1 Introduction

1.1 Rationale and background of the study

The multimedia artist and communicator aim to promote inclusivity by disseminating accurate information, especially to individuals with disabilities. Access to reliable news, whether from modern or traditional sources, is a fundamental right in any society. For instance, the “#KuyaKimAnoNa” segment on GMA’s “24 Oras” TV newscast in the Philippines exemplifies this effort [9]. As Viernes reports, this segment leverages engaging visuals to captivate viewers and deliver valuable content.

A free press is essential for democracy and integral to legal systems worldwide, as Cappello et al. 4 assert. Similarly, Mhamdi [18] points out that the internet has democratized access to information, providing a global platform for diverse perspectives. Thus, public access to news is not just a privilege but a necessity for an informed citizenry. During the Philippines’ 124th independence anniversary, the segment host Alejandro “Kuya Kim” Atienza presented segments from inside a replica of Emilio Aguinaldo’s Bahay na Bato, where significant historical events took place, such as the unfolding of the Philippine Flag by lawyer Ambrosio Rianzares Bautista [9]. Additionally, Kuya Kim’s engagement, such as driving a replica of a 1937 Chrysler Airflow Custom CW, once used by former President Manuel L. Quezon, adds a rich historical context to his reports.

Napoles [19] highlights Kuya Kim’s consistent presence on “24 Oras,” providing viewers with timely and insightful news through his famous “#KuyaKimAnoNa” segment. His videos on Facebook have garnered over 12 million views, underscoring his broad appeal and influence. Manila Bulletin Entertainment [15] reports that “24 Oras” has become the first Philippine local news program to stream live on TikTok, potentially impacting history. However, the crucial question remains: How inclusive are these platforms, particularly for individuals with disabilities, such as the deaf community?

Visual elements in televised news significantly influence audience attention and information retention, as Rodrigues et al. 26 found. Their study highlights the importance of visual presentation in enhancing viewer engagement and understanding of news content. Structural functionalism, a key concept in sociology, posits that every institution, relationship, role, and norm serves a crucial purpose and is indispensable for society’s continued existence and stability [27]. Radcliffe-Brown [24] elaborates on this at the macro level, describing society as a system where all elements perform unique yet complementary functions.

Applying structural-functionalism to the layout of television newscasts can enhance their functionality and coherence. Concurrently, Margariti et al. [16] explain that minimalism, which involves using limited material to create the desired effect, emphasizes primary structures and the quality of simplicity. This approach can efficiently design news segments catering to individuals with disabilities. Minimalism promotes transparent, modest designs that minimize potential distractions, encouraging message recipients to engage with and complete the incomplete elements [16].

A minimalistic approach to the layout of the “#KuyaKimAnoNa” segment can help make it more accessible to the deaf community. Too many visuals might impair comprehension for people who are deaf or hard of hearing, as Maj and Lewandowsky 14 suggest. Removing unnecessary visual elements and focusing on clear, concise graphics can enhance understanding and retention of information.

Living in a world with differing equal rights for people with and without disabilities is challenging. The rights of individuals with disabilities are protected under RA 7277, enacted on March 24, 1992, by former President Corazon C. Aquino, which ensures that “those with disabilities are granted the same rights as everyone else to take their proper place in society.” This legislation emphasizes the need for independence and equal treatment for individuals with disabilities [23].

Former Senator Bam Aquino highlighted in Senate Bill No. 2117 (2014) that there were 517,536 people in the Philippines with hearing loss in 2009, including 241,624 who were utterly deaf and 275,912 who were partially deaf (Dela Pena, 5). In this regard, communication and collaboration with individuals from all walks of life, including the deaf community, is more critical than ever. Ensuring that people with disabilities, particularly people who are deaf or hard of hearing, have access to information about what is happening around them is essential.

RA 11106, passed on October 30, 2018, in the Philippines, addresses social inclusion for people who are deaf or hard of hearing, mandating the use of Filipino Sign  Language in broadcast media, schools, and workplaces [22]. That act declares Filipino sign language as the national sign language of the Filipino deaf and the official sign language of the government in all deaf-related transactions. It ensures that everyone, with or without a disability, can freely access the material.

The National Association of the Deaf of the United States of America emphasizes that deaf and hard-of-hearing people should be able to access all types of online and broadcast media. That includes providing transcripts of radio broadcasts, online and broadcast videos, media events, and captioning and interpretation. Access to media for the country’s 48 million deaf and hard-of-hearing individuals is required by law and dramatically expands the number of potential viewers.

Gordon [10] suggests that an interpreter should be at least one-sixth the size of a standard-definition television screen for effective communication. A slight alteration in the shape of the hands, fingers, lips, head, and torso, as well as facial emotions, might alter the message. Therefore, the news layout should be excellent enough for a sign language interpreter to convey the news accurately.

Yi et al. [28] highlight three critical concerns in the design of sign language services: the necessity of subtitles, the size of the interpreter inset, and the arrangement of the sign language inset. Increasing the size of the interpreter to take up one-third of the screen can make sign language more visible to a broader audience. This study investigates the lived experience of people who are deaf or hard of hearing in terms of how they perceive the news, including the use of various broadcast graphics components on the television screen. Furthermore, it aimed to determine whether the graphical features in the broadcast can assist the deaf community by rearranging them to make them more functional and accessible.

1.2 Purpose of the study

In general, the study intends to explain how visual components influence the attribution of social inclusion during GMA Network, Inc.’s 24 Oras newscasts. The study’s specific goals are as follows: (1) Determine if the interpretation segment serves its function in conveying the core of the news; (2) Determine whether the layout and graphical designs influence the viewer’s understanding of the news; (3) Determine whether moving items, such as subtitles and footnotes, distract viewers from the news program; (4) Understand the efficient and effective procedures that may be used to ensure that deaf viewers can readily comprehend the message of every item of news.

2 Methodology

2.1 Research design

This study employed descriptive phenomenology since the data gathered from the participants was descriptive and opinion-based, additionally depending on the participants’ personal experiences. They were questioned as to whether they correctly grasped the news of #KuyaKimAnoNa. As a result, the researcher created a television news layout inspired by the 2022 GMA broadcast footage.

3 Research instruments

As an implicit tool, the researcher utilized guide questions. The guide questions are used to interview these open-ended responses from three (3) multimedia practitioners, three (3) sign language interpreters, and three (3) deaf persons.

3.1 Sampling and population

Based on the first-hand accounts of three (3) multimedia practitioners, three (3) sign language interpreters, and three (3) deaf individuals, they were questioned about their experiences with #KuyaKimAnoNa. While the sample size is relatively small, it aligns with the typical approach in phenomenological research, which often involves a limited number of participants to gather in-depth qualitative data.

As described by Husserl (2012, as cited in [21]), phenomenological research seeks to understand the shared meaning of individuals’ lived experiences regarding a particular phenomenon. This approach begins with a query about a specific phenomenon and aims to explain clearly what it means to be human by studying these lived experiences (Creswell, 2013; Husserl, 2012; van Manen, 1990) as cited in [21]. The researchers’ role involves “building” the investigated object based on its manifestations, structures, and components (Creswell, 2013, as cited in [21]).

According to Morse (1995), as cited in [21], phenomenological research typically involves interviewing a few participants, often between six and ten, to obtain detailed qualitative data. Guetterman (2015) reported an average sample size of fifteen, ranging between eight and thirty-one participants in educational research and between eight and fifty-two participants, with an average of twenty-five in health studies. Creswell (2013, cited in [21]) suggests that five to twenty-five participants are usually adequate for phenomenological studies. Despite these guidelines, it is crucial to acknowledge that the sample size in this study may limit the generalizability of the findings. Researchers must continue adding participants until data saturation is reached to ensure the study’s goals are comprehensively fulfilled.

While the small sample size of this study may limit the broader applicability of the results, it is a common and accepted practice in phenomenological research to work with a limited number of participants. This approach allows for an in-depth exploration of the participants’ experiences. However, the authors acknowledge this limitation and suggest further research with a larger sample size to enhance the confidence and generalizability of the findings.

3.2 Data collection plan

Data collection involved face-to-face, in-depth interviews. The researcher explained the study’s purpose and goals to the participants. As for the additional qualitative data, it was gathered during discussions and conclusions, following methods similar to those described by Moustakas (1994 as cited in [7]). Moustakas emphasizes the value of qualitative approaches for studying human experiences, noting that quantitative methods are less suitable.

Moustakas describes the phenomenological interview as a straightforward, interactive process using open-ended questions and comments in his work. Although the leading researcher prepares questions in advance to thoroughly explore the participants’ experiences, these questions often evolve during the interview.

A phenomenological interview typically starts with a casual conversation or a brief meditation to help the participant feel comfortable and open. After this, the researcher asks the participant to reflect on their experience, particularly significant aspects, and then to recount the entire event. This approach helps participants respond honestly and in detail. Sign language interpreters were provided to ensure accurate and clear communication for participants with hearing disabilities.

3.3 Data analysis

The researcher employed Zeeck’s [29] data analysis approach to examine the data from phenomenology. To begin, they jotted down the statement from the participant’s experience viewing the GMA newscast to conduct the research study. Second, they compiled a list of all the statements about the participant’s statement. Each remark was given the same weight in this “horizontalization” strategy. Lastly, they went through all the sentences that did not overlap or recur. These were the experience’s consistent points of view. Fourth, they organized vistas that have remained constant into themes. Fifth, they used standard views and themes to compose a literary summary of each participant’s experience, complete with excerpts from their own words. Sixth, they structured each participant’s experience depending on how they described the feel of their encounter and how their imaginations differed. On the seventh occasion, they created a textual-structural description of the meanings and essences of each participant’s experience, including the recurring sections and themes.

Finally, they used individual textual-structural descriptions to compile a thorough account of the event for all participants. The most important aspect of the professional experience was this explanation.

4 Result

The primary findings from the nine (9) participants are presented in this section: three (3) Deaf (D), three (3) Multimedia Practitioners (MP), and three (3) Sign Language Interpreters (SLI). Individuals were interviewed based on their firsthand knowledge of the new arrangement.

D1 is 23 years old, graduated from high school, and was born deaf. She used to watch a variety of television shows, including #KuyaKimAnoNa.

D2 is a 30-year-old female who graduated with honors from high school. She used to watch various forms of entertainment on television and is aware of the #KuyaKimAnoNa segment.

D3 is a 20-year-old guy in his final year of high school. Daily, he watches #KuyaKimAnoNa.

MP1 worked as a graphic designer/animator at one firm and has four years of expertise. MP2 is a 27-year-old white man. He is a former editor for a well-known corporation who now works from home as a graphic designer for an Australian company. MP3 has been a freelance graphic designer/interior designer for three years.

SLI 1 is a 22-year-old female Jehovah’s Witness who worked as an interpreter to promote the gospel by communicating with the people.

SLI 2 is 55 years old, was an interpreter at many conferences, and is now a SPED instructor. She is a former CSB teacher with 20 years of experience as an interpreter.

SLI 3 is a SPED teacher. He is 26 years old and had worked as an interpreter for four years.

With the four methods, the findings of the study enabled us to answer the impact of the #KuyaKimAnoNa segment of the 24 Oras Newcast’s graphical elements on the deaf viewers: (a) modification of the TV inset size for the deaf visual sign recognition and understanding; (b) Minimal visual components aid deaf people in understanding the message.; (c) familiarization and exposure to the deaf community’s preferred language; (d) Simplifying the layout for better deaf perception and understanding of the message. The interview included nine people from Marikina City, Pasig City, Pasay City, and Makati City. They were questioned about their own experiences. The phenomena are observed in Zeeck’s [29] study through the formation of structural motifs, which are then merged into a complete statement of the essence (Figs. 1, 2).

Fig. 1
figure 1

On-screen presentation proposal [10]

Full size image
Fig. 2
figure 2

Screenshot of the clip from 24 oras’ #KuyaKimAnoNa segment [9]

Full size image

5 Discussion

5.1 Modification of the TV inset size for deaf visual sign recognition and understanding

The sign language interpreter is crucial for communication and information dissemination for the Deaf community. The current size of the sign language interpreter inset on television must be increased to ensure the news is communicated effectively. The study suggests that the inset should be four times larger than it is now. Both sign language interpreters and Deaf viewers favor larger insets.

One Deaf viewer stated,

“As a Deaf viewer, I can attest that the size of the sign language interpreter affects my comprehension of the news. If the inset is too small, it is difficult to grasp the news from a distance or even up close.”

A sign language interpreter added,

“The sign language interpreter inset is often too small to notice, and many Deaf individuals cannot see it from a distance. The importance of the hands, upper body, and facial expressions cannot be overstated. They need to be visible to help the Deaf understand the news.”

The experiences of Deaf viewers and sign language interpreters underscore the importance of increasing the interpreter inset size to convey the news accurately. Lacerna et al. [12] emphasize in Sect. 10 of the Filipino Sign Language (FSL) Act that sign language insets must be included in broadcast media programs. However, participants in their study noted that the insets are often too small, making it difficult to see and understand the interpreter’s signs clearly. Participants also pointed out that some signs look very similar but have different meanings, leading to potential misunderstandings when the signs are not visible [12].

According to Espineda [7], the inset should occupy at least one-ninth of the television screen to ensure fair access to information for Deaf viewers. He argues that the current size is insufficient and that increasing the inset size is vital for obtaining critical information for those with hearing impairments. Guidelines on Access to Information in National Sign Languages during Emergency Broadcasts also recommend that the interpreter inset occupy no less than 16.6% of the screen for broadcasts with a single presenter, or up to 33.33% (Guidelines on Access to Information in National Sign Languages during Emergency Broadcasts, n.d.) [11].

Espineda [7] also notes that an appropriate inset size is essential for Deaf viewers in the Philippines to access news information. He asserts that a larger inset correlates with improved visual access, enhancing Deaf viewers’ comprehension of the information. Magennis [13], as cited in [7] stresses the importance of an adequately sized inset, arguing that the signer should appear large enough on the TV screen for viewers to observe and distinguish all the interpreter’s motions and facial expressions.

Espineda [7] cites Ofcom’s recommendation that the signer be no smaller than one-sixth of the picture in high-definition television. The study found that Deaf individuals prefer larger signers for better comprehension [7]. Bryant [3], as cited in [7] notes that structural-functionalism recognizes the need for reform to address societal dysfunctions, such as the inadequate size of sign language insets. Espineda [7] emphasizes that equitable access to information for Deaf viewers requires the inset size to be increased from a 1 × 1 frame to at least one-ninth of the TV screen. This change would enhance the social inclusion of the Deaf community by providing better access to news and information.

Espineda [7] concludes that improving the size of TV insets is crucial for equitable access to information for Deaf and sign language users. This improvement would address the socially dysfunctional position of GMA Network, Inc. as a provider of news information and advocate for the social inclusion of the Deaf community by ensuring they can comprehend the #KuyaKimAnoNa segment [7].

5.2 Minimal visual components aid deaf people in understanding the message

The second theme arising from the responses of deaf participants pertains to the significance of graphical elements in #KuyaKimAnoNa. The placement and design of these elements significantly impact comprehension among the deaf community, who generally prefer more straightforward designs.

One sign language interpreter (SLI) noted,

“They should remove other elements like the segment name, as they are already familiar with it. They can understand what it’s about from the segment’s introduction.”

This sentiment underscores a preference for a straightforward layout with visible essential elements, aiding in news comprehension.

Echoing this perspective, another deaf participant affirmed,

“The layout of #KuyaKimAnoNa is good, but for me with a disability, having too many graphical elements would be distracting, especially with multiple colors.”

Deaf individuals rely heavily on visual cues due to their dependence on sight alone. Consequently, an overloaded screen can disrupt their focus. As Gennari et al. (2013) discuss, visual attention involves filtering out distractions and concentrating on pertinent information. Deaf individuals often struggle with this due to the potential distractions posed by complex layouts.

In response to this need, incorporating sign language inset within a basic design format proves crucial for deaf viewers. Placing these signs strategically, such as in the lower section, minimizes distractions that could divert their attention from the main content.

Prioritizing clarity and minimizing visual clutter, #KuyaKimAnoNa can enhance accessibility for deaf viewers, ensuring that graphical elements support rather than hinder comprehension.

5.3 Familiarization and exposure to the deaf community’s preferred language

The third theme centers on language exposure and the use of moving graphics. In the classroom, Deaf students typically use English as their primary language. That is because English is taught in schools and used as a communication medium with Deaf individuals.

However, Martinez [17] argues that sign languages are actual languages on par with spoken languages. While spoken languages are based on sound, sign languages are constructed from visual units. There are over a hundred recognized sign languages globally, each with its structure and grammar. Sign languages utilize handshapes, locations, movements, palm orientations, and non-manual signals to convey meaning and create sentences.

Unlike spoken languages, sign languages lack written systems and rely on visually motivated grammatical devices, particularly non-manual signals involving the face and body (Department of Linguistics, UP Diliman, 6). Variants of the same lexical item in sign languages are often retained due to their functional role in diverse communicative environments, depending on whether interlocutors are signing or non-signing, Deaf or hearing.

Meanwhile, Filipino Sign Language (FSL) is a mixture of traditional and regional signs, American Sign Language (ASL) influences, and lexicalized signs based on manually coded English (MCE) (Five Facts About Filipino Sign [8]). The FSL Act of 2018 established FSL as the national sign language, mandating its use in all Philippine schools, government offices, workplaces, and media to provide Deaf Filipinos access to opportunities.

Despite this, misconceptions about FSL persist. FSL is the natural language for most Deaf Filipinos, reflecting Filipino culture’s grammar, syntax, and idioms. It is a visual language consisting of gestures, facial expressions, and hand and body movements. Contrary to some beliefs, FSL has a complex visual grammar distinct from pantomime or body language.

FSL differs significantly from ASL despite sharing some signs due to historical influences. There is no universal sign language; there are around 400 sign languages worldwide, each rooted in the culture of its respective country. FSL operates independently of spoken Filipino, Tagalog, and other oral or written languages, relying on imagery and concepts unique to sign language.

Deaf individuals often prefer English over Tagalog due to the latter’s complexity. One SLI noted that English in news headers and footnotes aids Deaf comprehension since they find Tagalog challenging. Reyes and Tabuga (2019) state that understanding the visual elements and preferred language of Deaf viewers is crucial for effective communication, as they rely on Filipino Sign Language (FSL) for meaningful interaction.

One SLI remarked:

“If the structure of #KuyaKimAnoNa includes the English language in the news header and footnote, the Deaf can better grasp the news as their supporting material. Being a deaf instructor and translator, I can tell you that they prefer English to Tagalog since Tagalog is complicated to speak.”

Espineda [7] argues that Sign Language Interpreters (SLIs) and multimedia artists must have familiarity and mastery of deaf culture to improve communication with the deaf community. Exposure to schooled and non-schooled deaf cultures is essential for interpreters and multimedia artists, enabling them to learn visual signs for literate and illiterate Deaf individuals. This exposure highlights the existence of educated and uneducated Deaf persons in Filipino deaf culture, each with distinct signing methods. Consequently, if interpreters and multimedia artists producing new programs are unfamiliar with Filipino deaf culture, they may struggle to understand and accurately translate messages.

Therefore, interpreters should be more open to understanding deaf culture to broaden their knowledge of jargon and other signs. Recognizing the differences in signing methods between educated and uneducated Deaf individuals is crucial for accurate translation. Without this cultural awareness, the Deaf community may struggle to comprehend the intended messages.

Concurrently, Deaf students who study English may face challenges when encountering news texts that include Tagalog phrases like “#KuyaKimAnoNa” in headlines and footnotes. These instances could hinder their comprehension. Understanding the primary language used in news articles helps contextualize the headline information. Moreover, footnotes in Tagalog might further complicate their understanding, especially if the transition between languages is abrupt. Deaf individuals often find English more straightforward to read and comprehend than Tagalog, which may affect how they process news content.

One Deaf person reported:

“Before it was Tagalog, I could not understand. When I asked my family about it, they did not know to sign it for me.”

Understanding which graphical elements can effectively convey information to the deaf community, mainly through Filipino Sign Language (FSL), is crucial. Unlike text-based communication, FSL relies on comprehensible visual signs to deaf viewers, aligning with their preference for visual and signed languages over written forms. This distinction is vital because, as noted by Reyes and Tabuga (2009) [25], many deaf individuals (63%) are more comfortable with written English than with both spoken and written Filipino (45%).

The educational approach for deaf individuals often involves a bilingual mix of sign language and English [20], highlighting the necessity for dual-language proficiency among deaf students. Akach [1] underscores the challenges deaf students face in educational systems that offer bilingual education, emphasizing the need for sign language as the initial language of education.

Filipino Sign Language, as described by Martinez [17], is visually influenced by American Sign Language (ASL) but has evolved to a distinct form. Its syntax and lexicon, more akin to broken English than pure English, reflect its unique adaptation within the Filipino context. Consequently, sign language interpretation remains pivotal for accessing Deaf television programming [17].

Espineda [7] argues that effective communication with Filipino deaf individuals requires linguistic proficiency and cultural understanding. This sentiment is echoed by Espineda’s assertion that interpreters must deliver information contextually within the framework of deaf Filipino culture, ensuring accurate communication without relying solely on word familiarity [7].

Moreover, Martinez and Cabalfin (n.d.) as cited in [7] highlight the vibrant diversity of the Filipino deaf community, bound by a shared visual language that incorporates Filipino cultural norms and distinct deaf cultural practices. This cultural richness underscores the importance of interpreters being well-versed in sign language and deaf culture to facilitate accurate and respectful communication [7].

Filipino Sign Language serves as the primary mode of communication among deaf Filipinos, supported by legislative recognition (Republic Act 11,106). It underscores the importance of cultural sensitivity and linguistic proficiency in enabling effective communication and integration within the deaf community.

5.4 Simplification of the layout for better deaf perception and understanding of the message

The emergence of a new, deaf-friendly layout is the fourth notable theme. Sign Language Inset remains crucial from the Deaf community’s perspective, as they heavily rely on in-car sign language translators to access news content. A practical approach involves designing news layouts that cater to deaf viewers, ensuring they can comprehend the information efficiently.

According to Radcliffe-Brown (1881–1955), functional structures should be adapted to participants’ preferences, supported by Bortha’s 2 minimalism theory, which advocates minimizing elements that hinder comprehension based on the lived experiences of Deaf individuals using the new layout.

In support of this approach, one Deaf individual expressed:

“It would be especially useful for elderly Deaf individuals who struggle to see the screen. Enlarging the interpreter and reducing distracting graphics would greatly enhance our ability to understand the news.”

Deaf individuals rely on visual cues for information absorption, with interpreters playing a crucial role in their comprehension. A simplified layout effectively supports Deaf viewers in their information consumption, a critical consideration given the profound impact of accessible and accurate news on all individuals, regardless of disability.

An MP remarked:

“If the size of the sign language interpreter affects understanding for Deaf viewers, adjustments should certainly be made. However, design principles must also balance elements like negative space to ensure overall effectiveness. As multimedia practitioners, it is our duty to prioritize the needs of our clients.”

Multimedia practitioners, drawing on their expertise, acknowledge the significance of reducing visual clutter and enhancing the prominence of sign language interpreters, aligning with the lived experiences and preferences of Deaf viewers.

Understanding these insights from multimedia practitioners is crucial, given their expertise in layout design and commitment to creating universally accessible designs. Their perspectives are informed by practical experience and are invaluable in shaping inclusive design practices.

6 Conclusion

This study concludes that enhancing social inclusion hinges on modifying the television screen layout. Conversely, deaf viewers prefer more straightforward frameworks. Therefore, Sign Language Interpreters (SLIs) and multimedia professionals should immerse themselves in deaf culture and preferred communication methods. This understanding improves their ability to interpret and convey the language and signs to deaf audiences effectively.

Television networks, in contrast, should streamline their layouts with designs that accommodate deaf viewers, minimizing complex graphics. This approach facilitates access to communication and information crucial for their social integration. Such design adaptations must adhere to a functional structural model to be effective.

7 Recommendations

The study recommends further investigation into the visual elements of #KuyaKimAnoNa and similar television programs.

  1. 1.

    It is recommended to explore how deaf individuals who are not fluent in Filipino Sign Language (FSL) or lack interpreting skills can benefit from enhanced graphical layouts.

  2. 2.

    Research indicates that establishing a basic interpretation channel for economically disadvantaged deaf individuals would be beneficial.

  3. 3.

    The study suggests examining effective means of communication among deaf individuals to facilitate better understanding of news, especially for those with limited sign language proficiency.

The study advises incorporating fundamental technological platforms in future research endeavors.