In the Korea, wedding traditions are very much part of the tradition. Filipino marriage ceremonies are a great way to celebrate the union of two people whom love each other. The wedding usually takes five hours, including a church services and a reception.

White Dress and Veil

The groom and bride usually dress yourself in a listing white bridal gown and veil. This signifies purity, and more conservative Filipinos associate this with virginity.

Barong Tagalog (National Male Dress)

A well known Philippine wedding tradition involves the bride and groom wearing the national guy dress, the barong tagalog, which is a transparent dress tshirt made of ananas fiber or perhaps thread. This is often worn over a kamisa para chino, a lightweight top made of pineapple fiber that is certainly also embroidered with floral designs.

Arrhae Gold coins

The Filipino tradition of your Arrhae coin ceremony originated in Spanish-Catholic culture and it is still practiced today. During this feast day, the bride receives a tiny basket filled up with coins out of her husband-to-be. These gold and silver coins are believed to symbolize the promise of prosperity in their matrimony, and cover for their prosperity.

Wire or String To Infelice the Bridegroom and Bride

The lassoing of the international dating for filipina women wedding couple hottest filipina girls is a crucial Filipino marriage ceremony tradition that is a symbol of unity for their entire lives. The cord or rope jewelry them alongside one another, and they might be tied on their arms or waists.

Parental Blessing

Finding a parental true blessing from your groom’s father and mother is very much area of the Filipino marriage ceremony tradition. This is an excellent way to thank them for their support throughout the entire party, and to let them have a place of tribute in the event.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.