![]() We notice that there is an influx of Filipino students here at the University of Washington, so, by having the Burke museum provide and care for an abundance of artifacts with rich Filipino histories, Filipinx/Filipinx-Americans at this school are able to learn more about the different aspects of their culture for free, with trust in the transparency of the Burke. In relation to our school, the institutional practice of keeping museums can be utilized as a tool to acquire knowledge, especially if done ethically. Though none of the members of our group are from the mountain provinces of Luzon, it is rewarding to learn more about the varying cultures and traditions even within the Philippines. It serves as an object that represents distance in both time and space, so being able to learn more about its history and the region it comes from is something that should not be taken for granted. It relates to our personal lives because, as an artifact with a Filipino background, it gives us a peek into our own histories being of Filipino descent. ![]() This artifact serves its part in starting a conversation of who we are and where we truly come from. It is a physical representation that certain identities have outlasted about 400 years of colonization and suffering.Īs part of the Filipinx-American community, we find it difficult to truly define our identities as we are a result of centuries of colonization. This artifact should serve as a source of strength and pride for all Filipinos. As a result of diaspora and a long history of conquest, many Filipinos have not seen the mainland and have grown disconnected from the Philippines. That being said, this artifact can also be examined methodically in the context of the argument Lustre illustrates in their poem that this item belongs to all observers who are of Filipino descent, regardless of their overlapping, conflicting identities or how strong their connection is to their origins. Without understanding this historical context, we cannot fully understand the artifact. This artifact is not obviously linked to the idea of empire in the eyes of most audiences, which contributes to the lack of understanding of “friendship and forgetting” and institutional invisibility. To look at this artifact through a critical lens, however, it seems that although this artifact provides information about the customs and traditional clothing of indigenous Filipino people, it partakes in creating the façade that “cultural gatekeepers” render to not draw attention to the historical context of colonization and suffering associated with the people of the Philippines. This indigenous artifact is also significant because it is a symbol of resilience as it escaped eradication and happens to be physically here with us today. We can see that this artifact obtains its significance through its representation as a status symbol of respect and authority a deeper analysis of this artifact leads us to realize that there is a much more complex rendition of civilization in the Philippines in pre-colonial times, which contradicts the typical assumption that Filipinos only became civilized during and after colonization. This artifact is a remnant of the past it survived Spanish colonization, conveying the idea that this part of Filipino shamanism is not subject to erasure even through the spread of Spanish Catholicism. From the colors, to the inclusion of feathers, to the beak of the Kalaw situated at the top, the artifact is beautiful and we were astounded by the fact that something that seems so delicate has managed to last through the centuries. The overall intricacy of the artifact and its beauty are what intrigued us. ![]() This artifact is significant because it existed during the pre-colonial time of the Philippines and has lived through Spanish and other colonizations. Women tend to be in charge of weaving the band of the headdress while men collect the beak or carve a wooden figure of Bul-ul (the God of rice) that sits atop the headdress. However, in our research of this artifact, we learned that it can be used in a variety of ways, such as being worn during wedding ceremonies by the bride or by the village chief as a crown during planting and harvesting rituals. It is usually worn by a religious Shaman. This particular headdress is adorned with feathers and attached to it is the beak of the Kalaw (hornbill) bird. It originates from the Ifugao people who reside in a mountain province of Luzon, which is located in the northern part of the Philippines. The artifact we’ve chosen is a headdress donated by the James S. 1 Put On Your Thinking Cap – a Connective Insight on an Ifugao Headdress IFUGAO HEADDRESS A CONNECTIVE INSIGHT ![]()
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