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This is an article I`ve read on the net by Lars Krutak. Its about how rich the Philippine Culture is. Let me just share to a bit of the article.
Although all of the tattooed warriors are now gone, the village is teeming with tattooed elderly women that wear the artistry of the last Kalinga tattoo artist: 89-year-old Whang Od who learned the art of batok (tattoo) from her father.
One of the last Kalinga warriors (mingor) to wear the traditional tattoos of his ancestors is 88-year-old Lakay Miguel (Lakay means respected elder). Miguel earned his marks for inter-village combat before WWII and for the heads he took during the great conflict. Because he killed or wounded more than two enemies he was permitted to receive the bikking tattoos on his chest which are the headhunters primary emblem. But Miguels bravery on the battlefield was unsurpassed and he was also allowed to receive the tattooed khaman or head-ax on his rib cage, markings on his back, and tattoos on his arms. The human anthropomorph tattooed beneath his khaman symbolizes his Japanese victims and also denote that he is a warrior of the highest rank. He also wears a faded cruciform between his eyes, three marks on his Adams apple as a preventive therapy against goiter, and small tally marks behind the ear that represent his number of enemy engagements.
Whang Od keeps her tattooing tools under the floor boards of her stilted hut. Her hand-tapping kit is comprised of a coconut bowl to mix a pigment of soot and water, an orange thorn needle (siit)
attached to the end of a small bamboo stick, and another short stick used to tap the thorn into the skin. She told me her father used a different tool called a kisi which was a water buffalo horn bent by fire that held four razor sharp orange or lemon needles at its base. Sometimes he used a wooden stencil that held intricate patterns for the arms. She and her father both back-handed their tools; a style that is completely different from Polynesian hand-tappers practicing today (e.g., they work hand over hand).
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