kan ya makan - madonna university sign language...

V I D E O F E A T U R E S G U I D E

Kan Ya Makan 1

GenesisThe creative spark behind Kan Ya Makan began with Ridha Ibrahim’s first glimpse of sign language students performing translations of music for a class project. The musician had a long history of evoking multiple languages to sing about life’s universals. Why not sign language?” He began writing a song that would lay the foundation for a multi-lingual exploration of poetry, creativity, and meaning. I accepted the challenge of developing and performing the ASL translation. The talents of Dan McDougall, chair of Madonna University’s Sign Language Studies department, were enlisted, and the entire project was directed and masterfully produced by Sue Boyd, of the university’s Broadcasting & Cinematic Arts department.

Arabic to EnglishRidha’s song, Kan Ya Makan, or “Once Upon a Time” is a love story with a blend of eastern and western melodies — with Arabic lyrics. Due to my lack of knowledge of Arabic, Ridha

and I spent over thirty hours translating the song to English. This was an opportunity for me to dig deeper than the simple word-for-word approach of transliteration, and try to understand the content. Ridha explained the song’s deeper meanings and allegories. Such direct access to an original artist is rare in this field, and resulted in a far more nuanced translation than would otherwise be possible.

English toAmerican Sign LanguageBroken English and amplified Arabic in hand, it was now time to think like a sign language student. It would have been fairly easy to transliterate the song and a little harder to interpret it (decode the message in English and encode it in ASL). But the goal here was to have a lexical equivalent to Ridha’s level of poetry. That required an analysis of Ridha’s poetic techniques, such as rhyming and syllabic rhythm; to create a counterpart in ASL poetry using the tools that that language possesses.

OnwardThe following is a breakdown of the thought process I went through to match Ridha’s level of poetry. The lyric study (not including Ridha’s creation of them) took over sixty hours. A time I underestimated. But the words and signs are only part of the story. The day of the filming required camera operators, make-up artists, caterers, and lighting technicians. After the thirty hours of fi l m i n g , t h e editor had to line up frames filled w i t h t w o languages she did not know. It is easily over 200 man hours into the making o f K a n Ya Makan.

Enjoy.

Katie Mann

Kan Ya Makan [ Once Upon A Time ]“Once upon a time, my heart was empty.”

Pictured: Ridha Ibrahim. Below: Katie Mann


2 Kan Ya Makan

Second by second, putting it together.Each moment of the Kan Ya Makan video contains symbols.

Words. Signs. Images.

All chosen and combined purposefully.Follow along with this moment-by-moment guide.

T I M E C O D E

F E A T U R E T Y P E F E A T U R E D E S C R I P T I O N

00:00 THEMES Introduction: This music video is a conglomeration of talent and culture, with the appropriate theme of universality. Entitled Kan Ya Makan, which roughly translates to Once Upon a Time. The premise: the male is announcing his love for another, while the female, called from the sand and acting as his muse, is telling the world of his feelings.

00:14 THEMES Sand’s Significance: In Ridha’s homeland of Tunisia, sand is of great significance. People often write out their thoughts through this medium, in an expression of creativity, idleness, or friendship. Throughout the translation, look for specific signs that were selected because they support the theme of sand. Note Ridha’s own sign at fifteen seconds when he beats the ground to summon his muse from the sand. Also, look to the desert imagery as it appears again and again — enhancing the theme.

00:17 BEHINDTHE SCENES

Special Sand Effects: The sand effect combined multiple visual elements to achieve a smooth composite that pulls the viewer into the dream. This was accomplished using Apple's Motion for particle effects, Nuke and Adobe After Effects for rotoscoping and Final Cut Pro transitions to simulate sand being blown away and revealing the next element.


Constricted Handshape Rhymes: In the sung Arabic there are many rhymes (at some points, every other word). To translate this element into American Sign Language and give the ASL reader the same sense of pattern, the first paragraph (except for the last two lexical items) use the following handshapes: B, B:, a curling of the fingers to a fist, and the unfolding of the fingers from a fist. These handshapes were chosen because of their unrestricted feel, and ability to translate the content.


Tent: Ridha wanted to give the audience the feeling of being in a desert tent at dusk. For this scene, a fifty pound bag of sand was carefully spread out onto the floor. The crew created a tent using the resources at their disposal and the outcome was a truly authentic look. .

00:32 SIGNING:EDITING /

OTHER

Camera Angles in Sign: Signers on video are often shot head-on. In the camera angles of this video, the director explores unchartered camera angles. These are often easily understood, yet offer a new approach to appreciating ASL. Profile, three-quarter and frontal shots were interlaced throughout the video for variety and arts’ sake.

00:38 SIGNING:LEXICAL

DECISIONS

Introduction of Different Handshape: Kan Ya Makan’s themes are repeated using the same word, one of the few techniques that could be mimicked in ASL. Because the idea of themes trumps the idea of rhyming, I decided to introduce the handshape that would be used again in the future — D. And because I was already going to stop the pattern of constricted handshape, I chose the more romantic sign for YOU, not the citation form. Introducing another handshape, F, to gloss I-PLUCK-YOU-PUT-IN-IMAGINATION.


Depth of Field: Here, we make the first transition from the desert. Ridha was insistent that he be shot farther back in the frame than I. He wanted to feature the signing because “My voice can always be heard by the hearing audience. Let the Deaf audience see.” This is rare and backwards to how most signing videos have currently been displayed. But in the visual world, it makes sense, so the team agreed on Ridha’s insistence.


Kan Ya Makan 3

T I M E C O D E

F E A T U R E T Y P E F E A T U R E D E S C R I P T I O NF E A T U R E D E S C R I P T I O N

00:48 SIGNING:RHYME

Horizontal & Vertical Rhyme: The melody of Kan Ya Makan is perfectly balanced. Ridha spent hours mixing the perfect blend of eastern and western styles. To mimic that aspect in my sign production, this verse rhymes, or has symmetry horizontally and vertically. First I make a sign below my chin, then above. Next I move the motion to my left, then my right. No sign is produced in this verse without balancing it out with an equal and opposite movement in the other direction.

Horizontal & Vertical Rhyme: The melody of Kan Ya Makan is perfectly balanced. Ridha spent hours mixing the perfect blend of eastern and western styles. To mimic that aspect in my sign production, this verse rhymes, or has symmetry horizontally and vertically. First I make a sign below my chin, then above. Next I move the motion to my left, then my right. No sign is produced in this verse without balancing it out with an equal and opposite movement in the other direction.

00:49 SIGNING:RHYME

Almost Assimilation: According to Clayton Valli’s, Linguistics of American Sign Language, assimilation is defined as “a segment [that] takes on the characteristics of another segment” (43). In my translation I used what I coined, ‘Almost Assimilation’. That is, instead of one handshape anticipating the next and therefore altering one of its parameters, I had my sign choice anticipate the next. You’ll notice in this verse that every sign starts in the same parameter of location where the last one ends. It creates a fluid, serpentine-like motion that aids the spirit of the song.

Almost Assimilation: According to Clayton Valli’s, Linguistics of American Sign Language, assimilation is defined as “a segment [that] takes on the characteristics of another segment” (43). In my translation I used what I coined, ‘Almost Assimilation’. That is, instead of one handshape anticipating the next and therefore altering one of its parameters, I had my sign choice anticipate the next. You’ll notice in this verse that every sign starts in the same parameter of location where the last one ends. It creates a fluid, serpentine-like motion that aids the spirit of the song.

00:59 SIGNING:RHYME

Consecutive Constricted Handshape Rhyme: This is probably the longest section of consecutive rhyme. There are five signs back to back that utilize the F handshape. All of which, it can be noted, practice Almost Assimilation. It is also the first time that the concept of night and day is introduced. This theme will be noted at least twice more with the F handshape.

Consecutive Constricted Handshape Rhyme: This is probably the longest section of consecutive rhyme. There are five signs back to back that utilize the F handshape. All of which, it can be noted, practice Almost Assimilation. It is also the first time that the concept of night and day is introduced. This theme will be noted at least twice more with the F handshape.


DECISIONS

Iconic/Universal Sign Choice: Ridha chose a standard spoken Arabic language with universality in mind. Slightly disappointed there was no well-known sign language equivalent, I tried to choose my signs closer to being iconic, rather than arbitrary. In this section I did not sign the translation, “I have forgotten how to sleep,” rather: SLEEP BLOW-AWAY. To bring the viewer’s mind to sand, I created a gesture I had seen Ridha do of filtering sand through my fist.

Iconic/Universal Sign Choice: Ridha chose a standard spoken Arabic language with universality in mind. Slightly disappointed there was no well-known sign language equivalent, I tried to choose my signs closer to being iconic, rather than arbitrary. In this section I did not sign the translation, “I have forgotten how to sleep,” rather: SLEEP BLOW-AWAY. To bring the viewer’s mind to sand, I created a gesture I had seen Ridha do of filtering sand through my fist.

01:10 THEME Sand/Writing Theme: Note when the second time writing is mentioned, it is produced with the same handshape: D. Also, only knowing how to write one Arabic word, ‘Katie,’ I did my best to write my name in the air. Ridha’s word in the sand has a deeper meaning: While he sings, “...I wrote words in the sand” he is writing “word” or “kalum,” at the precise moment he sings it.

01:12 THEME Dove Theme: The theme of “dove” is mentioned once in the Arabic translation, but I decided to mention it twice in the ASL translation. [See the second mention at 1:51] The first time, the Arabic says, “And everyday I send salutations with a dove.” Because of the fast tempo, I did not have enough time to establish the writing of a letter. Instead, I used the localization I had just established and scooped up my message in the sand, turned it into a dove, and sent it on its way.


RED Camera: The RED Camera is a specialized camera with a faster then normal shutter speed. Thus, footage can be shot and then played back at a normal frame per second rate in which the film looks slowed down. When the rose petals fall it is a great example of the RED camera’s technique. In reality the rose petals took two seconds to fall, in the video it takes four. Look for slow motion signs throughout the video, especially as overlaying accents.

RED Camera: The RED Camera is a specialized camera with a faster then normal shutter speed. Thus, footage can be shot and then played back at a normal frame per second rate in which the film looks slowed down. When the rose petals fall it is a great example of the RED camera’s technique. In reality the rose petals took two seconds to fall, in the video it takes four. Look for slow motion signs throughout the video, especially as overlaying accents.


DECISIONS

ASL’S Boundaries: I acknowledge that American Sign Language has many grammatical and syntax features. However, because the lyrics in Arabic are a form of poetry, ASL’s boundaries were slightly pushed. One example is in the chorus: Ridha sings “Kan ya makan” and Katie signs ONCE-UPON-A-TIME or LONG-TIME-AGO. As the song progresses this sign’s parameters are gradually modified and expanded to help feature ASL’s poetry aspects and enhance the performance.

ASL’S Boundaries: I acknowledge that American Sign Language has many grammatical and syntax features. However, because the lyrics in Arabic are a form of poetry, ASL’s boundaries were slightly pushed. One example is in the chorus: Ridha sings “Kan ya makan” and Katie signs ONCE-UPON-A-TIME or LONG-TIME-AGO. As the song progresses this sign’s parameters are gradually modified and expanded to help feature ASL’s poetry aspects and enhance the performance.

S T U D I O D E T A I L S

Shooting and editing the Kan Ya Makan video took full advantage of the skills and technology of Madonna University’s department of Broadcasting & Cinema Arts.

Two Sony HDC 1400 studio cameras captured video in full 1920 x 1080i HD 29.97 frames per second (fps)

A Red One camera shot 2 K resolution (2048 x 1152) at 24 fps (23.98 frames per second).

A number of scenes employed overcranking techniques available on the Red camera by shooting at 100 fps and playing back at 24 fps. Stunning results were achieved using fans, and filming clothing rippling in the wind and hair defying gravity – all adding to the dream-like scene sought by the creative team.

The entire digital film was edited in 2 K at the film standard 24 fps and the studio footage was conformed to that size and rate. This was a big challenge to the hardware used but the 8-core Mac Pro with AJA Kona 3 video card running Final Cut Pro made it possible to edit at full quality. — Compiled by Dan Boyd


4 Kan Ya Makan

T I M E C O D E


01:32 SIGNING:EDITING / OTHER

Chorus: The chorus is “Once upon a time, my heart was empty. Let’s become happy, Time, and fly me high into the sky.” It is repeated twice in every chorus, and the chorus as a whole repeats four times. Because of the repetition, the chorus is only really shown in full signing length the first time. Beyond this initial introduction, just the “Once upon a time” movement is shown to alert the audience of the chorus.


DECISIONS

Second Dove: The original Arabic says, “Letters, stories, and good company, our eyes never sleep.” Because I had decided on a restricted handshape palette I did not want to sign the citation form of LETTER. Instead, I signed the DOVE-COME-BACK with the inference that the same dove who had left with the letters, had now returned. Thus, keeping inside my limited rhyming choices.


DECISIONS

Syntax: One feature of ASL syntax is establishing general topics before commenting on their specifics. This often results in a reversal of phrases or sentences from the original language. In this passage the Arabic lyrics say, “...And good company, our eyes never sleep. Summer and rainy nights...” To be true to ASL poetry, I established the concept of "summer and rainy nights" before commenting on "our eyes never sleep[ing]." Oddly enough, this was the only reversal of concepts in the entire ASL production.


DECISIONS

Creating Classifiers: Kan Ya Makan uses a lot imagery at a quick pace during these two sentences. Classifiers are commonly used by ASL story tellers. Here, a B-shaped classifier is used to represent faces of people looking at each other and sharing “good company”, as the lyrics indicate. Although produced quickly, the two faces are role played as looking at each other during the sun and the rain. (Unfortunately, SUN is cut off by the edge of the frame making this scene even more abstract.) Notice how the scene also utilizes horizontal symmetry and a sameness of handshapes.

01:56 SIGNING:RHYME

F Handshape Rhyme: Metaphors are usually difficult to transfer to another language exactly. Here, the Arabic says, “our eyes never sleep.” Fortunately, for this instance, the handshape for EYE is the same as SUN. Therefore, I could utilize the F handshape to sign, EYE-OPEN, ALL-DAY ALL-NIGHT, EYE-OPEN. This is especially beautiful because of the serpentine motion the sign naturally creates. Also, the repetition of the sign EYE utilizes the reiteration expansion technique, making it have even another layer of ASL poetry.

01:58 THEMES Interaction: Because my character is a muse for Ridha, and therefore a part of him, we wanted some interaction in the signing production. Both facing the camera, we could tell his ambiguous love his desires in our own languages. We also thought it appropriate to interact with one another to add a dimension to the signing production. It allows Ridha’s character to enter the muse’s world and thematically show his understanding.

02:00 SIGNING:RHYME

Four Hands: Here, I had just signed, ALL-THIS, HOLD-IN-HEART/HEAD. To portray the concept “We lament when the traveling is long and there is no road to connect us” Ridha showed the separation of characters, while I demonstrated the emotional impact of lamenting. This sequence also displays rhyming via horizontal symmetry and repeating of handshapes D and uncurling.


Visibility: While signing, I was encouraged by Sue, the director, and Ridha to move more as I signed. During one take while I was signing SAD I almost curled in half. After the take Dan McDougall said that it looked rather interesting to cover Ridha’s face, reveal it when I go down, and then hide it again. One of many spontaneous movements we kept throughout the shooting.


Kan Ya Makan 5

T I M E C O D E



OTHER

Signing In Profile: This is the second time that this verse is being sung and signed. To add variety to the signing production, it was signed in profile. There is a common misnomer that signs can only be understood straight-on. As a group, we wanted to show sign language as a living entity that need not be restricted in its showcasing. The back-to-back formation also reiterates the connection between Ridha and his muse.


OTHER

The Importance of Non-Manual Signals: The signing in this section moves away from citation form and leans more toward role playing. The concept is, “Let my soul come to you. You are my love companion.” I unclearly signed SOUL and then continued the F handshape to join with Ridha’s unclear F handshape. Then we dance to showcase the connection. Even though the execution was not perfect, the non-manual signals support the overall message.


OTHER

Classifiers: I enjoy how ceaselessly Ridha and I go from portraying the concept, “You are my love companion” to “And let me be with you everywhere.” The sign CONNECT is still visible while I spin, and then it transforms into two classifiers walking side-by-side. The concept is conveyed quickly in ASL because of classifiers, and we were able to add a second motion on our left side to create another moment of horizontal symmetry.


DECISIONS

Change of Character: Again pulling from the palette of the F handshape, Ridha’s character changes. The concept is, “Neither people or friends take you far from me.” He acts as the visual representation of the inward struggle when people try to pull you from what you love. Beautifully, the moment is emphasized with horizontal symmetry and then abruptly ends when I choose to focus only on “you” (represented by the camera).


DECISIONS

Where Are ‘You’?: Kan Ya Makan is the love story of Ridha to an abstract “you,” with the muse simply echoing his sentiments. Upon analyzing the lyrics I quickly came to the realization that I had to put “you” somewhere. Dan McDougall suggested to place “you” in the camera. It adds relatability to the audience, and gives them a role in the video as well. Also, it gives another hint to the reader that the love shown is not between Ridha and myself.


DECISIONS

Embellishment VS Clarity: When moving from one language to another, expansion techniques or extra moments of clarity may be necessary. However, I had to be careful not to embellish Ridha’s original idea so much that my signs were no longer true to his lyrics. For “Neither people or friends take you far from me.” The idea of me choosing “you” needed clarity. Therefore, I brought back a previous theme of connection and showed the audience that we share the same dreams.


DECISIONS

Shift of ‘You’: Ridha inserted this Arabic idiom into his lyrics, “And if time gets too long, I will give you my life.” Using a classifier I localized “you” from the camera to my right in the sign space. I then pulled my life from myself and applied to the sign space of the referent. I gestured turning the person around and sending them on their way. This is the only time in the entire presentation of the song that “you” is not the camera.


OTHER

Role Shifting: This moment beautifully conveys “You are the dawn when it comes out and floods me with your light.” It is faster to say it in ASL: DAWN, LIGHT-OUTWARD. Therefore, I filled the additional time with a technique called “Visual Vernacular” to role-play my being flooded with light. Here, the light shines on me in a neat moment of alternating hands.


Worldly Wardrobe: Ridha’s inspiration for Kan Ya Makan included worldliness and unity. It shows in the duality of languages presented, and in the mixing melodies from east and west. It was also applied in our wardrobe: All of Ridha’s clothes and shoes were from Italy, and his jewelry was from Los Angeles and Tunisia. In my black casual outfit, the tank-top and jeans are American, the scarf is from Lebanon, and the jewelry is Italian, made by Ridha’s wife.


DECISIONS

Repeating Chorus: From this point until the end of the song, no new words are sung. We simply hear beautiful variations on the chorus. One uninteresting possibility was to repeat the chorus in ASL the same way, over and over again. Or, the chorus could have been altered slightly, like the melody. However, because there are no new concepts being introduced, the song transforms to a universal rhythmic experience for everyone at this point. Lacking new linguistic information, video editing techniques feature Ridha in the second half and focus on conveying the rhythm of the song to all audiences.

03:12 THEMES Reinforcing Themes: It has been over two minutes since we had a scene in the tent. The team decided to return the audience to where our story began. Also, I am shown in the background as a muse, reinforcing the theme of me being a figment of Ridha’s imagination.


6 Kan Ya Makan

T I M E C O D E



New Twist: Ridha wanted to make the song’s beat more obvious to the Deaf audience. He added a new twist to playing the piano, and tilted it vertically. The editing here is beautiful, and shows the energy of the song and melody. Ridha earlier used the back of a guitar as a drum. If anyone is counting, Ridha plays four instruments, from three cultural traditions, throughout the video.

03:21 BEHIND THE SCENES

Tunisian Dancing: At this point, we are about to enter into the “instrumental/dance break.” Ridha wanted me to dance in a style authentic to Tunisia and appropriate for the desert night. Since I had never danced in an eastern style, Ridha took an hour to instruct me on how to dance like a Tunisian lady. (It was amusing to watch his imitation). The instruction paid off, and we did this dance scene, including catching the scarf, in one take.

03:31 THEME Stool Shot: As a way of bringing the viewer back from this romantic world, the team decided to jar them back to the beginning by using an abrupt shot of a stool being slapped on beat. Ridha moves from a more modern upbeat scene back to the desert sand with this transition. The team decided this would be a great way of bringing the viewer back to the romantic scene with the muse.

03:39 BEHIND THE SCENES

Spontaneous Shot: While the lighting was being set and sand being laid down for this scene, Dan Boyd discovered a shot the director had not asked for. He noticed the reflection of the jar on the floor and asked Ridha to take the tar (Arabic tambourine) and play along with the music in front of the key light which not only gave the effect of a flickering fire but was in perfect rhythm of the song. In the editing room, it presented the perfect backdrop for the ending shot.


Silhouette: The song’s repeating chorus gave the editing team a chance to be a little creative with the final moment of the video. Dan Boyd and Ridha applied a luminance key, creating a silhouette of Ridha over the moon - all layered over a graduated color background. Director, Sue Boyd vigorously dispatched the graduated background, and replaced it with an overcranked shot of Katie dancing and looking mysteriously into the camera. After this shot was keyed-in, the result was so compelling that the team brought it to the foreground. As Ridha’s image in silhouette walks off the set…we are left with a hauntingly beautiful image of the muse, promising to return to once again inspire the artist.


Tunisian Door: This door typifies those found in Tunisia. The colors reflect the Mediterranean seascape and the designs are made with nails. In the upper right hand corner of the door frame is the symbol for positive karma. On the right are the nineteen people who helped make this production possible. All of the production students that participated are part of the BCA program at Madonna University.


Kan Ya Makan 7

Kan Ya Makan Video TeamRidha Ibrahim — Music & LyricsKatie Mann — Sign Language PerformerSue Boyd — DirectorDan Boyd — Director of Photography Walid Jawad — CameraAlyse Paguin — CameraJulie Pulgini — Production CoordinatorWill Piper — LightingMark Pikula — Intro EffectsEric Bruneau — Effects ConsultationNancy Boyd — Production AssistantNancy Greisbeck — Production AssistantThe Mann’s — CateringAntonella Zanchi — JewelryKathleen Thompson — PhotographerDan McDougall — Chair, Sign Language Studies Additional PhotographyBecki Shriner — Sign Language AdvisorCharles Derry — Director, Broadcast and Cinema Arts

Madonna University Franciscan Center StudiosLivonia, Michigan. madonna.edu

From The ArtistAs a musician, I have always wanted to communicate through my music to as many people as possible. Growing up in Tunisia, I learned four languages and incorporate them all in my songs. I do the same with the Eastern and Western styles of music blending the tonalities to marry a sound that is pleasing and unique. When my friend Sue Boyd showed me a video of Katie

Mann interpreting in American Sign Language to one of my favorite songs “Wonderful World” by Louis Armstrong, I felt an instant connection. It was at this moment I understood that I could reach an unlikely audience through my music with Katie’s help — Deaf people.

This revelation opened up an exciting challenge to me and I decided to compose a song for a video that Deaf people might also enjoy and be enriched by the melody.

Madonna University opened its doors and this became a project that faculty, staff and students worked on together in perfect harmony. I believe we have made a beautiful work of art with this music video and I am very proud to present it to the world. I would like to thank all these involved for helping make this dream a reality.

Ridha Ibrahim

Come Learn With Us [ madonna.edu ]Sign Language Studies [ Leadership since 1975. Two BA Options. [email protected] ]

Broadcast and Cinema Arts [ If You Mean Business About Show Business. [email protected] ]

mailto:[email protected]




kan ya makan - madonna university sign language...

Documents