Cordillera Administrative Region (CAR) PowerPoint Presentation

1. 1. "Wedding Dance" by Amador Daguio Prepared by: Carl Michael Jaudian

2. 2.  The Cordillera Administrative Region (CAR) was established on July 15, 1987 through
executive Order No. 220 issued by President Corazon Aquino. It is the only land-locked
region of the Philippines. The region consists of the provinces of Abra, Benguet, Ifugao,
Kalinga, Mountain Province and Apayao. The regional center is Baguio City.
3. 3.  Cordillera Administrative Region (CAR) is located in the north-central part of Luzon and
encompasses most of the areas within the Cordillera Central mountain range of Luzon. It is
bounded by Ilocos Norte and Cagayan in the north, Pangasinan and Nueva Viscaya in the
south, Cagayan Valley in the east, and the Ilocos region in the west. The region is dubbed as
the “Watershed Cradle of North Luzon” because it hosts 9 major rivers that provide
continuous water for irrigation and energy for northern Luzon.
4. 4.  The region is rich in natural resources and has abundant mineral reserves. Gold,
copper, silver, zinc, are among the metallic ores that can be found in the region. Non-metallic
reserves include sand, gravel and sulfur. Although mineral reserves are found all over the
province, mining is concentrated in Benguet. Great majority of Cordillera’s population
engaged in farming and small-scale production.
5. 5.  Cordillera is one of the prime tourist destinations in the Philippines. It has many
spectacular scenic views and enchanting cool places. Baguio City is the summer capital of
the Philippines. The world-famous Banaue Rice Terraces in the province of Ifugao is
considered as the “Eighth Wonder of the World”. This structure of about 2000 to 6000 years
old is a UNESCO World Heritage Site. Other tourists’ attractions of the region include the
Sumaguing Cave in Sagada and the mummy caves in Benguet and Mt. Province. There are
four National Parks in the region: Cassamata Hill, Mount Pulag which is the highest mountain
in Luzon, Mount Data and Balbalasang-Balbalan.
6. 6. The most populous cities and municipalities in Cordillera Administrative Region are:
City/Municipality Province Area in km² Population Total Density/km² Baguio City Benguet
57.51 301,926 5,249.97 La Trinidad Benguet 70.04 97,810 1,396.49 City Of Tabuk Kalinga
700.25 87,912 125.54 Itogon Benguet 449.73 48,778 108.46 Bangued Abra 105.70 46,179
436.89 Tuba Benguet 295.97 40,008 135.18 Mankayan Benguet 130.48 34,563 264.89
Buguias Benguet 175.88 34,507 196.20 Bauko Mountain Province 153.00 29,382 192.04
Pinukpuk Kalinga 743.56 27,783 37.36
7. 7. Amador T. Daguio Was a poet, novelist and teacher during the pre-war. He was best
known for his fictions and poems. He had published two volumes of poetry, "Bataan Harvest"
and"The Flaming Lyre". He served as chief editor for the Philippine House of
Representatives before he died in 1966. Daguio was born 8 January 1912 in Laoag, Ilocos
Norte, but grew up in Lubuagan, Mountain Province, where his father, an officer in the
Philippine Constabulary, was assigned. He was class valedictorian in 1924 at the Lubuagan
Elementary School. Then he stayed with his uncle at Fort William McKinley to study at Rizal
High School in Pasig. Those four years in high school were, according to Daguio, the most
critical in his life. «I spent them literally in poverty, extreme loneliness, and adolescent pains
…In my loneliness, I began to compose verses in earnest.”8 He was in third year high when
he broke into print in a national weekly, The Sunday Tribune Magazine (11 July 1926), with a
poem, “She Came to Me.” He was going to be valedictorian or salutatorian, but his teacher in
“utter lack of justice …put down my marks in history— my favorite subject. That just about
broke my heart because then I would have had free tuition at the U.P.”9
8. 8. One of ten honor graduates at U.P. in 1932, he returned to teach at his boyhood school in
Lubuagan; in 1938, he taught at Zamboanga Normal School where he met his wife Estela.
They transferred to Normal Leyte School in 1941 before the Second World War. During the
Japanese Occupation, he joined the resistance and wrote poems in secret, later collected as
Bataan Harvest.1 0 He was a bosom- friend of another writer in the resistance, Manuel E.
 Arguilla. In 1952, he obtained his M.A. in English at Stanford U. as a Fulbright scholar. His
thesis was a study and translation of Hudhud hi Aliguyon (Ifugao Harvest Song). In 1954, he
obtained his Law degree from Romualdez Law College in Leyte. Daguio was editor and
public relations officer in various offices in government and the military. He also taught for
twenty-six years at the University of the East, U.P., and Philippine Women’s University. In
1973, six years after his death, Daguio was conferred the Republic Cultural Heritage Award.
9. 9. CHARACTERS: 1. Lumnay – a woman who was left by her husband because he had to
marry another woman/ Developing 2. Awiyao- the husband stated above / Flat 3. Madulimay
– Awiyao’s new wife / Flat
10. 10. PLOT: a) Introduction The story opens with Awiyao entering his and Lumnay’s house. b)
Rising Action Things start to heat up when Lumnay says she does not want any other man.
c) Climax There is more intensity when Awiyao says he does not want any other woman. d)
Falling action But they both have to follow their tribe’s tradition. e) Denouement Awiyao has
to go back to the wedding dance.
11. 11. SETTING: a) place – in the mountains somewhere in the Philippines b) time- a long time
ago c) weather conditions- fine d) social conditions- lower-class e) mood or atmosphere- sad
and tense
12. 12. POINT OF VIEW: The Point of View used in this short story is the Omniscient Limited -
The author tells the story in third person (using pronouns they, she, he, it, etc). We know only
what the character knows and what the author allows him/her to tell us. We can see the
thoughts and feelings of characters if the author chooses to reveal them to us.
13. 13. LITERARY DEVICES: For me, there is an extensive use of the literary device
Symbolism. There are many symbols here, and these are the darkness, the house’s four
walls, the smoldering embers, and the beads. The darkness symbolizes how the two lead
characters feel. Meanwhile, the house’s walls symbolize the former couple’s “imprisonment.”
The smoldering embers that become glowing coals symbolize the love that both of them still
feel towards each other. Finally, the beads symbolize Awiyao’s great love for Lumnay even if
she was not able to give him a child.
14. 14. THEME In my opinion, the theme True love never dies is applicable to this story.
CONFLICT The conflict here is Man vs. Society. The lead characters have to follow their
tribe’s custom --ARV

14

Traditional Music Culture from North: The Cordillera Administrative Region (CAR)

Posted on August 14, 2011 by Mrs. Granda

Standard

To fully understand music and culture of others it is important to know the environment and living
situation they are in. Such knowledge will provide the reason why certain music sounds or functions as
such. It will also explain the existence of their traditional instruments and the system on how these
instruments are utilized for music making. Hopefully, understanding differences in people and their
music will eventually lead to its appreciation by others.
Different kinds of cordillera dances?

The different kinds of cordillera dances are:1.Banga

Tribe: Kalinga

"Banga" literally mean pots. The Banga or pot dance is a contemporary performance of Kalingaof the
Mountain Province in the Philippines. This dance illustrates the languid grace of a tribeotherwise known
as fierce warriors. Heavy earthen pots as many as seven or eight at a time are balanced on the heads
of maidens as they trudge to the beat of the "gangsa" or wind chimesdisplaying their stamina and
strength as they go about their daily task of fetching water and balancing the banga.

2.Bendayan

Origin: Benguet Province !orthern "u#on

!lso popularly called Bendian this circle dance of the Benguet of Mountain Province isrestaged
keeping true to the dance s conte#t and meaning. $ong known as a dance to celebratethe arrival of
successful headhunters the Bendayan has taken a new face. %t is part of everyBenguet festivity with
the circles slowly giving way to other formations and interpretations.

$.%an&anok

Tribe: Bago

Three Bago Tribe roosters compete against each other for the attention of $ady $ien. They use blankets
depicting colorful plumes to attract her.

'.Turayen

Tribe: (addangOrigin: )agayan *alley

&addang comes from the word

ga

meaning "heat" and

dang

meaning burned". The &addanglive in the middle of 'agayan (alley and speak a language similar to
%lokano. Most of themconverted to 'hristianity and those who live alongside 'hristiani)ed %lokano
groups have moreor less ad*usted to settled agriculture of mi#ed crops. +mall and scattered groups in
southeasternKalinga eastern Bontoc and %sabela regions retain their indigenous religion and
practiceswidden agriculture ,the cutting back and burning of e#isting vegetation to produce
temporaryfarming plots- with supplementary hunting and fishing. %n this dance the &addang imitate
birdsattracted to tobacco trees.

+.Tarektek

Tribe: Benguet

Two tareketek woodpeckers vie for the attention of three females. ne Male woodpeckerrhythmically
bang on a brass gong to represent a good voice while the other swish about acolorful blanket
representing beautiful plumage.

,.-yaoy -yauy

Tribe: /fugao

The %fugao people are said to be the "children of the earth." The term %fugao is derived from theword
 ipugao

which literally means "coming from the earth." The +paniards however changed itto

Ifugaw

a term presently used in referring not only to these people but also to their province.This %fugao
wedding festival dance is accompanied by gongs and is performed by the affluent toattain the second
level of the wealthy class. /ealthy people ,Kadangyan- who have performed

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this dance are entitled to the use of gongs at their death

0. alisid

Tribe: Kalinga

The +alidsid is the Kalinga courtship dance performed by a male and female ,and thus issometimes
called the "cayoo" dance-. The dance starts when each of the dancers are given a piceof cloth called
ayob or allap. 0sually the most important people in the village are the second todance after the host has
signified that the occasion is formally open. The background andmeaning in this dance is evident. The
male simulates a rooster trying to attract the attention of ahen while the female imitates the
movements of a hen being circled by a rooster.

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A Bulul, also known as tinagtaggu, is a carved wooden figure used to guard the rice crop by
the Ifugao (and their sub-tribe Kalanguya)peoples of northern Luzon. The sculptures are highly
stylized representations of ancestors, and are thought to gain power from the presence of the
ancestral spirit.[1] The Ifugao are particularly noted for their skill in carving bululs.[2]

Contents
[hide]

 1Use
 2Form
 3Images
 4See also
 5References

Use[edit]
Bul-uls are used in ceremonies associated with rice production and with healing. Creation of a bul-ul
involves alwen bul-ul ritual by a priest to ensure that the statue gains power. The bul-ul is treated
with care and respect to avoid the risk of the spirits of the ancestors bringing sickness. The figures
are placed together with the rice in the house or granaries to bring a plentiful harvest. Bul-ul is
important to ifugaos because they believe they can protect and multiply the rice and help make the
harvest abundant.

Form[edit]
Male and female Bulul statues are often found together, with sex-related symbols such as the mortar
for the female and pestle for the male.[3]Male bulul may sometimes be depicted with loincloth, and
females with tapis (wrap skirts), earrings and anklets.[4] Although the form varies, the bulul is
commonly represented as seated on the ground, with arms crossed over his upraised knees.[5] The
bulul has a simplified form, and is traditionally carved from narra or ipil wood. The bulul is touched by
hands dipped in blood of a chicken or pig in ritual called tunodduring the rice planting season.[4] Over
time the blood imparts a dark color to the figures, overlaid with a patina of grease from food
offerings.[6] Bululs are handed down to the first child of a family. Typically the older statues have
beetle holes made by insects in the granary.[7]
Bululs are nowadays mostly manufactured for the tourist trade, but a local family may buy such a
bulul and use it for ceremonial purposes, thus in a sense adding authenticity.[6]However, an Ifugao
former "mumbaki" (shaman) stated that the last traditional rituals were held in the 1960s.[8] Some of
the carvers, such as Rey Paz Contreras, have become well-known artists, with their work exhibited
and sold widely in the western world. Contreras uses discarded wood from the railways for his
carvings of Bululs and other Anito (guardian deity) figures.[9]

Images
Cordillera

Cordillera, a name given by the Spanish

Conquistadors when they first saw the mountain
ranges. Meaning "knotted rope", the Spanish
term refers to the jumbled rolls and dips of this
long-range traversing the northern part of Luzon
Island.

Today, if one is to generalize one of the six ethno- They are pagan people, living simple lives to
linguistic tribes as an "Igorot" is considered appease their gods. Their rituals celebrate their
degrading. Living amidst the rice terraces that daily lives - a good harvest, health, peace, war,
tower over Northern Luzon are a people whose and other symbols of living. Such traditions have
way of life existed long before any Spaniard or survived the changing scope of the Philippines
other foreigners stepped foot on the Philippines. and the tribes continue to maintain their
The Bontoc, Ifugao, Benguet, Apayo, and the cultures that are a part of the colorful cultural
Kalinga tribes reign over Luzon's mountain fabric known as Philippine culture.
terrain.
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Banga

(click on the image)

Banga
Tribe: Kalinga

"Banga" literally mean pots. The Banga or pot dance is a contemporary performance of Kalinga of
the Mountain Province in the Philippines. This dance illustrate the languid grace of a tribe
otherwise known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are
balanced on the heads of maidens as they trudge to the beat of the "gangsa" or wind chimes
displaying their stamina and strength as they go about their daily task of fetching water and
balancing the banga.

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Bendayan
Origin: Benguet Province, Northern Luzon

Also popularly called Bendian, this circle dance

of the Benguet of Mountain Province is restaged,
Bendayan
keeping true to the dance's context and
meaning. Long known as a dance to celebrate
the arrival of successful headhunters, the
Bendayan has taken a new face. It is part of
every Benguet festivity with the circles slowly
giving way to other formations and
interpretations.
(click on the image)

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Lumagen / Tachok
Tribe: Kalinga
Origin: Luzon
Lumagen
When the Kalinga gather to celebrate a happy
occasion like the birth of a first-born baby boy, a
wedding, or a budong (peace pact), the Kalinga
Festival Dance (Tachok) is performed. This is
danced by the Kalinga maiden. The dance imitates
birds flying in the air. Music is provided by gangsa,
or gongs, which are usually in a group of six or
more.

Back to Sayaw Pilipinas (click on the image)

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Manmanok
Manmanok Tribe: Bago

Three Bago Tribe roosters compete against each

other for the attention of Lady Lien. They use
blankets depicting colorful plumes to attract
her.

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(click on the image)

Ragsaksakan
Tribe: Kalinga
Ragsaksakan
This dance portrays the walk of the industrious
Kalingga women, carrying water pots on their
heads and wearing the colorful hand-woven
"blankets of life" around their necks. Their walk
imitates the climb up the Rice Terraces in the
Mountain Provinces of the Philippines.

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Salisid

(click on the image)

Salisid Salip
Tribe: Kalinga Tribe: Kalinga

The Salidsid is the Kalinga courtship dance, Tribes in the mountain provinces of Luzon
performed by a male and female (and thus is preserve their identity, customs and lore. Their
sometimes called the "cayoo" dance). The dance dances celebrate important events in life such as
starts when each of the dancers are given a pice birth, wedding, victory in war and thanksgiving.
of cloth called ayob or allap. Usually the most A Kalinga wedding dance is an important
important people in the village are the second to celebration. The bridegroom offers the bride the
dance after the host has signified that the protection and comfort of his blanket. He
occasion is formally open. The background and simulates the movements of a rooster at love
meaning in this dance is evident. The male play, aspiring to attract and seize his love. The
simulates a rooster trying to attract the attention bride's friends are ready to help prepare the
of a hen while the female imitates the bride by offering "bangas" (earthen pots) filled
movements of a hen being circled by a rooster. with fresh water from the mountain spring.

Back to Sayaw Pilipinas Back to Sayaw Pilipinas

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 Salip
Turayen

(click on the image)

Turayen
Tribe: Gaddang
Origin: Cagayan Valley

Gaddang comes from the word ga, meaning "heat" and dang, meaning burned". The Gaddang live
in the middle of Cagayan Valley and speak a language similar to Ilokano. Most of them converted to
Christianity, and those who live alongside Christianized Ilokano groups have more or less adjusted
to settled agriculture of mixed crops. Small and scattered groups in southeastern Kalinga, eastern
Bontoc, and Isabela regions retain their indigenous religion and practice swidden agriculture (the
cutting back and burning of existing vegetation to produce temporary farming plots) with
supplementary hunting and fishing. In this dance, the Gaddang imitate birds attracted to tobacco
trees.

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Tarektek
Tribe: Benguet Tarektek

Two tareketek woodpeckers vie for the attention

of three females. One Male woodpecker
rhythmically bang on a brass gong to represent a
good voice, while the other swish about a colorful
blanket representing beautiful plumage.

Back to Sayaw Pilipinas

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(click on the image)
 Uyaoy / Uyauy
Tribe: Ifugao

The Ifugao people are said to be the "children of

the earth." The term Ifugao is derived from the
Uyaoy
word ipugaowhich literally means "coming from
the earth." The Spaniards, however, changed it
to Ifugaw, a term presently used in referring not
only to these people but also to their province.
This Ifugao wedding festival dance is
accompanied by gongs and is performed by the
affluent to attain the second level of the wealthy
class. Wealthy people (Kadangyan) who have
performed this dance are entitled to the use of
(click on the image) gongs at their death

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Source: http://www.likha.org/index.html

CORDILLERA ETHNIC SONGS

Babagto, Dayakos, Pipipiyogo, Sahdomy, Pentiz Manor, Chua-ay, Ak-acong, Nan-aanto-o-ayand Ulilalim.

CORDILLERA SONG MONTANOSA

Montañosa a naganIli a kaigorotanTa isu ti kadakkelanA probinsya ti pagilyanGapu ti kalawa naIsu nga
pinagkap-at daBenguet, Ifugao, BontocKen Kalinga-ApayaoIli mi jay SagadaNagado ti turistaJay bontoc ti
kabiseraTa ijay ti sentro naMaysa met a kapintasanDitoy sangalubunganInagdan a kabiteRice terraces
jay banaueKakabsat a madaydayawInkam man ipasindayawTattao jay ifugaoNarespeto ken
nadayawMaysa met a probinsyaMakuna a kalingaNagtitirad ti agong daNala-ing da pay a gumangsaIli da
jay ApayaoAwan kano ti agtaktakawAgkawara ti karabawNgem awan met ti mapukawNo panggep ti
kaykayoNagado jay huindred twoNo kayat yo ti repolyoMountain trail papananyoNapessak a
babalasangNagado jay KapanganNo panggep iti kukodMapan kayo ijay BokodNo minas iti silawNaglawa
jay AmbuklaoNo minas ti patatasMapan kayo ijay BuguiasNo minas ti balitocPhilex, Balatoc ken
Antamok No minas iti gambangIjay Lepanto, MankayanNo ado ti tattaoMas karkaro ditoy BaguioNgem
awan kano sirbin ti BaguioNo awan ti basureroSaan yo a liplipatanTay lugar a TaluanTa isu ti nagtsamba-
anBulakbol a ka-aduanNo panggep ti pag-gudtayman168 ti papananta ijay ti pagsasabatanbabaros ken
babalasangKen sadino man ti papananIntero nga amiananAwan ti pagdanaganNo Dangwa bus ti
pagluganan

CORDILLERA SONGS
1.

Ay'Ay Salidummay

2.

Dakami a Tingguian

3.

Oggayam

4.

Owwawi

5.

Sowi-i

Cordillera Day 2012

The Cordillera Peoples Alliance (CPA) is pleased to announce that the 2012 Cordillera Daycelebration or
the 28th Cordillera Day, will take place from April 22 (Earth Day) until April 29,2012, through
decentralized celebrations in the 6 Cordillera provinces of Abra, Apayao, Kalinga,Benguet, Ifugao,
Mountain Province and the City of Baguio. The CPA chapters therein shall beheading the local
celebrations.A total of at least 6,000 delegates are expected to attend the celebrations, which is guided
by thecentral them

Fight for Land, Life and Rights!

Urgent issues affecting the Cordillera indigenouspeoples will be tackled during the celebration, including
the continuing plunder of ancestrallands due to large mining, large dams and militarization; climate
change impacts, oil price hikes,genuine regional autonomy, and looming energy and geothermal
projects. Specific issues andcampaigns will be tackled in each celebration, such as the expansion
of big businesses, cuttingof trees, and environmental degradation of Baguio, for the celebration
therein.Each celebration will come up with resolutions, action plans and declarations directed
ataddressing the above issues, and to lobby local government to act on these to uphold indigenous

peoples’ rights.
 The specific venues and dates of the provincial celebrations are Amtwagan, Tubo, Abra (April23-24);
Lower Uma, Lubuagan, Kalinga (April 24); Guina-ang, Bontoc, Mountain Province(April 22-24); Conner,
Apayao (April 24); Tupaya, Lagawe, Ifugao (April 29) and three areas forthe Benguet celebration: Gold
Creek, Itogon (April 20), Mount Pulag (April 23-24), and Tabeo,Mankayan (April 28).Cordillera Day traces
its beginnings to April 24, 1980, when Kalinga

pangat

Macli-ing Dulag,one of the prominent leaders of the successful resistance of the Bontok and Kalinga
indigenous

peoples’ to the World Bank funded Chico River Basin Hydroelectric Dam Project, was killed bywhen
soldiers belonging to the Philippine Army’s 4th Infantry Division, under Lt. Leodegario

Adalem. This did not cow the Bontok and Kalinga indigenous peoples, but further firmed up
theresistance to the Marcos dictatorship, militarization and exploitation of the ancestral land. Theanti-
Chico resistance later broadened into a mass mass movement of the Cordillera peoples andadvocates
into the struggle for the defense of ancestral land and for genuine regional autonomy.

Cordillera Festivals and Highlights(Celebrations)1.

Panagbenga Festival Baguio City2.

Adivay Festival, Benguet Province3.

Lang-ay Festival, Mountain Province4.

Ifugao Rice Festival5.

Abra Festival6.

Kalinga Ullalim Festival7.

Apayao FestivalPANAGBENGA FESTIVAL -

Flower Festival

) is a month-long annual flowerfestivaloccurring inBaguio,the summer capital of thePhilippines.The term

is of Malayo-Polynesianorigin, meaning "season of blooming". The festival, held during the month of
February, wascreated as a tribute to the city's flowers and as a way to rise up from the devastation of
the1990Luzon earthquake.The festival includes floats that are decorated with flowers unlike those
usedinPasadena'sRose Parade.The festival also includes street dancing, presented by dancers clad
inflower-inspired costumes, that is inspired by the Bendian, anIbaloidance of celebration thatcame from
theCordillera region.

CULTURES

Contemporary art in Baguio: Art Radar guide

Posted on 14/08/2015

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As part of our City Art Guide series, we turn our focus onto the grassroots communities and
innovative new spaces emerging in Baguio.

While many come here for the cool mountain air, the horseback riding and strawberry picking, Baguio
City is also recognised as one of the Philippines’ top art destinations. Art Radar leads you to the vital art
spots in the city.
Once referred to as the City of Pines, Baguio’s famous trees have decreased alarmingly due to
urbanisation. The loss of Baguio’s natural beauty and the protection of the environment are common
themes expressed by the city’s artists. Image courtesy Javelyn Ramos.

Located 240 kilometres from the Philippines’ capital, Baguio has long been one of the country’s top
vacation spots. Large numbers of locals and foreigners head here for the cooler weather, the shopping
and outdoor adventures. In recent years, however, due to the continuous urbanisation, the city now
boasts several art spaces, ranging from multistorey museums and villages to intimate galleries and cafes.

Though Baguio is often associated and actively promoting the preservation of its bulul (rice god) wood
carvings and weaving, its place in the art scene goes beyond traditional craftsmanship. The City of Pines,
in fact, has produced or is home to many influential figures in the Philippine contemporary art scene,
such as national artist Benedicto “BenCab” Cabrera, mixed-media artist Santiago Bose, sculptor Ben-
Hur Villanueva and indie filmmaker Kidlat Tahimik.

In addition, the city continues to impress the art collectors and followers through its artists such
as Kawayan de Guia, whose works range from line drawing and photography to cyanotype printing
installations; Jordan Mang-Osan who is known for his drawings that make use of sunlight and
magnifying glasses; and Roger “Rishab” Tibon whose nature installations have decorated several local
and international parks.
Ben-Hur Villanueva’s sculpture at the Baguio Botanical Garden shows the beginnings of the city. Here,
Cordillera natives, an American, Chinese and Japanese are seen working together to build Baguio. Image
courtesy Roma Pilar.

When to go: Art exhibitions and events are held in Baguio year-round. However, due to the large
proportion of outdoor venues and occasional flooding and landslides, it is highly recommended to visit
during the dry months of March, April and May. If you prefer a cooler setting, November to February is
another good choice. The annual Baguio Arts Festival takes place from November to December –
combining ethnic, performing and visual arts. This event, first established in 1989 by the Baguio Arts
Guild, aims to make Baguio a premier destination for art and artists.

How to get there: There are no direct flights to Baguio; it takes 5-7 hours to get to Baguio from Manila.
If you are unfamiliar with the roads, the best choice is to take an air-conditioned bus. Victory Liner
Bus and Genesis Transport Bus offer daily rides. And while there are several jeepney routes that allow
you to access Baguio’s art offerings, it’s best to rent a cab for the day to easily hop from one art
destination to another.

Where to stay: All forms of accommodations are available. Just make sure to book in advance as many
tourists flock to Baguio, especially from November to May.
Arko Ni Apo brings together a gallery, a cafe and a workshop space. Image courtesy Roma Pilar.

Selected Museums, Galleries and Art Venues

Arko Ni Apo

Arko Ni Apo is the Ilocano term for ‘Ark of the Lord’. Located across from Tam-Awan Village, it is the
residence of renowned sculptor Ben-Hur Villanueva and brings together a gallery, a cafe and a workshop
space. The artist’s bronze sculptures are featured in the gallery, along with the works by his talented
sons Bumbo and Jikko. Now retired from teaching, the eldest Villanueva is usually here, creating more
sculptures and entertaining gallery visitors. When you visit, feel free to ask the artist as many questions
as you like. The sculptor is very generous with his time and enjoys discussing his long list of notable
works. Arko Ni Apo has become the best place to see a collection of Ben-Hur’s pieces, as the artist has
chosen to no longer have exhibits in Manila.

Tacay Road, Pinsao Proper, Tam-Awan, Baguio City, Benguet

Ifugao Bamboo Carving Gallery

This joint project by the Tan Yan Kee Foundation and the Philippine Bamboo Foundation is located in
the so-called haunted Laperal White House. The space features bamboo and installations done by Ifugao
carvers (bamboo has long been deemed the saviour of Baguio’s carvers, as being environmentally
friendly, it makes a good alternative to the wood once used). The pieces found in the Ifugao Bamboo
Carving Gallery are worth a look as the designs are personal and cultural rather than generic and
commercial. Outside the Laperal White House you’ll find a patch filled with bamboo and trees which is
being propagated by the Philippine Bamboo Foundation.

#14 Leonard Wood Road, Baguio City, Benguet

Partial exhibition view of BenCab Museum’s “BenCab, Up Close and Personal” (2015-2016). Held at the
BenCab Gallery, this exhibition features varied works from the artist’s personal collection. Image
courtesy Javelyn Ramos.

BenCab Museum

Just 15 minutes away from the city centre lies one of the most popular art venues in the country,
the BenCab Museum. The museum features an extensive collection of Benedicto Cabrera’s works from
paintings to drawings, prints and sculptures, as well as works by acknowledged masters of Philippine art
that BenCab has accumulated over the years. The museum additionally holds changing exhibitions, and
is a good place to see bulol installations and indigenous products from the Cordilleras. Be sure to also
check out its Cafe Sabel, Farm & Garden and Museum Shop. Aiming to bring the arts closer to people,
this museum is a must-see.

Km. 6 Asin Road, Tadiangan, Tuba, Benguet

Though young and limited in space, Cinematheque Baguio has an impressive following, especially when
it comes to their foreign film festivals. Image courtesy Mickey Zarate.

Cinematheque Baguio

Established in 2011 by the Film Development Council of the Philippines, the Cinematheque Baguio is
a 75-seat theatre and a great place to catch notable foreign films, as well as Filipino films ranging from
the classics to the contemporary. Although young, this establishment already has a following,
particularly with its international film festivals.Eiga Sai, Cine Europa and the Georgian Film Festival are
among the festivals that Cinematheque Baguio hosts, where filmmakers are occasionally brought in to
interact and answer the audience’s questions. July usually sees the kick-off of the international film
festivals.

Casa Vallejo, Upper Session Road, Baguio City, Benguet

Tam-Awan Village’s outer walls immediately greet guests with graffiti art. Image courtesy Roma Pilar.

Tam-Awan Village

Tam-Awan Village is a replica of a traditional Cordillera village and was built to give Baguio visitors an
idea of what life in other areas of the Cordillera Region is like. Though many come here to experience
village life, Tam-Awan Village has also become a go-to place to see artworks and even meet many of
Baguio’s top talents. The venue’s name – which means ‘vantage point’ – is fitting, as the location offers a
stunning view of the sunset over the South China Sea.

366-C Pinsao Proper, Baguio City, Benguet

VOCAS recently showcased the works of editorial cartoonist Benjie Mallari. Pictured here is ‘Sisa and
Friends’, acrylic on canvas, 36 x 48 in. Image courtesy Javelyn Ramos.

Oh my Gulay/VOCAS

Located at the top floor of a commercial building, this vegetarian restaurant/gallery allows one to
escape the very urban atmosphere of Session Road. Featuring abundant plants, a pond, life-size wooden
sculptures, treehouse structures and European architecture, its interiors – no matter how mismatched
they may sound – create a relaxing environment, which is perfect for the literary, visual and performing
arts events that the venue hosts. VOCAS stands for Victor Oteyza Community Art Space, which
filmmaker Kidlat Tahimik created to honor local artist Victor Oteyza, a key figure in Philippine Modern
art.

5th Floor, La Azotea Building, 108 Session Road, Baguio City, Benguet

Other Places to See Art

Like most cities in the Philippines, art exhibitions are also occasionally held in Baguio’s malls, campuses
and other business establishments. Some specifics venues range from the University of Baguio, SM City
Baguio and Baguio Country Club. Additional venues to check out include:

 The Baguio Museum, which is a repository for Cordillera artifacts and also a venue for travelling
shows and art exhibitions.

 The Baguio Botanical Garden is home to one of Ben-Hur Villanueva’s impressive bronze pieces.
The artist brings together Cordillera natives, an American, Chinese and Japanese, depicting the
original builders of Baguio. This venue was once the home of the Baguio Arts Guild.

 Finally, if you are a fan of woodwork, head to Asin Road where you’ll find the Wood Carving
Village. Tourists come here to see carvers in action – with everything from utensils and toys to
sculptures and furniture being formed in wood.

Javelyn Ramos