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Daughters of God This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Daughters of God Chai, Jac‑Quinn; Lai, Ka Hei; Ng, Yiling; Tolentino Anna Karenina Valencia 2011 Chai, J. Q., Lai, K. H., & N, Y. (2011). Daughters of God. Final year project report, Nanyang Technological University. https://hdl.handle.net/10356/93630 Downloaded on 04 Oct 2021 15:01:47 SGT WEE KIM WEE SCHOOL OF COMMUNICATION AND INFORMATION ACADEMIC YEAR 10/11 DAUGHTERS OF GOD (ID:37019) CHAI JAC-QUINN (070612E10) LAI KA HEI (070534L10) NG YILING (070527C10) TOLENTINO ANNA KARENINA VALENCIA (070542K10) A FINAL YEAR PROJECT SUPERVISOR: MS. LAU JOON-NIE TABLE OF CONTENTS Chapter 1: Overview 1.1 Foreword -------------------------------------------------------------------------------------------- Page 1 1.2 Title ------------------------------------------------------------------------------------------------- Page 1-2 1.3 Statement of objective ---------------------------------------------------------------------------- Page 2-3 1.4 Synopsis -------------------------------------------------------------------------------------------- Page 3 1.5 Appeal 3 -------------------------------------------------------------------------------------------- Page 3 1.6 Target Audience ----------------------------------------------------------------------------------- Page 4 1.7 Duration of Documentary ------------------------------------------------------------------------ Page 4 1.8 Format ---------------------------------------------------------------------------------------------- Page 4 1.9 Choice of cameras -------------------------------------------------------------------------------- Page 4 Chapter 2: Pre-production 2.1 Idea Conceptualisation ------------------------------------------------------------------------ Page 5-6 2.2 Background Research and Literature Review ---------------------------------------------- Page 6-11 2.3 Research from Internet Articles and Videos ------------------------------------------------ Page 12 2.4 Possible Themes -------------------------------------------------------------------------------- Page 13 2.5 Findings from Pre-Production Trip ---------------------------------------------------------- Page 13-16 2.6 Pre-Production Challenges -------------------------------------------------------------------- Page 16-19 Chapter 3: Production 3.1 Visual style -------------------------------------------------------------------------------------- Page 20 3.2 Audio -------------------------------------------------------------------------------------------- Page 20 3.3 Rationale ----------------------------------------------------------------------------------------- Page 20-22 3.4 Problems faced during production ----------------------------------------------------------- Page 23-25 3.5 Ethical considerations ------------------------------------------------------------------------- Page 25-26 Chapter 4: Post-Production 4.1 Scripting ---------------------------------------------------------------------------------------- Page 27-29 4.2 Theme ------------------------------------------------------------------------------------------- Page 29-32 4.3 Editing ------------------------------------------------------------------------------------------ Page 32-33 4.4 Audio and Sound Design -------------------------------------------------------------------- Page 33-34 4.5 Problems Faced During Post Production -------------------------------------------------- Page 34-36 4.6 Ethical Considerations ----------------------------------------------------------------------- Page 37 Chapter 5: Concluding Remark -------------------------------------------------------------- Page 38-39 References ----------------------------------------------------------------------------------------- Page 40-41 Appendix: Appendix A- Production Budget ---------------------------------------------------------------- Page 42-45 Appendix B- Production Schedule -------------------------------------------------------------- Page 46-47 Appendix C- Final Script ------------------------------------------------------------------------- Page 48-70 Appendix D- Interview Transcripts ------------------------------------------------------------- Page 71-112 Appendix E- Appearance and Location Release Forms ------------------------------------ Page 113-120 Appendix F- Copyright Clearance for Non-Original Materials ---------------------------- Page 121-125 Appendix G- Production Credits --------------------------------------------------------------- Page 126-127 Appendix H- Press Kit Materials -------------------------------------------------------------- Page 128-132 Appendix I- Producer’s Warranty -------------------------------------------------------------- Page 133 CHAPTER 1: OVERVIEW 1.1 Foreword The main body of this report is divided into three chapters: pre-production, the production and post-production. These chapters, however, in reality, are not separate and independent from each other. Filming this documentary was done in stages, hence, there was a constant need to go back and forth in terms of these steps. In this report, there are also a few terms that are used to describe different groups of people. For the reader’s convenience, the names and their meanings are explained below Onbadhu is a Tamil word for number nine. The Indian transsexuals in Singapore are known by this name. However, it carries a negative connotation of being in between. Sisters is a name that Indian transsexuals in Singapore prefer to be called with. Hijras are transsexuals who live in India. Most of them earn a living by dancing at weddings and childbirths. They live under one guru in a house. Thirunankai is a name that is preferred by the Indian transsexuals in Malaysia. Please note that the name sisters and thirunankais are interchangeable in this report as the transsexuals who are the subject of this report come from Malaysia and Singapore. 1.2 The Title Thirunankai is a Tamil word which means “daughter of god”. Ms. Parameswary, the founder of the Thirunankais’ temple in Klang, explained that it is a name that they (Indian transsexuals) prefer to be called. It was the name (Thiru Nangai) of an effeminate male in a royal 1 family in India, who wanted to be bear and give birth to a child. The matha (the Hindu goddess Bahuchara Mata) granted him his wish and helped him give birth by tearing his stomach. For the purpose of this documentary, the term Thirunankais will refer to the group of Indian transsexuals whom we have found in Klang. 1.3 Statement of Objective We want to give our audiences a glimpse into the lives of the Thirunankais. There is a high probability that the only ones who know them are those who live in India, because of the presence of the Thirunankais’ counterparts- the Hijras of India. Here in Singapore and in other first world countries, modernisation has touched everything. We are more familiar with gays, bisexuals and lesbians. Through this documentary, we want to present a different group of gender deviants, a group whose beliefs and practices seem anachronistic in today’s times. By showing their religious customs and traditions, we want to inspire a sense of wonder in our audiences. Here in Singapore and in other first world countries, religion or the act of worship has been stripped of the feel of ethnicity and ritualism1. We also want our audiences to erase any of their simplistic notions about what happens when transsexuals change their gender. Most people understand that they undergo surgery, but many do not know the extent of how the surgery alters their life physically and emotionally. We highlight their struggles and their pains not only to invite our audience to empathise with them but more importantly, we want our audiences to think. We want our audiences to make certain 1 Here in Singapore, “all religious processions” (Straits Times, 2011, Jan 15) including Thaipusam, over the years, have increasingly been regulated. This year, to address “issues of crowd and noise control”, playing loud music by drums 2 connections and realize the ironies in the lives of the Thirunankais, and where all their efforts leave them in the end. 1.4 Synopsis “Daughters of God” is a story about a Hindu temple built by Thirunankais in the Muslim majority country of Malaysia. It is a story about two Thirunankais- Anusha and Varsha, who, on the days of prayers, attend the temple pooja (worship), but at night, roam the streets as prostitutes. The temple is run only through the contributions by the Thirunankais- a majority of them working in the same profession. Despite being different in terms of their gender and also their choice of livelihood, through the presence of the temple, the thirunankais, in one form or another, have gradually gained the acceptance of the people living in the neighbourhood. 1.5 Appeal There are many aspects to the film that could appeal to many audiences. The film could appeal to Hindus as the film features a lesser known but interesting deity, the goddess Bahuchara Mata. As the film touches on gender, it could also appeal to those who consider themselves as members outside the conventional gender categories, such as the gays, lesbians and also the transsexuals. More specifically, the documentary could appeal to sociologists or ethnographers. Much of what is shown in the film is about the folklore of the Thirunankais, their customs and practices in the temple. The uncanny mix of religion, prostitution, gender and social acceptance could
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