Parade of Attires

KASIBU

The Applai are an indigenous ethnic group residing in the Municipality of Kasibu,
originated from Mountain Province of the Philippines. The Applai of the hard-speaking
Kankanaey community wear traditional attire primarily composed of red and black, with
touches of white. Red is the dominant color of the ba-ag, symbolizing bravery,
independence, war, and blood. This color choice is deeply rooted in the Applai’s history,
particularly their tradition of headhunting, which required immense bravery.

The women distinctive dress includes a native woven skirt known as pingay or gatep,
and a belt called bakget. These garments are not only functional but also carry cultural
significance, reflecting the community’s identity and heritage.

Meanwhile, Men’s traditional attire in Applai culture includes a G-string a long loincloth
woven by hand known as the wanes composed of red and black color. This is
rectangular woven cloth wrapped around the waist to cover the buttocks, typically 2.5
meters in width. The design of the ba-ag or wanes varies according to social status or
municipality, with intricate patterns and colors indicating the wear;s rank and
community. The wanes is often embroidered with unique designs that symbolize various
aspects of Applai culture and beliefs. The wanes is more than just a piece of clothing; it
is a cultural artifact that embodies the values, traditions, and social structure of the
Applai people.

The vest worn by Applai men is another significant piece of attire. This V-shaped vest,
which reaches waist level, is worn without a shirt underneath, allowing the shoulders to
lie directly on the body. Like the wanes, red is the dominant color of the vest,
symbolizing the same values of bravery and independence. When not in use, he vest is
carefully stored in a wooden cabinet called a caban. The Applai are renowned for their
vibrant dances, performed during various community events and rituals. These dances
are a vital part of their cultural expression and social life. Major dances include the
tayaw, pattong, takik, and balangbang.

Tayaw, this is a community dance usually performed at weddings. It is also danced by

the Ibaloi, though in a different style. The tayaw is characterized by its graceful and
rhythmic movements, symbolizing unity and celebration. Takik, this is a traditional
wedding dance, performed to celebrate the union of a couple. The dance is marked by
tis ceremonial and symbolic gestures, reflecting the cultural significance of marriage in
Applai society. Balangbang, the modernized term for pattong, balangbang is a more
contemporary version of the traditional dance.

In traditional Applai culture, male accessories such as the Lingling-O and Suklong
hold significant cultural and social value. These items are not only decorative but laso
symbolize status and bravery. The Lingling-O is a distinctive accessory used by both
Applai men and women, typically worn as an earring or a necklace pendant. For men,
the Lingling-O is crafted from the teeth or tusks of wild boars or crocodiles, animals
that the wearer has hunted. The size of the Lingling-O varies depending on the size of
the teeth or tusks obtained. This accessory is a mark of valor and prowess in hunting,
reserved for those of higher status or those who have demonstrated exceptional
bravery. The suklong is a unique that worn exclusively by Applai men. Made from
basket weave, it is secured at the nape of the neck with a cord and often concealed by
the wearer’s front hhair. The suklang is constructed from rattan and adorned with with
red bamboo and yellow reeds. It is not only a practical item but also a symbol of the
wearer’s social standing. Men often wear the suklang on their arms while hunting, as it
is believed that the spirit of the hunted animal, such as a wild boar, enters the hunter.
The design, materials, and style of the suklang indicate the man’s position in society,
and it is a valued heirloom passed down through generations.

Applai women also wear the Lingling-O, but these are made from precious stones such
as gold, silver, jade, and bronze. These accessories serve as both earrings and
necklace pendants. For women, the Lingling-O is often a double-headed pendant or
amulet, symbolizing fertility, prosperity, and love. It is considered a precious heirloom,
handed down from mother to daughter through generations. This accessory is highly
valued and cherished, representing both familial bonds and cultural heritage.

Parade of Attires: (Ayangan Tribe) SOLANO

The Ayangan tribe in Solano, Nueva Vizcaya, traditionally wears vibrant and symbolic
attire. Men wear “bahag,” a loincloth made of handwoven fabric, while women wear
“tapis,” a wraparound skirt, paired with intricate beadwork and accessories. Their attire
is not only practical for their environment but also represents their cultural heritage, with
patterns and colors that reflect their social status and connection to nature. The attire of
the Ayangan tribe is a vibrant display of identity, pride, and tradition.

Parade of Attires: (Gaddang) BAGABAG

The Gaddang people are an indigenous group from the Cagayan Valley region of the
Philippines. Their traditional attire reflects their culture, beliefs, and environments,
blending practical needs with a deep sense of heritage.
Men's Attire Gadding
men traditionally wear a loincloth called "Abag or Baag." The bahag is skillfully woven
and often features intricate patterns and vibrant colors, symbolizing status and artistry.
The men also wear a kind of vest called "kuton" and a cape called "tapit" made from
natural fibers, sometimes adorned from beadwork. Accessories like beaded necklaces
and headdresses called "barangal", which add a layer of decoration and signify social
standing.
Women's Attire
Gaddang women wear a wrap -around skirt called "aken", often paired with a blouse
called "barawasi." The textiles used are handwoven, often with geometric designs in
bright reds, yellow, and blue- colors that hold culture significance. Women also adorn
themselves with beaded accessories, often made of glass beads and cowrie shells.
Elaborate jewelry, like necklace called "sillay" and earings called "buraway", serves both
as an aesthetic choice and symbol of wealth and identity.

Parade of Attires: (Gaddang Tribe) SOLANO

The Gaddang Tribe, known for their cultural heritage in Solano, Nueva Vizcaya,
showcases their artistry through unique, vibrant traditional attire. Their textile is crafted
using a method called “agabi,” involving tools like the “pamakan” and “pagganayan,”
which create intricate designs on threads. Gaddang women wear a colorful, cotton skirt
called “tapis” paired with a long-sleeved, collarless blouse, often decorated with beads
and stones. Bright colors, especially red, are chosen to symbolize joy and warmth.
Gaddang men wear a colorful “abag” or G-string with elaborate beadwork and a “tapit”
or cape, showcasing unique patterns. Their ensemble is completed with a collarless
garment or “koton” and decorative headdress. This attire reflects the Gaddang’s identity,
joy, and artistry, rooted in their indigenous traditions.

Parade of Attires: KAYAPA

Kayapa belongs to the ancestral domain of Kalanguya, I’wak and Ibaloy. For this year’s
Provincial IP day, Kayapa showcasing I’wak attire. The “ama” (Father). Wears kubal
whilst the “ina” (Mother) wears “kambal” and “aten.” Smaller sizes are worn by the
ugaw, ikken, and ugaw (children). The color of the fabric weaved is parallel stripe black
and white signifying the simple living of the Iwak.
Parade of Attires: SANTA FE

Pahad ni agsapa tayon amin! (Good Morning Everyone)

This year, Santa Fe showcases the Kalanguya ICC wearing the Kalanguya Attire with
the NEW DESIGN. Mr. Antonio Dumlao as the head with his family members presenting
to you the Kalanguya ICC family.

The Kalanguya attire has five (5) color stripes with four decorative designs of material
culture embroidered on the dirty white stripe. These color stripes and their decorative
designs have distinctive meanings since it is deeply rooted from their culture:

The RED symbolizes the fighting spirit of the Kalanguya, courage love, care and
strength. BLACK signifies respect for ancestors and departed loved ones. YELLOW
signifies prosperity, happiness, a golden harvest, blooming surroundings and
environment. GREEN symbolizes growth fertility and abundant life, DIRTY WHITE
symbolizes oneness in life, peaceful and hospitable people and spirituality.

The decorative designs; HUT (Alang) depicts the simplicity and sincerity of the
Kalanguya; GONG (Gangha) depicts the binaknang/gamang (wealth) of the
Kalanguyas; it is also the heart and soul of merry-making/gathering. The KAYABANG
(Basket tray) depicts the industry of the Kalanguya women; RICE WINE JAR (Halaw)
for fermentation of rice wine used in occasions in reverence of the agmatibbew (unseen
being) and is being used while the elders are having the Tayaw/Bah-liw.

As one Municipality, Santa Fe earmarks its cultural Thanksgiving and Festivities through
the annual celebration of Kalanguya Festival where Santa Feians proudly wear the
Kalanguya Attire. This is believed to account for cultural tourism promotion and cultural
heritage of the Municipality as Indigenous Peoples Community.
 Entrance of Delegation
MUNICIPALITY OF ALFONSO CASTAÑEDA
The municipality of Alfonso Castañeda was named after the first Indigenous People
(Isinai) Governor of Nueva Vizcaya, officially founded on April 20, 1979, under Batas
Pambansa Bilang 27 authored by then Assemblyman Carlos M. Padilla. The Place was
then inhabited by the head-hunting Tribe of Bugkalot/ Ilongot and the Nomadic River-
dwelling Dumagats, who lived along the riverbanks of Canili, Deculiat, Abuyo and
Umingnan.
In 1959 the Commission on National Integration (CNI), now knowns as the National
Commission on Indigenous People (NCIP) persuaded some ibalois and kankanaes from
Benguet, Mountain Province to resettle in the Canili settlement area, now known as
Galintuja.
In 1975, Lublub, Galintuja and neighboring sitios were declared part of Dupax Del Sur,
Nueva Vizcaya. On July 16 of that year, husband and wife Virgilio B. Olbinado and
Elvira F. Olbinado, both members of the Isinai community, were assigned by the
Schools Division of Nueva Vizcaya to teach at Lublub Elementary School.
In 1982, the establishment of Alfonso Castañeda National High School (ACNHS)
followed, with several Isinai individuals joining the faculty and staff. Mrs. Lilia C.
Magquilat, also an Isinai, served as the school's principal, contributing significantly to its
early development and growth.
At present Bugkalots inhabited the upland barangays of Lipuga, Pelaway and Cawayan
while only few dumagats remained in the area living with Igorots in Diolbus, Barangay
Abuyo. The Ibalois, Kankanaey and Kalanguyas dominantly inhabited Galintuja and
some were scattered all over Alfonso Castañeda. Additionally, other indigenous groups
migrated to the area, adding to the cultural diversity of the municipality.
The recognized Indigenous Cultural Communities (ICCs) and Indigenous Peoples (IPs)
in the municipality include the following groups: Aplay/Ilagod, Bugkalot, Dumagat,
Ibaloy, Gaddang, Isinai, Iwak, Kalanguya, Kalinga, Kankanaey, and Tuwali, collectively
making up 32.16% of the total household.

MUNICIPALITY OF BAGABAG
Gaddang Tribe:
The "Gaddang," called "heat" "is derived from "ga" or "fire "dang" related to "burn,"
"burning in the heat. " The name probably refers to the skin color of the Gaddang, which
is darker than any of the indigenous people of the old Mountain Province. The
Gaddangs are located in northern Nueva Vizcaya, especially in Bayombong, Solano,
and Bagabag on the west bank of the Magat River and Santiago, Angadanan, Cauayan,
and Reina Mercedes in the Cagayan River for Christian groups; In communities that are
not Christian, they are found in Western Isabela, on the edge of Kalinga and Bontoc, in
the towns of Antatet, Dalig, and the barrios of Gamu and Tumauini, Isabela
Kalinga Tribe:
The Kalinga are an indigenous ethnic group in the Philippines who primarily live in the
Cordillera Mountain Range in the northern Luzon Island. They are known for their
elaborate costumes, personal ornamentation, and distinctive basketry, pottery, and
wood and metal craft sometimes called the "Peacocks of the North".
The BAGO TRIBE:
The Bago’s were the first aborigines of the Malays who first settled along the Cordillera
Mountains and migrated to the different upland areas in the North. They are
descendants of a certain groups of migrants that arrived in the Philippines in a series of
migrations sometime in the historic past. The Bago’s were the first aborigines of the
Malays who first settled along the Cordillera Mountains and migrated to the different
upland areas in the North. They are descendants of a certain groups of migrants that
arrived in the Philippines in a series of migrations sometime in the historic past. The
Bagos’ were the first indigenous tribe in the Philippines. They made their home in the
northern mountainous regions of Luzon over the ages, especially in the provinces of
Ilocos Sur, La Union, Benguet, Mountain Province, Ifugao, Kalinga, and Nueva Vizcaya.

MUNICIPALITY OF BAMBANG
Good Morning!!!
Magandang Umaga!
Naimbag nga aldaw!
Mabbet si bigbikat iritao lom-an!

Ti sumungsungad nga IPs iti sango nga intay makita ket dagiti naisugudan nga
tattao ti ili nga Bambang.

Ipakaamo mi kanyayo nga iti senysa nga naaramid babaein iti NCIP ket addan ti
Bambang iti 26,000 nga naduma-duma nga IPs ket 12,000 plus kadaguitoy ket diay
makunkuna nga naminsigudan nga tattao iti Bambang nga daguitoy Isinays.

Pagaam mo tayo nga daguitoy nga Isinay ti Bambang ket isuda ti makunkuna
nga natalna, manakaawat, mapakumbaba gapu ta ti lugar da iti makunkuna nga isu ti
sentro ti nagaanupan ti Ilongot iti sinamar ti init ken Igorot iti pagbabaanna. Gapu
kadaguitoy nga pagiinnapaan ti dua nga tribu, daguitoy Isinay ti makibalaet ti apa da.
Ket nagnunumuwanan da nga kapya koma ti maipasdek kenkuada. Ket ngarud gapu ti
daytoy nagtitinarus da nga agkali ti abot nga pangikaliyan da ti amin nga armas da ket
ngarud inkalida amin nga armas ken gurang gura nga isu iti panakainaganan iti ili/lugar
nga ninagananda ti Ybangbang – kayatna saw-en, meaning “hole,” nga ti sau nga Isinay
“Bambang.”

Gapu kadaguitoy isu iti mapili nga bado daguiti Isinay nga kolor blue – asul, gapu
ti loyalty – pangipateg ti ili; White – puraw, gapu ti talna nga pagkikiinawat ken Red –
nalabbaga, gapu ti kinatured da nga nangurnos ti saan nga pagkakainnawatan daguitoy
dua nga tribu.

Isu kadatoy amin.

Maawis kayo ti natalna, mannakaawat nga mangipadayakyak ti talna kapya ken

napakumbaba nga lugar ti Vizcaya.

Mabbiag iti ili ti Bambang

Mabilay!!! Isinay

MUNICIPALITY OF DIADI

In the heart of the Philippines, nestled among the verdant mountains of the Cordillera
region, the Tuwali and Ayangan people weaves stories through their vibrant attires, a
tapestry of culture, history, and identity. These indigenous groups, each with their
distinct traditions, share a depp connection to the land and their ancestors, which is
beautifully reflected in their clothing. Through time, many of the Ayangan and Tuwali
migrated in Nueva Vizcaya as it is a neighboring province of Ifugao. The municipality of
Diadi is one of the municipalities of Nueva Vizcaya that attracts the Ayangan and Tuwali
migrants because of its mountainous lands and lively eco-system. Its vast forestlands is
home to various wildlife making it a fine hunting ground for them and its fertile soil
produces quality agricultural products when cultivated.
The Tuwali Attire

The Tuwali people, known for their rich agricultural practices, wear attire that
symbolizes their connection to the earth and their daily lives. The traditional garments of
the Tuwali are characterized by their intricate designs and vibrant colors. Women often
wear a Tolgeh, the traditional wrap-around skirt of Ifugao women, a handwoven dress
adorned with geometric patterns that tell stories of their community and heritage. The
colors, derived from natural dyes, reflect the landscapes around them-greens of the rice
terraces, browns of the earth, and blues of the sky.

Men typically wear wanoh (bahag), a traditional loincloth. The wanoh, while simple in
design, is often intricately tied, signifying strength and resilience. Accessories like
beaded necklaces and woven bracelets complete the attire, each piece carrying
meaning-some for protection, others for celebration.

The Ayangan Attire

In contrast, the Ayangan people, exhibit their own unique style. Their clothing often
features more elaborate patterns and is heavily influenced by their rituals and
community gatherings. Ayangan women wear a lamoy (tapis), a wrap-around skirt that
showcases the vivid colors and intricate embroidery, often depicting local flora and
fauna. This garment not only served a practical purpose but also becomes a canvass
for artistic expression, celebrating the beauty of their surroundings. Men’s attire in
Ayangan culture includes a more formal version of the gwanoh/lenchom (bahag), paired
with a colorful woven headpiece, often adorned with feathers or beads. This headpiece
is not merely decorative; it signifies the wearer’s status and achievements within the
community.

The Significance of Attire

Both Tuwali and Ayangan attires serve as more than just clothing; they are a reflection
of cultural identity and pride. During festivals, such as the Kalinga’s Bodong (peace
pact) ceremonies of the rice harvest festivals, the vibrancy of their clothing comes alive,
each thread woven with the spirit of celebration and community. These gatherings are
marked by lively dances and songs, where the gong beats and attire become symbol of
unity and belongingness. Moreover, these garments carry stories passed down through
generations. Each stitch, each pattern, embodies the history and struggles of the Tuwali
and Ayangan People. Elders often share tales of bravery, love, survival, linking the past
with the present through the language of their attire.

Preservation of Culture

In recent years, both the Tuwali and Ayangan communities in Diadi have faced
challenges in preserving their traditional clothing amidst modern influences. That is why
workshops, cultural festivals and IEC for culture and heritage must be given attention.
Organize regular community classes where alders teach the art of weaving and the
significance of each pattern, ensuring that the legacy of their attire continues. As the
sun sets over the mountains, casting a warm glow on the terraces below, the Tuwali
and Ayangan people will gather and adorned in their enduring spirit and the stories
woven into the very fabric of their lives. In every thread, they carry their identity, rooted
in tradition yet ever-evolving, a beautiful homage to their ancestors and a vibrant
promise to the future.

MUNICIPALITY OF DUPAX DEL NORTE

Ibaloy

The Ibaloy people, part of the larger ethnolinguistic group known as the Igorot in the
Cordillera region, have a distinctive and culturally significant attire that represents their
identity, heritage, and way of life. Though the Ibaloy are primarily based in Benguet, the
Ibaloy community in Dupax del Norte, Nueva Vizcaya, continues to honor these
traditions, using their attire as a powerful expression of their cultural roots.

Description of the Attire

The traditional attire of the Ibaloy people is simple yet symbolic, each piece woven with
deep cultural meaning. The men’s attire typically consists of the “wanes” or “bahag,” a
loincloth that is expertly wrapped around the waist, serving as both a practical garment
and a representation of masculinity. The colors, patterns, and designs on the “wanes”
often indicate the wearer’s status and community. For ceremonies, men may also wear
a headband or “kanog” and, on certain occasions, adorn themselves with beads or belts
made from animal bones.

The women’s attire includes the “tapis,” a wrap-around skirt often woven with intricate
patterns and colors that represent the Ibaloy identity. In Dupax del Norte, Ibaloy women
wear “tapis” with unique patterns and vibrant colors, combining red, black, and white to
signify strength, purity, and life. Along with the skirt, women may wear a traditional
blouse and adorn themselves with bead necklaces, bracelets, and earrings made from
various indigenous materials like shells, bones, and stones.

Symbolism and Cultural Significance

The Ibaloy attire is more than just clothing; it is a representation of their values, beliefs,
and connection to their ancestors. Each pattern and color carries specific meanings and
symbolizes various aspects of life, such as fertility, prosperity, or respect for nature. The
attire is particularly important during rituals, festivals, and community gatherings, where
it serves to reinforce the unity and collective identity of the Ibaloy people.

Preservation Efforts in Dupax del Norte

The Ibaloy community in Dupax del Norte works actively to preserve their traditional
attire and other cultural practices. Local leaders and cultural advocates organize events
and festivals to showcase traditional clothing and educate younger generations about its
importance. Dupax del Norte’s tourism programs also promote these cultural aspects,
aiming to increase awareness and appreciation of Ibaloy heritage among locals and
visitors alike.

Conclusion

The indigenous attire of the Ibaloy people in Dupax del Norte is a valuable symbol of
their heritage. By continuing to wear, celebrate, and pass down these traditions, the
Ibaloy community preserves their unique identity and keeps their cultural practices alive.
Efforts from both the community and local government have been instrumental in
ensuring that these traditional garments continue to be valued and appreciated, not only
as a part of Ibaloy history but as an essential aspect of the cultural landscape of Nueva
Vizcaya.

Kankanaey

The Kankana-ey people, an indigenous group from the Cordillera region, are known for
their vibrant and meaningful traditional attire, which reflects their rich cultural heritage
and deep connection to their land and ancestors. In Dupax del Norte, Nueva Vizcaya,
the Kankana-ey community keeps these traditions alive, wearing traditional attire during
important ceremonies, gatherings, and festivals.

Description of the Attire

The Kankana-ey traditional attire is known for its colorful and intricate patterns, each
design having cultural significance. The men’s attire often includes the “wanes”
(loincloth), which, like other Igorot groups, is wrapped around the waist and hangs down
between the legs. The Kankana-ey “wanes” is typically woven with red, black, and white
colors, where each color represents specific cultural values: red for bravery, black for
the earth and strength, and white for peace and purity. During ceremonies, Kankana-ey
men may also wear a “ginaspatan” headband made from woven rattan strips,
symbolizing their connection to nature.

The women wear a traditional skirt called “tapis,” which is similar to the men’s “wanes”
but is usually longer, wrapping around the waist and extending down to the knees.
Kankana-ey women’s skirts are also adorned with red, black, and white colors, along
with geometric patterns and lines that represent important aspects of life, community,
and spirituality. The Kankana-ey women pair their “tapis” with a blouse called “koton” or
“kimona,” which may be embroidered with traditional designs or patterns that signify
their ethnic identity. Additionally, women wear beads, bracelets, and other accessories
made from shells, seeds, and bones, symbolizing beauty and connection to the natural
environment.

Symbolism and Cultural Significance

Kankana-ey attire is steeped in symbolism, with each element reflecting a facet of their
values, beliefs, and history. The woven patterns and colors are deeply meaningful, often
representing fertility, resilience, and unity. These garments are worn during special
events, such as weddings, harvest festivals, and community rituals, where the attire
serves as a visual expression of cultural pride and identity. The Kankana-ey believe that
wearing traditional attire connects them to their ancestors, and it is considered a way of
honoring the spirits of their forebears.

Preservation Efforts in Dupax del Norte

In Dupax del Norte, the Kankana-ey community is actively working to preserve and
celebrate their traditional attire. Through local festivals, cultural shows, and educational
events, community leaders strive to teach younger generations about the importance of
these garments. Dupax del Norte’s tourism programs also play a role, encouraging the
Kankana-ey people to share their cultural heritage with visitors. These efforts not only
foster cultural pride among the Kankana-ey but also promote a greater appreciation of
indigenous traditions among the broader community.

Conclusion

The traditional attire of the Kankana-ey in Dupax del Norte, Nueva Vizcaya, is a vital
aspect of their cultural identity. By preserving and wearing these garments, the
Kankana-ey people honor their heritage and maintain a connection to their past, their
community, and their environment. The community’s commitment to promoting and
safeguarding their traditional attire is essential in keeping Kankana-ey culture alive,
allowing it to thrive for future generations.

Kalanguya

The Kalanguya, an indigenous group in the mountainous areas of Northern Luzon,

including Dupax del Norte in Nueva Vizcaya, have a distinctive traditional attire that
reflects their values, environment, and deep-rooted cultural heritage. The Kalanguya
people are known for their close connection to nature, and their attire incorporates
elements from the natural world, expressing both functionality and cultural significance.

Description of the Attire

The Kalanguya attire is modest and functional, suited to the mountainous environment
where the community resides. For men, the traditional attire includes the “wanes” or
“bahag,” a loincloth similar to that worn by other Cordillera groups. The “wanes” is often
woven in earthy colors, reflecting the natural tones of the mountains and forests around
them. Occasionally, the “wanes” features red or black patterns that symbolize strength
and resilience. Men also wear a simple, handwoven belt around their waist and
sometimes accessorize with a headband made of woven fibers or beads.
Kalanguya women wear a “tapis,” a handwoven skirt wrapped around the waist,
typically reaching down to the knees. The “tapis” is woven with traditional patterns that
include geometric designs and lines symbolizing continuity, community, and respect for
their ancestors. Women wear a blouse, often white or in earthy colors, to complement
the “tapis.” To enhance their appearance, Kalanguya women adorn themselves with
bead necklaces, bracelets, and other accessories made from seeds, shells, and
sometimes metal.

One unique element in Kalanguya attire is the use of blankets or shawls, especially
during colder seasons. These blankets, woven with similar colors and patterns to the
“tapis” and “wanes,” offer both warmth and an added layer of cultural expression,
showcasing the community’s weaving skills and artistic heritage.

Symbolism and Cultural Significance

The attire of the Kalanguya people is deeply symbolic, embodying aspects of their
history, beliefs, and way of life. The colors used in the fabric are not just decorative but
also represent core values. Earth tones symbolize the Kalanguya’s close connection to
the land, while red patterns represent life, strength, and resilience. The geometric
patterns woven into the fabric echo the cycles of nature and continuity of life, which are
central to Kalanguya beliefs.

Traditional attire plays a key role in Kalanguya ceremonies and celebrations, such as
harvest festivals, weddings, and community gatherings. Wearing these garments during
significant events strengthens the unity of the community and reinforces their cultural
identity, especially among the younger generation.

Preservation Efforts in Dupax del Norte

In Dupax del Norte, the Kalanguya community actively works to preserve their
traditional attire as part of their cultural heritage. Elders and local leaders organize
workshops and events where younger generations learn about traditional weaving
techniques, ensuring that the skills and knowledge are passed down. During local
festivals and cultural shows, community members proudly wear their traditional attire,
celebrating their heritage and educating the public on the significance of Kalanguya
culture.

Dupax del Norte’s tourism initiatives also highlight the Kalanguya attire, allowing visitors
to gain insight into their traditions. Through these efforts, the Kalanguya people promote
awareness and appreciation of their unique culture, which helps to sustain their heritage
in the modern world.

Conclusion

The indigenous attire of the Kalanguya people in Dupax del Norte is more than just
clothing; it is an expression of their values, environment, and community spirit. By
preserving and showcasing their traditional attire, the Kalanguya people honor their
heritage and pass on their cultural identity to future generations. Through community
efforts and support from local tourism, the Kalanguya attire remains an enduring symbol
of their history and pride, reinforcing the importance of indigenous traditions in Nueva
Vizcaya.

Bugkalot

The Bugkalot people, also known as the Ilongots, are an indigenous group in the
mountainous regions of Nueva Vizcaya, including Dupax del Norte. Known for their
distinct cultural practices, the Bugkalot have a traditional attire that reflects their unique
identity, values, and deep connection to nature. The Bugkalot attire is an important part
of their heritage, used in both daily life and special occasions to convey status, bravery,
and respect for their culture.

Description of the Attire

The Bugkalot attire is striking and symbolic, often made from natural materials and
adorned with unique details that reflect the community’s way of life. The men’s
traditional attire includes the “wanes” or “bahag” (loincloth), which is typically made from
handwoven fabric in earthy colors like brown and black. This loincloth is often
accessorized with a belt made from woven rattan or natural fibers. A significant feature
of the men’s attire is the traditional headgear, which is adorned with feathers from local
birds and occasionally includes boar tusks or bones, symbols of their hunting and
warrior heritage.

For ceremonial occasions, Bugkalot men may wear additional accessories, such as
beaded necklaces and armbands, and sometimes paint their faces or bodies with
traditional patterns that signify strength, courage, and readiness for battle. Historically,
the Bugkalot were known for their headhunting tradition, and their attire often
symbolized this warrior spirit.

The women’s attire includes a “tapis” (wrap-around skirt) that is usually woven with
traditional patterns and earthy tones, though sometimes bright colors are added for
festive occasions. The “tapis” is paired with a blouse, often adorned with beaded
necklaces, shell jewelry, and other natural materials that signify beauty and connection
to the environment. The Bugkalot women also wear headdresses or decorative
headbands with feathers and beads, adding a distinct touch of elegance and pride to
their appearance.

Symbolism and Cultural Significance

The Bugkalot traditional attire is rich in symbolism, with each element and accessory
holding a specific meaning. The feathers in their headdresses represent the strength
and freedom of the community, as well as their deep respect for the wildlife and forests
around them. The woven patterns on their garments often reflect Bugkalot myths,
legends, and spiritual beliefs, each pattern telling a story of their ancestry and cultural
values.

Wearing this attire during special ceremonies, such as marriage rituals, harvest
festivals, and community gatherings, strengthens their connection to one another and to
their cultural heritage. The attire also serves as a way to distinguish the Bugkalot
identity, preserving their traditions and reinforcing their sense of belonging.

Preservation Efforts in Dupax del Norte

The Bugkalot community in Dupax del Norte actively works to preserve and celebrate
their traditional attire as part of their cultural heritage. Local leaders and elders organize
events that showcase traditional clothing, dances, and rituals, helping to educate the
younger generation on the significance of their cultural symbols. Additionally, the Dupax
del Norte tourism office has collaborated with the Bugkalot community to promote
awareness of their heritage, encouraging both locals and visitors to appreciate and
respect Bugkalot traditions.

Conclusion

The indigenous attire of the Bugkalot people in Dupax del Norte is more than just
clothing; it is a meaningful expression of their identity, strength, and connection to their
environment. By preserving and celebrating this attire, the Bugkalot community ensures
that their unique cultural heritage is passed down through generations, keeping their
identity strong and vibrant. Efforts to promote and protect this aspect of Bugkalot culture
contribute to a broader appreciation of the diversity and richness of the indigenous
traditions of Nueva Vizcaya.

MUNICIPALITY OF DUPAX DEL SUR

The town of Dupax del Sur traces its name to the Isinay word “Dopaj,” which means “to
lie down in relaxation,” a fitting reflection of the indigenous people’s custom of resting
after long days of hunting. This tranquil haven first appeared on the historical map in
1591 when it was discovered by Luis Perez Dasmariñas. Soon after, in 1609,
Dominican friars established a mission in the area. However, the mission was short-
lived, abandoned due to territorial disputes between the Dominicans and Franciscans.

Despite efforts to colonize Dupax between 1632 and 1702, the town resisted external
control. It wasn’t until 1717 that Father. Alejandro Cacho successfully began building
Christian communities among the local Malaats, Caraos , and Bugcalots tribes.
Finally,in april 1726, Dupax was officially founded as a settlement by Augustinian
missionaries. Over time, the original town was divided into the municipalities of Dupax
del Sur, Dupax del Norte, and Alfonso Castañeda, shaping the area’s present-day
structure.

The municipality of Dupax del Sur has since become predominantly home to the Isinai
people, who remain the most dominant ethnic group in the area. Their language, Isinai,
is the official tongue of the local inhabitants, and they are known for their hospitality and
respectfulness. The people of Dupax de Sur have diligently preserved their language
and traditions, passing them down from generation to generation, keeping their rich
cultural heritage alive.

This cultural heritage is not only passed down through family and community but also
celebrated publicly. One of the primary avenues for showcasing their people’s talents
and customs is the annual Panlingalingan Festival. This vibrant event invites the entire
town to participate in a range of activities, from setting up booths and performing
traditional dances to competing in pageants. Through these events, the different IP
groups demonstrate the essence of their identity and take pride in their traditions.

The Panlingalingan Festival is just one of the many ways they express their creativity
and skills. Their talents also shine during the annual Ammungan Festival, where the
people of Dupax frequently excel, gaining recognition for their exceptional
achievements. These festivals not only reinforce the cultural pride of the Dupax but also
foster a deeper sense of unity and shared identity within the community.

Perhaps one of the most significant gatherings in Dupax del Sur is the Municipal
Indigenous People Month Celebration. This event brings together the various ethic
groups residing in Dupax del Sur, offering a space for each to celebrate their unique
tribal heritage. Traditional customs, attire, music, and dances take center stage,
showcasing the town’s rich diversity. Through this celebration, Dupax strengthens
bonds among its communities while preserving and promoting the cultural heritage that
continues to define the town.

MUNICIPALITY OF KAYAPA

Kayapa is an ancestral domain of Kalanguya, I’wak, and Ibaloy and other ICCs who
assimilated to it because of intermarriage such as Karao, Kankanaey, Bagu, Gaddang,
and Isinay. Guided by the core values of our ancestors through the formulated Ancestral
Domain Sustainable Development Protection Plan, and the Municipal Culture and Arts
Plan, the Municipality of Kayapa implemented various Programs, Projects and Activities
for the year 2024. To wit:

1. Reproduction and furnishing of ADSDPP to 30 barangays, and concerned

agencies.
2. Installation of Perimeter fencing of watershed areas of Kalanguya-Iwak-Ibaloi AD
3. Formulation the Ancestral Domain Investment Plan for Health (ADIPH)
4. IPMR participation to amendments for validation and selection process of 30
barangays
5. Conduct of meetings, seminars and trainings on IP rights.
6. Ongoing documentation of Indigenous Political Structure (IPS)
 7. Organization of Bantay-Kalikasan Task Force and Multi-Sectoral Forest
Protection Council for the protection of environment and the ancestral domain as
a whole.
8. Celebration of the Owag Shi Kayapa 2024 and the institutionalized Indigenous
Peoples Day 2024.

MUNICIPALITY OF KASIBU

Imagine a tapestry of colors, sounds, and stories that weave together to form the vibrant
culture of Kasibu. Our heritage is not just a relic of the past; it’s a living, breathing
testament to who we are and who we aspire to become. In a world where diversity is
our greatest strength, our culture and arts stand as pillars of our identity, guiding us
through challenges and celebrating our triumphs.

Envision a land where the rhythms of tradition and the beats of progress a merge
seamlessly. Kasibu aspires to become the jewel of region 2’s agro-ecotourism, a
community where cultural heritage and future advancements coexist. We envision a
vibrant a place that is well-developed, progressive, peaceful, safe, and ecologically
balanced, enhancing the quality of life for its God-fearing, empowered, proactive, and
resilient people under a governance model that values transparency and participation.

Kasibu’s pride lies promoting it’s rich cultural traditions and practices. The community’s
commitment to cultural education, promotion, and preservation is unwavering. The
cultural and arts development program supports Indigenous People’s Education (IPED)
and conducts numerous seminars and workshops on cultural and artistic skills across
various barangays. These initiatives have propelled the municipality to greater heights,
driven by dedication, hard work, and passion.

Annual celebrations such as Indigenous Peoples Month, Arts Month, and National Food
Month are actively implemented in our municipality. The cultural mapping and inventory
of significant cultural properties ensure that our history is both preserved and
celebrated. By promoting indigenous attire and other cultural objects, we ensure that
our traditions are honored during important events and occasions. Our mission is to
build bridges among the eight Indigenous Cultural Communities in Kasibu: Applai-
Balanggao, Bugkalot/Ilongot, Kalanguya, Kankanaey, Ibalaoi, Tuwali, Ayangan, and
Isinai. These tribes have collectively molded Kasibu, showcasing unity in diversity by
overcoming conflicts and challenges together. The historic blood compact symbolizes
their commitment to peace and harmony.

Over the years, the bonds among Kasibu’s tribes have only grown stronger. We
continue to promote unity, preserve culture, and harmonize our differences, all
dedicated to the culture and the arts. Our ancestors have given us the truest form of our
identity through our beautiful culture, defining our beliefs, practices, and unique
characteristics. It is our duty to honor their legacy by implementing programs aimed at
preserving, collecting, and sustaining our rich cultural heritage. Teaching our young the
importance of culture helps shape them to understand their roles in the community.
Through cultural education, children can reach their greatest potential, building
communities rooted in peace, unity, respect, and love. Culture and the Arts, while
highlighting our differences, ultimately bring us together, providing a collective strength
that benefits all humanity.

As we celebrate Indigenous Peoples Month, let us honor our ancestors, embrace our
present, and aspire for a future where our culture continues to flourish and inspire.

MUNICIPALITY OF SANTA FE

Santa Fe: Your Gateway to a Great Getaway!

Home of the culturally-diversed people preserving the rich culture and traditions that
represents their love and respect for their ancestors.
The Municipality of Santa Fe headed by the Municipal Mayor, Hon. Liwayway C.
Caramat, is composed of the different ICCs. Kalanguya as the dominant group, followed
by the Iwak, Ibaloi, Kankanaey, Ayangan/Tuwali, Kalinga ICC, respectively.

Santa Fe delegation comprises Tribal Elders and Leaders, Culture Bearers, IPMRs from
the different barangays, LGU officials, Young People are with us to celebrate this year’s
IP Month Celebration with the entire Province of Nueva Vizcaya’s Indigenous People’s
Community.

MUNICIPALITY OF SOLANO

The Local Government Unit of Solano, through Ordinance No. 2024-15-11, officially
declares the second week of October every year as “Solano Indigenous People’s
week.” This ordinance aims to honor and celebrate the rich heritage, traditions, and
contributions of Indigenous Peoples in the municipality. It promotes cultural
preservation, awareness, and respect through various activities, including performances
and community engagements. Funds are allocated annually to support these programs,
ensuring continued recognition and empowerment of the Indigenous communities in
Solano. This initiative strengthens cultural pride and fosters unity within the municipality.