Director: Marilou Diaz-Abaya
Writer: Jun Lana
Cast: Jomari Yllana, Elizabeth Oropesa, Chin Chin Gutierrez, Pen Medina, Ronnie Lazaro

Filmmaker Marilou Diaz-Abaya ventures into the realm of instinct andemotion in this unusual story about a male midwife. In a remote fishing village during the American occupation, young Pepito (Jomari Yllana) grows up with no choice but to learn the trade of his mother, despite obvious embarrassment and prejudices. The real test of maturity comes when he ventures from the island (the nest, the navel) to the mainland (the real world). The script won the prestigious PALANCA literary award, and Diaz-Abaya manages to get outstanding performances from her actors with her economical, understated direction. ~ Gönül Dönmez-Colin, Rovi

This film was translated and subtitled by students in the film and translation course of Pia Arboleda, Assistant Professor of Filipino and Philippine Literature, Department of Indo-Pacific Languages and Literatures, University of Hawai’i.

Please note: Bring WARM clothes as the auditorium is heavily air-conditioned!!

Distributor: http://www.kabayancentral.com
Please support the distributor by purchasing all of their films!

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The Philippines has a unique history. Beginning from the 16th century, it became part of the Spanish empire in the Asia/Pacific, a colonial arrangement that lasted for more than 300 years. Towards the end of the 19th century, a series of revolutionary upheavals led to the establishment and then decline of the new Philippine republic. The end of the Philippine-American War paved the way for 50 years of “tutelary” colonialism under the Americans. The promise of independence, disrupted by the Japanese occupation, was finally achieved in 1946 only to be challenged by political turmoil and groups contesting to define the new nation. The postwar period was marked by rebellions, revolutions, and military dictatorships. All these elements constitute the nationalist narrative that traces the emergence of a unified Philippine nation and identity.

Much of Philippine history and historiography focus on this developmental trajectory and centralizing narrative where political developments are prioritized and its capital Manila always appears at the center. But much of the historical movements in the Philippines occur outside of politics and of Manila. Since the 1980s, Philippine scholars working inside and outside the Philippines have been questioning the emphasis on the military and the political, propagating the social history of the archipelago. Simultaneously, new and established scholars, working in fields such as religion, languages, and literatures, defined the cultural and intellectual history of the Philippines. The rise of social, cultural and intellectual history led to new ways of inquiry, in effect redefining the field of Philippine studies.

This course will look at seminal and new works in Philippine social, cultural and intellectual history. By focusing on writings that challenge the conventional boundaries of the historical discipline, this course interrogates issues such as culture and colonialism, science and education, nationalism, race, class, morality and gender as well as trace the intellectual movements in Philippine studies. Moreover, students in this course will have an opportunity to read and discuss primary sources and illustrative texts produced by Filipinos. Students will gain an understanding of the developments and uses of Philippine social and intellectual history through an understanding of both general and particular historical and historiographical trends, discussion of critical issues in intellectual production, and analysis of texts and books in shaping popular knowledge and the national scholarship on the Philippines. This exploration would hopefully present not a unified vision of Philippine history but one that’s nuanced, complex, always intriguing and constantly changing.

Course Code: CRN 89008
For more information, please contact The Center for Philippine Studies at cpsdir@hawaii.edu.

Resil B. Mojares has a doctorate in literature from the University of the Philippines and is currently Professor Emeritus at the University of San Carlos in Cebu City, Philippines. His interests range through various topics in Philippine social and cultural history, and his books have consistently been honored in the National Book Awards of the Manila Critics Circle and the National Book Development of the Philippines. He has served as visiting fellow at Kyoto University, the National University of Singapore, University of Wisconsin-Madison, and University of California-Los Angeles.

Vina A. Lanzona is an associate professor in the Department of History, and currently the Director of the Center for Philippine Studies, University of Hawaii at Manoa. Her first book Amazons of the Huk Rebellion: Gender, Sex and Revolution in the Philippines (2009) won the Kenneth Baldridge Prize as the Best History Book in Hawaii (2008-2011) and demonstrate her twin passions for studying revolutions and women in political change. Her interests include Philippine social history, revolutions and collective action, women, gender and sexuality and comparative colonialisms.

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Dir: Ishmael Bernal
Screenplay: Ricardo Lee
Cast: Nora Aunor, Veronica Palileo, Spanky Manikan, Gigi Dueñas, Vangie Labalan, Laura Centano, Joel Lamangan

Considered by many to be one of the greatest films in Philippine cinema history, frame for frame, HIMALA may also be the most beautifully shot Philippine film I’ve ever seen. With a photographer’s eye, director Ishmael Bernal (City After Dark, Relasyon) turns an arid, non-descript countryside Philippine town into a mystical place with real people. The Superstar of Philippine Cinema, Nora Aunor, playing the lead role, works with the visual setting as much as it works with her. She’s the ever-sad Elsa, an illegitimate child who one day claims, like many of us Filipinos like to do, to have seen the Virgin Mary, who has endowed her with super healing powers. A battle between her and a doubtful, sometimes vengeful, Catholic church ensues, and she starts winning. Throngs of peasant folk travel from afar to get their miracle on, and the once-filled church dwindles to a measly ten people. Is she real, or is it a hoax? For a suffering people short on hope in the faith they were given, and seeking it elsewhere, anywhere – does it even matter? Acting with just her eyes for most of the film, Aunor is mesmerizing. HIMALA makes a potent, poignant statement on Filipinos’ faith, making a subtle connection between the colonial legacy of the church and the suffering that drives us toward and away from it. -Prometheus Brown

Distributor: Kabayan Central

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Outerhope was formed in the summer of 2004, when siblings Michael and Micaela Benedicto started working on songs made sparingly with a guitar, an electric piano, and a lot of vocal harmony. They were inspired by stacks of old children’s records, lost tales and limericks, and old folk songs.

Their first studio recording was the album Strangely Paired, released independently in 2005 and re-released by Terno Recordings in 2006.

Outerhope’s second album, A Day for the Absent, was independently released in October 2009. -Last.fm

Numberline Records | Facebook | MySpace | Last.fm | Upcoming Gigs

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The San Remigio, Cebu Excavations: Notes from the University of Guam 2011 Archaeological Field School

Co-sponsored with the Department of Anthropology
Location: Honolulu, HI USA
November 2, 2:00pm – 3:30pm
Manoa Campus, Moore Hall 319 (Tokioka Room)

Summary
The archaeology of the island of Cebu in the Philippines has recently received increased attention from local and international scholars. The support provided by the local government and the presence of a robust heritage and historical programs in Cebu-based universities has made research in the island-province conducive to collaboration among local and international archaeologists. An example of this collaboration is the recently concluded University of Guam Archaeological Field School in San Remigio, Cebu, a collaborative training and research project between the University of Guam, the National Museum of the Philippines, the University of San Carlos (Cebu City), and the University of the Philippines- Archaeological Studies Program (Quezon City). The field project excavated an ‘Iron Age’ burial site in San Remigio, Cebu, located on the northwestern tip of the island. Excavations provided ecological, landscape, and cultural data on the ‘Iron Age’ of the island- province. More importantly, the project provided the first secure Cebu Iron Age radiocarbon dates. I will present the preliminary findings from the 2011 field season of the San Remigio, Cebu archaeological project.

Speaker Bio:

Stephen Acabado received his BA in Anthropology from the University of the Philippines, Diliman and his MA and PhD in Anthropology from the University of Hawaiʻi at Mānoa. He is currently an Assistant Professor of Anthropology in the College of Liberal Arts and Social Sciences, University of Guam. His research interests include Southeast Asian archaeology, landscape archaeology, and heritage management.

Event Sponsor
The Department of Anthropology and the Center for Philippine Studies, Mānoa Campus

More Information
Clem Montero, 956-6086, cps@hawaii.edu

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Voices of a Decade: Critical Perspectives on the Dekada ‘70
Location: Honolulu, HI USA
Thursday, October 27, 2011, 3:00-5:30
Center for Korean Studies Auditorium

A film by Chino S. Rono based on the critically acclaimed novel by Lualhati Bautista, Dekada ’70 portrays the lives of Filipinos during the Martial Law era. These presentations provide analytical insights on history, gender roles, and the struggle of Filipino youth.

The following papers will be presented:
Footprints of Subversion: Dekada ’70 and Martial Law — Karl Christian Alcover
Julian Bartolome and the Vulnerabilities of Being Male — Karl-Ryan Meyer
Beyond Gender Boundaries: Amanda Bartolome as a Portrait of Filipino Women in Dekada ’70– Jason McFarland
Fragmented Spirits: The Disempowerment and Struggle of Filipino Youth in Dekada ’70 — Joyce Camille Ramano
Romanticizing the Woman: Challenges Facing Filipino Women in the 70s — Jose Mari Barbasa, Jerome Clemente, Mac Neil Moresca, Nescia Pearl Ponce, Krystle Urmeneta
The Circle of Men: Patriarchy and Dekada ’70 — Jam Nicole Cristobal, Chesare Antonio-Reyes, Jerome Balbin, Tai Seng Wai, Jeffrey Aganos
Playing the Giants: Human Rights Violations during Martial Law — Florante Baptista, Alvin Namnama, Sheryl Nillo, Kirsten Kadoyama, Krystle Ann Pastores
Biting the Bullet: On Asserting Freedom through Activism during Martial Law — Brian Thompson, Lucas Brog, Yvette Butac, Vanessa Cadiz, Camille Frieda Cristobal

Admission is free. Open to the public. For inquiries, please contact Dr. Pia Arboleda at pca62@hawaii.edu or (808) 956-5901.

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Weaponizing Language: U.S. Counterinsurgency and the Politics of Translation Dr. Vicente Rafael
Co-sponsored with The History Workshop, Department of History
Location: Honolulu, HI USA
October 7, 2:30pm – 4:30pm
Manoa Campus, Sakamaki A201

Summary
Professor Vicente Rafael (University of Washington, Seattle) will present “Weaponizing Language: U.S. Counterinsurgency and the Politics of Translation,” as the next talk in the History Workshop series “War and Society: Considering Justice, Violence, and the Military in History.” Much has been written recently about the rise of counterinsurgency stressing the “protection of the population” as the preferred strategy of the U.S. in its permanent “global war on terror.”

This talk will focus on two of the most prevalent tropes in the discourse of counterinsurgency: the “weaponization” and “targeting” of foreign languages. How is the counterinsurgent notion of languages as “weapons” and “targets” linked to the strategic imperative of deploying translation as a means for colonizing the lifeworld of occupied populations?

How does the American military seek to expropriate the practice of translation through the development of automatic translation systems and exploitation of the mediating power of native interpreters? What are the limits and contradictions to the targeting of speech and the militarization of linguistic exchange between occupiers and occupied? What do these limits on the weaponization of translation tell us about the vicissitudes of counterinsurgency as a strategy for sustaining the U.S. empire? Finally, are there other ways of conceiving translation in ways that exceed the terrifying demands of war?

Speaker Bio:

Dr. Vicente L. Rafael is Professor of History at the University of Washington. His research and teaching specialties include the following fields: Southeast Asia (especially the Philippines), Comparative Colonialism (especially Spain and the United States), and Comparative Nationalism. Professor Rafael also maintains an active interest in the related fields of cultural anthropology, literary studies and European continental philosophy. Through his location in the department of history, he have sought to touch on topics that include language and power, translation and religious conversion, technology and humanity, the politics and poetics of representation.

Event Sponsor
History and the Center for Philippine Studies, Manoa Campus

More Information
Suzanna Reiss and Matt Romaniello, 956-7407, histwork@hawaii.edu

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Director Auraeus Solito departs from the Filipino urban jungle of his lauded debut “The Blossoming of Maximo Oliveros” and explores life in the wilder jungle of “Tuli,” in which a strong-willed daughter upsets every arrangement her alcoholic father (Bembol Roco) tries to impose on her. With dad being the village’s official circumciser, and daughter Daisy (Desiree del Valle) expected to follow in his footsteps, the film sets up a heady brew of daring sexuality and ancient rituals. As the years pass, Daisy is of marrying age, and though the circumcised lads romantically serenade her outside her window, Daisy’s heart is for girlfriend Botchok (Vanna Garcia). “Tuli” won “Best Film” at the Philippines indie fest Cinemalaya, only to be banned in its home country. The film went on to screen at Sundance and in Berlin (where it won the NETPAC prize for best Asian film).
-Robert Koehler, Variety

Facebook | IMDB | Lilok Pelikula: Sculpting Cinema

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Established in 1981, Hawaii International Film Festival (HIFF) is dedicated to the advancement of understanding and cultural exchange among the peoples of Asia, the Pacific and North America through the medium of film. The Center for Southeast Asian Studies is proud to sponsor the following films at the 31st HIFF:

THE GAME KISS
Part of SHORTS PROGRAM #2
Dir. Paul Agusta
Indonesia 2011
9:15 PM | Saturday, October 15 | Dole Cannery E

BUSONG
Dir. Auraeus Solito 2011
Philippines 2011
8:00 PM | Monday, October 17 | Dole Cannery F
1:00 PM | Tuesday, October 18 | Dole Cannery B

LIVING IN SEDUCED CIRCUMSTANCES
Dir. Ian Gamazon 2011
United States/Vietnam 2011
8:45 PM | Tuesday, October 18 | Dole Cannery C

THE DANCE OF TWO LEFT FEET (ANG SAYAW NG DALAWANG KALIWANG PAA)
Dir. Alvin Yapan
Philippines 2011
6:00 PM | Saturday, October 15 | Dole Cannery D
4:30 PM | Monday, October 17 | Dole Cannery E

RAKENROL
Dir. Quark Henares
Philippines 2011
6:15 PM | Saturday, October 15 | Dole Cannery E

STAR-CROSSED LOVE
Dir. Erick Salud
Philippines 2011
9:30 PM | Friday, October 21 | Dole Cannery E
8:15 PM | Sunday, October 23 | Dole Cannery E

THELMA
Dir. Paul Soriano
Philippines 2011
2:45 PM | Saturday, October 15 | Dole Cannery B

THE WOMAN IN THE SEPTIC TANK
(ANG BABAE SA SEPTIC TANK )
Dir. Marlon Rivera
Philippines 2011
5:00 PM | Thursday, October 20 | Dole Cannery E

BREAKFAST LUNCH DINNER
Dir. Kaz Cai, Wang Jing, Anocha Suwichakornpong
Singapore 2011
3:30 PM | Wednesday, October 19 | Dole Cannery C
11:30 AM | Saturday, October 22 | Dole Cannery A

ETERNITY
Dir. Sivaroj Kongsakul
Thailand 2010
1:00 PM | Sunday, October 16 | Dole Cannery C
3:30 PM | Tuesday, October 18 | Dole Cannery F

SAIGON ELECTRIC
Dir. Stephane Gauger
United States, Viet Nam 2011
4:30 PM | Saturday, October 22 | Dole Cannery A

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Death Threat are pioneering gangsta rap artists in the Philippines composed of MCs O.G. Beware, olan, Hi-Jakkk, O-Dogg, Gloc-9, Konflick, Phat-L, Dyablo, Sir Scratch and Radical M.K. & the only English speaking artist in the group M.E.N.A.C.E. At a time when party themed tracks dominated Pinoy rap as exemplified by such mainstream artists like Denmark and Andrew E, they released their seminal “Gusto Kong Bumaet” debut LP which ushered the Philippine Hardcore and Gangsta Rap Scene. The group became famous for their song “Gusto Kong Bumaet” (I Want To Be Good) which told tales of the daily lives of the young impoverished Filipino youth growing up in the city streets and slum areas, other singles are “Ilibing Ng Buhay” with Pooch of Ghetto Doggs, “24 Oras”, “Kamusta Na”, “Babae Ay Minamahal”, and “Private Diane” with Ely Buendia and master rapper Francis M. . They already shoot their first single “Hood2Hood” on their 8th upcoming album “Death Threat 8″ and soon to bang on your hood. They have released several albums since then and are currently signed to the record label “Real Deal Productions”. -Wikipedia.

Facebook | Fireball Artists Page | PinoyRap.com | Interview | Music Samples

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