An independent film has been claiming a lot praises from the national media. “The Road To Kalimugtong” (Ang Daan Patungong Kalimugtong), an original entry to the 2005 Cinemanila International Film Fest, has gathered various nominations to the 2006 Urian Awards last August.
The movie is about three Ifugao students, Jinky, Len-len and Popot, and their struggle of crossing mountains and winding coarse roads from their barrio Sitio Kalimugtong, 15 kilometers on their way to a remote elementary school. This problem of the Philippine education system and the problems indigenous peoples face are the focus of Kalimugtong.
This year’s Urian Awards has finally shed light on giving equal opportunities to both mainstream and independent films. However, inasmuch as the Awards recognizes the efforts of experimental film crews and advocates as well, somehow the Urian body has given focus to such story that depicts the realities of the decaying provisions and inattentiveness of the government for the country’s education system, IP problems, among others.
Its director Ramon “Mes” De Guzman, who is also author of some UP Press Books like Barriotic Punk, has won as Urian Best Director, gaining much pride for his 4-man team, excluding the indie actors. Most of the film’s indie actors were also nominated for their performance, and one of the Kaligmutong nominees hails from Baguio City – Hallen Joy Sumingwa for Best Actress in a Supporting Role, the Urian roll call said.
At I watched the Urian recap episode in a certain cable channel, I could not believe my eyes that Hallen was really one of the nominees. Stunned and elated, I confirmed with some friends that it was really the Hallen we knew from school.
She played the role of Kalimugtong’s public school teacher who did not pass the Licensure Examination for Teachers (LET) so she could not apply in the city schools. Being a Social Science graduate of the UP Baguio, with Education units at the UC and took her Masteral degree at the BSU, Hallen has projected herself not to be only a conventional teacher but a teacher that would really touch lives, so she did in the film.
Also as a progressive theater and traditional music enthusiast, she is a member of Salidummay, a singin group under the Dap-ayan ti Kultura iti Kordilyera (DKK), Cordillera Music, Tutorial and Research Center (CMTRC), Paggawisan Tako Am-in(PAGTA), Maryknoll Choir, Adivay Choir. True enough with her experiences, she gave justice to her character.
Below is an interview (via electronic mail) with Hallen as she is currently an Oral English teacher in a public school in Jiln Province, Northern China.
NORDIS (N): How did you become a part of the indie movie “A Road to Kaligmugtong”?
HALLEN (H): I met the people behind Kalimugtong at Ayuyang bar. I was then a part of the band “Bagong Lahi” whose songs are mostly environmental and cultural. Incidentally, the PR manager of Kalimugtong, Tarik was there during our Ayuyang performance. He told us that our band is apt for Kalimugtong soundtrack. However, we did not get to the OST (Original Sound Track) as some schedule conflicts occurred. But Tarik added that they were looking for a local (IP) girl who will act as Kalimugtong’s teacher. After Tarik knew I was actually a learning teacher (Pines International Academy), Tarik asked me if I can contribute my time and do the part. The next meeting was with Direk Mes and then that was when I finally decided to give time to the film despite my 10-hour teaching load daily.
N: What convinced you to do the movie?
H: Direk Mes explained the concept of the film and I was honored to be a part of it because these people are actually trying to create something that I believe could be a window where the larger populace could look into the education system of a typical town in the Cordillera.
N: How can you relate with your character in the film? Were there implications on your personal life since your character is also an IP teacher?
H: The script was not a detailed one, just the sequence of events. The actors have to do the dialogs on their own as the scenes unfold. The role was not difficult for me because I could relate to the character in many ways. First, I am a teacher and an IP. While shooting the classroom scenes, it’s just like another day of teaching for me, except that my students were local children. In the film, we were also asked to use the native language. Being an IP, I don’t have to learn the language as I already know it since birth.
Also, the story has very much relevance with my childhood. Although I was born in Baguio City, I went to remote elementary and high schools. I stayed with my grandparents in Quirino, Ilocos Sur (formerly Angaki). It is onthe tri-boundary of Abra, Mt. Province and Ilocos Sur, so I practically grew up with Kankanaeys, Maengs and Ilocanos.
To reach my school, I had to walk along rice paddies for miles and across the Abra River with only a wooden bridge. Unluckily during rainy days, the bridge was often swept away by the currents so we had to swim across the river or use bamboo rafts, jeepney tires or big plastic bags. We had to rent a house near the school and went home on weekends.
Some of my classmates in high school came from places farther than mine. Coming from remote towns of Abra, they had to hike mountains for hours, 5-6 hours the least, carrying their provisions for the week that included rice and vegetables. We used to have morning classes only during Fridays so some of my classmates could start hiking early to reach their homes by evening (depending on how fast they walk).
There are also problems in my former schools like having small libraries with very inadequate book sources. I remember one time that I counld not use a book without sharing it with two or three of my classmates. Some schools did not have libraries nor electricity.
Teachers in our town get very low salaries. Some students could not afford to pay their tuition so they pay it in kind; some parents carry sacks of rice, vegetables or animals such as chicken or pigs during enrollment or near examination time to pay their children’s tuition.
These are only some of the things I have seen and experienced while growing up, which were somehow reflected in the film Kalimugtong. I think Kalimugtong, in a way, reflects a typical local village in the Cordillera. It says a lot about the educational system in the Cordillera. Right until this moment, there are places such as the ones depicted in the film, and there are even worse scenarios.
N: Are there any similarities between your character as a Kalimugtong teacher and your current job as a teacher in China?
H: Firstly, I would assume that my current job is contradicting my role in Kalimugtong, but actually there are similarities. As most Filipinos experience, a classic answer would be the unemployment in our own country. Even though I’m a licensed teacher and a graduate of UP, it’s still very hard to enter our public schools. I was teaching in a private school before but the benefits and compensations are not that sufficient.
Also, in China, although it has opened its doors to English teachers for their young students in time for the Olympics 2008, they are looking for the “White Foreigners” to teach in the mainstream schools. So Filipino teachers, even how good they are, have difficulty in finding good schools that would hire them.
I teach in a small city, in a remote province north of China. In bigger cities, it’s very difficult to find a school because there are many “whites” also looking for work. A white English speaker, although just a high school graduate, is much preferred over an experienced teacher who is colored. So in a way, it’s like the role I played in Kalimugtong – I am now teaching in a remote area (in a different setting though). Also, as in Kalimugtong where discrimination was portrayed as a Filipina I am experiencing work discrimination here in China.
N: Was Kalimugtong an eye-opener or situationer for Cordillera peoples benefit?
H: Jinky, Len-Len and Potpot represent many children all over Cordillera, who are trying to get an education however difficult their situation may be. Some children in the highlands would not be able to finish high school or even elementary because they are needed by their parents to do some work in the fields, garden or at home. (I had some really academically good classmates who had to quit school every harvest time in order to help their parents).
There is no actual village or place called “Kalimugtong,” It was more of a concept to describe a typical village in a typical town in the highlands. It is not specific. It could be anywhere. The children could be anybody. Come to think of it, it could be any place in the Philippines. Our educational system doesn’t only have problems in the northern highlands, also in the south and different areas as well. The children suffering these similar lives are not only confined in a village called Kalimugtong in the highlands.
Some of Cordillera people who would watch, especially the older ones, may even comment that they had a harder life while studying before (20-or so years ago). But for the Cordillerans who are not exposed to more remote areas such as the younger generations who live in the cities, it (Kalimugtong) could serve as an “eye-opener” for them. Many younger people perhaps could not even imagine walking for hours and crossing rivers just to reach school. Hopefully, it would teach them to value what they have now as some kids their age couldn’t afford schooling even if they wan to.
N: How does it feel to be nominated for the best actress in a supporting role (in line with Hilda Koronel, Gloria Diaz, other mainstream actresses)? Would you say that your nomination adds to the recognition of the indigenous peoples as a whole?
H: When Kalimugtong was nominated for various awards, it gave the film more exposure to most Filipinos. Media is a powerful tool in educating the masses in various ways. I think it is a good thing since only few people focus on IP culture especially in the mainstream entertainment industry. Having more exposure and coverage, it would reach more audience and hopefully educate the people about the real situation in the highlands.
As for me being nominated, I was happy and a bit flattered but it really was not a big deal for me. Maybe the people from my small town where I grew up would be happy and proud to learn about it. The older people would say that I grew up in their small village – running around naked with the other kids playing in the rain. Or my family and friends would be happy for me too. But sadly, I cannot be there right now with them to laugh and talk about it.
On the other hand, I think the (film’s) nominations in one way add to the recognition of the IPs in general. The fact that an IP was nominated (one of the main child actors actually won an award) means that the media is opening its doors for various kinds of artists, IPs specifically. So it’s a good start, hopefully for a broader arena where we can start to educate other people about the IPs life and culture in general.
N: How else do you think could Kalimugtong propagate its message to other people? How do you think people would accept Kalimugtong?
H: Kalimugtong could be a good reference material in schools. Remember the many classes where students try to do a reaction paper? Instead of reviewing international films, why not try a local film like this that is more practical and closer to who we really are. Moreover, it could also serve as an eye-opener for our country’s Department of Education. With this film circulating the country, it says a lot about the way schools in remote areas are being handled. What can the Department of Education do about it?
Hopefully, the movie would not just be another “exotic” and “native” film for the viewers. I really hope that the situation all over Cordillera would not be “romanticized” and “exaggerated”. Lastly, I trust that the viewers, especially in the lowlands, accept Kalimugtong as it is, and eventually do something about it in their own little ways like having an open mind for once as a good start.#
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