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All or nothing. This project will only be funded if it reaches its goal by Thu, August 22 2019 3:48 AM UTC +00:00.

¥524,359
pledged of ¥500,000pledged of ¥500,000 goal
109
backers
3days to go

All or nothing. This project will only be funded if it reaches its goal by Thu, August 22 2019 3:48 AM UTC +00:00.

About

‘Invisible Languages: Okinawa’ is a film about the endangered languages in the Ryukyu islands and the personal, intergenerational stories of Okinawans who are practicing and preserving them, as well as those who are leaving them behind.

この映画は、消滅の危機に瀕している、琉球諸島の言語をめぐるドキュメンタリーです。

そうした言葉をめぐっては、日常生活で用いたり、保護しようとしたり、また一方で見限ろうとしたりする動きがあります。

このドキュメンタリー映画では、そうした動きの中にいる個々人や、また世代間の物語をスクリーンに描き出していきます。 

On Irabu Island just off Miyako Island in Okinawa lives ninety year old Okuhama Yukio. Years ago he wrote and put together a dictionary of the Miyako language, one of the Okinawan languages threatened by extinction. Meanwhile, his great grandchildren, two Polish-Okinawan girls are growing up speaking Polish, Japanese, and English. Whilst the two little girls enjoy watching Tom & Jerry dubbed in Uchinaaguchi, the mainland Okinawan language, their diversified linguistic palette doesn’t yet include the Miyako language that Okuhama Yukio wishes to preserve. 

宮古島のほど近くにある伊良部島に、御年90歳のオクハマユキオさんという方がいらっしゃいます。オクハマさんは数年前、消滅の危機に瀕している琉球方言の一つである、宮古方言についての辞書を編纂に取り組まれました。

翻って、オクハマさんのひ孫たち(ソフィーとアンナ)は、ポーランド人の母親の元でポーランド語、日本語、英語に慣れ親しみながらすくすくと成長しています。

彼女らは、沖縄本島方言吹き替えの「トムとジェリー」を楽しんでいますが、彼女ら自身の言葉の引き出しの中には、オクハマさんが保護したい宮古島方言はまだありません。 

Okuhama Yukio with the Miyako language dictionary that he put together  彼が編纂したミャークフツの辞書を持つオクハマユキオさん
Okuhama Yukio with the Miyako language dictionary that he put together 彼が編纂したミャークフツの辞書を持つオクハマユキオさん
Sofie, Yukio's great granddaughter, with the dog Lucky オクハマさんのひ孫のソフィーと飼い犬のラッキー
Sofie, Yukio's great granddaughter, with the dog Lucky オクハマさんのひ孫のソフィーと飼い犬のラッキー

The story of Okuhama Yukio and his great grandchildren, Sofie and Anna, is one of the narratives that we wish to trace in our documentary. By juxtaposing oral history interviews with episodes of daily life, we wish to weave together the main characters’ intimate personal journeys with the languages that are part of the Okinawan identity and are at the same time vanishing. The stories that we bring together in this film will give a personal and lived account of how the endangered languages of Okinawa exist today.  

オクハマユキオさんとひ孫たちの世代間での言語の物語は、本ドキュメンタリー作品で描きたいストーリーの一つです。

私たちは本ドキュメンタリー作品を通じて、沖縄言葉の歴史に関するインタビューと沖縄の日常生活を並べることにより、沖縄の人々のアイデンティティの一部であり、また同時に、消滅しつつある沖縄の言語に密接に関わり続ける人々の人生を紡いでいきたいと考えています。

本作品では、こうした消滅の危機にある琉球方言が今日どういう位置づけにあるのかについて、3つのストーリーを通じて明らかにしていきます。


Six languages from the Okinawa islands are facing extinction, according to UNESCO’s Atlas of the World’s Languages in Danger. The endangered state of the Ryukyu languages has a historical origin intertwined with Okinawa’s recent past, as well as present-day implications affecting the daily life of Okinawans. Since the annexation of Ryukyu by Japan in 1879, language and education have been a central pillar of Japan’s assimilation policy. Okinawan children were taught Japanese at school and punished for speaking their native language. More than a century later, the policy has taken concrete effect as the majority of Okinawans refer to their own language as dialect. While the older generations confine the use of Okinawan language among themselves instead of passing it on to their children, the younger generations increasingly find the language of their native land a foreign tongue. 

日本には消滅の危機にある言葉が8種類あり、そのうちの6種類が沖縄の言葉です。

文化そして言語の多様性は重要な課題であり、UNESCOなどでも主要な論点になっています。

しかし、沖縄の言語を巡る問題は、沖縄独特の言葉を守るというよりはむしろ記録することだけに焦点が当てられている状況です。

また、次世代にそうした言葉を継承する姿勢は、家族ごとでそれぞれであり、社会言語学的な見地からも、状況は複雑になりつつあります。

Sachiko-san and Yaeko-san are dedicated to teaching children the Okinawan language through games   サチコさんとヤエノさんはゲームや紙芝居を通じて子供に沖縄の方言を教えることに取り込んでいます
Sachiko-san and Yaeko-san are dedicated to teaching children the Okinawan language through games サチコさんとヤエノさんはゲームや紙芝居を通じて子供に沖縄の方言を教えることに取り込んでいます

We see the extinction of languages as not merely undermining cultural and linguistic diversity of the region, but also affecting the profound connections between individuals and families with their cultural identity. By documenting the intergenerational dialogues surrounding Okinawa’s dying tongues, we wish to bring this issue to the forefront, while also telling the stories of Okinawan people through their living memory of the 20th century events. 

Furthermore, while Okinawa now is principally known for its touristic attributes as a sun-kissed, beach-filled holiday destination, the larger part of the Japanese population remains unaware of Okinawa’s history and linguistic diversity. Therefore, facilitating an understanding of Okinawa’s authentic identity within the context of a Japan that is increasingly open to diversity is also at the center of what we wish to achieve through this documentary. 

こうした問題に対して私たちは、これらの世代間の言語的な差異と対話に焦点を当て、映像として記録するとともに、20世紀を生きた沖縄の人々の物語を伝え、問題を明らかにしていきます。

こうした沖縄の歴史や言語的な多様性を巡る問題について、日本人の大半が意識していない一方で、沖縄では言語を守ろうとする動きが盛んになりつつあります。

そうした状況の下で、多様化が進む日本の中で沖縄のこの問題に焦点を当て、沖縄の本当のアイディンティティとは何かという問いについて理解を深めることが、

本ドキュメンタリー作品を通じて達成したいことの根幹なのです。


In order to make this documentary happen and to bring the beautiful stories of Okinawa to the big screen, your support on Kickstarter is critical to us. As young and debuting filmmakers, we have limited access to professional sources of funding such as grants. Therefore, the crowdfunding campaign on Kickstarter will be our major financing channel. Although we have made an effort to keep the project as low-budget as possible, we are in dire need of funding support for our filming and postproduction process, in order to produce an exquisite creative product. Your support will go into equipment rental, sound mixing, color correction, and hiring composers and illustrators

At the current stage, we have made several visits to Okinawa, filmed some footage, and establish connections with the local community. We believe that the stories and connections that we have collected lie at the heart of a successful documentary. Given this exciting potential, your pledge would support us throughout our official filming in July and post-production in August. Only with your contribution can we materialize the empowering stories of Okinawa into an impactful film on cultural and linguistic diversity. 

このドキュメンタリー作品を完成させ、美しい沖縄の物語をスクリーンで上映するためには、皆さまのKickStarterでのご支援が必要不可欠です。

我々は映画製作に関するキャリアがまだまだ浅いため、助成金といったプロフェッショナルのための資金獲得に苦戦しています。

そのため、Kickstarterでのクラウドファンディングが資金面で重要となります。

もちろん、できるだけ予算を抑える努力は引き続き行っていくのですが、撮影や編集プロセス、そしてより洗練された作品を制作するにあたってかかる資金を、切実に必要としております。

皆さまのご支援は、機材のレンタルや音声や動画の編集、ならびに人件費などに充てられます。

現段階では、沖縄への渡航と取材、そして地域コミュニティとの対話を行っています。

我々のこうした努力は、ドキュメンタリー作品の完成度に結実すると固く信じております。

もし、本作品の潜在的な価値を認めていただければ、7月の正式な撮影段階と8月の編集作業の期間を通じて、ご支援いただきたく思います。

皆さまの貢献があってこそ、勇気をもらえる沖縄の物語を、文化・言語における多様性に影響をもたらす作品に仕上げることができるのです。


We are a team of eight with extremely diverse backgrounds and experiences, and care deeply about cultural and linguistic diversity. Coming from Japan, China, the UK, Singapore, Bulgaria, and Taiwan, our team members boast experiences in multiple disciplines including film, linguistics, media studies, sociology, public policy, and etc. We see the global and interdisciplinary background of our team as one of the biggest assets of this film. It helps us remain open-minded and embrace new perspectives, as we embark on the filmmaking journey in Okinawa to explore its exciting diversity. 

私たちは8人のチームで運営をしており、それぞれが様々なバックグラウンドや経験をもち、文化・言語の多様性に関心を寄せています。日本、中国、英国、シンガポール、ブルガリアそして台湾のメンバーから構成されており、各人の研究分野は映画学、言語学、メディア研究、社会学、公共政策学と多岐にわたっています。こうしたグローバルかつ多分野のバックグラウンドは本作品の要であると考えています。本作品の制作に際しては、こうした環境の下でオープンマインドをもち、新しい知見を取り入れながら沖縄の多彩な姿を探っていきたいと思います。 

 Yining Xu has been enthusiastically engaging with the making of films, photographs, and moving images. She obtained her B.A. degree from Columbia University in New York, where she completed a number of courses at Columbia School of Arts in the Film and Visual Arts program. Yining has directed two short films, with her documentary Everything in a Food Cart featured on the official account of Columbia Global Center Beijing.    

中国北京出身。高校卒業後に渡米し、コロンビア大学にて経済学と社会学の学士号を取得。5年間のニューヨーク滞在中にコロンビア大学で映画製作と写真撮影を学び、監督として2本の短編映画を製作。現在、東京大学公共政策大学院の修士課程に在学中。 

 Emily Larcombe's family is from Ishigaki island, and making this documentary is a personal journey into understanding not only the complex linguistic diversity of the Ryukyu islands but also what they mean to her family. She obtained her B.A in languages from the University of Cambridge, and in this documentary is fusing her research in socio-linguistics and cultural policies with the art of filmmaking. As well as studying French avant-garde and contemporary Spanish film and theatre, she has been involved as a producer and designer for various productions in the Cambridge theatre scene. In 2017 she founded the University of Cambridge Asia Theatre Tour, a theatre company that continues to tour venues in East Asia and the UK every year. 

ラーコム・エミリーさんの家族は石垣島の出身です。彼女は本作品を通じて、沖縄の言語の多様性だけでなく、彼女の家族にとって沖縄言語が持つ意味について理解を深めていきます。彼女はケンブリッジ大学で言語学の学士号を取得しており、本作品の作成にあたっては、映画製作の技法と社会言語学、そして文化政策の研究を融合させています。彼女はフランス前衛芸術とスペイン映画・演劇を勉強する一方で、プロデューサー・デザイナーとして、ケンブリッジ大学の学生による演劇活動に携わってきました。2017年には東アジアと英国の劇場を巡る「ケンブリッジ大学アジアシアターツアー」という劇場会社を設立しました。 

 Heyao Huang graduated from Emerson College visual and media arts major and will be pursuing her master’s degree at Keio University. She has joined multiple independent film production teams in Boston, Los Angeles, Chicago, and Florence, and undertaken the producer, director, and editor roles. 

中国南京出身。2014年にボストンのエマーソン大学で自主製作映画について学びました。在学中は監督・プロデューサー・撮影・照明等、様々な役割を担いました。2015年から2018年までは、ロサンゼルスと東京でそれぞれ、AmuseGroup USA社、CuttingEdge社において、インターンを行い、プロとしての映画製作経験を積んできました。エマーソン大学ビジュアル・メディアアート課程の修了後、現在は映画製作のさらなる可能性を探るため、慶應義塾大学システムデザイン・マネジメント修士課程に在学中。


Production Team:  Alexandra Dimitrova, Yu Ching Tan, Shu-Yu Weng, Vicky Gan, Keita Kosugi 

Production team filming a Sanshin class in Okinawa  三線授業の撮影をしています
Production team filming a Sanshin class in Okinawa  三線授業の撮影をしています

Risks and challenges

We realize that the process of filmmaking is not without its risks, however, we have an extensive network and have already made a trip to Okinawa to make arrangements for our trip in July. As a team of individuals already experienced in film and theatre production we are adept at managing crisis. The support and positive feedback that we have received so far is very encouraging and we are incredibly committed to making this film happen. Whilst we cannot predict the exact outcomes of the intergenerational interactions that we plan to have, this adds to the suspense and element of discovery that is at the heart of our documentary making process.

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