short film. So I have to structure my material within my limited resources.

Why Carlos Bulosan’s Landscape in Figures? How does the poem capture the emotions that your short film wanted to convey about the Filipino Diaspora?

I became a fan of the writer Carlos Bulosan after reading his novel America is in the Heart in 2000. In fact, I have written a 500-page screenplay adapting this great novel’s Depression-era storyline interweaving it with the narrative thread of F. Sionil Jose’s novel Po-on set in the late Spanish Period, and the actual historical narrative of the Tayug Colorum Uprising in the thirties in Eastern Pangasinan. The script is called Agkal-kalautang (Wandering). Also, I identify with him because he is an intellectual from Pangasinan with lower class origins.

I believe his poem Landscape with Figures which is intentionally translated in Pangasinan and used as an audio narration in this film encapsulates the varied layers of emotions and experiences of a Filipino migrant worker either in Depression/post-Depression era America or the present-day oil rich countries of the Middle East. Although the poem was written way back in 1942, I believe it is a timeless piece.

Aside from saving time and money, why did you use photos as collage to portray the OFW experience? How did you come up with this technique?

At the start, I was already conceiving of a short film that does away with straightforward and closed narratives we see in mainstream Filipino filmmaking and even in the so-called emerging independent Filipino cinema. I was conceiving of a fragmented, open, non-linear, abstract, and reflexive short film that would show my life and thoughts as a migrant Filipino worker in the Middle East. I have to choose a style and consider a working method/process that will fit into the limited filmmaking resources that I have taking also into account the restrictions on filmmaking in the foreign country where I live.

As a follow up to the previous question, what or who inspired you to use that technique?

As I have mentioned, the style/technique and working method/process we see on it came out organically taking into great consideration the limited filmmaking resources that I have. No other filmmaker gave me the idea although many of the techniques you see in this project are no longer new. We see them in many experimental films from Europe as early as the 1920’s. I think I have a very instinctive and improvisational approach when I was making this project. There was really no structure in terms of a full-fledged script that I had to refer to during the entire filmmaking process.

What is surreal about the film? What does the “eye” or the operation itself serve? Is the “eye” a metaphor and for what?

What is surreal is the randomness of the images – the way they are placed or juxtaposed together to present a story. Really I am not comfortable explaining the meanings of the images I put in my films. Let the audience decide what meaning/s he will associate with them. But anyhow, the eye surgery we see is actually performed in the ophthalmology field for a corrective purpose. They are done by the surgeon to improve the patient’s poor vision or to save the patient from further blindness. The eye you see in this film may represent my sight or my vision. It is I guess in this light I wish the audiences to understand the symbol of the eye images in this short film.

With this release of your film, however modest it is, how will you gauge Pangasinan film-making in the coming years?

We need to develop a local creative pool of talents within Pangasinan – filmmakers, actors, etc. We also need to chart and develop distribution networks like schools and universities, local cable television stations, and regional television stations where independent Pangasinan films may be shown to the people. Currently, English and Tagalog-language media dominate the traditional and bigger media institutions within Pangasinan. But there are alternative venues/platforms like the Internet where we can broadcast media with Pangasinan language content with relative freedom.

I am hopeful that in the next few years, more Pangasinenses especially young people will get to see my films in their schools, or in local cable television stations, or in regional television stations like ABS CBN Dagupan, or even in movie theaters inside the big shopping malls in Pangasinan.
We also need to reach out to our fellow Pangasinenses in Metro Manila and abroad, the so-called Pangasinan diaspora where I am also a part of, so charting and developing our distribution networks through non-traditional platforms like the Internet and other alternative channels is also vital.

I hope more Pangasinan filmmakers will come out to make films about our people and our community narrating their stories in our indigenous language. I believe I am the only Pangasinan filmmaker doing this right now.

Your films are part of a larger phenomenon in Philippine film – the success of independent filmmakers. How will you assess its growth and contribution to the vibrancy of Philippine film industry today and in the future?

The Philippine film industry is not my reference point, which means I don’t consider my current works alongside my future works to be a part of the Philippine film industry. I also do not consider my current and future works to be a part of this emerging Philippine independent cinema movement. The term independent cinema or “indie” in the Philippine context is, I believe, a problematic and abused term that really does not embody the spirit, vision, mode of production, and aesthetics of a “free” cinema movement in our country. Moreover, the emerging Philippine independent cinema movement alongside its counterpart, the Philippine film industry, already in existence since the 1930’s, are actually two Manila-based and Tagalog-centric culture industries that are not really representative of the cultural and linguistic diversity of the entire Philippine nation. The output of these two culture industries are mostly Tagalog language media. Films presented in other Philippine languages or are made from and by filmmakers from the “regions” have little or no room for these two monolithic culture industries.

I am an outsider to the mainstream Philippine film industry and also consider myself an outsider to the so-called emergent Philippine independent cinema movement. I will not be bothered if the mainstream Philippine film industry eventually fizzles out or independent filmmakers from Metro Manila making a digital film in Sulu are abducted and eventually beheaded by the Abu Sayyaf. Will these people even care if we from Pangasinan totally lose our ethno-linguistic pride and our children stop speaking the indigenous language of our ancestors because of uneven cultural development in our country?

I believe the continued dominance of Tagalog-language mass media not just in Pangasinan but in other non-Tagalog communities as well is detrimental to the progressive cultural development of our people in the region. I feel there is a great need to counter this phenomenon by creating more audio-visual media like films that will be accessible and available to many of our people in Pangasinan. This is now my concern and advocacy as a Pangasinan filmmaker. I wanted to see more young people, including my children, see more Pangasinan audio-visual media like digital films, and be proud of our distinct identity and our indigenous language whose beauty I am starting to rediscover.

[First published in Northern Watch, June 27, 2009]

Jun 24, 2009

Saving Pangasinan literature

Ipalapag ko yan artikulo ta tinukoy da ak dia. Salamat kinen Ging.

Saving Pangasinan literature

By Gabriel Cardinoza
Philippine Daily Inquirer
June 24, 2009

Dagupan City, Philippines—Pangasinan’s writers are in an uphill climb in their effort to save the dying Pangasinan literature.

Aside from the dearth of writers in the vernacular, members of the Ulupan na Pansiansia’y Salitan Pangasinan (Association for the Preservation of the Pangasinan Language) say they have not been getting enough support to implement projects that will encourage a literary resurgence.
“Pangasinan [writers] today lack the invigorating environment of a literary movement. We are alone in a wasteland … We are a dying tribe on the verge of extinction,” says Santiago Villafania, the province’s leading umaanlong (poet), who is also a member of the Ulupan.

With a population of 2.65 million, half of whom are Pangasinan-speaking, Villafania says the province has only three short story writers, two novelists, six poets and one essayist. Only three of them have published books in the last six years.

Literary silence

“After half a century of literary silence, sadly, this is all we’ve written,” says Villafania, a faculty member and a senior web designer of the Emilio Aguinaldo College in Manila.

In fact, Villafania’s books may be the only ones dwelling on Pangasinan poetry since the turn of the 20th century. His first, “Pinabli tan arum ni’ran Anlong,” was published in 2003, followed four years later by “Malagilion: Sonnets tan Villanelles,” a finalist in the 2007 National Book Award (poetry category)—a first for a Pangasinan poetry book.

In 2005, Villafania published a Pangasinan poetry booklet, “Balikas ed Caboloan.”
Freelance writer and Ulupan member Erwin Fernandez says the problem is that Pangasinan is still not used in teaching in schools despite the availability of Pangasinan literary materials written from the 1930s to the 1960s.

“The names of Catalino Palisoc (1865-1932) and Pablo Mejia (1872-1934), only two among the renowned zarzuela writers, come to mind when we speak of Pangasinan literature. We must not miss Maria Magsano, the educator-writer and suffragist who put up the Silew magazine,” says Fernandez, who taught at the University of the Philippines’ departments of history and Filipino.
“In the annals of Philippine vernacular literature, these illustrious names rank among the best in Tagalog, Ilocano and Cebuano literatures,” he says.

Magsano and Juan Villamil were the leading Pangasinan fiction writers of their time. Both have published their own anthologies.

Fernandez also says that unlike other languages, such as Ilocano, Tagalog and Visayan, Pangasinan does not have a publication in the vernacular. Thus, he adds, there is no proper venue for aspiring writers and authors.

“The Ilocanos have the weekly Bannawag magazine, the Tagalogs have Liwayway, and the Visayans have the Hiligaynon and Bisaya, popular vernacular magazines where one ordinarily finds short stories, essays, poems and other occasional pieces,” he says.

Since its founding in 2000, Ulupan has struggled to publish a monthly magazine called “Balon Silew.” The magazine, however, has not been coming out regularly due to shortage of funds.
Media role

Melchor Orpilla, an Alaminos City-based poet and broadcaster, says media play an important role in the resurgence of Pangasinan literature and language.

“There is a prevailing thinking, especially among the youth, that speaking in Pangasinan is bakya (pedestrian). The media can inject into the people’s consciousness that they should not be ashamed to speak in Pangasinan,” Orpilla says.

When this is done, he says, people will start reading or appreciating literary works in Pangasinan. “Unless the present generation acts concertedly to preserve it, Pangasinan shall always be in an unhappy position pushed into the periphery of oral and literary avenues,” Fernandez says.

May 8, 2009

What and How is Pangasinan music?

By Erwin S. Fernandez

If music is the soul of a nation, then what is Pangasinan music?

Last November 2007, when I attended the first conference on revitalizing Pangasinan language and cultural heritage where I presented a paper on Pangasinan studies, a guy in his late teens with uneven teeth chatted me up while I was browsing magazines and books on a table he was watching over. In the course of conversing with him, he told me that he was a member of a band at his school.

It flashed in my mind that recently a progressive group of Kapampangan youth had successfully launched a music feast known as RocKapampangan featuring different renditions of “Atin cu pung sing sing” in rock by different bands. So, I broached to him this idea: “Why not do the same in your school?” I remember telling him that by doing so his band would be pioneering in promoting Pangasinan Rock at the same time reacquainting Pangasinan youth with their native language.

Months later, the following year, I was told that a festival of that sort was being planned in San Carlos City only to be aborted. Why I felt a little sad about it is that music is in the family’s business.

My beloved grandfather can play the trumpet; I think, well, well enough to be invited whenever an important occasion happens in our barrio like fiesta or a funeral wake. I imagine him playing the trumpet to the tune of “Malinak lay labi.” It’s the only song I can sing since I was a grade-schooler ignorant of what the lyrics meant. It’s the only Pangasinan music that I can think of immediately without actually thinking. Anyway, I regret that my grandfather did not teach me the trumpet but more than this I regret what happened to Pangasinan music all these years. It has got to do with a national policy implemented when I was not yet born but when I entered school, the whole of my generation and the next were made to suffer so that the meaning of that beautiful song became buried deep in our memory.

That language policy has been around since 1974 when bilingual instruction in schools was approved to the detriment of the other languages including Pangasinan because the use of local languages in schools as medium of instruction was indefinitely suspended. Do you still wonder why Pangasinan music is not heard in most radio airwaves or why Pangasinan bands continue to ape music foreign to their ears but no stranger to an indifferent audience accustomed to Western and popular Tagalog songs? Most Pangasinenses are not trained to listen to their own music that embodies their being as a people, as a nation. Because they were made illiterate in their own language, how can they compose great songs that would express their aspirations and longings as a people? How is Pangasinan music? I could shout on top of my lungs to bewail and protest the deafening silence.

But I’m happy to note that this is not the whole picture.

Sometime in 1984 a professor at a local university who did her dissertation on Pangasinan folk literature at UP organized a performing arts group to showcase Pangasinan music.

First called Tambayo Cultural Group, in 1988 they got invitations from civic organizations, government offices and cultural associations to perform at seminars, conferences and workshops.

Under the stewardship of five former presidents: Gilmer Bautista, Genaro Manolid, Larry Milanes, Jess Estabillo and Nathaniel Valerio, this student organization came to be known today as the Tambayo Singers.

It was last year, at the book-launching of the founder’s daughter, when I finally met the group. At the dinner I talked to Shirley L. Milanes, one of the six singers and married to the musical director of the group, asking some timid questions and betraying my joy of having known that they exist, that all are not lost for Pangasinan music.

True to their name, they offered solace to the audience, mostly Pangasinenses who are, for the first time, listening in unison to the cadence and tempo of the national anthem in Pangasinan.

It had a cathartic effect on me – something in me had reawakened – but I also feel the revulsion of having to endure listening to music all these years in languages not entirely alien to me yet they caused almost irreparable damage to the indigenous musicality of my people. Nevertheless, a veteran broadcaster keeps this musicality alive.


Raul “Insiong” Tamayo, who is himself a singer, livens up the mood with his amusing, light-hearted songs in Pangasinan. Listening to him, I could not help myself grinning. His compositions depart from the folk songs like “Managsigay” or “Dumaralos”, which evoke the unhurried life in the sea and in the farm.

Or the communal chants, verses in themselves, performed around a bonfire and during harvests before the colonizer Juan de Salcedo set foot on the coasts of Pangasinan.

Biting but funny, Tamayo satirizes the excesses of individuals known and dear to every Pangasinense. In “Malabir Ka” he lampoons a wife addicted to gambling who was also a nagger.

In “Ponciano” he takes issue on some (here a family he hilariously named Ponciano from the word poncia in Pangasinan meaning party or gathering) who makes a living out of attending parties and other gatherings where food is served.

In 2004 Tamayo was named one among the most outstanding Pangasinenses in the field of music. Last year he was commissioned to write a Pangasinan hymn to be translated into Tagalog! I argue, however, that there is no need for that because we already had.

“Malinak lay labi,” in English “calm is the night,” is not only a love serenade of a man to his beloved. It is more than that. Mita Q. Sison-Duque says it’s “a love song to Pangasinan.”

And I tend to agree. Taken metaphorically, that woman, Urduja if you will, personifies Pangasinan, our homeland that we love and care because we owe her our life and freedom.

It is a patriotic song that appeals to Pangasinenses wherever they are, either scattered throughout the country or abroad. Whenever they remember Pangasinan in their loneliness or go home to visit, their sufferings are made bearable and their anxieties seem to fade away.

Pangasinan appears as a spring of hope and dreams to the masses, a fountain of wisdom to its thinkers and a source of wealth to a selfish few. For more than a century, this country song had touched the hearts of millions of Pangasinenses. Nobody knew who wrote it but the genius of its author tells us that behind the literal meaning lies the message – love of country.

Let us love Pangasinan by promoting our culture and loving our language. Sing new songs to her, mistress of our heroes, who rekindled in them the fire that forged an ancient civilization on the banks of Agno. Let these new songs, yes in Pangasinan, express love, patriotism, loyalty, anger, hate, humor, injustice – everything in the realm of human emotions – in every musical genre.

Prepare for a musical revolution and get ready to rock.

[First published in Northern Watch, March 22, 2009]


No kapigan ka manpasalamat ed atsim

Erwin S. Fernandez

Ag labat no inter toy labay mo,
Ag labat no initdan to kay palabo.

No nankolkol kayo manpasalamat ka.
No walay barongan yo manpasalamat ka.

Ta say mansanagi singa agew tan labi,
onuran onagew panangaro ag naandi.

[When to thank your sister

Not only when she acceded to what you want,
Nor when she had given you a gift.

When you had a quarrel, give thanks.
When you incurred her wrath, give thanks.

Because siblings are like night and day,
Rain or shine love never goes away.
- Erwin S. Fernandez]

Mar 11, 2009

Liriko numero 1

nen Jose Garcia Villa

Inpatalus ed Pangasinan manlapud Inglis nen Erwin S. Fernandez

Saya amay agko balot imbaga
Say naynay kon kakansionen -

Ag aya naanap ed saray agew
Aya amay naynay ya ongagapo
Diad kapalduan-ambilonget, diad kapalduan-liwawa.
Onsisileng lalon pikewet
Balet ontatagey ya atagey tan mangibabaga
No iner say unan bulaklak limmukso
Nen abalang ed lima na Dios so panangaro.
Saya et baleg a salita naandian ya tanol
Naandian taningting ya mangipatnag
No iner ya linmesab so balingit!

O balet amin iya wadman
Ed tagey na saray anlong ko sakey a balanggit.

Mar 9, 2009

Para'd Bantog ya Proletario

nen Angela Manalang-Gloria

inpatalus manlapud Inglis ed Pangasinan nen Erwin S. Fernandez

Kimmerew kayoy tinapay
Inter mi'd sikayoy bato

Andi-taligaygay
Intayatak yo ray pokel
Tan bongo yo diad
Sakop na kanonotan mi
Sinosobok yoy agew mi
Sinosomlang yoy uran mi
Pian onapura ed
Sangpot na
inkaanggapo

Impanpayabol na bosol
Sikamin angibantak na bato
Tan nankerew ed ipapatey yo
Diad pegley na kapokelan yo
Natan manorangal - para'd tinapay

Jan 18, 2009

Salitan Pangasinan ed Inagew Agew

Báley pn. 1. Tawag ed sakey a politikal a yunit ya onbibilang ed sakey a probinsia. Al. baley na Dagupan 2. Say sintro na baley ya tatawagey poblasion. 3. Siudad. 4. Komunidad. 5. Mama-, mangiletneg na baley. 6. On-, mangawa'y baley, manayam ed baley, residente na baley.

Baléy pn. 1. Man-, mangipalagey na abung ya manayam a bokor. Say talos to mangasawa la. 2. Amaléy, nanasawa. 3. Sanka-, sanasawa; sakey a tributo, buis nen panaun na Espanyol, ya ontutukoy ed duaran sanobio ag ni nikasal. Aliwan naynay ya gagamiten ya singa sankabubung 4. Panamaléy, kipapasen na sanasawa. 5. Say kaiba na ogaw ya iyanak ya kasoldong na puseg [Kadkadua ed Iloko, placenta ed Inglis]. 6. Anawet ya matirial ya onkakawes ed sakey ya ayep, singa alama, odino itnol o prutas. 7. Totokoyen to met so pasikder ya gawa'd kawayan odino kiew.

© Erwin S. Fernandez

Jan 13, 2009

Salitan Pangasinan ed Inagew Agew

Dangdanglay pn. Sakey a daan ya sayaw na saray Pangasinan ya nipalatag so panaggalaw na takyag. Kaokolan ya amtaen no panon to yan isayaw no wala ni mabilay ya makaamta. Nayari kasin saya so kapara na sayaw na saray agi tayon Ibaloi?

© Erwin S. Fernandez

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