Sa Huli, Tayo'y Iisa

The re-mantaling of cultural dance practices and play with the psoas is vital in awakening the body from its binding as a result of the specific intersection of the current institution. Any one who veers even remotely from the dominant culture roaars, as defined by Cynthia Ward and Nisi Shawl, has had some sort of erasure of movement. Drawing from the movement of my cultural intersections of being a queer Filipino American, I played movement forms of these cultures. Finding impetus from exotic dance that honors the feminine, waacking of the queer bipoc community and the Filipino Folk dances of banga salidsid, pandanggo sa ilaw, singkil, and the tinikling; I found a way to continue in the tradition of culture of sharing stories, in the end finding we all join together as one in the end.