So How DO You Make a Living doing ‘Communication for Social Change’?: Notes on DevCom for the Uninitiated or Confused (Part 1)

RE de Leon resigned as an Assistant Professor of Development Communication at UP Los Baños four years ago.  To “find himself.”  This series is put together material from some of his personal notes during that time. He hopes readers of Words from the Land of Juan will find it at least informative, or if the reader is a young development communicator perhaps able to offer some practical help. This article is the first of three parts. RE de Leon can be reached at isangboses@gmail.com

So. How do you make your living as a “development communicator”?

Ask a development communicator that question and watch him/her squirm.

(Wikimedia Image: The transmitter of Radyo DZLB (1116 AM), "Ang Tinig ng Kaunlaran" in Los Baños, Laguna, owned and operated by the University of the Philippines Los Baños - College of Development Communication.)

If you ask what a Development Communicator does, there’s a quick answer: “We use communication to create positive social change.“

Followed by a quick example, that answer will usually satisfy the inquirer’s curiousity.  Either that, or s/he gets scared of asking further lest s/he get a lecture for her efforts.  (And unfortunately, that’s usually what happens.)

On occasion, however, someone will ask a Development Communicator a follow up question like.“Wow, communication for social change sounds heavy. How do you make a living out of that?”

To be a DevCom graduate is to take pride in being able to explain things succinctly, so development communicators often find themselves tearing their hair off in search of a quick, simple answer.

***

But that’s because it ISN’T simple.

DevCom is a very wide field with several different, sometimes conflicting approaches to the practice.

If you understand those approaches, explaining “how you can make a living by doing “communication for social change” becomes much simpler.

***

The confusion stems from the fact that people tend to organize their understanding of Development Communication in terms of media, rather than professional philosophy.

***

Mass Communication, the communication course people think of when they hear “communication,” organizes its majors in terms of Print, Broadcast, and AudioVisual media because that course focuses on giving its graduates a technical proficiency in those specific communication tools.

And people tend to think of DevCom as similar to MassComm, so it makes sense that when people try to grasp the concept, they try to organize it along similar lines.

But Development Communication is supposed to be focused on how you can use communication (including, but not exclusive to media) to help make development happen.

MassComm is focused on tools, DevCom is focused on applications.

***

It doesn’t help that the the various institutions that teach DevCom in the Philippines have majors that are set up that way… Not that I’m blaming the schools. Academic fields are difficult to organize, the process takes time, and can be very contentious. Perhaps in a later I’ll talk about DevCom curricula, but on a different more DevCom-specific blog, since thelandofjuan caters to a much broader audience.

***

Whether you’re starting off your career in DevCom, trying to reevaluate your place in the field, or curious about the profession for some reason, it would be helpful to understand the broad approaches or work philosophies of the field

I’m looking forward to a career shift myself, so I’m spending some time reexamining these different philosophies  and thought I’d share.

For a moment, let’s forget the tools (Media), and let’s identify the ways communication is most often applied to the challenges of development:

1. Strategic communication in Development Programs (Strategic Communication)

2. Communication applied to Science (Science Communication)

3. Communication applied to Education (Educational Communiation)

4. Communication used to promote cultural awareness (“Cultural Work”)

5. Empowering Communities through Communication (Community Communication)

Each of these can take you to vastly different career experiences.  For example, strategic communication especially tends to present more lucrative options with grater stability.  Community communication tends to be much less lucrative, but often offers its practitioners a great deal more independence.

***

I have to break off here, but tomorrow I’m going to follow this post up soon with a brief look at each of these different approaches. And then hopefully I can close the series up with a historical look at how the profession became what it is today.

I also want to talk about Typhoon Juan, so I’ve got a lot of writing ahead of me. Call it penance for not having posted for so long.

See you tomorrow!

-30-

12 for our 112th: Twelve Films for the long Independence Day Weekend

Until recently, RE de Leon was an Assistant Professor of Development Communication at the University of the Philippines Los Baños. He has since resigned to pursue new creative directions and is now a freelance writer based in Agoo, La Union. He can be reached via email at isangboses@gmail.com

With the long weekend coming up, I had a decision to make: what’s was the best way to celebrate the 112th Philippine independence day?

As I often tend to do, I followed up on a bad pun and decided I’d spend the day watching Filipino independent Films. Which led me to this idea for post on thelandofjuan.  Why not take 12 notable Filipino films and take advantage of the long weekend to promote Philippine filmmakers?

The author's pick of Twelve Filipino Films for the long 112th Philippine Independence Day Weekend:Mangatyanan, Bayaning 3rd World, Imelda, La Visa Loca, Gatas Sa DibDib ng Kaaway, Himala, 100, Namets, Endo, Mumbaki, Dekada 70, and Kubrador

I’ve only been a fan of Philippine cinema for a few years myself,  with Raymund Red’s Palm d’Or winning short film “Anino” opening my eyes to the incredible talent of our Filipino filmmakers.  So I’ve made this list for the Filipino film newbie – to those who have yet to discover or are only beginning to discover how good Filipino films can be, and I’ve tried to come up with a brief description of why I thought they were great.

These films – Mangatyanan, Bayaning 3rd World,  Imelda, La Visa Loca, Gatas Sa DibDib ng Kaaway, Himala, 100, Namets, Endo, Mumbaki, Dekada 70, and Kubrador range from comedy to  period drama to romantic comedy to documentary, so I hope there’s a little something there for everyone.  I’ve  tried to pick films that can be watched by barkadas together,  or, if the children are ready for somewhat mature fare in some of the films, by families.

So here they are.  I hope you enjoy them as much as I did.

Jerrold Tarog's "Mangatyanan," starring Che Ramos

1) Mangatyanan

This article begins with Mangatyanan because Mangatyanan got this entire idea rolling. I caught a short film (less than 10 minutes long) on Facebook one day called “Faculty” which was directed by Jerrold Tarog and starred Che Ramos.  When a search of both names revealed that they had both worked on a film called Mangatyanan, I remembered that I had it on my “rainy day viewing” DVD collection. Long story short, I took it out, watched it, and was completely blown away. Before the end of that day, I had seen the movie thrice (there are two commentary tracks on the DVD),  gone through the behind the scenes documentary and the comedy reel (both on the DVD), and written the previously nonexistent Wikipedia page for the movie… and oh, I instantly turned into a huge fan of Che Ramos.

So what’s the movie about? The “Mangatyanan” is a [fictional] ritual performed by the [fictional] Labwanan tribe which writer-director-editor-composer Tarog came up with as an allegory for the Filipino journey. The story of film revolves about travel photographer Himalaya Marquez (Che Ramos) who has been assigned to document the ritual. Laya gets a first hand look at the contradictions and hypocrisies lived out the dying out Labwanan, and begins to see parallels in her own life. In the Labwanan language, the “Mangatyanan” literally means “the blood trail.” Will Labwanan survive their Mangatyanan? Will Laya?

If you get a chance to watch the film, I hope you see why Ramos and Tarog transformed me in the space of two hours from a so-so supporter of the Filipino Independent Film industry into a true “you-have-to-go-watch-this” fan.

2) Bayaning 3rd World

“Hindi pampelikula ang buhay ni Rizal,” argues one of the main characters in this 2000 film. And if the many films out there about Rizal are any indication, they’re probably right.

Mike de Leon's "Bayaning Third World"

A downside of the fact that Rizal wrote so much is that we know so much about him — too much, in fact, to digest properly into two or even three hours of film. Rizal the nationalist, the novelist, the doctor, the poet-orator, the womanizer, the good son, the champion fencer, even Rizal the lousy singer – all of them have to be crammed in there somewhere. While biopics by definition reduce their subjects to caricatures of themselves, the Filipino filmviewer knows Rizal too well to accept an oversimplification. And of course, since answers all too often lead only to more questions, our familiarity with Rizal results in controversy, posturing, and conspiracy theories. So the folks who made Bayaning third world came up with an obvious solution. They didn’t make a movie about Rizal. They made a movie about two filmmakers trying to make a movie about Rizal. The metanarrative structure allows them to explore Rizal with a depth no other Rizal film has achieved so far.

Bayaning 3rd World is humorously irreverent and yet respectful of the subject, skillful in its exploration both of the man and the legend.

In a way, it’s accurate to say the makers of Bayaning Third World cheated. They didn’t make a film about Jose Rizal. They made a film about us, living a hundred years later, trying to make sense of this Bayani, third world or not.

Ramona S. Diaz' "Imelda"

3) Imelda

Another documentary about another enigmatic figure in Philippine history – this time one still very much alive.

Filmmaker Ramona S. Diaz got permission to film former first lady Imelda Marcos up close for this film, but when it was finally released in 2003, she balked, saying that it made her appear like a “cheap flirt” and an “airhead, like a frivolous, wanton, extravagant woman at the expense of the poor”. Claiming that she gave permission for the film to be released only as an educational project, rather than a commercial release, she took Diaz and Co. all the way to the Makati Regional Trial court. Imeldific eventually allowed the film to be shown on the condition that it not be released with the word “documentary.”

Was Diaz’ film biased? Did it present an accurate picture of Imelda Romualdez Marcos? Grab a copy at your nearest DVD store or rental, and Decide for yourself. At the very least, you will have gained a closer look at Apo Macoy’s widow than most of us will ever have.

Confession from a Verbose Writer

Today’s post will be short. I got it off one of my Facebook posts:

Post: I apparently do not think in simple sentences. It’s almost as if the clauses can’t help but make an appearance. In college I solved this by writing everything thrice, simplifying more in every stage. That, unfortunately, is not a process well suited to Facebook. :S

Comment 1: It seems I can’t write simple sentences. I can’t help but add clauses to them all. In college I used to solve this by writing everything thrice, simplifying in stages. Unfortunately, that process isn’t Facebook friendly. :S

Comment 2: My sentences are too complicated. I can’t seem to help it. In college I had the time to simplify them during rewrites. But that’s hard to do on Facebook. :S

Until recently, RE de Leon was an Assistant Professor of Development Communication at the University of the Philippines Los Baños. He has since resigned to pursue new creative directions and is now a freelance writer based in Agoo, La Union. He can be reached via email atalternativity@yahoo.com

-30-

A Storyteller in the Senate? Why whatever happens, ‘Bagong Istorya’ has already won a victory (Part 2)

This article was written by RE de Leon as a piece for WordsfromTheLandofJuan. However, TheLandofJuan seeks to be politically neutral, so the opinions expressed in this article represent those of RE de Leon rather than the site as a whole, or of any other writers, past or future, for TheLandofJuan. Until recently, RE de Leon was an Assistant Professor of Development Communication at the University of the Philippines Los Baños. He is now a freelance writer based in Agoo, La Union. He can be reached via email atalternativity@yahoo.com

Part 1 of this article can be read here.

In part one of this article, I tried to outline our country’s need for ‘Bagong Istorya’, which happens to be the of senatorial candidate Alex Lacson.

I said that in this part I would raise the question of how the Bagong Istorya agenda can be translated into specific, measurable, actionable, result-oriented and timebound action objectives.

***

In terms of encouraging participation among Filipinos, the publication of Lacson’s book “12 Little Things Every Filipino Can Do For His Country” is already a milestone. Lacson the private citizen had decided to make a series of lifestyle choices which he felt were good ways of doing what he could to help the country. Not satisfied with just making those choices himself, he wrote a book that encouraged others to do the same.

The reason it’s so important to bring up how the Bagong Istorya agenda can be translated into S.M.A.R.T. objectives is that Bagong Istorya concerns itself primarily with attitudes, values, and world view.

And while we’ve recognized for decades now that attitudes, values, and world view are at the heart of our problems as a country, it’s extremely difficult to quantify what exactly it is that needs to be done.

The result has been a self-flagellating culture where, as Anthropologist and Inquirer columnist Michael Tan once put it, we “put ourselves down and blame so-called Filipino values (or the lack of values) for everything from adultery to graft and corruption.”

My favorite example of this: one of the most memorable gags from the old John and Marsha series back in the ’80s, was the repeated charge “Magsumikap ka, John,” which Dolphy’s character had to endure from his cantankerous mother in law. The gag worked because the accusation of indolence was usually out of context – by the time John Puruntong got his earful from Doña Delilah, he had already done everything he can to resolve the problem presented in the episode. The accusation that John was not “masikap” was unfair, and based purely on Doña Delilah’s pre-judice regarding John’s “values.”

“Pinoy culture has context,” Tan says to conclude his point, “and it is an understanding of this context that will help us deal with ourselves.” That’s where a message like Bagong Istorya comes in.

***

I have often wished over the last few weeks that Lacson would spend more time expounding on Bagong Istorya in the same vein as the Lee Kwan Yew quote. But Time Magazine interview and a senatorial campaign are two very different things. Where Lee Kwan Yew could afford to lecture (or perhaps the better word is ‘pontificate’), Lacson had to reduce his message to a quick-recall soundbyte. And with the help of his energetic campaign team, he did surprisingly well. Lacson whittled his expositions of the Bagong Istorya message down to variations on the phrase “We are the heroes we are looking for.” Or, expressed from a different point of view, the JFK quote: “Ask not what your country can do for you — ask what you can do for your country.“

Instead of the traditional message, which positions the candidate as a virtual messiah, a message like Bagong Istorya positions the ordinary Filipino front and center in the effort to bring about a bright future for the Philippines. Consider for a moment how revolutionary that idea is.

***
When trying to set objectives in line with citizen-centric development, it is important to remember that there are two sides to the equation: “upstream” participation and “downstream” empowerment.

Lacson’s background is that of a social organizer (which is what lends him his credibility.) It’s not surprising, therefore, that his strength lies mainly in encouraging participation. He decided to run for Senator back in only in December of 2009, and since the senate is a government post, Lacson was faced with the task of enunciating what it was he would do in the senate to promote empowerment.

A Storyteller in the Senate? Why whatever happens, ‘Bagong Istorya’ has already won a victory (Part 1)

This article was written by RE de Leon as a piece for WordsfromTheLandofJuan.  However, TheLandofJuan seeks to be politically neutral, so the opinions expressed in this article represent those of RE de Leon rather than the site as a whole, or of any other writers, past or future, for TheLandofJuan. Until recently, RE de Leon was an Assistant Professor of Development Communication at the University of the Philippines Los Baños. He is now a freelance writer based in Agoo, La Union. He can be reached via email atalternativity@yahoo.com .

To skip to part 2 of this article, click here.

Today is May 9, 2010. Filipinos, make sure you vote tomorrow!

In less than 24 hours, I will go to my old elementary school, mark a sheet of paper, run it through a machine, and thus cast my vote for the various elected positions in the government of the Republic of the Philippines.

And the first mark I make on the ballot will nominate #23, Alexander “Pinoy” Lacson as senator.

Many of you know I am actively campaigning on my Social Networks for Alex Lacson, doing the best I can with the resources at my disposal online to help get the man elected to the senate. Many of you have asked me why. I have explained the choice in the simplest possible terms to everyone who asks by quoting the man himself, or his book, “12 Little Things Every Filipino Has Done For His Country,” or by citing his advocacy record. Some of you have been convinced, some of you, not.

I’d like to try to explain my support one last time before the election, but not in an effort to convince you. If you’re one of my regular readers, or are in my network, then you have heard enough campaigning from me. Instead, I want to talk about Lacson’s advocacy outside of an election context. You see, when I mark my ballot on monday, I will not be voting for the man, but for his advocacy – what some of you have heard me refer to as “‘Other’ Stories”, and what he calls “Bagong Istorya.”

***

As a campaign theme, “Bagong Istorya” is difficult to explain. It’s abstract, and in many ways open to interpretation. But I believe it adresses an aspect of the Filipino struggle which, while given plenty of lip service from intellectuals and policymakers, has not been given much practical attention.

It’s an issue I’ve written about before (here, here and here): there is a problem with our sense of national identity. There is a problem with the way we tell our national story – the one that tells us who we are, where we came from, and where we are going.

Lacson cites a Lee Kwan Yew quote from a 1994 Time Magazine interview to encapsualate this:

Culture is destiny. Your culture will determine your destiny. Your set of beliefs will determine how far you will go in life. If you believe you are a failure, you will be a failure. If you believe you are great, you will be great. If you want to excel, you must build a culture of excellence. If you want to become great, you must build a culture of greatness… [This] applies not only to an individual person. It also applies to a people. A people’s culture will determine the destiny of that people.

***

Think of our successful kababayans overseas. Why does it seem the Filipino has to leave his land in order to succeed? Time and time again the media regales us with stories of people who work hard and make it big, from white house chefs to hollywood movie animators to wall street CEOs. Our best and brightest leave not only because they seek greener pastures, but also because they feel that only overseas can they find a venue for maximizing their potential.