An Issue of Liberty – Define It
It was not my intention to watch an event in which I could marvel at the production’s redefining of human art. But unexpectedly, I was ignorantly amazed at the name — “avant-garde performance!”, that a foreign term such as that was to be an expression of liberty in the realm of human imagination.
The breathtaking event was called Kalarakan, the name of which is equivalently referred to in Waray dialect as an area, space, or distance of farthest but indefinable measure. (If related to this avant-garde, the term would actually mean the producer’s emphasis on the freedom of human imagination.) It began in the fifth hour of the creeping afternoon in the campus. An ignorant crowd of students once again flocked in the Arts and Sciences grounds like visiting aliens from the outermost, uncivilised boundaries of the African safari. I mean the audience were practically bounded to be impressed, to be amazed, to be filled with awe at a truly experimental and unorthodox recital; or was it?
Let us continue the review. That afternoon was an enthusiastic day for both humans and nature. The winds ran at different directions and raced aimlessly. The Communication Arts class of my dear professor won our attention; and we were left gazing at the beautifully-clothed women on the rooftops of the covered walk, of the multi-purpose building, and of the college secretary’s office. Three similarly slender women on the college secretary’s office rooftop were dressed in the loose and manageable, but decorative, rainbow-layered costumes similar to an average Indian model’s apparel. They swayed their hands with the constant reverberations of air and mysteriously inviting music. All others were also dressed in frou-frous and followed the same pattern. That was all too wonderful.
However, their redefining of liberty through an art showcase seemed to be lapsing at a significant point and became a sort of over-liberty. I was surprised at the woman who was essentially representing the plus ultra of what they say ‘freedom in art’. She was costumed in an almost nude wear covered with the essences of golden sunshine. She ran forward with the other performers and climbed confidently the statue of our university’s emblem of freedom and excellence, the Oble, a representation of a nude man, standing and spreading his hands wide, facing the heavens. Then with the mystifying air waves of music, this fetish woman surprisingly danced with Oble at the total liberty to attract and flirt with male students in the crowd. She danced more than a whore can. That point of time paralysed the crowd, especially those who were stumbled upon looking at her.
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