Eric C. Maliwat interviewing Philippine President Noynoy Aquino Eric C. Maliwat interviewing Philippine President Noynoy Aquino

MAGING UBAS, HUWAG PASAS by Eric C. Maliwat

BROADCASTING PART 2


Last time I shared to you that RELEVANCE of content is essential to effective broadcasting. And we started with the importance of research in developing the broadcaster’s content. Now, let’s talk about another important aspect of making a relevant broadcast content and this is the skill to RELATE to our audience.
Whether doing news, commentary, documentary, music or entertainment broadcasts, relating to our target audience is very necessary. How do we relate to our audience? Assuming you have done your research on their profile, you would now know the “language” that they are comfortable with. In relating to our audience, we have to speak their “language” or they will tune out soon if we speak in other “tongues”. Our audience may understand the words that we say but our diction will sustain longer attention if we refrain from using jargons. It is unnecessary to use words that are very specific to a trade just to impress our audience. We relate better to them when we use words or sentences that make our audience comfortable listening to us.
You may note that I used quotation marks when I mentioned language, the reason being it goes beyond verbal. Non-verbal ways to communicate in broadcasting involves our tones, pitch, our choice of music and sound effects, and specifically for video contents, body language, our choice of clothes, the graphic designs and background. All of these elements must blend with our overall intent to communicate our main idea to our audience so we relate to them. In my more than 20 years of broadcast experience, I still find myself learning a lot along this line. You may find it rewarding and fulfilling to invest in yourself here..
For example, you’ll be able to relate to your audience as you deliver entertainment news by being, as implied, entertaining with your voice. Whether on radio or on camera, having a pleasant or smiling face affects our speaking and our audience will feel if we are genuinely into our subject matter or not. Doing an interview with the Prime Minister on a global crisis issue necessitates that we project a more formal, inquisitive but objective posture and use appropriate words to achieve similar intentions. Presenting headline news in a tabloid broadcast format maybe a bit more emotional or giving an intro to a pop music artist may use contemporary words as opposed to presenting Piano Sonata No. 1 Opus 2 No. 1 by Ludwig van Beethoven to an audience of ABC’s Classic.
Then there’s “heart language”. This one goes beyond mere reporting or presenting and may need a separate discussion. It is being in the situation of our audience that make us share in their experience. A good feedback from the audience would be “the broadcaster understands me and my situation” in the overall broadcast content using heart language.
Broadcasting is building relationship with our audience. They may or may not be expecting our bias depending upon our specific journalism but regardless, we cannot do away with the importance of relating with them to sustain their attention and even action and participation in response to our broadcast.
Researching to substantiate our content and relating to our target audience are essential to become relevant and effective in broadcasting.
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Eric C. Maliwat is an inspirational journalist, resilience coach and speaker, author and broadcaster. For coaching enquiries, email : This email address is being protected from spambots. You need JavaScript enabled to view it.

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  • Food for Thought
  • Are we already living the apocalypse? 

    Eric C. Maliwat talks to contemporary multi-awarded poet-novelist performer Merlinda Bobis

    Literally, apocalypse is from the Greek word "apokalypsis" which means "uncovering" or revelation. But since the Judaeo-Christian narrative from the Bible contains symbolisms that are interpreted to be "signs of the end of the world", people now see the term as referring to the complete final destruction of the world. There is a rise of interest for this genre of literature and film. To prove my point, we can just check out the latest flix which include my favourite film series - Hollywood's XMEN and its latest offering XMEN: Apocalypse. But its creator Stan Lee and even Star Wars' George Lucas may have to share the limelight soon with someone born in Bicol, Philippines and who is now living in Canberra, Australia.

    Multi-awarded Filipino-Australian contemporary novelist poet and performer Professor Merlinda Bobis uses the power of imagery in apocalyptic writings, harnessing allegory's capability to challenge real-life issues in her book "Locust Girl. A Lovesong, 2016 NSW Premier's Literary Awards Christina Stead Prize for Fiction awardee. I had the privilege to interview her which I am sharing here. You may be able to answer the question above yourself, after considering the profound insights below from our very own Merlinda Bobis.

    ERIC: How does literary art engage this techno-generation with what has now become a 'flat and borderless' world yet still facing numerous challenges in protecting its environment? addressing inclusion and crossing borders?

    MERLINDA : In this social media era when, through technology, we claim to 'friend' anyone anywhere in what we think is a 'borderless' world, sadly borders are becoming more entrenched especially around issues of race, culture, class, ideology, including the varied positions regarding protecting the environment. It seems so easy to 'friend' anyone and everyone in the abstracted, distanced sense—and yet, how do care about our own neighbours across the road who are different from us? How do we care about the creek in our backyard? I miss the intimacy and honesty, and the presence of care, in the word 'friend' or 'love,' for that matter. I believe literature—telling stories—is one way of saving these human needs and aspirations from becoming mere concepts that are glibly bandied around. Through story, we are able to look deep into the human heart, into human relationships, and into the relationship between the human and non-human, which of course includes our environment. These are what I attempt to do in my novel 'Locust Girl. A Lovesong'—and, in fact, in most of my writings. 'Locust Girl' is about the friendship between two girls who walk the desert to find safe haven beyond the border. It is also about the bond between a girl and a locust that enables them to reach that last green haven at a time when the earth has become a vast dry because of climate change. Through this fantastical fable, I raise the question on the ethics of care: how do we care for those unlike us, really? And who are we saving the planet for—only for the elite, or is this redemption for all of humanity and our shared home? Through storytelling, I hope we are able to return the missed intimacy and honesty, the flesh and blood, to the words 'friend' and 'care'—and to actually live them in the story and, hopefully, even in our daily lives.

    ERIC : What do you think about apocalyptic writings regarded as literature of the oppressed, a device using allegories addressing real-life issues? What place does this genre have today that may impact geopolitics and specific challenges societies face? How can they remain relevant and effective?

    MERLINDA : Allegory is a potent tool for storytelling and critiquing real-life issues, and apocalyptic writings may harness allegory for the same reasons. In story, we are able to live reality but at the same time examine it with fresh eyes. It seems there is a trend in apocalyptic stories in literature and also in film, probably because we are, in a way, already living the apocalypse. Most of these stories are, in fact, already happening. They unfold like fables giving a warning or 'a lesson' about the most urgent challenges of our times, like geopolitical conflict, climate change, or the movement of peoples locally and globally. All of these realities are in 'Locust Girl.' But don't get me wrong about the word 'lesson.' While writing about the big political issues, the writer cannot be didactic. Remember, storytelling is also about pleasure, about creating a sense of wonder in a space where your listeners/readers can join and live the journey of your characters. It is only when this happens that your allegory, your critique, or your 'warning'—and also your hope or alternative vision—can be relevant to the reader. Story has to be affective to be effective. Moreover, as a writer who engages politics, I cannot just do an interrogation or critique or examination of social realities. I have to dream up the possibility of redemption, of hope, or of a better way of engaging what it means to be human and interconnected with each other and the environment.

    ERIC : Would you share us your vision of the years ahead in your sphere of influence? What are you happy to have brought to further enhance multicultural Australia from Philippines?

    MERLINDA : I'm keen to adapt 'Locust Girl' and some of my earlier novels into film. 'Locust girl' is a story (and can be a film) about different peoples, races, cultures trying to find some redemption together in an environmentally compromised world. I believe a film about this, which can be enjoyed by young and old, will be relevant in multicultural Australia and also in the Philippines. The Philippines is an archipelago with waters bordering different islands, and with diverse regional cultures and languages, thus daily we deal with differences. More importantly 'Locust Girl', hopefully made popular through film, might be able to inspire us to look beyond our differences and reconnect through a common cause: saving our planet before it's too late. And this salvation cannot just be for the elite or for the chosen few but for all human beings and creatures, and for the water, air, earth. These are our friends too, and we have to care for them as much we do for our closest beloved. If we are to survive, we have to respect and preserve this interconnection among the different beings in our universe. Remember, we are just one of these beings.

    A quick look at her website gives us a glimpse of her earlier years. Award-winning writer Merlinda Bobis grew up in Albay, Philippines at the foot of an active volcano, which figures prominently in her writing and performance. As a child her main interest was painting, but at age ten she began writing poetry because ‘painting with words’ was cheaper. She has published novels, short stories, dramas and poems. Her plays have been produced/performed on stage and radio in Australia, the Philippines, Spain, USA, Canada, Singapore, France, China, Thailand and the Slovak Republic. She has performed some of her works as theatre, dance and music.
    Merlinda has a Bachelor of Arts (Summa cum Laude) from Aquinas University of Legazpi and a Master of Arts in Literature (Meritissimus) from the University of Santo Tomas, Manila. For ten years she taught Literature and English at Philippine universities before coming to Australia in 1991 on a study grant. She completed a Doctorate of Creative Arts at the University of Wollongong where she taught creative writing for more than twenty years. She continues to dream new stories in Canberra.

    'Locust Girl. A Lovesong' was published in Australia by Spinifex Press, which is celebrating its 25th anniversary of publishing this year. The Philippine edition was published by Anvil Publishing Inc. Copies can be bought in both countries by ordering through local bookstores, or directly in Australia from the Spinifex Press website: http://www.spinifexpress.com.au/Bookstore/
    Merlinda will be doing a Reading with other Spinifex authors at Collected Works bookstore in Melbourne on 9 July and a Conversation on 'Locust Girl' with her publisher Susan Hawthorne at the Readings Carlton bookshop on 11 July. She will also be participating at the 2016 Canberra Writers Festival on 26-28 August.

    For more of Merlinda Bobis, visit her website : www.merlindabobis.com.au

  • Tips to become debt-free by Jon Carlos Rodriguez, ABS-CBN News

    MANILA - "It's all in the mindset."
    Jayson Lo, a financial coach and inspirational speaker, said this is one of the steps to becoming debt-free.
    Lo said it all starts with how we as individuals perceive debt that will allow us to avoid it.
    "Kasi kung hindi ka galit sa utang, uutang ka ng uutang. It's all in the mindset, dun nag-uumpisa lahat," he told dzMM.
    "Ang importante para makawala sa utang, determined tayong makawala sa utang," he added.
    Lo also said controlling spending habits is key in getting finances in order, especially for those who use credit cards.
    Having a credit card does not mean having extra money, and it is still necessary to stay within budget to avoid going on a "swiping spree."
    "If you cannot afford it in cash, don't buy it," advised Lo, adding that consumers should be wary of purchasing items with "zero percent interest."
    "Wala namang kumpanya na charity, lahat 'yan kailangan kumita," he said.
    Lo also advised against borrowing money from loan sharks because of the high interest rates. Some loan sharks lend money with interest rates of 5 to 10 percent per month.
    "You will be a slave to debt kapag ganyan ang ginawa natin," he said.
    He noted that having an emergency fund is also important as it will help during times of need. The emergency fund should be equivalent to living expenses per month.
    "Pinakamaganda, at least anim na buwan," said Lo.
    Lo reiterated, "Dapat maging galit sa utang. That is the only way para makawala kayo sa utang."

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