BIBLIOGRAPHY PALCON, MICHELLE ENGNGEG APRIL...
BIBLIOGRAPHY
PALCON, MICHELLE ENGNGEG APRIL 2010. Communicative Value of
Indigenous Tattoos of Elders in Bontoc, Moiuntain Province. Benguet State University,
La Trinidad, Benguet
Adviser: Filmore Y. Awas, MDevCom
ABSTRACT
The study aimed to identify the communicative value of indigenous tattoos of
elders in Bontoc, Mountain Province. Specifically, it aimed to characterize the
respondents, identify the reasons of respondents for having tattoos, to characterize the
tattoos of the respondents, identify the generated meanings of tattoos and determine the
perceptions of youth towards tattooing.
The researcher conducted the study on December 2009-January 2010.
Traditional tattoos means bravery for men and also presumed to make ladies more
beautiful.
The key informants said that their tattoos are for protection, bravery, guidance,
life, self-confidence, respect, victory and beautification. However, the individual designs
do not mean anything.
As for men elders their tattoos were located on their chest and for women elders
their tattoos were located on their hands.
Moreover, the youth perceived that tattoos symbolized bravery, power and
authority for the elders but not beneficial nowadays.
The following recommendations were drawn: other researchers may want to
consider tracing the descendants of the tattoo artist to be able that the meaning of tattoos
be generated, other researchers may want to make a comparative analysis between the
communicative value, meanings and designs of Kalinga and Bontoc designs, and findings
of this study should be written in a monograph to be shared to community development
workers.
ii
TABLE OF CONTENTS
Page
Bibliography..………………………………………………………………...... i
Tables of Contents……………………………………………………………...
i
Abstract……………………………………………………………………….... i
INTRODUCTION
Rationale……………………………………………………………….. 1
Statement of the Problem……………………………………………….
3
Objectives of the Study…………………………………………………
3
Importance of the Study…………………………………………………
4
Scope and Limitations……………………………………………………
4
REVIEW OF LITERATURE
The Ibontocs ……………………..….…………………………………..
5
The Igorot Tattooing……………………………………………………
5
Reasons for Having Tattoos…………………………………………….
7
Characteristics of Tattoos…………………………………………………
7
Meanings of Tattoos…………..…………………………………………
7
Art and Value of Tattooing………………………………………………
8
METHODOLOGY
Locale and Time of the Study……………………………………………
10
Respondents of the Study ……………………….………………………
10
Data Collection ………………….………………………………………
12
Data Gathered ……………………………………………………………
12
Data Analysis……………………………………………..………………
13
RESULTS AND DISCUSSION
Respondents Profile………………………………………………………
14
Reasons for Having Tattoos………………………………………………
14
Generated Meanings of Tattoos of Elders
in Bontoc, Mountain Province……………………………………………
19
Perceptions of Bontoc Youths
Towards Tattooing……………………………………………………….
22
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary………………………………………………………………… 23
Conclusions……………………………………………………………… 24
Recommendations………………………………………………………… 24
LITERATURE CITED…………………………………………………………..
25
APPENDICES
A. Research Instrument for Key Informants…………………………….
26
B. Research Instrument for Youth Respondents………………………..
29
1
INTRODUCTION
Rationale
Symbolism as a means of interpreting reality is considered to be a communicative
tool.
The symbol that carries the tattoos of indigenous people recognizes the attempt to
create and maintain their owned culture. These symbols embody the bases for social
relations, they are visible expressions of cultural identity which enable the people to
identify and know their society.
Tattoo art exemplifies the later style of symbolism. The history of tattoo began over
5, 000 years ago and is diverse as the people who wear them. A part from its decorative
purpose, tattooing has been practiced for a variety of reasons. To the Polynesians it is a
mark or wealth and social prestige (Norwich, 1990). For religious tattoos it serves as a
devotion to their beliefs, and is very commendable (Straeten, 2007).
In some communities and regions, tattooing has been part of their culture. Culture as a
symbolic medium of communication is neither static nor homogeneous. But it is shared,
that is to say, it is intersubjective in character and this intersubjectivity must be understood
from two perspectives: the anthropological and the psychological. From an anthropological
perspective, culture is the sum total of society's symbolic operating systems and the basis
for its ecological adaptation to the environment (Ortega, 1957).
According to Anonymous (2009) in the previous time in Cordillera, the most
distinctive and great permanent decoration of the Igorot was the tattoo. Igorot tattooing was
considered a serious religious experience.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
2
In Bontoc, Mountain Province, tattoo is common to elders especially to men.
Tattoos constituted a record of engagement in tribal warfare. These were symbols of male
valor: which were applied only after a man had performed well in battle with fitting
courage. Warriors accumulated tattoos with each act of bravery, somewhat like modern
military decorations. Headhunting was the only known reason for tattooing and to this day,
no one knows exactly what tattoos signify. For many elders in the area, tattoos are the
vestiges of a valuable culture and tradition. (De Raedt 1989; Scott 1969; Salvador-Amores,
2002)
Tattoo was already a part of the culture of the Bontoc people. The tattoos reveal an
individual’s social standing in the community. Jenks (1905) further elaborated its
importance in the following statements:
“The qualification that entitles a warrior to a chest tattoo is the
taking of at least three heads to complete the symbol of the chalikan or the
three cooking stones- a triangle symbol.
Tattooing with specific designs is based on the internalization and
transformation of prior experience to specialist knowledge. Moreover,
tattooing serves not only as an indication of social standing but also as an
equalizing factor in the context of painful rites passage. Anyone can get
tattooed, whether they belong to the rich or to the poorest class. Being
tattooed is a concrete realization of the sense of social unity of the members
of the group.”
Today, very few of the tattooed people remain; many have died with their hard-
earned tattoos buried with them. Literatures would attest that traditional tattoos are starting
to be a dying art form since people does not like to put them anymore due to the painful
process. With this scenario, the need to study the communicative value of this indigenous
tattoo is of importance.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
3
This study then aims to help people in understanding the communicative value of
indigenous tattoos in the lives of the Bontoc people.
Statement of the Problem
This study endeavors to answer the following questions:
1. What is the profile of the respondents?
2. What are the respondents reasons for having tattoos?
3. What are the characteristics of tattoos?
4. What are the generated meanings of tattoos of elders in Bontoc, Mountain
Province?
5. What are the perceptions of youth towards tattooing?
Objectives of the Study
The general objective of the study is to determine the communicative value of
indigenous tattoos.
The specific objectives of the study are:
1. To characterize the respondents.
2. To identify the reasons of respondents for having tattoos.
3. To characterize the tattoos of respondents.
4. To identify the generated meanings of tattoos of elders in Bontoc, Mountain
Province.
5. To determine the perceptions of Bontoc youth towards tattooing.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
4
Importance of the Study
This study is an attempt to help the readers have a deeper understanding on the
communicative value of indigenous tattoos of the Bontoc culture.
The result of the study may be helpful for policy makers to understand the
situations, social classes and comprehension brought by the symbols of tattoos.
This study is also important for organizations catering in the protection and
preservation of cultural identity such as NCIP and other related organizations.
Results will also serve as documentation of a part of the Bontoc culture.
Scope and Limitations
The study limited only to the identification of the communicative value of
indigenous tattoo and its value to the cultural identity of Bontoc people.
This study focused on qualitative importance of indigenous tattoo and primarily will
use open-ended questions to gather information from key informants on the different
barangays of Bontoc, specifically Barangay Samoki, Bontoc Ili and Can-eo, from
December 2009 to January 2010.
Also, the perception of the youth identified regarding their awareness on the
function of tattooing for Bontoc elders.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
5
REVIEW OF LITERATURE
The Ibontocs
The
Ibontocs live on the banks of the Chico River. They were once well known
because of their headhunting practices in the olden days but not today.
At
present, Ibontocs are a peaceful agricultural people who have by choice retained
most of their traditional culture despite frequent contacts with other groups. They are very
aware of their own way of life and are not overly eager to change (Keesing, 1962).
The Igorot Tattoos
The material culture found on the body is physical evidence of human experience,
an indication of the physical body’s designation as the site for constructing identities
through the use of distinct markers of difference and similarity. It provides a reified object
for analysis that captures the markings in the work of identity construction and
representation (Salvador-Amores, 2002).
Any visible markers or investments on the body may be interpreted as carriers of a
system of signs that stand for and express relations to power (Salvador-Amores, 2002).
Processes that involve making changes in the body play an essential role in
representing identity and knowledge, and provide an important basis for understanding
various aspects of the past as well as contemporary culture. Nash (1989), as cited by
Salvador-Amores, (2002), contends that body decorations are boundary mechanisms and
cultural markers of difference. The differences among groups are index features that are
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
6
easily seen, grasped, understood, and reacted to in social situations where there are minimal
cultural items involved in the membership of the group.
For Igorot tattoos, the markers on the body when regarded on the context of the
culture itself provide a clear notion of the Igorot sense of logic and beauty; however, in
most of the literature, these markers are frequently interpreted as deviations associated with
the themes of otherness and difference (Salvador-Amores, 2002).
The German scientist Hans Meyer as cited by Salvador-Amores (2002) was perhaps
the first to provide a detailed drawing of Igorot tattoos in the late 1890’s. His tattoo
drawings are accompanied by his description of the tattoos among Igorots of Benguet. The
custom of tattooing the whole body with decorations exactly like a coat of mail with
breastplate and back plates was widespread in the early 16th century and confirmed that
tattooing did exist and was extensively practiced during the pre-historic period. Meyer’s
drawings show designs that are identical with tattoo patterns which date back to an earlier
period, as they appear on the mummy Appo Anno. The mummy is clad in body tattoos:
from fingers to buttocks, chest, back and legs.
In addition there are also mummies in some Benguet areas that bear tattoos very
similar to those in Hans Meyer’s drawings and the photographs of tattoos and symbols of
the tattoos found on the mummies have been largely speculative. These cases in Benguet
support Thiel’s (1984) as cited by Salvador-Amores (2002) archaeological discovery of
tattoo instruments in the Arku cave in Cagayan province, an indication of the widespread
practice of tattooing. In this case, past and current archaeological evidence serve as the
“explanatory bridges” in understanding people and culture (Salvador-Amores, 2002).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
7
Reasons for Having Tattoos
In the early 16th century, traditional tattooing is widespread in the Philippines but
very little is known or written about the practice. Until today, tattooing and tattoo designs
in the Cordilleras are best understood with the context of headhunting. Headhunting was
the only known reason for tattooing and to this day, no one knows what tattoos signify
(Salvador-Amores, 2002).
Characteristics of Tattoos
The Igorot body as portrayed in colonial writings and photographs calls in notions
of an inferior culture. However, rather than markers of difference and otherness as
projected by those who are not accustomed to Igorot forms of body embellishment, the
markings found on the bodies of the Igorots can be seen as a visually powerful rendering of
their sense of symmetry and unity. More than this, they represent the social practices of the
group and serve as a means of conveying significant information to people within and
outside the communities (Salvador-Amores, 2002).
The role and function of tattoos as cultural symbols are related to the intricate social
and cultural relations of the people (Salvador-Amores 2002). The tattoos reveal an
individual’s social standing in the community.
Meanings of Tattoo
“Fatek” on the arms is a sign of membership in the affluent class and purportedly
serve to memorialize the land properties that the family holds. A tattoo marking of “x”
found on the upper arm of a woman is called “pinapanga”, a term that refers to the
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
8
jawbones of the water buffalo butchered during the community feasts. This anmimal is a
status symbol that only the affluent class could afford in the past (Worcester, Willcox,
1912, Keesing, 1962).
The tattoos of a Bontoc warrior is a record of engagement in tribal warfare, they are
accumulated like “medals of valor” for acts of bravery (Jenks, 1905).
The elaborateness of the body tattoo expresses an aesthetic component of “fatek”.
More importantly, it articulates “ambaru”, (the Lubo, Tanuda, Kalinga concept of beauty).
Young men and women become “ambaru” (beautiful) when their bodies are tattooed.
Tattoos make the males “mangkusdor” (handsome and strong) and the females “bumaru”
(beautiful). The bluish-black tattoo pattern against the brown skin incited fear among
people of the villages and make women attractive. The “dinuras” or people without tattoos
are regarded as weak beings and considered as a bad omen for the community.
The Igorots consistently maintains that the other entire are put on simply at the
whim of the wearer. The face markings, those on the arms, the stomach and elsewhere on
the body are believed to be purely aesthetic. Often a cross-hatched marking is put over
goiter, varicose veins and other permanent swellings or enlargements. Evidently they are
believed to have some therapeutic virtue, but no statement could be obtained to substantiate
their opinion (Salvador-Amores, 2002).
Art and Value of Tattooing
In the 16th century, tattooing was already a common practice ampong the major
warrior groups in the Cordillera- Bontoc, Ifugao and the Kalinga (Worcester 1912, Willcox
1912, Keesing 1962).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
9
The
word
“fatek” (Bontoc term for traditional tattoo) was derived from the sound
of the tapping of the stick to the tattoo instrument which pierces the skin. It is characterized
by the marking, decorating and designing on a material permanently (Salvador-Amores
2002).
The tattooed body continues to present a distinctive record of the organized set of
social practices that are relevant to the articulation of Igorot identities (Jenks, 1905). Tattoo
was an important means of identification.
For the Bontoc men, tattoos constituted a record of engagement in tribal warfare.
Tattoos were symbols of male valor: these were applied only after a man had performed in
battle with fitting courage. Warriors accumulated tattoos with each act of bravery,
somewhat like modern military decorations (De Raedt 1989, Scott 1969).
.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
10
METHODOLOGY
Locale and Time of the Study
The study was conducted in Bontoc, the capital of Mountain Province with a total
land area approximately 36,160 hectares. It is located in the heart of the Cordillera Range.
Bontoc is bounded in the east by Barlig; in the west by Sagada, in the north by Sadanga, in
the south by Banaue, Ifugao and Sabangan; in the northeast by Tinglayan, Kalinga; and in
the northwest by Tubo, Abra.
Bontoc is a highland municipality and generally mountainous with the highest
elevation of 2,028 meters above sea level at Mainit and the lowest at Tocucan with an
elevationof 900 meters above sea level.
Bontoc has a very favorable climate, generally not so cold during December up tp
February ant not too hot during summer time. There are two pronounced seasons, dry from
November to April and wet during the rest of the year.
Bontoc is subdivided into 16 barangays namely: Alab Proper, Alab Oriente, Balili,
Bayyo, Bontoc Ili, Caneo, Dalican, Gonogon, Guinaang, Mainit, Maligcong, Samoki,
Talubin, Tocucan, Poblacion and Calutit.
The study was conducted on December 2009-January 2010.
Respondents of the Study
Twenty five respondents from Bontoc was purposively selected.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
11
Figure1. Map of Bontoc, Mountain Province
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
12
Five elders were selected as key informants of the study. The criteria for the key
informants will be a bonafide resident of Bontoc, Mountain Province, he or she should
have a tattoo, sixty years old and above, male or female.
On the other hand, Bontoc youth respondents should be a bonafide resident of
Bontoc, Mountain province, eighteen to twenty four years old, male or female.
Data Collection
The study collected data from key informants that correspond to the set criteria. The
information that was collected will be of outmost significant to identify the communicative
value of the Bontoc tattoos and its significant effect to their community relations. The
researcher utilized key informant interviews using guide questions.
At first, the researcher collected data from secondary sources to have also impact on
the research and was validated to the respondents-beneficiaries.
Data Gathered
The data gathered focused on the communicative value of indigenous tattoos
specifically on the reasons for having tattoos, what are the characteristics of the tattoos,
what are the meanings of tattoos of elders and perceptions of youth towards indigenous
tattoos. Photos of the different tattoos will also be taken for analysis with regard to its
meaning and interpretation.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
13
Data Analysis
The information gathered was tabulated and analyzed through statistical frequency,
descriptive presentation and qualitative data.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
14
RESULTS AND DISCUSSION
Respondents’ Profile
Bontoc Youth Respondents’ Profile. Table 1 shows the Bontoc youth respondents’
profile. Based on the table, it can be noted that the highest numbers of Bontoc Youths’
respondents were ranging from the ages 20-21 years old. Next to that were the ages 22-23
years old, followed by 18-19 years old.
As to their place of origin, almost all of the respondents were from Poblacion,
Bontoc while the others were representatives of Bontoc Tocucan, Talubin and Samoki.
Most of the respondents stayed in Bontoc for 20-25 years. Others stayed in the community
for 12-18 years and some only stayed for 2-3 years.
Key Informants’ Profile. The oldest among the Key Informants is 79 years of age,
followed by 78, 75, 72 and 68 years old. All of them reached their age staying in Bontoc.
Three out of them are staying in Can-eo, Bontoc, Mt. Province and one of them is staying
in Bontoc Ili, Bontoc and the other in Samoki, Bontoc .
Reasons for Having Tattoos
Table 2 shows the reasons and specific instances for having tattoos. According to
the key informants, acquiring traditional tattoos is a very painful process. One should be
brave enough to endure the pain that the needles bring when acquiring their tattoo. They
added that acquiring these traditional tattoos during their early 20’s of age had their own
personal and cultural reasons. Some of the key informants’ tattoos were not completed
especially on the case of women because they could not endure the painful process.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
15
Table 1. Bontoc youth respondents’ age range and place of origin
CHARACTERISTICS FREQUENCY
PERCENTAGE
N=25
Age Bracket
18-19 years old
3
12
20-21 years old
14
56
22-23 years old
6
24
24-25 years old
2
8
Total 25 100
Place of Origin
Poblacion
15
60
Samoki
7
28
Tocucan
2
8
Talubin
1
4
Total
25
100
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
16
Table 2. Reasons and specific instances for having tattoo
REASONS FOR HAVING TATTOO SPECIFIC
INSTANCES
‘Uso’ or ins for their generation
- Having tattoo were very common
during the key informants’
generation
Needed - Tattoos signify their inheritance or
how many lands they own. They
were called ‘kachangyan’ or rich.
- For the ladies, it is needed to avoid
shame.
Bravery - This is for the men who killed
someone from their rival tribes.
Belief - It is believed that having tattoos
keeps them young and protect them
from ‘an-anitos’ or bad spirits.
Key Informant Teresa Cobsilen stated that aside from the reason that tattoos were
the “in” thing (uso) during their generation, tattoos were also presumed to make ladies
more beautiful and it is like their item to boast of. She also said that tattoos before were
considered to be a fashion. They see tattoos to be beautiful decorations for the body.
Rosita Afawag, 75 years old, gave another reason of having tattoos during their
time. According to Afawag tattoos did not only serve as decorations but they also can
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
17
represent their inheritance from their parents. The acres of land they possess were the basis
for their wealth and they were called in local term ‘kachangyan’ or rich.
This explanation of Afawag could mean that tattoos during their times represent
their richness. This is supported by Jenks (1905), in his statement that tattoos reveal an
individual’s social standing. Also Worcester, Willcox (1912), Keesing (1962) added that
tattoos on the arms is a sign of a membership in the affluent class and purportedly serve to
memorialize the land properties that the family holds. But the number of figures of their
tattoos does not represent the number of lands of water buffalo they own. This contradicted
the statement of Worcester, Willcox (19120 and Keesing (1962) that the tattoo marking of
“x” found on the upper arm of a woman refers to the jawbones of the water buffalo, a
symbol that only the affluent class could afford in the past.
Aside from the reasons stated by Cobsilen and Afawag, Vicenta Te-elan added a
more interesting reason why tattooing were a rampant practice for ladies during the olden
times. As far as Te-elan can remember, avoiding shame was another instance for the ladies
that tattoos were badly needed before.
According to the stories of Te-elan, ladies before who do not have ‘fatek’ or tattoos
on their arms and shoulders were considered shameful and often were the laughing stock
for the young men. During the ‘sagsagni’ (Igorot dance), ‘babaros’ or the young men will
rub ‘uging’ or charcoal on women if they do not have tattoos on their arms. Ladies
therefore seek to have tattoos to avoid those shameful instances. They would rather endure
the pain of the tattoo session for the sense of belongingness rather than feeling the shame of
not having tattoos.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
18
According to key informant Osseg Fukasan, he said that tattoos for men represent
their bravery. Earning their tattoos was not easy unless they killed or head hunt somebody
from their rival tribe. Tattoos which they earned symbolize that they were a great-feared
warrior and were respected in their society (Figure 3).
Osseg Fuksasan, Key Informant from Can-eo, Bontoc, added to these reasons that
belief is another instance where people of Bontoc have their tattoos before. During the
World War II, it was believed that having tattoos prevent them from aging and tattoos keep
them young for ages.
This only shows that tattoos were not only decorations but because it is the lifestyle
of Bontoc people years ago, but it also encircles the culture, belief and traditions of the
Bontoc Community. Figure 2 shows the picture of key informants with their tattoos.
Figure 2. Elders showing their traditional tattoo
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
19
Generated Meanings of Tattoos of Elders
in Bontoc, Mountain Province
According to the stories of all the key informants, the figures of their tattoo designs
were enumerated but their meanings were not defined. Three of the female key informants
had the Bontoc tattoo designs and one had the Kalinga design. Bontoc designs were the
“agdan” or stairs, “al-alam-am” or fern, “fab-alatong” or bean, “fab-a” or teeth, and “tat-
alaw” or star. On the other hand the common Kalinga designs were the “tik-tiko” or zigzag
line, “sinaksakaw” or diamond shape and “binakuwa” or horizontal line.
Furthermore, based on interview with all the elders, their tattoo designs were just
tattooed on them by the tattoo artist before but the artist did not give the figure’s personal
meaning. According to key informant Theresa Cobsilen her tattoo artist was Khayapun
from Bontoc and furthermore stated that during the process the tattoo artist did not mention
the meaning of the figures. It was just tattooed on her because she requested for it for her
beautification.
The general tattoo on their body signifies protection, bravery, guidance, life, self
confidence, respect, victory, and beautification. However, the individual designs do not
mean anything. This was supported by De Raedt (1989) and Scott (1969) in their statement
that tattoos for men were symbols of male valor. Salvador-Amores (2002) also said that the
bluish-black pattern against the brown skin incited fear among people of the villages.
(Figure 3).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
20
Figure 3. Common figures found in the elders’ tattoo (a. “Agdan” or stairs, b. “Al-
alam-am” or fern, c. “Binakuwa” or horizontal line, d. “sinaksakaw” or
diamond shape)
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
21
Figure 4. Common figures found in the elders’ tattoo (e. “Fab-a” or teeth, f. “Fab-alatong”
or bean, g.” tat-alaw” or star, h. “Tik-tiko” or zigzag line)
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
22
Perceptions of Bontoc Youths Towards Tattooing
For the youths of Bontoc, they have their different and own views and perceptions
regarding traditional tattooing. Some of them recognized these tattoos to be the symbol of
the elders’ economic and social status at the time. They also recognized that tattoos also
symbolized bravery, power and authority for their elders. They saw the tradition that these
tattoos keep and they value and respect it.
Although they valued the respected the tattooing in the olden days, the youth
respondents however perceived that tattoos were not that beneficial anymore at present.
Twenty eight percent of the respondents said that tattoos were only beneficial nowadays for
the sake of preserving the culture of Bontoc and the practices of tattooing and art.
Furthermore, 72% of them said otherwise. For them, in these modern days, tattoos
do not look neat and cannot benefit a person at all. They see tattoos were only for people
who have gone to jail (Figure 4).
number of respondents (n=25)
28%
Yes, tattoos were beneficial
72%
No, tattoos don’t have
benefit nowadays
Figure 5. Youth’s perception on tattoos benefit nowadays
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
23
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The study was conducted to determine the communicative value of indigenous
tattoos of elders in Bontoc, Mountain Province. Specifically, it aimed to characterize the
profile of the respondents; to identify the reasons of respondents for having tattoos; to
characterize the tattoos of respondents; to identify the generated meanings of tattoos and
determine the perceptions of Bontoc youth towards tattooing. Photos were also taken.
The researcher used interview schedule as the research tool. Data gathering was
conducted on December 2009- January 2010.
Traditional tattoos means bravery for men and also presumed to make ladies more
beautiful. It was also said that tattoos were needed during their times.
Tattoos of elders include figures, values, societal use, designs and location.
For figures, the tattoos were ‘agdan’ or stairs; ‘al-alam-am’ or fern; ‘binakuwa’ or
horizontal lines; ‘fab-alatong’ or bean; ‘sinaksakaw’ or diamond shape; ‘tat-alaw’ or star;
‘fab-a’ or teeth; ‘tik-tiko’ or zigzag line.
As for the values attached and the meaning of tattoos are for protection, bravery,
guidance, life, self confidence, respect, victory, and beautification. However, the individual
designs do not mean anything. The tattoos represents their richness during their times.
For men elders those tattoos are located on their chest and for women elders tattoos
were located on their hands.
On the other hand, youth perceived that tattoos symbolize bravery, power, and
authority for the elders. Some of them recognize these tattoos to be the symbol of the
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
24
elders’ economic and social status before. However, its significance to present times cannot
be seen by the youths.
Conclusions
Based on the findings of the study, the following conclusions were drawn.
1. Elders possessed tattoo because historically it has something to do with being
involved in the warfare for men. On the other hand, women elders had tattoos for aesthetic
value.
2. The common Bontoc tattoos were figures adopted from the environment. For
some, it signifies richness of the person possessing the tattoo.
3. Bontoc tattoos did not signify any meanings; however, it is believed that the tattoo
artist has the discretion to put the designs.
4. Youth still see traditional tattooing as a sign of bravery, power and authority but
not beneficial anymore on the modern times.
Recommendations
The following are recommended.
1. Other researchers may want to consider tracing the descendants of the tattoo
artists to be able that the meaning of the tattoos will be generated and identified.
2. Other researchers may want to make a comparative analysis between the
communicative value, meanings and designs of Kalinga and Bontoc tattoos.
3. Findings of this study should be written in a monograph to be shared to
community development workers.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
25
LITERATURE CITED
ANONYMOUS. Igorot Tattooing. Retrieved August 3, 2009, from
http.//www.bodydragon.com/index.php bolum=makale& id=/23
DE RAEDT, J. 1989. Kalinga Sacrifice. Cordillera Monograph 04. Cordillera Studies
Center, University of the Philippines. Pp. 5-12.
KEESING, F. (1962). The Ethnohistory of Northern Luzon. Stanford, California: Stanford
University Press. Pp. 100-102.
JENKS, A.E (1905). Bontoc Igorot Clothing. Project Gutenberg. Gutenberg, Germany. Pp.
76-79.
NASH, M. J (1989). Values and Impact of Body Decorations. Illinois, USA. Pp. 102-107.
NORWICH, J. J. 1990. The Arts. Oxford University Press. USA. Pp. 25-31.
ORTEGA,G. 1957. Visions of Culture. The University of Chicago Press. USA. Pp. 24-25
SALVADOR- AMORES, J. 2002. The Cordillera Review. Quezon City, Manila Pp. 268-
300
SCOTT, W. 1969. One of the Cordillera. Manila: MCS Enterprise INC. Pp. 56, 61, 78.
STRAETEN, K. 2007. Tattoos, Reasons, Responsibilities. Retrieved August 2, 2009, from
http://customsholidays.suite101.com/ articles fm/tattoosreasonsresponsibilities.
WILCOX, C 1912. From Ifugao to Kalinga: A Ride Through the Mountains Of Northern
Luzon Kansas City: Franklin Hudson Publications. Pp. 205-207.
WORCESTER, D. 1906. “The Non-Christian Tribes of Northern Luzon”. Philippine
Journal of Science, Vol. I. Manila, Philippines. Pp 69-72.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
26
APPENDICES
APPENDIX A
RESEARCH INSTRUMENT FOR KEY INFORMANTS
Benguet State University
DEPARTMENT OF DEVELOPMENT COMMUNICATION
College of Agriculture
COMMUNICATIVE VALUE OF INDIGENOUS TATTOOS OF ELDERS IN BONTOC,
MOUNTAIN PROVINCE
RESEARCH INSTRUMENT FOR KEY INFORMANTS
I.
SOCIO-DEMOGRAPHIC PROFILE
Name:________________________
Age: ________
Gender: ( ) Male ( ) Female
Place
of
Origin: Ethno-linguistic
Group:_________
Years of stay in the community: ______ _
II.
REASONS FOR HAVING TATTOO.
1. What age did you have your first tattoo?
2. What are your reasons for having tattoos?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
27
III.
CHARACTERISTICS OF TATTOOS OF THE RESPONDENTS
1. What figures does your tattoo illustrate? Please check more than one.
____
human
____
butterfly
____
mountains
____star ____shield
____
house
____lizard
____
spear
____
others
(please
____snake
____
eye
specify)
2. What is the value of your tattoo? Please check more than one.
____ protection
____ aesthetic value
____ bravery
____ others (please specify)
____ guidance
____ life
3. Does your tattoo express your status/class in the society? How?
4. Do your tattoos follow a certain design? How?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
28
5. Where is your tattoo located?
IV.
MEANINGS OF TATTOOS
Symbol/Figure Meaning
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
29
APPENDIX B
RESEARCH INSTRUMENT FOR YOUTH RESPONDENTS
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
30
Benguet State University
DEPARTMENT OF DEVELOPMENT COMMUNICATION
College of Agriculture
COMMUNICATIVE VALUE OF INDIGENOUS TATTOOS OF ELDERS IN BONTOC,
MOUNTAIN PROVINCE
PERCEPTIONS OF BONTOC YOUTH TOWARDS TATTOOING
I.
SOCIO-DEMOGRAPHIC PROFILE
Name: __________________________
Age:
________ Gender:___________
Place of Origin: ____________________
Years of stay in the community: ___________
II.
PERCEPTIONS OF BONTOC YOUTH TOWARDS TATTOOING.
1. What is traditional tattooing for you?
2. How do you see elders with tattoo?
3. Do you see tattooing beneficial nowadays?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
31
4. Can you see the importance of having traditional tattoos?
5. If ever, do you want to have a tattoo through the traditional way? Why?
6. What are the figures you want to be included? Which part of your body your tattoo
you want to place in? Why?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
PALCON, MICHELLE ENGNGEG APRIL 2010. Communicative Value of
Indigenous Tattoos of Elders in Bontoc, Moiuntain Province. Benguet State University,
La Trinidad, Benguet
Adviser: Filmore Y. Awas, MDevCom
ABSTRACT
The study aimed to identify the communicative value of indigenous tattoos of
elders in Bontoc, Mountain Province. Specifically, it aimed to characterize the
respondents, identify the reasons of respondents for having tattoos, to characterize the
tattoos of the respondents, identify the generated meanings of tattoos and determine the
perceptions of youth towards tattooing.
The researcher conducted the study on December 2009-January 2010.
Traditional tattoos means bravery for men and also presumed to make ladies more
beautiful.
The key informants said that their tattoos are for protection, bravery, guidance,
life, self-confidence, respect, victory and beautification. However, the individual designs
do not mean anything.
As for men elders their tattoos were located on their chest and for women elders
their tattoos were located on their hands.
Moreover, the youth perceived that tattoos symbolized bravery, power and
authority for the elders but not beneficial nowadays.
The following recommendations were drawn: other researchers may want to
consider tracing the descendants of the tattoo artist to be able that the meaning of tattoos
be generated, other researchers may want to make a comparative analysis between the
communicative value, meanings and designs of Kalinga and Bontoc designs, and findings
of this study should be written in a monograph to be shared to community development
workers.
ii
TABLE OF CONTENTS
Page
Bibliography..………………………………………………………………...... i
Tables of Contents……………………………………………………………...
i
Abstract……………………………………………………………………….... i
INTRODUCTION
Rationale……………………………………………………………….. 1
Statement of the Problem……………………………………………….
3
Objectives of the Study…………………………………………………
3
Importance of the Study…………………………………………………
4
Scope and Limitations……………………………………………………
4
REVIEW OF LITERATURE
The Ibontocs ……………………..….…………………………………..
5
The Igorot Tattooing……………………………………………………
5
Reasons for Having Tattoos…………………………………………….
7
Characteristics of Tattoos…………………………………………………
7
Meanings of Tattoos…………..…………………………………………
7
Art and Value of Tattooing………………………………………………
8
METHODOLOGY
Locale and Time of the Study……………………………………………
10
Respondents of the Study ……………………….………………………
10
Data Collection ………………….………………………………………
12
Data Gathered ……………………………………………………………
12
Data Analysis……………………………………………..………………
13
RESULTS AND DISCUSSION
Respondents Profile………………………………………………………
14
Reasons for Having Tattoos………………………………………………
14
Generated Meanings of Tattoos of Elders
in Bontoc, Mountain Province……………………………………………
19
Perceptions of Bontoc Youths
Towards Tattooing……………………………………………………….
22
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary………………………………………………………………… 23
Conclusions……………………………………………………………… 24
Recommendations………………………………………………………… 24
LITERATURE CITED…………………………………………………………..
25
APPENDICES
A. Research Instrument for Key Informants…………………………….
26
B. Research Instrument for Youth Respondents………………………..
29
1
INTRODUCTION
Rationale
Symbolism as a means of interpreting reality is considered to be a communicative
tool.
The symbol that carries the tattoos of indigenous people recognizes the attempt to
create and maintain their owned culture. These symbols embody the bases for social
relations, they are visible expressions of cultural identity which enable the people to
identify and know their society.
Tattoo art exemplifies the later style of symbolism. The history of tattoo began over
5, 000 years ago and is diverse as the people who wear them. A part from its decorative
purpose, tattooing has been practiced for a variety of reasons. To the Polynesians it is a
mark or wealth and social prestige (Norwich, 1990). For religious tattoos it serves as a
devotion to their beliefs, and is very commendable (Straeten, 2007).
In some communities and regions, tattooing has been part of their culture. Culture as a
symbolic medium of communication is neither static nor homogeneous. But it is shared,
that is to say, it is intersubjective in character and this intersubjectivity must be understood
from two perspectives: the anthropological and the psychological. From an anthropological
perspective, culture is the sum total of society's symbolic operating systems and the basis
for its ecological adaptation to the environment (Ortega, 1957).
According to Anonymous (2009) in the previous time in Cordillera, the most
distinctive and great permanent decoration of the Igorot was the tattoo. Igorot tattooing was
considered a serious religious experience.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
2
In Bontoc, Mountain Province, tattoo is common to elders especially to men.
Tattoos constituted a record of engagement in tribal warfare. These were symbols of male
valor: which were applied only after a man had performed well in battle with fitting
courage. Warriors accumulated tattoos with each act of bravery, somewhat like modern
military decorations. Headhunting was the only known reason for tattooing and to this day,
no one knows exactly what tattoos signify. For many elders in the area, tattoos are the
vestiges of a valuable culture and tradition. (De Raedt 1989; Scott 1969; Salvador-Amores,
2002)
Tattoo was already a part of the culture of the Bontoc people. The tattoos reveal an
individual’s social standing in the community. Jenks (1905) further elaborated its
importance in the following statements:
“The qualification that entitles a warrior to a chest tattoo is the
taking of at least three heads to complete the symbol of the chalikan or the
three cooking stones- a triangle symbol.
Tattooing with specific designs is based on the internalization and
transformation of prior experience to specialist knowledge. Moreover,
tattooing serves not only as an indication of social standing but also as an
equalizing factor in the context of painful rites passage. Anyone can get
tattooed, whether they belong to the rich or to the poorest class. Being
tattooed is a concrete realization of the sense of social unity of the members
of the group.”
Today, very few of the tattooed people remain; many have died with their hard-
earned tattoos buried with them. Literatures would attest that traditional tattoos are starting
to be a dying art form since people does not like to put them anymore due to the painful
process. With this scenario, the need to study the communicative value of this indigenous
tattoo is of importance.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
3
This study then aims to help people in understanding the communicative value of
indigenous tattoos in the lives of the Bontoc people.
Statement of the Problem
This study endeavors to answer the following questions:
1. What is the profile of the respondents?
2. What are the respondents reasons for having tattoos?
3. What are the characteristics of tattoos?
4. What are the generated meanings of tattoos of elders in Bontoc, Mountain
Province?
5. What are the perceptions of youth towards tattooing?
Objectives of the Study
The general objective of the study is to determine the communicative value of
indigenous tattoos.
The specific objectives of the study are:
1. To characterize the respondents.
2. To identify the reasons of respondents for having tattoos.
3. To characterize the tattoos of respondents.
4. To identify the generated meanings of tattoos of elders in Bontoc, Mountain
Province.
5. To determine the perceptions of Bontoc youth towards tattooing.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
4
Importance of the Study
This study is an attempt to help the readers have a deeper understanding on the
communicative value of indigenous tattoos of the Bontoc culture.
The result of the study may be helpful for policy makers to understand the
situations, social classes and comprehension brought by the symbols of tattoos.
This study is also important for organizations catering in the protection and
preservation of cultural identity such as NCIP and other related organizations.
Results will also serve as documentation of a part of the Bontoc culture.
Scope and Limitations
The study limited only to the identification of the communicative value of
indigenous tattoo and its value to the cultural identity of Bontoc people.
This study focused on qualitative importance of indigenous tattoo and primarily will
use open-ended questions to gather information from key informants on the different
barangays of Bontoc, specifically Barangay Samoki, Bontoc Ili and Can-eo, from
December 2009 to January 2010.
Also, the perception of the youth identified regarding their awareness on the
function of tattooing for Bontoc elders.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
5
REVIEW OF LITERATURE
The Ibontocs
The
Ibontocs live on the banks of the Chico River. They were once well known
because of their headhunting practices in the olden days but not today.
At
present, Ibontocs are a peaceful agricultural people who have by choice retained
most of their traditional culture despite frequent contacts with other groups. They are very
aware of their own way of life and are not overly eager to change (Keesing, 1962).
The Igorot Tattoos
The material culture found on the body is physical evidence of human experience,
an indication of the physical body’s designation as the site for constructing identities
through the use of distinct markers of difference and similarity. It provides a reified object
for analysis that captures the markings in the work of identity construction and
representation (Salvador-Amores, 2002).
Any visible markers or investments on the body may be interpreted as carriers of a
system of signs that stand for and express relations to power (Salvador-Amores, 2002).
Processes that involve making changes in the body play an essential role in
representing identity and knowledge, and provide an important basis for understanding
various aspects of the past as well as contemporary culture. Nash (1989), as cited by
Salvador-Amores, (2002), contends that body decorations are boundary mechanisms and
cultural markers of difference. The differences among groups are index features that are
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
6
easily seen, grasped, understood, and reacted to in social situations where there are minimal
cultural items involved in the membership of the group.
For Igorot tattoos, the markers on the body when regarded on the context of the
culture itself provide a clear notion of the Igorot sense of logic and beauty; however, in
most of the literature, these markers are frequently interpreted as deviations associated with
the themes of otherness and difference (Salvador-Amores, 2002).
The German scientist Hans Meyer as cited by Salvador-Amores (2002) was perhaps
the first to provide a detailed drawing of Igorot tattoos in the late 1890’s. His tattoo
drawings are accompanied by his description of the tattoos among Igorots of Benguet. The
custom of tattooing the whole body with decorations exactly like a coat of mail with
breastplate and back plates was widespread in the early 16th century and confirmed that
tattooing did exist and was extensively practiced during the pre-historic period. Meyer’s
drawings show designs that are identical with tattoo patterns which date back to an earlier
period, as they appear on the mummy Appo Anno. The mummy is clad in body tattoos:
from fingers to buttocks, chest, back and legs.
In addition there are also mummies in some Benguet areas that bear tattoos very
similar to those in Hans Meyer’s drawings and the photographs of tattoos and symbols of
the tattoos found on the mummies have been largely speculative. These cases in Benguet
support Thiel’s (1984) as cited by Salvador-Amores (2002) archaeological discovery of
tattoo instruments in the Arku cave in Cagayan province, an indication of the widespread
practice of tattooing. In this case, past and current archaeological evidence serve as the
“explanatory bridges” in understanding people and culture (Salvador-Amores, 2002).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
7
Reasons for Having Tattoos
In the early 16th century, traditional tattooing is widespread in the Philippines but
very little is known or written about the practice. Until today, tattooing and tattoo designs
in the Cordilleras are best understood with the context of headhunting. Headhunting was
the only known reason for tattooing and to this day, no one knows what tattoos signify
(Salvador-Amores, 2002).
Characteristics of Tattoos
The Igorot body as portrayed in colonial writings and photographs calls in notions
of an inferior culture. However, rather than markers of difference and otherness as
projected by those who are not accustomed to Igorot forms of body embellishment, the
markings found on the bodies of the Igorots can be seen as a visually powerful rendering of
their sense of symmetry and unity. More than this, they represent the social practices of the
group and serve as a means of conveying significant information to people within and
outside the communities (Salvador-Amores, 2002).
The role and function of tattoos as cultural symbols are related to the intricate social
and cultural relations of the people (Salvador-Amores 2002). The tattoos reveal an
individual’s social standing in the community.
Meanings of Tattoo
“Fatek” on the arms is a sign of membership in the affluent class and purportedly
serve to memorialize the land properties that the family holds. A tattoo marking of “x”
found on the upper arm of a woman is called “pinapanga”, a term that refers to the
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
8
jawbones of the water buffalo butchered during the community feasts. This anmimal is a
status symbol that only the affluent class could afford in the past (Worcester, Willcox,
1912, Keesing, 1962).
The tattoos of a Bontoc warrior is a record of engagement in tribal warfare, they are
accumulated like “medals of valor” for acts of bravery (Jenks, 1905).
The elaborateness of the body tattoo expresses an aesthetic component of “fatek”.
More importantly, it articulates “ambaru”, (the Lubo, Tanuda, Kalinga concept of beauty).
Young men and women become “ambaru” (beautiful) when their bodies are tattooed.
Tattoos make the males “mangkusdor” (handsome and strong) and the females “bumaru”
(beautiful). The bluish-black tattoo pattern against the brown skin incited fear among
people of the villages and make women attractive. The “dinuras” or people without tattoos
are regarded as weak beings and considered as a bad omen for the community.
The Igorots consistently maintains that the other entire are put on simply at the
whim of the wearer. The face markings, those on the arms, the stomach and elsewhere on
the body are believed to be purely aesthetic. Often a cross-hatched marking is put over
goiter, varicose veins and other permanent swellings or enlargements. Evidently they are
believed to have some therapeutic virtue, but no statement could be obtained to substantiate
their opinion (Salvador-Amores, 2002).
Art and Value of Tattooing
In the 16th century, tattooing was already a common practice ampong the major
warrior groups in the Cordillera- Bontoc, Ifugao and the Kalinga (Worcester 1912, Willcox
1912, Keesing 1962).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
9
The
word
“fatek” (Bontoc term for traditional tattoo) was derived from the sound
of the tapping of the stick to the tattoo instrument which pierces the skin. It is characterized
by the marking, decorating and designing on a material permanently (Salvador-Amores
2002).
The tattooed body continues to present a distinctive record of the organized set of
social practices that are relevant to the articulation of Igorot identities (Jenks, 1905). Tattoo
was an important means of identification.
For the Bontoc men, tattoos constituted a record of engagement in tribal warfare.
Tattoos were symbols of male valor: these were applied only after a man had performed in
battle with fitting courage. Warriors accumulated tattoos with each act of bravery,
somewhat like modern military decorations (De Raedt 1989, Scott 1969).
.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
10
METHODOLOGY
Locale and Time of the Study
The study was conducted in Bontoc, the capital of Mountain Province with a total
land area approximately 36,160 hectares. It is located in the heart of the Cordillera Range.
Bontoc is bounded in the east by Barlig; in the west by Sagada, in the north by Sadanga, in
the south by Banaue, Ifugao and Sabangan; in the northeast by Tinglayan, Kalinga; and in
the northwest by Tubo, Abra.
Bontoc is a highland municipality and generally mountainous with the highest
elevation of 2,028 meters above sea level at Mainit and the lowest at Tocucan with an
elevationof 900 meters above sea level.
Bontoc has a very favorable climate, generally not so cold during December up tp
February ant not too hot during summer time. There are two pronounced seasons, dry from
November to April and wet during the rest of the year.
Bontoc is subdivided into 16 barangays namely: Alab Proper, Alab Oriente, Balili,
Bayyo, Bontoc Ili, Caneo, Dalican, Gonogon, Guinaang, Mainit, Maligcong, Samoki,
Talubin, Tocucan, Poblacion and Calutit.
The study was conducted on December 2009-January 2010.
Respondents of the Study
Twenty five respondents from Bontoc was purposively selected.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
11
Figure1. Map of Bontoc, Mountain Province
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
12
Five elders were selected as key informants of the study. The criteria for the key
informants will be a bonafide resident of Bontoc, Mountain Province, he or she should
have a tattoo, sixty years old and above, male or female.
On the other hand, Bontoc youth respondents should be a bonafide resident of
Bontoc, Mountain province, eighteen to twenty four years old, male or female.
Data Collection
The study collected data from key informants that correspond to the set criteria. The
information that was collected will be of outmost significant to identify the communicative
value of the Bontoc tattoos and its significant effect to their community relations. The
researcher utilized key informant interviews using guide questions.
At first, the researcher collected data from secondary sources to have also impact on
the research and was validated to the respondents-beneficiaries.
Data Gathered
The data gathered focused on the communicative value of indigenous tattoos
specifically on the reasons for having tattoos, what are the characteristics of the tattoos,
what are the meanings of tattoos of elders and perceptions of youth towards indigenous
tattoos. Photos of the different tattoos will also be taken for analysis with regard to its
meaning and interpretation.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
13
Data Analysis
The information gathered was tabulated and analyzed through statistical frequency,
descriptive presentation and qualitative data.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
14
RESULTS AND DISCUSSION
Respondents’ Profile
Bontoc Youth Respondents’ Profile. Table 1 shows the Bontoc youth respondents’
profile. Based on the table, it can be noted that the highest numbers of Bontoc Youths’
respondents were ranging from the ages 20-21 years old. Next to that were the ages 22-23
years old, followed by 18-19 years old.
As to their place of origin, almost all of the respondents were from Poblacion,
Bontoc while the others were representatives of Bontoc Tocucan, Talubin and Samoki.
Most of the respondents stayed in Bontoc for 20-25 years. Others stayed in the community
for 12-18 years and some only stayed for 2-3 years.
Key Informants’ Profile. The oldest among the Key Informants is 79 years of age,
followed by 78, 75, 72 and 68 years old. All of them reached their age staying in Bontoc.
Three out of them are staying in Can-eo, Bontoc, Mt. Province and one of them is staying
in Bontoc Ili, Bontoc and the other in Samoki, Bontoc .
Reasons for Having Tattoos
Table 2 shows the reasons and specific instances for having tattoos. According to
the key informants, acquiring traditional tattoos is a very painful process. One should be
brave enough to endure the pain that the needles bring when acquiring their tattoo. They
added that acquiring these traditional tattoos during their early 20’s of age had their own
personal and cultural reasons. Some of the key informants’ tattoos were not completed
especially on the case of women because they could not endure the painful process.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
15
Table 1. Bontoc youth respondents’ age range and place of origin
CHARACTERISTICS FREQUENCY
PERCENTAGE
N=25
Age Bracket
18-19 years old
3
12
20-21 years old
14
56
22-23 years old
6
24
24-25 years old
2
8
Total 25 100
Place of Origin
Poblacion
15
60
Samoki
7
28
Tocucan
2
8
Talubin
1
4
Total
25
100
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
16
Table 2. Reasons and specific instances for having tattoo
REASONS FOR HAVING TATTOO SPECIFIC
INSTANCES
‘Uso’ or ins for their generation
- Having tattoo were very common
during the key informants’
generation
Needed - Tattoos signify their inheritance or
how many lands they own. They
were called ‘kachangyan’ or rich.
- For the ladies, it is needed to avoid
shame.
Bravery - This is for the men who killed
someone from their rival tribes.
Belief - It is believed that having tattoos
keeps them young and protect them
from ‘an-anitos’ or bad spirits.
Key Informant Teresa Cobsilen stated that aside from the reason that tattoos were
the “in” thing (uso) during their generation, tattoos were also presumed to make ladies
more beautiful and it is like their item to boast of. She also said that tattoos before were
considered to be a fashion. They see tattoos to be beautiful decorations for the body.
Rosita Afawag, 75 years old, gave another reason of having tattoos during their
time. According to Afawag tattoos did not only serve as decorations but they also can
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
17
represent their inheritance from their parents. The acres of land they possess were the basis
for their wealth and they were called in local term ‘kachangyan’ or rich.
This explanation of Afawag could mean that tattoos during their times represent
their richness. This is supported by Jenks (1905), in his statement that tattoos reveal an
individual’s social standing. Also Worcester, Willcox (1912), Keesing (1962) added that
tattoos on the arms is a sign of a membership in the affluent class and purportedly serve to
memorialize the land properties that the family holds. But the number of figures of their
tattoos does not represent the number of lands of water buffalo they own. This contradicted
the statement of Worcester, Willcox (19120 and Keesing (1962) that the tattoo marking of
“x” found on the upper arm of a woman refers to the jawbones of the water buffalo, a
symbol that only the affluent class could afford in the past.
Aside from the reasons stated by Cobsilen and Afawag, Vicenta Te-elan added a
more interesting reason why tattooing were a rampant practice for ladies during the olden
times. As far as Te-elan can remember, avoiding shame was another instance for the ladies
that tattoos were badly needed before.
According to the stories of Te-elan, ladies before who do not have ‘fatek’ or tattoos
on their arms and shoulders were considered shameful and often were the laughing stock
for the young men. During the ‘sagsagni’ (Igorot dance), ‘babaros’ or the young men will
rub ‘uging’ or charcoal on women if they do not have tattoos on their arms. Ladies
therefore seek to have tattoos to avoid those shameful instances. They would rather endure
the pain of the tattoo session for the sense of belongingness rather than feeling the shame of
not having tattoos.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
18
According to key informant Osseg Fukasan, he said that tattoos for men represent
their bravery. Earning their tattoos was not easy unless they killed or head hunt somebody
from their rival tribe. Tattoos which they earned symbolize that they were a great-feared
warrior and were respected in their society (Figure 3).
Osseg Fuksasan, Key Informant from Can-eo, Bontoc, added to these reasons that
belief is another instance where people of Bontoc have their tattoos before. During the
World War II, it was believed that having tattoos prevent them from aging and tattoos keep
them young for ages.
This only shows that tattoos were not only decorations but because it is the lifestyle
of Bontoc people years ago, but it also encircles the culture, belief and traditions of the
Bontoc Community. Figure 2 shows the picture of key informants with their tattoos.
Figure 2. Elders showing their traditional tattoo
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
19
Generated Meanings of Tattoos of Elders
in Bontoc, Mountain Province
According to the stories of all the key informants, the figures of their tattoo designs
were enumerated but their meanings were not defined. Three of the female key informants
had the Bontoc tattoo designs and one had the Kalinga design. Bontoc designs were the
“agdan” or stairs, “al-alam-am” or fern, “fab-alatong” or bean, “fab-a” or teeth, and “tat-
alaw” or star. On the other hand the common Kalinga designs were the “tik-tiko” or zigzag
line, “sinaksakaw” or diamond shape and “binakuwa” or horizontal line.
Furthermore, based on interview with all the elders, their tattoo designs were just
tattooed on them by the tattoo artist before but the artist did not give the figure’s personal
meaning. According to key informant Theresa Cobsilen her tattoo artist was Khayapun
from Bontoc and furthermore stated that during the process the tattoo artist did not mention
the meaning of the figures. It was just tattooed on her because she requested for it for her
beautification.
The general tattoo on their body signifies protection, bravery, guidance, life, self
confidence, respect, victory, and beautification. However, the individual designs do not
mean anything. This was supported by De Raedt (1989) and Scott (1969) in their statement
that tattoos for men were symbols of male valor. Salvador-Amores (2002) also said that the
bluish-black pattern against the brown skin incited fear among people of the villages.
(Figure 3).
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
20
Figure 3. Common figures found in the elders’ tattoo (a. “Agdan” or stairs, b. “Al-
alam-am” or fern, c. “Binakuwa” or horizontal line, d. “sinaksakaw” or
diamond shape)
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
21
Figure 4. Common figures found in the elders’ tattoo (e. “Fab-a” or teeth, f. “Fab-alatong”
or bean, g.” tat-alaw” or star, h. “Tik-tiko” or zigzag line)
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
22
Perceptions of Bontoc Youths Towards Tattooing
For the youths of Bontoc, they have their different and own views and perceptions
regarding traditional tattooing. Some of them recognized these tattoos to be the symbol of
the elders’ economic and social status at the time. They also recognized that tattoos also
symbolized bravery, power and authority for their elders. They saw the tradition that these
tattoos keep and they value and respect it.
Although they valued the respected the tattooing in the olden days, the youth
respondents however perceived that tattoos were not that beneficial anymore at present.
Twenty eight percent of the respondents said that tattoos were only beneficial nowadays for
the sake of preserving the culture of Bontoc and the practices of tattooing and art.
Furthermore, 72% of them said otherwise. For them, in these modern days, tattoos
do not look neat and cannot benefit a person at all. They see tattoos were only for people
who have gone to jail (Figure 4).
number of respondents (n=25)
28%
Yes, tattoos were beneficial
72%
No, tattoos don’t have
benefit nowadays
Figure 5. Youth’s perception on tattoos benefit nowadays
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
23
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The study was conducted to determine the communicative value of indigenous
tattoos of elders in Bontoc, Mountain Province. Specifically, it aimed to characterize the
profile of the respondents; to identify the reasons of respondents for having tattoos; to
characterize the tattoos of respondents; to identify the generated meanings of tattoos and
determine the perceptions of Bontoc youth towards tattooing. Photos were also taken.
The researcher used interview schedule as the research tool. Data gathering was
conducted on December 2009- January 2010.
Traditional tattoos means bravery for men and also presumed to make ladies more
beautiful. It was also said that tattoos were needed during their times.
Tattoos of elders include figures, values, societal use, designs and location.
For figures, the tattoos were ‘agdan’ or stairs; ‘al-alam-am’ or fern; ‘binakuwa’ or
horizontal lines; ‘fab-alatong’ or bean; ‘sinaksakaw’ or diamond shape; ‘tat-alaw’ or star;
‘fab-a’ or teeth; ‘tik-tiko’ or zigzag line.
As for the values attached and the meaning of tattoos are for protection, bravery,
guidance, life, self confidence, respect, victory, and beautification. However, the individual
designs do not mean anything. The tattoos represents their richness during their times.
For men elders those tattoos are located on their chest and for women elders tattoos
were located on their hands.
On the other hand, youth perceived that tattoos symbolize bravery, power, and
authority for the elders. Some of them recognize these tattoos to be the symbol of the
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
24
elders’ economic and social status before. However, its significance to present times cannot
be seen by the youths.
Conclusions
Based on the findings of the study, the following conclusions were drawn.
1. Elders possessed tattoo because historically it has something to do with being
involved in the warfare for men. On the other hand, women elders had tattoos for aesthetic
value.
2. The common Bontoc tattoos were figures adopted from the environment. For
some, it signifies richness of the person possessing the tattoo.
3. Bontoc tattoos did not signify any meanings; however, it is believed that the tattoo
artist has the discretion to put the designs.
4. Youth still see traditional tattooing as a sign of bravery, power and authority but
not beneficial anymore on the modern times.
Recommendations
The following are recommended.
1. Other researchers may want to consider tracing the descendants of the tattoo
artists to be able that the meaning of the tattoos will be generated and identified.
2. Other researchers may want to make a comparative analysis between the
communicative value, meanings and designs of Kalinga and Bontoc tattoos.
3. Findings of this study should be written in a monograph to be shared to
community development workers.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
25
LITERATURE CITED
ANONYMOUS. Igorot Tattooing. Retrieved August 3, 2009, from
http.//www.bodydragon.com/index.php bolum=makale& id=/23
DE RAEDT, J. 1989. Kalinga Sacrifice. Cordillera Monograph 04. Cordillera Studies
Center, University of the Philippines. Pp. 5-12.
KEESING, F. (1962). The Ethnohistory of Northern Luzon. Stanford, California: Stanford
University Press. Pp. 100-102.
JENKS, A.E (1905). Bontoc Igorot Clothing. Project Gutenberg. Gutenberg, Germany. Pp.
76-79.
NASH, M. J (1989). Values and Impact of Body Decorations. Illinois, USA. Pp. 102-107.
NORWICH, J. J. 1990. The Arts. Oxford University Press. USA. Pp. 25-31.
ORTEGA,G. 1957. Visions of Culture. The University of Chicago Press. USA. Pp. 24-25
SALVADOR- AMORES, J. 2002. The Cordillera Review. Quezon City, Manila Pp. 268-
300
SCOTT, W. 1969. One of the Cordillera. Manila: MCS Enterprise INC. Pp. 56, 61, 78.
STRAETEN, K. 2007. Tattoos, Reasons, Responsibilities. Retrieved August 2, 2009, from
http://customsholidays.suite101.com/ articles fm/tattoosreasonsresponsibilities.
WILCOX, C 1912. From Ifugao to Kalinga: A Ride Through the Mountains Of Northern
Luzon Kansas City: Franklin Hudson Publications. Pp. 205-207.
WORCESTER, D. 1906. “The Non-Christian Tribes of Northern Luzon”. Philippine
Journal of Science, Vol. I. Manila, Philippines. Pp 69-72.
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
26
APPENDICES
APPENDIX A
RESEARCH INSTRUMENT FOR KEY INFORMANTS
Benguet State University
DEPARTMENT OF DEVELOPMENT COMMUNICATION
College of Agriculture
COMMUNICATIVE VALUE OF INDIGENOUS TATTOOS OF ELDERS IN BONTOC,
MOUNTAIN PROVINCE
RESEARCH INSTRUMENT FOR KEY INFORMANTS
I.
SOCIO-DEMOGRAPHIC PROFILE
Name:________________________
Age: ________
Gender: ( ) Male ( ) Female
Place
of
Origin: Ethno-linguistic
Group:_________
Years of stay in the community: ______ _
II.
REASONS FOR HAVING TATTOO.
1. What age did you have your first tattoo?
2. What are your reasons for having tattoos?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
27
III.
CHARACTERISTICS OF TATTOOS OF THE RESPONDENTS
1. What figures does your tattoo illustrate? Please check more than one.
____
human
____
butterfly
____
mountains
____star ____shield
____
house
____lizard
____
spear
____
others
(please
____snake
____
eye
specify)
2. What is the value of your tattoo? Please check more than one.
____ protection
____ aesthetic value
____ bravery
____ others (please specify)
____ guidance
____ life
3. Does your tattoo express your status/class in the society? How?
4. Do your tattoos follow a certain design? How?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
28
5. Where is your tattoo located?
IV.
MEANINGS OF TATTOOS
Symbol/Figure Meaning
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
29
APPENDIX B
RESEARCH INSTRUMENT FOR YOUTH RESPONDENTS
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
30
Benguet State University
DEPARTMENT OF DEVELOPMENT COMMUNICATION
College of Agriculture
COMMUNICATIVE VALUE OF INDIGENOUS TATTOOS OF ELDERS IN BONTOC,
MOUNTAIN PROVINCE
PERCEPTIONS OF BONTOC YOUTH TOWARDS TATTOOING
I.
SOCIO-DEMOGRAPHIC PROFILE
Name: __________________________
Age:
________ Gender:___________
Place of Origin: ____________________
Years of stay in the community: ___________
II.
PERCEPTIONS OF BONTOC YOUTH TOWARDS TATTOOING.
1. What is traditional tattooing for you?
2. How do you see elders with tattoo?
3. Do you see tattooing beneficial nowadays?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
31
4. Can you see the importance of having traditional tattoos?
5. If ever, do you want to have a tattoo through the traditional way? Why?
6. What are the figures you want to be included? Which part of your body your tattoo
you want to place in? Why?
Communicative Value of Indigenous Tattoos of Elders in Bontoc, Moiuntain
Province. / MICHELLE E. PALCON.2010
Document Outline
- Communicative Value ofIndigenous Tattoos of Elders in Bontoc, Moiuntain Province
- BIBLIOGRAPHY
- ABSTRACT
- TABLE OF CONTENTS
- INTRODUCTION
- REVIEW OF LITERATURE
- METHODOLOGY
- RESULTS AND DISCUSSION
- SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
- LITERATURE CITED
- APPENDICES