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ART KNOWS NO BOUNDARIES OF RACE, COLOR, CREED OR TIME.
WORKS OF MAN’S IMAGINATION ALREADY EXISTED IN THE EARLY PAGES
OF MAN’S UNWRITTEN STORY. THE DRAWINGS ON THE CAVES OF
FRANCE DEPICTING PREHISTORIC ANIMALS ARE ELOQUENT
TESTIMONIES TO MAN’S INBORN CREATIVITY. AS ART IS AN INTEGRAL
PART OF MAN’S PERSONALITY AND HIGHER SENSIBILITIES, TO EXPLORE
THE ART OF TRIBAL MINORITIES IS TO TOUCH THEIR SOULS.
THE PHILIPPINES IS NOT ONLY RICH IN NATURAL RESOURCES BUT IS
ALSO A VAST AND VERSATILE STOREHOUSE OF FOLK CULTURE STILL
AWAITING THE LIGHT OF THE CRITIC’S EYES AND THE WIT OF
JOURNALIST’S PEN. THE HARDY MOUNTAIN TRIBES IN NORTHERN
LUZON AND THOSE IN OTHER REGIONS IN THE PHILIPPINES HAVE A
MOST UNIQUE AND COLORFUL ARTISTIC TRADITION. AND MOST OF IT
HAS BEEN PASSED ON FROM GENERATION TO GENERATION OVER THE
CENTURIES. THERE ARE MANY OTHER TATTOOED PEOPLES ALL OVER
SOUTHEAST ASIA AND IT WOULD BE INTERESTING TO READ A
COMPARATIVE STUDY ON THEIR RESPECTIVE AESTHETIC WORKS, A
TALL ORDER FOR FUTURE SCHOLARLY STUDIES.
In the Philippines, the mountain tribes in Northern Luzon are among the most
talented early artists. Perhaps, the utterly peaceful and meditative
atmosphere deep in the isolated mountains where they live is largely
responsible for their highly creative culture.
THE ART OF TATTOOING: was and in some cases, still is -- very prevalent
amongst the mountain tribes. In the so-called "INTERIOR" or heartland of this
mountainous territory, it is rarely possible to find a man or woman who has
never been tattooed. However, the practice is rapidly disappearing as many
of these people are now discarding their old traditions in favor of the new.
MAGIC AND STATUS SYMBOLISM
It is widely believed that women undergo tattooing on their legs, arms, and
breasts to enhance their beauty. The men folk, on the other hand, do so to
mark age, bravery, tribal seniority, and more frequently, to underscore the
prestige gained in headhunting expeditions. In certain tribes, it is claimed that
some tattoos have "MAGICAL" qualities and, in these cases, designs of
scorpions, centipedes, snakes and boats are often repeated. In a few
instance, tattoos are considered a curative for physical defects. By covering
up the unsightly deformity, birthmark or growth with tattoos, the mountain
tribes believe that the scars would automatically vanish. Among the sun-
worshipping tribes of central Benguet in Luzon’s Mountain Province, the
tattoos come in exquisite patterns of curved and straight lines. Its designs are
in indigo blue and are poked on the breasts and arms of this art’s ardent
devotees.
TATTOOS AS HABERDASHERY
Tattoos among the diverse tribes differ in pattern, cultural motivation and
interpretation. In some cases, the full significance of a tattoo cannot be
derived without viewing it in relation to the wearer’s ornaments and
garments. Sometimes, an elaborate tattoo completely takes the place of a
blouse. For instance, the BUKIK Igorots would tattoo their entire upper
torsos, giving them the unusual appearance of wearing a coat of mail. They
assert that without this adornment, they would be naked. Similarly, among
the "PINTADOS" -- Inhabitants of the Visayas so named by the Spaniards -- it
is customary to tattoo the whole body from a very tender age. It is believed
that the sooner a child undergoes the operations, the greater would be his
capacity to endure the pain and discomfort that it causes. Because pf the
extent and rich elaboration of their tattooing, it is only necessary for the
"PINTADOS" to wear a strip of bark clothe or cotton in the manner of a g-
string.
WORKS OF MAN’S IMAGINATION ALREADY EXISTED IN THE EARLY PAGES
OF MAN’S UNWRITTEN STORY. THE DRAWINGS ON THE CAVES OF
FRANCE DEPICTING PREHISTORIC ANIMALS ARE ELOQUENT
TESTIMONIES TO MAN’S INBORN CREATIVITY. AS ART IS AN INTEGRAL
PART OF MAN’S PERSONALITY AND HIGHER SENSIBILITIES, TO EXPLORE
THE ART OF TRIBAL MINORITIES IS TO TOUCH THEIR SOULS.
THE PHILIPPINES IS NOT ONLY RICH IN NATURAL RESOURCES BUT IS
ALSO A VAST AND VERSATILE STOREHOUSE OF FOLK CULTURE STILL
AWAITING THE LIGHT OF THE CRITIC’S EYES AND THE WIT OF
JOURNALIST’S PEN. THE HARDY MOUNTAIN TRIBES IN NORTHERN
LUZON AND THOSE IN OTHER REGIONS IN THE PHILIPPINES HAVE A
MOST UNIQUE AND COLORFUL ARTISTIC TRADITION. AND MOST OF IT
HAS BEEN PASSED ON FROM GENERATION TO GENERATION OVER THE
CENTURIES. THERE ARE MANY OTHER TATTOOED PEOPLES ALL OVER
SOUTHEAST ASIA AND IT WOULD BE INTERESTING TO READ A
COMPARATIVE STUDY ON THEIR RESPECTIVE AESTHETIC WORKS, A
TALL ORDER FOR FUTURE SCHOLARLY STUDIES.
In the Philippines, the mountain tribes in Northern Luzon are among the most
talented early artists. Perhaps, the utterly peaceful and meditative
atmosphere deep in the isolated mountains where they live is largely
responsible for their highly creative culture.
THE ART OF TATTOOING: was and in some cases, still is -- very prevalent
amongst the mountain tribes. In the so-called "INTERIOR" or heartland of this
mountainous territory, it is rarely possible to find a man or woman who has
never been tattooed. However, the practice is rapidly disappearing as many
of these people are now discarding their old traditions in favor of the new.
MAGIC AND STATUS SYMBOLISM
It is widely believed that women undergo tattooing on their legs, arms, and
breasts to enhance their beauty. The men folk, on the other hand, do so to
mark age, bravery, tribal seniority, and more frequently, to underscore the
prestige gained in headhunting expeditions. In certain tribes, it is claimed that
some tattoos have "MAGICAL" qualities and, in these cases, designs of
scorpions, centipedes, snakes and boats are often repeated. In a few
instance, tattoos are considered a curative for physical defects. By covering
up the unsightly deformity, birthmark or growth with tattoos, the mountain
tribes believe that the scars would automatically vanish. Among the sun-
worshipping tribes of central Benguet in Luzon’s Mountain Province, the
tattoos come in exquisite patterns of curved and straight lines. Its designs are
in indigo blue and are poked on the breasts and arms of this art’s ardent
devotees.
TATTOOS AS HABERDASHERY
Tattoos among the diverse tribes differ in pattern, cultural motivation and
interpretation. In some cases, the full significance of a tattoo cannot be
derived without viewing it in relation to the wearer’s ornaments and
garments. Sometimes, an elaborate tattoo completely takes the place of a
blouse. For instance, the BUKIK Igorots would tattoo their entire upper
torsos, giving them the unusual appearance of wearing a coat of mail. They
assert that without this adornment, they would be naked. Similarly, among
the "PINTADOS" -- Inhabitants of the Visayas so named by the Spaniards -- it
is customary to tattoo the whole body from a very tender age. It is believed
that the sooner a child undergoes the operations, the greater would be his
capacity to endure the pain and discomfort that it causes. Because pf the
extent and rich elaboration of their tattooing, it is only necessary for the
"PINTADOS" to wear a strip of bark clothe or cotton in the manner of a g-
string.
TATTOO-PUNCTURE
The actual method of tattooing is, more or less, the same among all tribes. Only the ingredients and the meanings
differ. The operator, usually a man, first besmears the area of skin that is to be tattooed with a mixture of soot and
sugarcane juice. Where no sugarcane is available, substitutes, such as lard, gall or hen’s excrement are used. He
then pokes the skin with a needle or pointed instrument in the design or practice of his tribe. Tattooing instruments
vary from tribe to tribe. The PINTADOS for example, would use sharp metal instruments that have been previously
heated over fire. The KANKANAY tribe from Central Benquet would use a small piece of wood that they call "gisi"
attached to which are three iron points. The IFUGOA, on the other hand, would use an instrument made entirely of
iron with two or three points. The KALINGA would use five needles at the same time. The ISNEG from Apayao
Province would use a very different and far more elaborate instrument that they call "igihisi". It is made from a
curved piece of rattan. At one end, four or five pins are attached. A string then connects the central part of the
instrument to both ends. During the actual procedure, the operator would continually beat the curve next to the
pins, on its convex side, in order to push these pins deeper into the skin.
The process of tattooing is and extremely painful ordeal. After the operation, the area tattooed usually swells up for
several weeks. A patient can only endure tattooing in small installments and thus it would normally take several
months before the entire tattoo is completed. Before tattoos are "awarded" to the HEADHUNTER, it can take years,
oftentimes two or more successful headhunting expeditions.
The actual method of tattooing is, more or less, the same among all tribes. Only the ingredients and the meanings
differ. The operator, usually a man, first besmears the area of skin that is to be tattooed with a mixture of soot and
sugarcane juice. Where no sugarcane is available, substitutes, such as lard, gall or hen’s excrement are used. He
then pokes the skin with a needle or pointed instrument in the design or practice of his tribe. Tattooing instruments
vary from tribe to tribe. The PINTADOS for example, would use sharp metal instruments that have been previously
heated over fire. The KANKANAY tribe from Central Benquet would use a small piece of wood that they call "gisi"
attached to which are three iron points. The IFUGOA, on the other hand, would use an instrument made entirely of
iron with two or three points. The KALINGA would use five needles at the same time. The ISNEG from Apayao
Province would use a very different and far more elaborate instrument that they call "igihisi". It is made from a
curved piece of rattan. At one end, four or five pins are attached. A string then connects the central part of the
instrument to both ends. During the actual procedure, the operator would continually beat the curve next to the
pins, on its convex side, in order to push these pins deeper into the skin.
The process of tattooing is and extremely painful ordeal. After the operation, the area tattooed usually swells up for
several weeks. A patient can only endure tattooing in small installments and thus it would normally take several
months before the entire tattoo is completed. Before tattoos are "awarded" to the HEADHUNTER, it can take years,
oftentimes two or more successful headhunting expeditions.
Among "PINTADOS", the tattoos themselves are extremely elaborate and could even take
the form of illuminated paintings and tableaux. A versatile array of designs and forms are
used. Only the wrists and the feet are left bare. After the operation, soot or black powder is
pressed onto the scar which, when dried, can never be erased. The "PINTADOS" women
tattoo only their hands.
Among the men folk of the IBALOI tribe of southern Benguet tattooing is now rare but the
Ibaloi mummies prove that they use to practice full body suits of tattooing. There tattoos
like all individuals getting tattooed in the islands differed according to their own whims
and although they have similar framework the tattoos are not common in stories. The
IBALOI women, on the other hand, would adorn their arms from above the elbow down to
their knuckles with elaborate and extensive tattoos made up of criss-cross, horizontal,
vertical and curved-line elements. So extensive in this form of tattooing, in fact, that it is
extremely hard to distinguish the skin beneath it.
The KANKANAY tribe, who live in the mountainous triangle between Ilocos Sur, Benguet
and Bontoc Provinces, use much the same methods of tattooing as the IBALOI. Among
the men, tattoos are very similar to that of the IBALOI body suits. Among the women, it is
frequently seen on their forearms just like that of the IBALOI women.
the form of illuminated paintings and tableaux. A versatile array of designs and forms are
used. Only the wrists and the feet are left bare. After the operation, soot or black powder is
pressed onto the scar which, when dried, can never be erased. The "PINTADOS" women
tattoo only their hands.
Among the men folk of the IBALOI tribe of southern Benguet tattooing is now rare but the
Ibaloi mummies prove that they use to practice full body suits of tattooing. There tattoos
like all individuals getting tattooed in the islands differed according to their own whims
and although they have similar framework the tattoos are not common in stories. The
IBALOI women, on the other hand, would adorn their arms from above the elbow down to
their knuckles with elaborate and extensive tattoos made up of criss-cross, horizontal,
vertical and curved-line elements. So extensive in this form of tattooing, in fact, that it is
extremely hard to distinguish the skin beneath it.
The KANKANAY tribe, who live in the mountainous triangle between Ilocos Sur, Benguet
and Bontoc Provinces, use much the same methods of tattooing as the IBALOI. Among
the men, tattoos are very similar to that of the IBALOI body suits. Among the women, it is
frequently seen on their forearms just like that of the IBALOI women.
IFUGAO TATTOO MOTIFS
The male IFUGAO, on the other hand, would tattoo most of his whole body. An older IFUGAO would have himself
tattooed on his chest, arms, legs, neck and shoulders but will not tattoo his face, buttocks or feet. The younger
Ifugao, however, would tattoo only his neck and upper chest. The main designs most frequently found among the
Ifugao are (1) the "tagu" (man) on the center of the chest; (2) the "kinahu" (dog), Also on the chest, but occasionally
on the cheeks; (3) the "ginawang" (eagle), on the chest and shoulders; (4) the "ginayaman" (centipede), all over;
and (5) the "kinilat" (lightning) on the neck, shoulders and lower chest. Various designs of grass plants are popular
and can be found on the neck, throat, forehead, hands, arms and thighs. One strange leaf patterns that is a
re-occurring motif on the forearms of the Ifugao men. It cannot be found among the people of any other Philippine
tribe. It continues on... (From the book FILIPINO HERITAGE 1974)
The male IFUGAO, on the other hand, would tattoo most of his whole body. An older IFUGAO would have himself
tattooed on his chest, arms, legs, neck and shoulders but will not tattoo his face, buttocks or feet. The younger
Ifugao, however, would tattoo only his neck and upper chest. The main designs most frequently found among the
Ifugao are (1) the "tagu" (man) on the center of the chest; (2) the "kinahu" (dog), Also on the chest, but occasionally
on the cheeks; (3) the "ginawang" (eagle), on the chest and shoulders; (4) the "ginayaman" (centipede), all over;
and (5) the "kinilat" (lightning) on the neck, shoulders and lower chest. Various designs of grass plants are popular
and can be found on the neck, throat, forehead, hands, arms and thighs. One strange leaf patterns that is a
re-occurring motif on the forearms of the Ifugao men. It cannot be found among the people of any other Philippine
tribe. It continues on... (From the book FILIPINO HERITAGE 1974)
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| We ask that you do not copy the patterns of the tattoos given here as well as the tattoos from our other pages. These tattoos have actual meanings that are specifically made for the person wearing them. Each pattern and design depict their own personal stories of their lives and ancestry, NOT YOURS!!! " Research your own roots and water your own tree." ©1998-2009 TATAK NG APAT NA ALON TRIBE. All rights reserved. |
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