KALUBAY
At the corner/where hunger/stands its ground//kalubay became/a weapon/in midair–not born/of rage alone/but of a wound/of poverty that grows each dawn in streets stripped bare.
At the corner/where hunger/stands its ground//kalubay became/a weapon/in midair–not born/of rage alone/but of a wound/of poverty that grows each dawn in streets stripped bare.
No longer do/they play “house”—/they rehearse/the burial/of tomorrow.
“ngunit paano/titipirin ang gutom?/paano babawasan/ang pasa/ng magsasaka/kung ang araro/ay pinupurol/ng digmaan?”
magrerebolusyon/ang mga dyip/na parang/bagyong bakal/sa lungsod…/at ang katahimikan/ay magiging/ugong/ng protesta.
Lana constructs a story that is both intimate and political. At its center is Hilda Koronel, whose commanding portrayal transforms one of Philippine literature’s most tragic figures into something far more dangerous: a woman who turns the appearance of madness into a weapon of resistance.
Daughters who memorized poems./Daughters who practiced handwriting./Daughters whose mothers ironed uniforms/with the quiet pride of tomorrow.
“You know,” he said, somewhere in the middle of our comfortable silence, “when we first met, you were just a kid in Davao who wanted to see everything.” I retorted: “And you were a legend who wouldn’t stay away from Mindanao.”
Without looking back and a trust and fervor for the brightest of futures/She dreams, she dreams/Ever hopeful for the next more years.
It is important to note that “Visa” is not an isolated political statement, but rather the latest evolution in SB19’s long-standing commitment to socially conscious artistry.
Tulad ng tanim naming mais, palay, tabako at iba pa sa matataba naming lupa; mula sa tagpuan ng mga dakila naming ilog sa lambak ng Sierra Madre, Cordillera at Caraballo; sa lilim ng aming matayog na kampanaryo, aming mga lumang simbahan at moog, inihayo ng Maquila-Cabagan-San Pablo-Sta Maria ang aming pinaka-maningning at dakila.






