RADZMINA TANJILI’S IGAL SAMA:COLLABORATIVE VIDEO

PRODUCTION AS INDIGENOUSMEDIA SUPPORTING DIGITAL

EDUCATION

Katrina Ines Fojas Luna

This proposal superimposes the history ofPhilippine dance research to technologicalrevolutions in the 20th century. It moves thestudy to the 21st century paradigm where digitaltechnology is the emerging trend in education andindigenous media is sound practice. Using digitaltechnologies and mixed methods, this paper shallevaluate the use of indigenous researchmethodology, deconstruct the narrative structureof Radzmina’s indigenous knowledge, find emergingthemes in indigenous media production andfeedback of culture-interested Facebook users,develop a working model for educational digitalmedia production and, finally, contribute to neweducational media in dance research.

Keywords: Indigenous Media, Digital Education, Dance Research, Social Media,Philippine Culture, Igal Sama, Educational Media

CHAPTER 1: INTRODUCTION

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BACKGROUND OF THE STUDY

Writings by Antonio Pigafetta, Fr. Francisco Colin and Jean Mallat are

found to be the earliest documents of Philippine dance. After them,

Francisca Reyes Aquino led the foundation of Philippine Folk Dance

Research in the 1920’s. The bi-output was a folk dance troupe and a

publication (Villaruz, 2011). During this era, the Philippines was

struggling to establish her independence from the United States while

the latter influenced much of the establishment. Print was the major

means of information dissemination while cinema was reserved for the

elite. Most scholarly articles were published text and still photos

during this end of the technical revolution (1880-1920) or the second

industrial revolution (Smihula, 2011). Audio-visual material output

was adaptations by the Philippine Women's University Filipiniana Folk

Music and Dance Committee.

During the end and after the scientific-technical revolution (1940-

1970), more documentation through text and photos were produced by

Libertad V. Fajardo (1961 - 1975), Juan C. Miel (1973), Jovita Sison

Friese (1980), Teresita Pascua, Petronila Suarez, Lourdes Buena and

Leon Tuy, Gloria Cabahug, and Abelardo Villavert. Adapted

choreographies were also well represented by the Bayanihan Folk Arts

Center.

During the information and telecommunications revolution (1985-2000),

Elena Rivera Mirano (1989) came out with the book Subli, Isang Sayaw

sa Apat na Tinig/ One Dance in Four Voices with four approaches to the

documentation of the dance.

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It is almost 2020, a century from when a Filipino laid the foundations

of Philippine Folk Dance Research in the light of education. In 2014,

there had been several trends to the education industry posed by

scholars globally.

A first trend to highlight is the emerging acceptance of digital

education. Casidy et al. (2014) discussed new technology in the new

education landscape, measuring student’s usage and preference of

instant messaging, mobile phones, e-readers, social networking, RSS

feeds, podcasts and tablets. Teachers globally are urged to use

digital technologies in their implementation of coursework (UNESCO,

2011).

Secondly, due to the rise of digital communications, the traditional

borders of knowledge transfer have been reduced. These traditional

borders can be geographic and demographic in nature such as location

of students versus schools, access to education, eligibility to

participate and education economy. As educational institutions begin

to participate more actively in the global economy, content is

challenged to become more international with caution against hegemony

and uniformity.

Lastly, blended learning, collaborative learning, edutainment and

personalised learning allows for a social constructivist approach to

teaching that increases student engagement and improves the learning

curve:

1. Blended learning uses both online and face-to-face ( F2F)

learning experiences. “In a blended-learning course, for example,

students might attend a class taught by a teacher in a

traditional classroom setting, while also independently

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completing online components of the course outside of the

classroom (Abbott, 2014)”

2. In collaborative learning, students form pairs or groups to

achieving a common goal. “The students are responsible for one

another's learning as well as their own. Thus, the success of one

student helps other students to be successful (Gokhale, 1995).”

3. Edutainment means entertainment that users can learn from.

Examples are games, films, and shows (Addis, 2005).

4. “Personalized Learning refers to a diverse variety of educational

programs, learning experiences, instructional approaches, and

academic-support strategies that are intended to address the

distinct learning needs, interests, aspirations, or cultural

backgrounds of individual students (Abbott, 2014).”

Given the context of emerging global trends in the education

landscape, Philippine education keyplayers shall be forced to adapt to

sustain relevance and even economic sustainability. Aside from the

challenge of professional development for teachers to be empowered to

use new technology, it is also a challenge for the education industry

to participate in digital content creation as educational media

production.

Finally, in making 21st century educational media, it is crucial to

develop skills in critical thinking. As such, context of dances such

as socio-anthropological background or current practice has to be

included in the content standard and, therefore, educational material.

Professor Janet Landsdale from the University of Sulley says this

about Re-aligning Dance Research in the 21st Century:

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“Context is a key factor in rebooting dance research and

practice: research develops in response to its context, both in

the dancing context itself and in the cultural and educational

contexts of the time. It is unlikely and unhelpful to imagine that

a universal model might emerge, rather than one designed

specifically for this time and place will develop.... Focusing

only on one dance form is not tenable. Studying only those dance

forms that were ‘new’ in the white western early twentieth century

and which claimed to be context ‘free’ are not credible from the

position we now adopt. A historical and global perspective is

vital (Landsdale, 2014).”

Cumulatively, in responding to challenges in the 21st century education

landscape, dance research must contribute to educational media that is

highly contextual, adaptive to digital technology and internationally

understandable. To achieve these, the methodology of dance research

should provide more accurate data on the context of the dance, be

suitable for digital platforms and translated for international

markets. The field of indigenous media studies best describes an

adequate method.

REVIEW OF RELATED LITERATURE

Indigenous Media are “forms of media expression conceptualized,

produced, and created by indigenous peoples around the globe (Wilson &

Stewart, 2008)” and “generally employed to cover those aspects of

visual representation over which indigenous people and others have

direct control (Faris, 1992).” In his paper, Ginsburg stated in 1991

the observation that, for the duration of 1980-1990, indigenous people

and minorities have used film and video – among other media – as a way

to communicate, self-determine, and resist [cultural domination]. With

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the phenomenon of indigenous media, he addresses how “traditional

culture” and “ethnographic film” are challenged conventions. Efforts

in indigenous media are experienced internationally for the past 40

years:

In Brazil 1985, an indigent group called the Kayapo was trained in the

handling of a video camera. Turner (1991) and his team called it the

“Kayapo Video Project” At first, the group utilized the Western

technology to document their ancient rituals and dances. After, it was

used to communicate among villages, chiefs and relatives who have not

seen each other for many years. Towards the end of the study, the

Kayapos used video to document agreements signed with government

representatives. Through video, they even denounced the construction

of a hydro-electric dam that would potentially flood their land.

(Turner, 1992). Through the anthropology of media, Turner explains how

the Kayapo not only selected cultural preservation but also used

technology to create their reality, construct identity and represent

themselves in the world (Boyer, 2006).

In Nigeria 1980’s, the home video industry has an “indigenous genre”

available as a result of the access of indigenous people to Video

Casette Recorders mass-marketed for home use in the 1970’s. Video

production was appealing to “an indigenous constituency” and now, the

output is largely available in Nigeria (Usuanlele, 2012).

Wilson and Stewart (2008) also came out with a book, “Global

Indigenous Media: Culture, Poetics and Politics”, compiling sixteen

essays by scholars, activists and media producers. Indigenous groups

were able to produce animated films in the U.S. and Canada, anti-

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regime pieces in Burma, CD-ROM of Ticuna knowledge and rituals, among

others.

In August 9, 2009, The United Nations Non-Governmental Liason Service

reinforced the 2007 UN Declaration on the Rights of Indigenous

Peoples and encouraged indigenous communities to access to new media.

With the theme “Indigenous Media, Empowering Indigenous Voices”, the

event highlighted the capacity of indigenous media to change

stereotypes, forge identities, communicate and influence socio-

political agenda (UN-NGLS, 2009).

Iseke (1998), in her paper Cultural Mirrors made of Papier Mache,

discusses the misrepresentation and appropriation of Indigenous

knowledge in educational institutions. She denounces misrepresentation

and encourages the use of indigenous media in education and through

the partnership of indigenous peoples and educational institutions.

THEORETICAL FRAMEWORK

Iseke’s recommendations are symbolic of a kind of interdisciplinary

study where indigenous research and education research work hand-in-

hand to produce indigenous research for education. Interdisciplinary

studies solve a problem

by integrating insights

of disciplines to

“construct a more

comprehensive

understanding (Repko,

2012).” Iseke’s

recommendation may be

interpreted as such:

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indigenous media studies should be intersected with education studies

specifically with digital learning – any instructional practice that

effectively uses technology to strengthen student’s learning

experience (Alliance for Excellent Education, 2015). By integrating

two disciplines, a unique set of methodology directs research design.

The output of the said design is educational digital indigenous media.

This output considers both the growing needs of the education sector

but at the same time protects the interests of indigenous peoples.

Both benefit from each other in the process of production.

METHODOLOGY

RESEARCH DESIGN

This study is a qualitative participatory action research. In this

action research, the indigenous partner participates in research and

self-reflects with the researcher on their experience of educational

digital indigenous media production and dissemination.

STATEMENT OF THE PROBLEM

This qualitative participatory action research shall involve Radzmina

Tanjili (Radz) in the production of a video series for Facebook about

Igal Sama and reflective evaluation of the production process. More

specifically, this research aims to:

1. Evaluate indigenous research methodology in the context of Radz

by collaborating with her in the designing of documentation

activities, selecting indigenous knowledge to be documented and

editing footage to be grouped

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2. Document Radz’s Igal and the indigenous knowledge surrounding her

Igal

3. Reveal emerging themes in audience feedback and researcher

experience during pre-production, production, post-production and

dissemination.

4. Develop a working model for educational digital media production

RESEARCH HYPOTHESES

1. For indigenous research methodology to be effective in the

context of Radz, the following needed to be employed:

a. Coaching and Motivation

b. Empowering Language

c. Introduction of Visual Templates and Documentary Nuances

2. Radz’s Igal and Indigenous knowledge surrounding her Igal were

organized in the following manner: theory of practice, aesthetic

qualities, context of the dance, properties of dance, cultural

transmission and gender rules

3. Emerging themes

a. Pre-production

i. Readiness and confidence to share knowledge

b. Production

i. Accommodation of researcher and indigenous partner

ii. Logistical Challenges

c. Post-production

i. Reorganization of indigenous knowledge

ii. Self-image as a determining factor to self-

representation

d. Dissemination

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i. Empowerment of indigenous peoples via supportive

stroking

ii. Negotiation with Meaning

iii. Humorous reactive

iv. Interested questioning

4. The working model consists of the involvement of several

agencies:

a. The indigenous partner as the culture bearer capable of

self-representation and media production tasks

b. The researcher as a co-researcher of the indigenous partner

and a facilitator or indigenous media production

c. Social media as the viable platform to disseminate

information

d. Learners as audiences with specific needs and the capacity

to generate feedback

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CONCEPTUAL FRAMEWORK

To conceptualize the video series, the indigenous partner and the

researcher will use groups of knowledge including indigenous

knowledge, film production and research methodologies. These are the

independent variables of the study. Conceptualization and Production

are the moderators of Emerging Themes during these two processes. The

video series is an outcome of the production process, a proof of the

narrative structure and at the same time a moderator to emerging

themes in the feedback of online communities

OPERATIONAL DEFINITION OF TERMS

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Igal means dance to the Sama (aka Bajau) peoples of maritime Southeast

Asia living in the islands in the area of the Sulu Sea, Celebes Sea

and eastern portion of the Java Sea (Santamaria, 2008). Although Sama

peoples call the dance Igal, it is called Igal Bajau to clarify its

difference from Igal of other groups that are not Bajau but also call

themselves Sama. In addition, Sama are not necessarily Filipino. Some

of the Sama who are also called Bajau reside in Semporna in Sabah

Malaysia and dance igal as well (Santamaria, 2013). Since the Sama

Bajau prefer to call themselves Sama, this paper shall use Igal Sama

to refer to Igal Bajau unless Radz indicates otherwise.

Emerging Themes is a partial descriptor of a phenomenon that the

researcher made sense of through a recognition of an order in the

data. These may only be located through an immersion with the data

(Tesch, 1987).

Jab is a symbolic giving of interesting content in social media as

analogized by Gary Vaynerchuk (2013) in his book Jab, Jab, Jab, Right

Hook: How to Tell Your Story in a Noisy Social World. Vaynerchuck

defines parameters for posting in social media that garners response

and directed action from audiences. For the duration of the jabbing,

the marketer builds relationships with audiences to weaken the

resistance to the “right hook”, the directed response.

Thread is a series of linked sequential written ideas or opinions

(exchanged among two or more online personas in an online discussion

(Backstrom et al., 2013). In Facebook, a written idea that is part of

a thread is documented as a Comment.

SIGNIFICANCE OF THE STUDY

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By limiting the authorship of the researcher in the learning material,

the dance content is more accurately represented by the indigenous

partner who is at the same time empowered in documenting their own

content. The indigenous peoples in this model are able to self-

determine and self-represent as declared by the United Nations (2009).

In the future, documentation and publication of their own content will

be done by the culture bearer as per the recommendations of indigenous

media. Through the use of most consumed media, the dance content is

effectively disseminated to the learners.

In the age of globalization, popular media tend to dominate awareness

primarily because the materials created are easily accessible and

easily consumed. Education media has the capability to spread out

awareness of educational content. Ideally, educational content is

popular content. In addition, since learning cultural content such as

dance is a means by which students are aided in identity construction,

it is important for local cultures to be adequately represented in

learning opportunities.

PARTICIPANTS OF THE STUDY

Radzmina P. Tanjili (Radz) is a 42-year old indigenous female Sama

residing in Malate, Manila. She originally came from Zamboangga and

studied in Zamboangga National High School West. She is an in-house

indigenous performer, instructor and choreographer in Bunga Arts Link;

and a beneficiary of efforts by the Department of Social Welfare and

Development. She is part of a greater resettled community of Sama who

moved to Luzon from Mindanao. She is the mother of Alvid and Faida

Tanjili. Radmina was chosen because she is one of the Sama with

experience in teaching Igal to university students. This

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characteristic contributes to the ease in content development for an

Igal Sama material.

The researcher who is also the writer of this paper is an Igal

enthusiast who has been learning the dance tradition for ten years.

She is partially networked with the Sama community through joint

projects with the Department of Social Welfare and Development, Japan

Foundation, the Asian Center of UP Diliman and Bunga Arts Link. She is

currently a digital education enthusiast learning technologies and

structures in blended learning.

The following Facebook pages and groups with their corresponding likesand members are the targeted coverage of the video series:

Facebook Page/Group Description Member Count &

Platform

Philippines’ Response to Indigenous Peoples’ and Muslim Education (PRIME)

PRIME is an initiative of the

Department of Education which

strives to improve basic learning

outcomes in disadvantaged IP and

Muslim communities. PRIME is

supported by the Department of

Foreign Affairs-Australian Aid.

464 page likes

National Commission on Indigenous PeoplesPhilippines (NCIP)

NCIP shall protect and promote

the interest and well-being of

the ICCs/IPs with due regard to

their beliefs, customs,

traditions and institutions.

2,037 page likes

Philippines History Culture and Tradition

The Philippine History, Culture

and Tradition is created for

Philippine historical, cultural

correction and discussion.

17,530 closed group members

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Kontra-GaPi Apps 2012-A

No description 25 closed groupmembers

Philippine Folk Dance

No description 95 public groupmembers

Philippine Folk Dance Society-CebuChapter

This organization is under an

umbrella organization PFDS-

National. Organizaed in the year

2002 and existed until now. The

officers are committed to promote

and preserve Phil. cultrue

through dance.

26 closed groupmembers

Hiyas Philippines Folk Dance Company

Created in March of 2003, the

Hiyas Philippine Folk Dance

Company was formed by dance

enthusiasts that enjoy the beauty

of Filipino folk dance.

46 public groupmembers

Bajau igal2 kita2 ru…

No description 25 public groupmembers

Philippine Literature, Culture, & Ideas: Kalatas

Kalatas is the official

publication of the Unyon ng mga

Manunulat sa Pilipinas (UMPIL),

the largest organization of

Filipino writers in the country.

Founded in 1974, the organization

was known for a time as the

Writers Union of the Philippines.

2,511 page likes

Association of Cultural Offices in Philippines Education Institutions

Arts and Culture Network for

Universities, Colleges and

Schools

282 closed group members

Bunga Arts Link No description 18 secret groupmembers

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Bunga Arts Link

A group of students, teachers, and

professionals studying and

performing Igal, the dance of the

Sama People.

214 page likes

These group and pages are selected due to the members’ and likes’

related interest to the topic of Philippine culture and dance. In

social media, proper targeting is necessary to achieve adequate

response. The sharing of posts is also a natural occurrence in social

media such that there is a possibility of a spillover to audiences not

initially targeted. These untargeted audiences are the Facebook

friends of sharers or the likers or members of group or page

administrators.

LOCALE OF THE STUDY

Malate, Manila shall be the initial locale of the conceptualization

stage and the final locale of evaluation as it is the indigenous

partner’s residential area and, therefore, territory and context.

Selection of Locale is part of the collaborative process. The

researcher shall help the indigenous partner secure preferred locale

of videography. Availability and access of shooting spaces are

dependent on other factors as economic requirements, sociopolitical

networking and time requested. For accuracy in documentation, the

locale should have adequate lighting and relatively silent and non-

windy environment. If noise cannot be avoided, a voice over shall be

recorded separately.

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The dissemination stage’s local is the reach of the video series in

cyberscape enumerated in the list of Facebook groups and pages

aforementioned and wherever webpage the video series is given an

online presence.

INSTRUMENTS OF THE STUDY

Blackberry Curve is a mobile phone with a voice recorder that shall be

used to record discussions during all stages of the production

process. Having mobile service, it shall also be used to document

correspondences via SMS.

A Sketch Pad and Pencils shall be used to document drawings of ideas

by Radz and the researcher during the span of collaboration and

evaluation.

A Notebook shall act as Radz’ journal of her thoughts and experiences

during the research.

Nikon D3100 is a 14.2 megapixel  DSLR Nikon F-mount camera that first

featured full high-definition video recording at more than one frame

rate. This camera shall be used to shoot videos and still pictures of

drawings. It will also be used to capture video.

Vixia HF R30 is a handheld camcorder with 33.9 mm wide-angle area, HD

lens, 3.28 Pegpiel, 51x zoom. This will come with an 8 GB internal

flash drive to record 1 hour and 5 minutes of MP4.

A Shotgun Microphone is a long, cylindrical directional microphone

that excels at picking up sounds in front of it, while rejecting

sounds to the sides and rear due to its narrow-angle range of

sensitivity. It is the best choice for voice-capturing because it

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effectively grabs the frequencies the human voice produces. This

instrument shall also convert sound waves into an electric current

that will be fed, through a three-pin XLR jack, into a recorder, in

this case, the DSLR or camcorder.

A Personal Computer with internet connection shall be equipped with

the following software and social media to record, process and

disseminate data during various stages as specified below:

Software

Adobe Photoshop is a raster graphics editor developed and

published by Adobe Systems for Windows and OS X. This software

shall be used to edit still pictures of drawings to adjust

lighting for clarity.

iMovie or Adobe Premiere shall be used to edit raw footage of the

video to create quality jabs.

Microsoft Word shall be used to encode verbal and written

responses by Radz, the researcher and Facebook users including

screen shots of threads.

Microsoft Excel shall be used to organize responses in table

format.

Social Media

Facebook shall be used as the platform for dissemination of the

video series and documentation of responses. A special account

shall also be used by the researcher to document journal entries.

YouTube shall house the entire video series for easy embedding in

other platforms not targeted but possibly used by sharers.

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PROCEDURES OF THE STUDY

Throughout the study, both researcher and indigenous partner shall

journal their daily experience of the research.

Stage 1: Informed Consent. The researcher shall discuss the project

with core participants – Radzmina Tanjili and Facebook (FB) page and

FB group administrators. A document on the activities and implications

surrounding the project shall be explained to Radz in Tagalog and

Sinama (her native tongue). FB page and FB group administrators shall

be contacted through Facebook requesting for permission to post the

video series for a specific time frame.

Stage 2: Fieldwork. Content of the video material shall be planned and

organized. During the planning, only inputs in documentation

technologies shall be given by the researcher.

Stage 3: Videoshoot Preparation. The following logistical coordination

shall take place: reservation of venue, arrangement of time schedules,

preparation of costumes and dance properties, purchase or rent of

equipment, hiring of manpower, and event risk management.

Stage 4: Videoshoot Proper. Video Recording shall commence according

to the prepared schedule.

Stage 5. Post Production. The raw footage of the video shall be viewed

by the researcher and indigenous partner. The indigenous partner shall

select inclusions and exclusions of the footage. A maximum of 1-minute

per video clip shall be imposed for the jab to be effective.

Stage 6. Simultaneous Dissemination and Encoding. The videos shall be

uploaded in YouTube and Facebook at a pre-determined interval for the

duration of 1-2 weeks depending on the amount of content to be posted.

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During this time, feedback from the online community shall also be

encoded and coded.

Stage 7. Reflexive Evaluation. Radzmina will share here experience

using her journal and summarize her inputs on the research experience.

The researcher will do the same. Both shall agree on recommendations

for future researches.

ANALYSIS OF DATA

Qualitative data analysis (QDA) shall vary for every objective of the

study.

The effectiveness of indigenous research methodology shall be

evaluated based on the valuing of the stakeholders judging the output

and experience quality based her own criteria for “utility,

feasibility and propriety (Mertens, 2009).” These shall also vary

depending on the evaluator’s meaning of utility, feasibility and

propriety – utility, generally means of use or function; feasibility,

of practical sustainability; and propriety, of conformity to accepted

norms and standards. To be able to decolonize our analytical tool,

evaluation shall be a subjective feedback by Radzmina Tanjili.

The indigenous knowledge in the video series shall be approached using

a narrative-structural analysis revealing Radzmina’s perceived

organization of Igal Sama. The narrative-structural analysis shall

discuss two layers of the video’s narrative: the first layer being the

textual surface that is more literal; the second layer being

subliminal and independent of linguistic means (Hendricks, 2009).

Emerging themes before, during and after the process of production

including themes in feedback of the targeted online community shall be

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abstracted after the researcher processes data through coding. After

initially sifting and rereading all feedback from participants, a code

book is developed. In a code book, codes are the categories according

to subject matter that emerge from qualitative data. These codes, like

keywords in journal articles or hashtags in social media, are defined

by the researcher including setting parameters for their use. After a

code book is developed, all data are coded accordingly. Coding and

code book development can simultaneously take place. Once all data

have been coded, they may then be organized according to their codes.

Themes shall emerge per code and it will then be the researcher’s

responsibility to use grounded research to explain the themes.

Usually, researchers note participant’s biases, contrasting feedbacks,

majority statements, and tones of interactions.

A working model for educational digital media production shall be

designed by the researcher based on the conceptual framework and the

recommendations of this study. The production process shall be

deconstructed such that revisions to the conceptual framework can be

applied to what was practiced and encountered in the course of the

study. Grounded theory shall be used to explain key players and sub-

processes of the model.

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MANNER OF WRITING RESULTS

The effectiveness of indigenous research methodology shall be

presented as a

summarized report of

Radzmina’s responses

according to her

criteria of utility,

feasibility and

propriety.

The narrative

structure of

indigenous knowledge

in the video series shall be diagramed according to its tension

through time. Both layers of the narrative shall be plotted in one

table like the one at the right:

Taken from: http://www.mywebpresenters.com/

Emerging themes shall be expounded by first explaining the code book.

Below is an example by Loker et. Al (2012):

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After, a table of subdomains and utterances shall be presented as

proof of the codes. The example below was provided by Walker et al.

(2013):

Emerging Themes shall be presented through a diagram whose form shall

be determined by the relationship of the themes. An example from

Colbert (2003) is displayed below:

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Just like the emerging themes, the working model for educational

digital media production shall be presented through a diagram. An

example by Keitumetse (2014) is provided below:

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