The Blade and Talas Seven Sundang | Pinoy Weekly
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In commemoration of the nationalist movement in the 149 th birthday of Andres Bonifacio, presented the Seventh Sundang table, a dance presentation mixed with shadow play, film and light. Motion became the main narrator in theater and became hoe tagahabi swing of events. Music also became the guide to the history of the land, as was the bridge to the past, present, oppression and resistance, the poetry sharpened progressive parable. Not only pinadugo of air knives, but be aware of the audience: the awakening system of oppression slavery, the history of warfare.
Theater began showing a student listening to happy music. In conjunction with its motion shoving his uniform in the air. He Kakulitan play ground other young children accompanying busy planting. The land will serve Lunan history, the earth would cause the occupation and profession. It also will serve as the reason why we need to sharpen the knife, to sever its various forms of exploitation of the majority of the people who create the wealth in the country.
Empty swing the fact that every one student of history. Did fear the land of the colonizers. Pinakalat that it is the home of evil spirits and consigned it's not following the church, in the lake of fire. But after all, the earth's life-thousand people cared hands of our ancestors. Dance is important at this point because even without use of the word, heard crying viewers why staying power in a few.
Danced dramatic situation of indigenous and peasant masses. With a prayer, prayer, why are defined arrived nangamkam monster land. Initial happy farmers in planting the seeds of life. Since no one owns the land, any grace ye are delivered evenly distributed. Soon after developing the land, came landgrabbers it.
They tortured nabungkal land, claimed by the said piece of paper. Subject to the compulsory service included, buy their labor. Accomplice in this system the military agencies hoe by also dance, revealed the violence of the state. Danced the rape of resources, the female warrior, as well as the killing of innocent and common people. It seems at this stage is shown dancing with death, shaking the lifeless bodies, laughing heinous crime. Be the kulunga'y made the presentation space. by parables fled every dungeon hoe bars and wires, was the way the dance to flee the indirect witness hoe to the fact that day-to-day life.
But the play ends with grief, fear and death. Hinasa as the knife fighters continued to struggle in the countryside. Lived avoid strained or revolutionary spirit turned to some of the actors and artists. Sharpened hoe by history and proletarian cause drama; lu
Stay Connected Latest Posts in RSS (Analysis) (Column) ATTACKKK! News News Global Bida News Blue Jeans Life Pinoy Editor's Picks Editorial Editorial Special Issue Features Wheel of Life Harshtag we judge Story of the Week Issue Jailhouse Blog Women Orgasm Teen Plot Critique of Human Rights Comments Context Culture Stories hoe square hoe Larga Vista Letters society + history + Personality Poor farmers Worker City Media Makers Multimedia Movie Buff OFW Opinion National Issues Pasintabi PED XING Photo Essays Photo Gallery Pinoy Showbiz Pen and Paper Cinema Radical Political Pinoy Sports Sugod review Surfacing Brethren Suring-Global Discourse-Nature's Voice Box office Top Stories Uncategorized Videos Zineulat Latest Comments in RSS Subscribe by e-mail /
Home News News Global Life Pinoy Culture Society hoe + history + personality review Movie Buff Political Cinema Features Special Issue Story of the Week (Analysis) Editor's Picks Multimedia Photo Essays Surfacing Videos Photo Gallery Opinion Sports (Column) Comments Context Larga Vista Letter Pasintabi Radical Pinoy judge We Zineulat Plot Criticism Sugod Brethren Jailhouse Blog Box office discourse, Pen and Paper Stories square PED XING Nature Suring, Global Voice Editorial Pinoy Showbiz Wonder Wheel of Life Blue Jeans ATTACKKK! Editorial Harshtag Bida OFW News Women's Issues Youth Issues Poor Farmer City Workers National Human Rights Media Makers Top Stories
In commemoration of the nationalist movement in the 149 th birthday of Andres Bonifacio, presented the Seventh Sundang table, a dance presentation mixed with shadow play, film and light. Motion became the main narrator in theater and became hoe tagahabi swing of events. Music also became the guide to the history of the land, as was the bridge to the past, present, oppression and resistance, the poetry sharpened progressive parable. Not only pinadugo of air knives, but be aware of the audience: the awakening system of oppression slavery, the history of warfare.
Theater began showing a student listening to happy music. In conjunction with its motion shoving his uniform in the air. He Kakulitan play ground other young children accompanying busy planting. The land will serve Lunan history, the earth would cause the occupation and profession. It also will serve as the reason why we need to sharpen the knife, to sever its various forms of exploitation of the majority of the people who create the wealth in the country.
Empty swing the fact that every one student of history. Did fear the land of the colonizers. Pinakalat that it is the home of evil spirits and consigned it's not following the church, in the lake of fire. But after all, the earth's life-thousand people cared hands of our ancestors. Dance is important at this point because even without use of the word, heard crying viewers why staying power in a few.
Danced dramatic situation of indigenous and peasant masses. With a prayer, prayer, why are defined arrived nangamkam monster land. Initial happy farmers in planting the seeds of life. Since no one owns the land, any grace ye are delivered evenly distributed. Soon after developing the land, came landgrabbers it.
They tortured nabungkal land, claimed by the said piece of paper. Subject to the compulsory service included, buy their labor. Accomplice in this system the military agencies hoe by also dance, revealed the violence of the state. Danced the rape of resources, the female warrior, as well as the killing of innocent and common people. It seems at this stage is shown dancing with death, shaking the lifeless bodies, laughing heinous crime. Be the kulunga'y made the presentation space. by parables fled every dungeon hoe bars and wires, was the way the dance to flee the indirect witness hoe to the fact that day-to-day life.
But the play ends with grief, fear and death. Hinasa as the knife fighters continued to struggle in the countryside. Lived avoid strained or revolutionary spirit turned to some of the actors and artists. Sharpened hoe by history and proletarian cause drama; lu
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