Traditional Igorot Tattooing

igorot headhunters
High up in the terraced rice fields of the Philippine Cordillera mountains, traditional tattooing (batek, Kalinga) among the former headhunters of northwestern Luzon is nearly extinct.

Today, you can only see traces of the indelible art in all of its splendor among the Kalinga and maybe one or two other groups living in the area. But back in 1900, just before American authorities outlawed headhunting, tattoo was to be seen everywhere, especially among the Bontoc Igorot, Kalinga, and Ifugao peoples.

Bontoc is derived from two local words.
"bun" (heap) + "tuk" (top) =  "mountains"
As they have for centuries, most Igorots live in Bontoc municipality near the upper Chico River basin and in the capitol city of the municipality, Bontoc. The region is bounded to the north by the Kalinga-Apayao province and to the south by the Ifugao and Benguet provinces. Although there is a common language, several villages in the Bontoc region have their own distinct dialect.

Generally speaking, the Bontoc Igorots recognized several kinds of tattoos and very often the amount of designs worn by a man was directly related to the proportion of human heads he had taken in the headhunt. The chaklag, usually running upward from each nipple, curving out on the shoulders and ending on the upper arms, indicated that the man had taken a head or, as one writer put it in 1905,
"The indelible tattoo emblem proclaims them takers of human heads, nine-tenths of the men in the pueblos of Bontoc and Samoki wear them."
Among the neighboring Kalinga to the north, successful warriors (maingor) had tattoos placed at the back of their hands and wrists after their first kill. These striped designs were called "gulot", meaning "cutter of the head."

Kalinga men who killed two or more men had elaborate patterns applied to their arms and chests called bikking, comprised of khaman (head-axes), ufug (centipede or snake scales) and bodies of the centipede (gayaman), which were protective and spiritually charged symbols.

The khaman design also covered portions of the torso, back, and thighs and centipede scales crossed the cheeks of the most successful warriors. Sometimes, a human anthropomorph was tattooed just above the navel and small crosses adorned the face, indicating a warrior of the highest rank. Other more simple markings had therapeutic value and were placed on goiters, tumors and varicose veins.

Among the Kalinga particular arrangements of centipede scales were believed to ward off cholera.

Tattoos are indeed an ancient art that weaves to the very fabric of life in every culture.

sources: nightskylie , Caloy Galang

Dennis Keliag: Mister Republic of the Philippines 2015

Dennis Keliag

Dennis Keliag garnered 3rd runner up for the RUNWAY MODEL OF THE WORLD and social media award (Mr Popularity) during the Mister Republic of the Philippines 2015 pageant.

Back to work.
Good morning.
Thanks fellow Cordillerans, family and friends.
All I can say is thank you and God bless. You guys are amazing.
To God be the glory.
# God is good. - Dennis Keliag


Post by Dennis Keliag New.

Vote for Dennis Keliag for Mr. Republic of the Philippines POPULARITY 2015

dennis keliag for mr popularity

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How to VOTE for Dennis Keliag for Mr. Republic of the Philippines POPULARITY 2015

Step 1:
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Coronation night will be on March 6, 2015. Voting ends on March 6, 2015 at exactly 12 noon.

Dennis Keliag for Mr. Republic of the Philippines 2015

Dennis Keliag
Dennis Keliag of Buguias Benguet
Our very own Dennis Keliag, 22 years old who hails from Buguias, Benguet and Baguio City. He is candidate number 8, representing the Cordillera Region for the first ever search for Mr. Republic of the Philippines.

Mr. Republic of the Philippines 2015 is the quest for the country’s finest gentlemen in the field of modeling. It seeks to promote the positive image of the Filipino youth as role models of healthy lifestyle, social relevance and upliftment, and passion for the arts and culture of the Philippines.

At the end of the search, three (3) gentlemen, who best represent the beauty of Filipino men, shall be hailed as Grand Winners and will be given a once – in a – lifetime opportunity to be the country’s flag bearer as they compete internationally. There will also be two (2) Runners- Up for each title and shall take home exciting worth of prizes:

Mr. Worldwide International 2015 (Orlando, Florida, USA) September 2015
Grand Winner – Php 500,000.00 worth of prizes
1st Runner Up – Php 100,000.00 worth of prizes
2nd Runner Up – Php 50,000.00 worth of prizes

Mr. Model of the World International 2015 (WCOPA)(Long Beach, USA) July 2015
Grand Winner – Php 500,000.00 worth of prizes
1st Runner Up – Php 100,000.00 worth of prizes
2nd Runner Up – Php 50,000.00 worth of prizes

Mr. Runway Model of the World International 2015 /Philippines , October 2015
Grand Winner – Php 500,000.00 worth of prizes
1st Runner Up – Php 100,000.00 worth of prizes
2nd Runner Up – Php 50,000.00 worth of prizes

The twenty-five (25) Official Candidates were presented at the Press Conference and at the same time scrutinized by a distinguished panel of judges in the Pre – Pageant Ceremony that took place at The Ace Hotel and Suites, Pasig City last February 18, 2015.

And on March 06, 2014 is the crowning of the three Mr. Republic of the Philippines 2015 the Model Search winners, in a grand competition and fashion event at the historic Maynila Restaurant, The Manila Hotel. Twenty five (25) gentlemen from across the country will vie for the three titles and share their advocacies for Philippine culture and the arts, in a show that will also feature musical presentations from Manila’s finest entertainers.

[VIDEO] Igorot Native Life in the Philippines

A traditional Philippine folk song from central Luzon about a funeral wake, turned into joyful electronica by Lionel Valdellon (Acid42).
Video footage taken from "Native Life in the Philippines, reel 1" by the Bontoc Igorot Project on Archive.org.

Igorot Filipino Looks Back on Five Decades in the U.S.

Not all Filipinos in the United States speak Tagalog or come from Manila. Sixth Street resident Paul Laus, 72, left his mountain home in the lush jungles north of Manila in 1931 to make his way to America.

Born into a remote mountain tribe called the Igorats (sic), Laus considers himself an outsider among the mostly Tagalog-speaking Filipinos living in San Francisco.
Paul Laos
Paul Laus arrived in the U.S. at age 17, and was 72 when this photo was taken in 1986. He was living on Sixth Street at the time.
He says foreign missionaries and his fellow countrymen viewed his tribe as "ignorant people, illiterate, as compared to the 'civilized Filipinos.' They thought my tribe were non-Christian, wild people, who worship snakes and the sun."

Laus first began to dream of America during the Depression when he was tantalized by tales from fellow classmates returning from study in the United States. When he was told that he would have to wait two years to complete his education while a high school could be built, he resolved to come to America.

To leave home Laus had to bluff his way past the local mayor, governor, and even the "Bureau of Non-Christian Tribes" in Manila, telling them he had everything set up in America, with friends waiting for him.

"I had to tell lies more or less," says Laus. "I was a crazy boy-stubborn, ignorant, disgusted with the Philippines. "

After several months working in Manila, Laus saved enough for his passage to America. Promised not only a job as a houseboy but a chance to go to school by old schoolmates living in America, Laus thought he had it made when he arrived in Toledo, Ohio during the summer of 1931.

But his timing was poor. "A few days before I arrived all of the banks in Ohio closed down," he said. His hoped-for job and school were out.

Nonetheless his friends saw that he ate and had a place to stay and an American businesswoman he had worked for in Manila sent him money.

He used the money to go to upstate New York, where he lived with a priest and his family and worked as a houseboy. He finished high school in just two years and went on to Trinity College in Connecticut on a scholarship.

Loneliness crept in from time to time. An Igorat (sic) boy he'd hoped to hook up with in Connecticut died before Laus got there, because, Laus figures, he couldn't handle the cold.

"If I hadn't lost that friend things would have been good in Connecticut," remembers Laus. "He was an older boy who could have helped me a lot. I wish he would have been alive."

After graduating with a liberal arts degree, Laus struggled to find a job. "I didn't know how to do anything with my hands—I'd been working my head off at Latin!" he says with a chuckle.

When World War II broke out Laus overcame the reluctance of an airplane factory foreman to hire a Filipino when he told him: "Filipinos and Americans are dying together, fighting together. I would like to contribute and do something for the cause."

He worked at the factory until 1944 when he enlisted in the army, joining a special language section.

After a year studying Japanese, Laus was sent to Japan in 1945. The war over at that point, he worked in a prison where he interrogated Japanese soldiers returning home.

Laus has many memories of the people he met in prison—like the pain he felt when he was assigned to visit with five Japanese airmen about to be hanged.

In the early 1950s, Laus taught for several years in the Philippines but returned to America so as not to lose his newly acquired citizenship. He then held various jobs—teaching at American Indian schools in North Dakota and New Mexico, working with Cuban refugees in Miami, washing dishes in Los Angeles.

In the early '60s, Laus moved to San Francisco to work again with the American Indians, helping them find housing and "get acquainted with city life." Funds for that job dried up and he eventually went to work for the Redevelopment Agency, which was then "renewing" the South of Market.

"My job was to tell people about the Redevelopment Agency's plans to get rid of them. It was a hard job. Some old people had lived in the hotels for a long time. That was there they wanted to be, where they wanted to die. I was heartbroken to go into some of those rooms," he remembers.

That position ended when "the agency said our job is done so you're out of work," says Laus. Laus' last job was working in a city psychiatric ward for eight years until 1978 when "I was told I was too old to work."

Once "retired," Laus continued to work anyway, serving on the Board of the Gray Panthers and as chair of Tenants Against Conversion, helping to organize residential hotel tenants.

Perhaps it is Paul Laus' background as a minority in his own country that has fueled his life's work in helping others, from working with American Indians to organizing tenants to counseling condemned Japanese prisoners.

"That's how I've spent my life, says Laus, "listening to people's problems and doing what I could."

History of Filipino Tattoos: Tattooed Mummies, Rites of Passage

Filipino tattoos have a rich history, dating back to before the Philippine Islands were colonized by Spaniards. When Spanish ships first arrived there, they were greeted by the heavily tattooed Visayas tribe and they called the islands "La Isla De Los Pintados" which meant the "Islands of the Painted Ones."

In the Philippines, tattoos were seen as a source of accomplishment and rank. Men bore ink on their chests and heads as signs of their strength as warriors. Women wore detailed lines on their arms and wrists (Visays and Mindanao tribes) or full chest and arm tattoos (Luzon mountain tribes) and they were seen as marks of beauty. Most tattoos were earned through the passage of rites ceremonies, or for accomplishing tasks. The styles varied depending on the region and tribe that the people came from.
apo anno



In the early 1900s, before headhunting was outlawed by American authorities, tattoos were commonly seen among the Bontoc Igorot and Kalinga tribes.
Tattoos worn by the Bontoc Igorots men symbolized the number of human heads he took during a headhunt.

The Kalinga tribe would tattoo their warriors on their hands and wrists after their first kill and the designs and placement would get more elaborate and more broad the more heads they acquired

Tattooing instruments during this time were usually made from wood or animal horn, carved about 10 cm long and 2 mm thick. Needles were then affixed to the tool and the tattoo was applied by tapping with a wooden hammer. The pigment ink came from tree resin and soot and was rubbed into the wound as the tattoo was applied. Most tribes had an appointed tattooist for those worthy of receiving the tattoos.

After World War II, around the late 1940s, teachers at missionary schools discouraged the practice of tattooing, so nowadays, most people under the age of sixty are not tattooed, while those older than sixty often are.

Today, tattoos are experiencing a beautiful revival amongst Filipinos and continue to gain acceptance, with traditional Polynesian themes and striking designs often adorning the collectors.

History of Filipino Tattoos: Tattooed Mummies, Rites of Passage by jinxiboo under CC NC-SA 3.0

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Traditional Igorot Tattooing

High up in the terraced rice fields of the Philippine Cordillera mountains, traditional tattooing (batek, Kalinga) among the former headhu...

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