Film Screening and Discussion with Dada Docot | Date: | Monday, 01 February 2010 | | Time: | 18:30 - 21:00 | | Location: | The Red House - Sofia, Bulgaria | | Street: | 15 Lyuben Karavelov St. |
 1 февруари 2010 (понеделник), 18.30ч.
Червена зала
Филмираното всекидневие на Филипинската миграция
Прожекция на документалните филми на Дада Докот и дискусия с авторката за филипинската трудова миграция, глобалните тенденции, азиатската миграция в България и българката тема там.
През 2008 година Статистическият Алманах за миграция и развитие на Филипините отбелязва, че филипинските мигранти са рапръснати в 239 страни и теротирии. В последните три десетилетия паричните потоци по официалните банкови канали минават 120 милиарда долара. Зад голата статистика, обаче, остава сложната история на битките, мечтите и мотивациите на филипинските мигранти. Дада Докот /изследовател по културна антропология и филммейкър/ представя своята първа серия от документални филми посветени на международната миграция на филипинците.
Performing Naturalness (3 мин., 2008) е коментар върху въпроса: какво е да си чужденец в Япония.
Sunday (e)Scapes (10 мин., предварителна прожекция, предстоящо излизане 2010) е филм за това как филипинските мигранти,работещи предимно като домашни помощници, превръщат една модна бизнес зона в Хонк Конг в място за „бетонен” пикник.
Baad ng Pauno/Restless (30 mins, 2009), е филм за тревожното очакване на американска виза на майката на Дада Докот.
В дискусията ще участват: Дада Докот, антрополог и филмов автор, доц. д-р Ана Кръстева - ръководител на Центъра за европейски бежански, миграционни и етнически изследвания (CERMES) е създаден през 2003 г. като структура към департамент “Политически науки” на Нов български университет.
Модератор: Ирина Недева (журналист и координатор на програмата „Политически дебати” в Червената къща)
Дискусията ще е на английски и на български език с превод. Филмите са с английски и български субтитри.
Вход: 2/1 лв.
В рамките на проекта на Центъра за култура и дебат с фондация „Америка за България”
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Filming the Everyday in Filipino Migration
In 2008, the Philippine Migration and Development Statistical Almanac reported that Filipino migrants are scattered across 239 countries and territories. In the last three decades, cash remittances via formal banking channels alone have added up to over US$120 billion. Within these hard statistics, however, lie intricate stories -- of struggles, desires and motivations -- of Filipinos in migration. Interested in looking at these personal stories, filmmaker and researcher Dada Docot presents at The Red House her first batch of documentary films on Filipinos in international migration. To be screened are: Performing Naturalness (3 mins, 2008), a commentary about surveillance of foreigners in Japan; Sunday (e)Scapes (10 mins, preview only, upcoming in 2010), a film about the transformation on Sundays of Hong Kong's business district by Filipino domestic workers into a concrete picnic ground, and; Baad ng Pauno/Restless (30 mins, 2009), a film about her mother's anxious quest for an America visa. An open discussion about global migration of Filipinos, as well as Asian migration to Bulgaria, will also take place.
Panel: Dr. Anna Krasteva (Migration specialist, New Bulgarian University); Irina Nedeva (Journalist, Bulgarian National Radio, and Red House Programme Manager for Political and Social Debates)
Discussion in English and Bulgarian, with interpretation.
The films will be shown with English and Bulgarian subtitles.
Admission: 2/1 BGN To confirm attendance or to reserve a ticket, visit: Red House Online OR Facebook Event Invite
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Tuesday, 24 November 2009 14:51
Dada Docot
Statement for BAAD NG PAUNO (Restless) Exhibited at the “Deleted Scenes,” A group show with works by Sari Dalena, Camilla Giggers,Lyle Buencamino and Al Manrique, at the Lopez Memorial Museum, Philippines from November 20, 2009 to January 9, 2010 About three and a half decades ago, my parents migrated from Nabua, Camarines Sur to Cubao – the latter being the most accessible transportation hub for travel between Bicol and Metro Manila – leading the gradual migration to the city of the rest of the family. Later on, when one of my aunts moved to the U.S., the “dream” of my immediate family for upward mobility evolved from running a bamboo furniture and handicrafts business in the Philippines to finding success overseas. Now, my siblings and several of my cousins have left for abroad, while many of my cousins still in the Philippines have opted for more “global professions” that will facilitate international migration. Within this entire story of leaving and dreaming to leave the country, there are many smaller, yet defining, stories of hope and struggle. Baad ng Pauno seeks to document the intricate details of two important days on which my mother pursues her own “American Dream.” The idea of “Deleted Scenes” for this film, like any other work, may allude to both the literal and the figurative. The latter perhaps refers to the understanding of the film as portraying only one of the thousands of yet untold small stories of Filipino international migration – of “America” as experienced by Filipinos hoping to temporarily leave for reasons of leisure and/or reunion with their loved ones. The figurative may also pertain to the experiences of those who are not bothered with the concepts tied with the idea of migration that are much bigger and more complex than their dream of simply traveling overseas. The literal “deletions,” however, are not any less important and, perhaps, by examining the consciously excluded scenes and the process/es by which deletions are selected, one can find intricate issues that relate to identity performance/construction and to the making of meanings. The final copy of the film is an open book, although, as it usually happens with many other releases, what you get is the edited, the “OK-ed” version. I wanted to produce a film to show not only to the wider audience, but also to my family living in the Philippines and overseas. Upon viewing it, some of the family members cringed at its openness and even requested for several scenes to be modified, if not completely removed. The editing of the film itself involved the process of sifting through layers of the intimate – some scenes are completely or somewhat acceptable for public viewing, while others had to be tagged for permanent omission from the final cut of the film. As for the actors in the film, they have resolved the dilemma of exposing themselves and their private world to the audience with a simple request – not to show the film at “home” - our hometown. Thus, deletions pertain not only to the actual exclusions, but to the selection of venues where the characters' representations can be consumed. In the end, the question about the making of meanings and the crafting of representations derived from the process of deleting scenes becomes: how long do you, as audience of this short film turned into a video installation for a particular exhibit, intend to see the film? Would you stay to watch its thirty-minute run? Perhaps after viewing for a few minutes, you will leave the museum, taking home several of its scenes and eventually deleting the rest of the story. - Dada Docot
Last Updated on Tuesday, 24 November 2009 14:58
Baad ng Pauno at the Lopez Museum
Saturday, 07 November 2009 09:09
Dada Docot
Deleted Scenes calls attention to the leavings of image-making and the coupling of sensory elements used to craft narratives of presumed fact and proposed fiction — mimicking its internal mechanisms that play into the core and periphery within its own trove. Featuring works by Lyle Buencamino, Sari Dalena, Camilla Griggers, Dada Docot and Al Manrique, along with pieces from the museum’s own collection, this exhibit can be viewed at the Lopez Memorial Museum from November 12, 2009 to January 9, 2010. The Lopez Memorial Museum is open from 8:30 a.m. to 5 p.m. on Mondays to Saturdays.
Venue: Lopez Memorial Museum, G/F Benpres Building, Exchange Road corner Meralco Avenue, Ortigas Center, Pasig City
Last Updated on Saturday, 07 November 2009 09:17
Tuesday, 22 September 2009 10:47
Admin
特別セミナー
◆テーマ 「研究資料としての映像：フィリピン国際移住における空間 と日常パフォーマンスのドキュメンテーション」
◆日時2009年9月25日 （金） 14：30時より
◆場所東京大学駒場キャンパス14号館407室
◆発表者ダダ・ドコット （東京大学人間の安全保障プログラム卒業生、独立研究者）
◆使用言語英語（通訳はありません）
懇親会を予定しておりません。
Special Seminar
◆Title:The Visual as Research Material: Documenting Spaces andEveryday Performances in Filipino International Migration
◆Date & Time: Friday, September 25. 14:30PM ◆Venue: Room 407, Building 14 (4th Floor), the University of Tokyo , Komaba Campus ◆Presenter: Dada Docot (Alumna, Human Security Studies, University of Tokyo, Independent Researcher) ◆Language: English
Three films by the presenter with Filipino migration as the central theme will be screened. Performing Naturalness, a three-minute short shot at Shinagawa station, documenting an instance of surveillance of foreigners by the Japanese immigration police. Baad ng Pauno (Restless), a 30-minute documentary, portrays Docot's mother's careful preparations towards the fulfillment of her "American Dream." Finally, a 10-minute excerpt from the upcoming film, Sunday (E)scapes, depicts the temporary transformation on Sundays of Hong Kong's business district into a picnic ground by Filipino domestic workers. The selection reflects Docot's interest in the research of spaces occupied and "performances" acted out by Filipinos before and during migration. A short talk and open forum will be held after the screenings.
Last Updated on Wednesday, 23 September 2009 16:15
OUTSIDER CINEMA FROM THE PHILIPPINES
Article Lifted From Saturday, August 15, 2009 • Showtime 7PM
Visual Communications @ The Union Center for the Arts Visual Communications, in association with noted Philippine independent director Ruelo Lozendo, is pleased to present this collection of works by three internationally renowned filmmakers and one emerging voice from the New Philippine Independent Film Movement. Emerging director Dada Docot, along with enfants terrible Raya Martin, John Torres, and Khavn de la Cruz are spotlighted in short films that further illustrates the Philippine's continuing contributions to the range of adventurous and innovative films of world cinema.
VENUE AND PARKING INFORMATION: VISUAL COMMUNICATIONS @ The Union Center for the Arts
120 Judge John Aiso Street, Basement Level, Los Angeles 90012
PARKING: $7 at City Lot 7 (entrance adjacent to Theatre; enter at Judge John Aiso St.)
Also available for $8 at Japanese Village Plaza (Enter on Central), $5 after 4 pm. $6 at 402 E. 1st St., $3 after 4pm.
Program subject to change and/or cancellation without prior notice. For updated program and event information, please check our website at www.vconline.org.
Part 1: Triple Treat Three short films each from three prominent filmmakers in the international film festival circuit. Ever-evolving and pushing the boundaries of cinema, Raya Martin (fresh from two films featured in the 2009 Cannes Film Festival), John Torres and Khavn are showcased in diverse, innovative and subversive works culled from varying points in their young careers. Films by RAYA MARTIN: BAKASYON (The Visit) (Philippines, 2004) 16mm, 6 min.
A young girl from the city is left to the care of her grandmother in the province. During her stay, the girl learns about her grandmother's mysterious identity. LIFE PROJECTIONS (Philippines, 2006) DV, 4 min.
Raya Martin directed this metaphorical meditation on the Guimaras oil spill off the coast of the Philippines, the second largest oil spill in history. Rather than focusing on the environmental and economic devastation brought on by the accident, LIFE PROJECTIONS explores the sorrow and human loss brought on by the Guimaras tragedy, and how it touched the lives of so many Filipinos. LONG LIVE PHILIPPINE CINEMA! (Philippines, 2007) 16mm, 6 min.
A woman paces back and forth in her dank, dimly lit office, reading scripts and counting her money. She's an all-powerful film producer who holds the purse-string of her nation's cinema and can make or break any young filmmaker she pleases. Suddenly, a gang of renegade cineastes break into her inner sanctum and take desperate steps to seize control of filmmaking in the Philippines. LONG LIVE PHILIPPINE CINEMA! is a satiric attack upon Lily Monteverde, aka Mother Lily, who controls Regal Entertainment, the largest film production house in the Philippines.  Films by JOHN TORRES: VERY SPECIFIC THINGS AT NIGHT (Philippines, 2008) mobile phone, 5 min.
A mobile phone film shot in Mahiyain Street (Shy Street), Sikatuna, a stone's throw away from the house of Chavit Singson, who also led the masses to bring then-President Estrada out of the presidential palace. HAI, THEY RECYCLE HEARTBREAKS IN TOKYO SO NOTHING'S WASTED (Philippines, 2008) mobile phone, 10min.
A mobile short film on humans trying to recover. It is also about the future of recycling. ANDREA'T (Philippines, 2008) DV, 5min.
A visual intermission containing distance, face, skin, and the pursuit of the familiar far from where the beloved sits. Films by KHAVN: CAN & SLIPPERS (Philippines, 2005) DV, 2 min.
A boy from the slums plays football. His soccer ball is an empty can of Coke and his soccer shoes are a pair of flip-flops. A shocking message about the real world awaits you at the end. OUR DAILY BREAD (Philippines, 2006) DV, 3min.
A short documentary on how one family lives out each day to earn their daily bread. How one man's trash is literally transformed into this family's treasure. RUBGY BOYZ (Philippines, 2006) DV, 3min.
These boys know the dual essence of Rugby: playing football and sniffing solvent. They tell vampire jokes, rap about river deaths, and dive jack-knife into murky water. A cruel irony on the hope these children bring. Part 2: Double D
Works by DADA DOCOT Adding fresh insights are two short films on identity and space in relation to international mobility from emerging talent Dada Docot.
PERFORMING NATURALNESS (Philippines, 2008) 8mm, 3min.
Living for about four years in Japan, one Filipina has grown quite tired of the "random" questioning of the immigration police who inquire about her visa status. One day, she gets off at Shinagawa train station (the stop closest to the city's busiest immigration office) to conduct a small social experiment. This one-time performance/experiment was constrained by the use of a single roll of 8mm film which runs for only three minutes. BAAD NG PAUNO (Restless) (Philippines, 2008) DV, 30min.
My mother and aunt visit from Nabua, a small town 400 kilometers south of the county's capital. They come, however, not for mere leisure, but to fulfill a dream. Shot only in two days, the documentary follows the preparations of the filmmaker's relatives for the big day. As the documentary unfolds and as the reason for the characters' restlessness is revealed, the audience is invited to share a slice of my family's personal, and maybe, quite private, life stories.
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