Bearing the unsung stories of gallantry of the Cordilleran people and their love for the land, the colorful and symbolic garments are worn proudly during harvests, festivals, weddings, and other milestones of tribal communities.

Abra calls them “Ba-ag and Dinwa”,”Abag and Aken” for Apayao, “Kuval and Devit” for Benguet, “Wakes and Tapis” for the Bontocs,” “Tolge and Wanoh” for Ifugao, and “Ka-in and Fa-ar” for Kalinga. A few of how the major groups of the Cordilleran tribes namely: Kankanaey, Ibaloi, Kalinga, Tingguan, Bontok, and Isneg, call each of their own uniquely designed indigenous attires. Each tribe has its own art of weaving. From carefully chosen linens and threads, to exact detailing of ethnic symbols and colors, tribal artisans ensure the excellence and peculiarity of the cultural garments they reproduce for their people, and out of hospitality and generosity are packaged as presents or sold as products to tourists and outsiders.

These world-class quality woven fabrics are more than just traditional attires, they carry the blood and legacy of all the Igorot ancestry who boldly fought for the freedom of the land and refused to be totally conquered by foreigners during the era of colonization. Almost every tribe of the Igorot race can be identified through their garment alone.

Despite the outsiders’ misconception that the edge of the bahag (G-String) and the tassels of the lufid (woven belt for women) are their tails, it did not stop the entire Igorot community from wearing them on special occasions and festivities. The flaming pride of belongingness to a specific indigenous tribe never died out.

If insignias were to speak

The shield in the Ifugao woven fabrics symbolizes Maknongan; the highest deity in their ancient mythology. The lightning bolt to them is Makuntad who is a messenger deity that can travel as fast as the lightning to any corner of the universe. The lizard on the other hand is a reflection of nobility and wealth among their tribe. Only people who belong to the higher social class in the Ifugao society were privileged to wear a garment with this symbol.

Meanwhile in Mountain Province, Jay Napanoy’s research entitled: “The Geometric Patterns in the Backstrap Weaving of Bontoc, Mountain Province”, the designs matmata, tagtakho, talaw, kalasag, tufay, u-uweg and fatfatawil found in the two panels of the paikhid signifies the traditions of Bontoc. The matmata or the diamond-shaped figure represents the eye of Kabunyan ; the highest of the deities watching over the people of Bontoc. The tagtakho is the man-like figure which represents the people of Bontoc that they might live and do good things and despise evil. The talaw is the star-like figure representing the stars which guides the people of Bontoc for hunting, war and agricultural purposes. The kalasag and tufay are the shield and spear that represent the tools used by mean during hunting or faluknit. The u-uweg is the snake-like figure that represents the good and bad signs in going to war. The fatfatawil is the x-like design representing the two rods used by mean of Bontoc to carry the two sons of Lumawig killed at Can-eo, one of the barangays of the municipality of Bontoc.

Every single insignia embedded on cultural garments tells stories about the people and the land. Purposefully etched, sewn, and woven with the clothing in order for the wearers to always remember and reminisce their sentiment and the roles they play in the shaping and paving of the grounds for the succeeding generations.

Igorots are more than Brown- they are Red, Black and White

Red, black, and white; trio colors that do not pertain to the complexion of Cordilleran inhabitants but to the colors incorporated to the majority of woven fabrics. Red for instance signifies the blood and boldness of ancient tribal warriors who fearlessly with their spears and shields waged into battles to protect their land and their people from intruders. Dyed in their clothing to constantly remind them that whenever they wear it, they honor those unsung heroes who died for the sake of peace and freedom their descendants are enjoying at present.

Vivalyn Meyerhoff in her article entitled; “Symbolic Meanings and Rituals Associated with Red, Black and White Colors in the Filipino Igorot Culture”, the black color is associated with prayer rituals because black is mysterious, godly and important. Ancestor worship is weighty, sacred, mysterious, heavenly and not something ordinary like humans.” It is a color for faith to unseen beings and fear of getting punished for doing things beyond morals and ethics. Discipline, respect, and obedience are the characters radiated by the black color as the ancestors left their handprints of prayers, rituals, and other religious activities to the succeeding generations because of their belief to the existence of deities and divine rewards and punishments weighed and dependent on people’s ways of living. “Red is the most symbolic color for the Igorots. It symbolizes bravery, independence, war and blood.” furthered Meyerhoff No wonder why we were dubbed as the “freest land” of the north because colonizers found it hard to conquer and break our strong ties with our ancestral traditions, cultures, and beliefs. Bravery is an innate character of an Igorot individual be it through peace talks or the waging of weapons during World War II.

White on the other hand reflects purity and commonality. People who belong to the lower classes of the social structure are usually the wearers of this color. However, as modern weaving takes over the traditional ones, artisans infuse creativity into their crafts combining these three colors resulting to innovated woven products that were later turned into bags, shoes, accessories, and other marketable goods for additional income to the locals and promotion of indigenous art.

“Bastardized” identity

During the 11th of June, 2022 when the social media was flooded with heated arguments from members of the various indigenous groups in the Cordilleras after a Male Pageant utilized the “bahag” (cultural attire for Igorot men) as their swimwear in a swimsuit category of the said competition at the Baguio Convention Center.

Who would have thought that foreigners and outsiders wearing the traditional loincloth would ignite the anger and contempt of the Igorot community.

According to Baguio Midland Courier a few months later on November 6: “The city council has joined the National Commission on Indigenous Peoples- Cordillera in calling out what they consider inappropriate use of the G-string or bahag in the show staged by the Metropolitan Theater. The show, Alay nina Alice at Agnes, was part of the 50th anniversary celebration of “The Order of National Artists.” It featured dance performances of national artists Alice Reyes and Agnes Locsin.

The first part of the show entitled, “Igorot” showed female performers wearing bahag instead of tapis, to the outrage of indigenous peoples in the Cordillera.

“It was unacceptable because us locals here, never utilized the bahag as a swimwear outfit. It somewhat erased the essence and the cultural spirit of the proper wearing of the G-string among our people had been sabotaged,” said Janrey Corton, a Bachelor of Science in Agriculture (BSA III) and a native of Benguet.

Corton explained that on the other end, it somewhat pertains to the promotion of our indigenous designs and crafts among foreigners and tourists. As we utilize these designs for other local products such as bags, shoes, jewelries, and arts as purchased goods for tourists and visitors.

“Maybe these will serve as lessons for organizers of such events to consult first the IP’s before conducting such social events in order to prevent misinterpretation and misunderstanding among the aforementioned social entities,” said Hyacinth Dioso, BSA IV, Benguet native.

These cases of “bastardization” of the proper wearing of cultural attires in the Cordilleras sparked violent reactions from the netizens and from the natives themselves as the significance of proper symbolization of the latter meant everything to them. Case after case and apology after apology seemed to never end the misuse of traditional garments and gaps become wider as people intentionally or unintentionally continue to alter the proper ways of putting them on.

When our identity is properly worn

Benguet State University (BSU) houses one of the most prestigious cultural group in the Cordilleras; the Dramatic Arts Club (DAC) and the Highland Cultural Dance Troupe- Kontad lives up to the principles of properly wearing any ethnic attire as a way of paying respect to the ethnic group who owns those attires.

“It is important for our artists to portray the proper wearing of ethnic attires because first of all, those attires have meanings. Those meanings were given by the people of a particular tribe which we need to acknowledge. It should be the basic orientation of a performer or a wearer to understand that he wears an attire with the cultural heritage along with it. We should not be utilitarian in a sense that we only wear such because it is beautiful,” emphasized Matyline Camfili-Talastas, DAC adviser.

One needs to understand that proper cultural heritage portrayal is way different from fashion. Fashion is very creative and flexible that it can easily be manipulated for the sake of art and expression. On the other hand, traditional garments entail respect and accurate representationalism.

Igorot attires in the face of innovation

Talastas furthered that along the way, the circumstances are changing. Traditionally, there only existed Tapis. Then, here comes mini-skirts, blazers, vests, and so on using traditionally woven fabrics. There are also innovations in our weaving industries. We must bear in mind that the people set the standards and protocols on how to properly wear these traditionally woven fabrics. There are also innovations in our weaving industries. We must bear in mind that the people themselves set the standards and protocols on how to properly wear these traditionally woven garments. What we perceive to be proper should be vividly shown on how we put on the latter despite the changes. Also, we learn across cultures as artisans innovate.”

Change is really a permanent reality. What used to be done before may not be the present’s way of doing it today. How native attires were worn back then may not be how it is worn nowadays. The devit may be turned into a skirt and the tapis may be sewn into a gown. The Igorot weaving industry is rapidly adapting and blending into the fads and trends of the fashion industry. For instance, the Ifugao weaving patterns and designs were once taken and proudly modeled in the New York Fashion Week.

The accuracy of wearing a tribe’s cultural insignia is as vital as paying respect to one’s ancestry. However, is it still possible for one to uphold regard and acknowledgement of one’s cultural identity through traditional clothing in the face of innovation? It would be. The particular reason for this circumstance is that each of us are gifted with the instinct and initiative to pay respect to the originator of a cultural heritage be it garments, ornaments, and insignias.