THE HEIRLOOM BEADS OF KALINGA - TRACING HISTORICAL TRADE, CULTURAL MEANINGS, AND CONTEMPORARY INNOVATION
DOI:
https://doi.org/10.18623/rvd.v23.6282Palavras-chave:
Bongor, Kalinga Beads, Cultural Evolution, Material Culture, Indigenous Innovation, Adaptive Tradition, Cultural Pride, Cordillera HeritageResumo
The Bongor, also called Kalinga beadwork, is treated as an ongoing process of art-making, as well as a continuing art form in which an individual chooses specific types of beads according to their social status and personal taste. It was discovered that the modern Bongor necklaces carry not only the value and meaning that is contributed by the Kalinga artists but also that contributed by the wearer. Bongor, therefore, is a place where citizens' identities are cared for in ways that relate to each citizen's personal narrative and cultural heritage.
Referências
Acabado, S. (2017). The archaeology of pericolonialism: Responses of the “unconquered” to Spanish conquest and colonialism in Ifugao, Philippines. International Journal of Historical Archaeology, 21(1), 1–34.
Caballero, J. (2016). Cultural resilience and adaptive practices in the Cordillera. Philippine Studies: Historical and Ethnographic Viewpoints, 64(2), 273–302.
Canilao, N. (2018). The role of the Igorot gold trade networks in the development of the early Luzon kingdoms. Journal of History, 63(1), 1–28.
Molintas, J. (2004). The Philippine indigenous peoples’ struggle for land and life: Challenging legal texts. Arizona Journal of International & Comparative Law, 21(1), 269–306.
Prill-Brett, J. (2007). Tradition and transformation: Studies on Cordillera indigenous culture. Cordillera Studies Center.
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