Transcript Presentation - UCLA International Institute

Teaching Culture
throughTranslation
and Subtitling
Dr. Pia Arboleda
University of Hawaii at Manoa
Background
Language learning is boring.
Our students belong to the
MTV and multi-media
generation.
To address student needs,
we must use fresh and
exciting materials.
photo: Flicker.com
Challenge
Films, songs, texts are in Filipino.
There is a need for bilingual materials.
Translation and subtitling help to bridge the
resource gap.
Translation as a Tool for Teaching
Philippine Language and Culture
 practical tips on using translation and
subtitling for language teaching
 Filipino 435: Translation Theory
and Practice
 uses of bilingual materials
for teaching culture
Target students
 Filipino heritage learners,
advanced level
Artist: Botong Francisco
Components of an Integrated Approach
to Pedagogy, Culture and Translation
Courses
Philippine Literature
Materials
Development
My Projects
• Sakay (film)
• Two Friends,
One World (story)
•That’s All / Yun
Lang (song)
Philippine History and
Culture
Translation course
Philippine Language
courses
Philippine Film
Student
Outputs
Translation
Projects
Filipino 435: Translation Theory
and Practice
Course Description: This course is an introduction to
the theory and practice of translation from Filipino to
English and vice versa. The student will learn the
fundamentals of translating literary and non-literary
texts for a specific purpose and a specific audience.
Objectives: By the end of the semester, the student
should have been able to exhibit an understanding of
translation theories, use these theories to analyze
translated texts, apply these theories to produce a
translation project.
Fil 435: Translation Theory and Practice
Part I (3-4 weeks)
Input:  What is translation?
 Purposes of translation
 Obligations of the translator
 Different translation methods
Processing Translation exercises
Activity:
Classroom discussions,
analysis of selected translated texts
Student
output:
Critical review in Filipino (3-5 pages)
Oral presentation in Filipino
Part II: Project for the Katipunan magazine
What They Say About Scheherazade
by Ramon C. Sunico
Ang Usap-usapan tungkol kay Scheherazade
isinalin nina Mary Rose dela Cruz, Leila Lagundino, Erica
Tuyay, at Jovanie dela Cruz
She is the Sultan's new wife.
Though no one sees her, those who hear cannot
forget. Her voice is sullen like the first rains of
summer that come to wake you from the edge of
a sultry night.
Her voice is sullen and it soothes.
Those who can hear her cannot forget the
incessant beauty of her telling; the endless,
delicate constructions that move the hearts of
people who do not know her.
Truly, she is blessed.
As to the source of her power, they say her art is
bought with great sadness, with pain sharper
than the pointed moon. They say she speaks
with great longing for the islands she has forever
left behind.
It is saddening to think of her own people who
have lost her. But the sultan would be a fool to
let her go.
I myself have witnessed these things. I have
heard her stories and wept as vestiges of her
voice caromed off the walls of her palace.
Siya ang bagong asawa ng Sultan.
Bagamat walang nakakakita sa kanya, yaong mga
nakaririnig ay di siya malilimutan. Mapangalaw ang boses
niya gaya ng unang patak ng ulan sa tag-araw na
gumigising sa iyo sa hangganan ng maalinsangang gabi.
Mapanglaw ang boses niya at nakakakalma.
Hindi malilimutan ng mga nakaririnig ang walang wakas na
ganda ng kanyang pangangatha; ang walang hanggan,
marupok na kathang isip na nag-uudyok sa mga puso ng
nakikinig bagamat di siya kilala.
Tunay nga siyang pinagpala.
Tungkol sa poon ng kanyang kapangyarihan, sabi nila'y
tinubos niya ito ng malubhang lumbay, ng pasakit na higit
pang matalim sa matulis na buwan. Sabi nila'y kung
magsalita siya'y kasama ang pangungulila sa islang
habambuhay niyang hindi na masisilayan.
Nakakalungkot isipin ang mga taong nilisan niya, ngunit
magiging hunghang ang sultan kung pakakawalan siya.
Nasaksihan ko mismo ang mga bagay na ito. Narinig ko ang
kanyang mga salaysay at nalugmok ako habang
umaalingawngaw ang kanyang naglalahong tinig sa mga
dingding ng palasyo.
for Mailin
para kay Mailin
Part III: The Translation Project
Pre-Translation
Project Selection
student interest
appropriate to their level of
 linguistic competence
relevance to courses at UH
Preparatory Phase
Review of cultural/historical contexts
Film viewing or close reading of text
Conversion of DVD/VCD/VHS movie to digital video file
(for subtitling) [DVDX]
Transcription (for subtitling)
Listening exercise
Spelling
Paying close attention to expressions, idioms, tone, gaps and silences
Part III: The Translation Project
Translation
Actual translation
target audience
translation theory
cultural information
difference in the language
structure of Filipino and English
Classroom Workshop
discussion of particular
problems, word choice, suggestions
Revision and finalization of subtitles or translation
Part III: The Translation Project
Post-Translation
Writing final papers (Guide Questions)
Who is your target audience?
What translation theories did you use?
Describe the process.
Discuss particular phrases or words.
What were your options?
Explain your choices.
What problems did you encounter?
How did you deal with these problems?
What are your personal reflections about
translation?
Presentation of oral report
•classroom or conferences (e.g. Filipino as Global Language, San Diego)
Part III: The Translation Project
Post-Translation (post-course activities)
Synchronization (for subtitling)
synchronize subtitles to video [Media Subtitler]
review and revision—accuracy, timing,
overlapping of subtitles [Virtual Dub]
subtitle embedding [Virtual Dub]
video conversion to DVD [Ashampoo Burning
Studio 9]
view film and revise as needed
Screening of Video (through Katipunan Sine,
SEA movie night, classroom)
Translated texts—classroom discussions
Mumbaki (1996)
Direction: Antonio Jose Perez
Subtitles: Nikolas Bonifacio, Joseph Daoang,
Francess Gagarin
Synchronization: Jorge de Luna Andrada
Mumbaki (1996)
Direction: Antonio Jose Perez
Subtitles: Nikolas Bonifacio, Joseph Daoang, Francess Gagarin
Synchronization: Jorge de Luna Andrada
excerpt from the final paper of Joseph Daoang, Nikolas Bonifacio
and Francess Gagarin
This elaborate Ifugao burial practice is performed to please the
soul of their kin and also to satisfy the gods called baki. The age of the
dead person, social status, and cause of death are also determinants
of the burial method. In Ifugao, when a person of kadangyan rank dies
of natural causes, the bodies are kept in the chair for as many as
thirteen to fifteen days. And when a person is murdered, s/he is
sometimes dressed in the same clothes s/he wore when s/he was
killed.1 Women of the family take on the duties and responsibilities to
shake the corpse continually, and shout words of vengeance and
curses on the murderers, their families and relatives. 2
In Ilocos, women of the family, usually widows, are paid do a
dung-aw (wailing, chanting, crying).
1
Tomas Andres, Understanding Ifugao Values (Quezon City:
Giraffe Books, 2004), 72.
2 Mariano Dumia,The Ifugao World (Quezon City: New Day
Publishers, 1979), 21.
excerpt from the final paper of Joseph Daoang, Nikolas Bonifacio
and Francess Gagarin
Translating this movie was indeed a great and unique way of
learning about the Ifugao. Without this project, we would not
have acquired this much information and knowledge about them.
This was a really amazing way of enhancing our knowledge
about the Philippines. Initially, our expectations for this project
were simply to hone our translation skills and apply all the
things we have discussed in class. However, by the time the
project ended, we realize that we also gained new insights on
the different complexities of both the English and Filipino
language and the translation process itself.
Videoke King (2002)
Direction: Jerry Lopez Sineneng
Subtitles: Mary Rose dela Cruz and Laila Lagundino
Synchronization: Jorge de Luna Andrada
Videoke King (2002)
Direction: Jerry Lopez Sineneng
Subtitles: Mary Rose dela Cruz and Laila Lagundino
Synchronization: Jorge de Luna Andrada
That’s All / Yun Lang
Music and Lyrics: Bob Haymes, Alan E. Brandt
Tagalog Lyrics: Gary Granada, Pia Arboleda
and Jorge de Luna Andrada
I can only give you country walks in springtime
And a hand to hold when leaves begin to fall
And a love whose burning light
Will warm the winter's night
That's all, that's all
Tanging alay ko’y kaakbay sa tag-init
Sa taglagas, hawak na labis ng higpit
At pagsuyong taimtim
Na kumot mo sa taglamig
Yun lang, yun lang
Two Friends, One World
Author: Ramon C. Sunico
Artist: Joanne de Leon
Production and narration: Pia Arboleda
Two Friends, One World
Author: Ramon C. Sunico
Artist: Joanne de Leon
Production and narration: Pia Arboleda
Sakay (1993)
Director: Raymond Red
Subtitles: Pia Arboleda and Jorge de Luna Andrada
Sakay
Direction: Raymond Red
Subtitles: Pia Arboleda and Jorge de Luna Andrada
setting of the movie,
Sakay
worker in kalesa (horse carriage) shop
comedia, or moro-moro, a folk drama based on the battles
between Christians and the Muslim Moro, the Philippines
photo courtesy of Philippine Embassy
L to R: seated, Julian Montalan, Francisco Carreon, Macario Sakay,
Leon Villafuerte; standing, Benito Natividad, Lucio de Vega
source: Flores, Paul. "Macario Sakay: Tulisán or Patriot?" in Hector Santos, ed., Philippine
Centennial Series; at http://www.bibingka.com/phg/sakay/. US, 24 August 1996.
Sakay’s vest
with religious
figures and
Latin phrases.
This was his
anting-anting
(amulet)
believed to
protect him
from bullets
and other
hazards of
war.
Further reading:
Abad, Antonio K. General Macario L. Sakay: Was he a
bandit or a patriot? Manila: J.B. Feliciano & Sons,
1955.
Constantino, Renato. The Philippines: A past
revisited. Quezon City: Tala Publishing,1975.
Ileto, Reynaldo C. Pasyon and revolution: Popular
movements in the Philippines, 1840-1910. Quezon
City: Ateneo de Manila University Press, 1979.
photo: Flickr.com, dhammza, 2005
Maraming salamat po!
For questions or comments:
[email protected]