COWBOY HATS AND THE IGOROT COWBOYS IN RESTLESS MOBILITY

12TH ICBE WORKSHOP DISCUSSION GROUP

RE: “COWBOY HATS AND THE IGOROT COWBOYS IN RESTLESS MOBILITY” 

as presented by ANGELIE MARILLA (Universite libre de Bruxelles, Belgium) 

31 MAY 2025 (SATURDAY)

GROUP FACILITATOR: GRISHAM CARAME (Igorot UK)

GROUP NOTETAKER: MYRA COLIS (MABIKAS Foundation-The Netherlands)

GROUP 3 MEMBERS & CONTRIBUTORS

 

SUMMARY OF DISCUSSIONS

1. Individual Introductions and Acknowledgment

The session began with each participant introducing themselves. A significant and heartwarming gesture was extended to non-Igorot participants, acknowledging their presence as honorary members of the group. This set a tone of inclusivity and respect, highlighting the importance of shared learning and allyship in discussions on Indigenous identity and representation.

2. On the Use and Meaning of ‘Cowboy’ Among Igorots

The discussion opened with reflections on the use of the term cowboy in the Igorot context. It was observed that this term is prominently associated with specific provinces such as Benguet and Mountain Province, but not commonly used or recognized in other Igorot areas like Kalinga, Ifugao, Apayao, and Abra. This led to a deeper conversation about how Igorot identities are conceptualised.

Participants questioned the tendency to characterise ‘Igorots’ in literature and public imagery as them with cowboy hats when in fact, the term "Igorot" encompasses diverse cultures, traditions, and expressions. This raised a fundamental question: Who is included in the definition of 'Igorots'?

IMPORTANT NOTE: It was noted that academic and popular research often leans heavily on existing literature, which is limited in scope. In Indigenous communities, knowledge is predominantly transmitted orally, leading to incomplete or skewed documentation. Those who appear in published works are often portrayed in ways that may not fully reflect the lived experiences and how Igorot people look like from all the six (6) provinces of the Cordillera Administrative Region (CAR). This underlines the urgent need for careful documentation, definition of terms, and contextual understanding when discussing Igorot identities.

3. Reframing the 'Cowboy' Identity: Local vs Global Connotations

The group discussed the layered meanings of the word cowboy.

In the Igorot context, being a cowboy goes beyond the looks. To be called a ‘cowboy’ or ‘cowgirl’ in the Igorot context actually reflects more of the Igorot values carried by that person. Such values include resilience, resourcefulness, practicality, and the ability to thrive within one’s means. It refers to a person who works hard, often independently, and who lives close to the land. Sometimes with livestock, carabaos, cows, or horse, but more importantly, someone with grit and strength of character.

This stands in contrast to the Western or global image of cowboys, often depicted in media as rugged, gun-toting, bar-frequenting individuals with a penchant for conflict and adventure.

IMPORTANT NOTE: The group emphasized that reclaiming and redefining these narratives is important, especially in diaspora, where symbols like cowboy hats can be both a source of pride and misunderstanding depending on who’s looking.

4. Igorot Textiles in Diaspora and Modern Contexts

Another focal point of the discussion was the role of Igorot textiles, which many members of the diaspora carry with them as symbols of cultural continuity.

One example cited was the Benguet tradition, where tapis colors and patterns are highly symbolic. For instance, the black-and-white weave used specifically for mourning the dead, is considered sacred. Participants expressed concern over such patterns being used casually in fashion, possibly stripping them of their ceremonial meaning and cultural respect.

Similarly, the ‘inabel’ (woven cloth) was mentioned not just as a fabric but as a form of embodied knowledge, with colors and motifs carrying deep meanings. This discussion highlighted tensions between cultural preservation and contemporary adaptation, which is a common theme among Indigenous communities navigating globalization and modern expression.

IMPORTANT NOTE: The following questions were raised during the conversation but were not able to discuss in detail due to time limit. But these key questions are left for individual reflections and perhaps a topic for discussion next time.

üHow far can we modernize traditional textiles?

üWho has the right to wear them?

üWhat happens to their sacredness when adapted for fashion or non-ceremonial use?

5. Cultural Misrepresentation Through Music and Dance

The discussion also touched on how songs and dances are being repurposed or misrepresented in public and popular contexts. The example given was the song “Sisiwit”, originally from Kalinga. The way the song has been popularized, especially in performance and dance, was described by an elder in the group as “vandalised dancing”.

IMPORTANT NOTE: Participants noted that while these adaptations may be seen as a celebration or expression of pride, they can also result in the vandalization of cultural expressions, especially when removed from their original context or meaning. While not discussed in detail during the workshop, the conversation about ‘Sisiwit’ raised an important question about creative freedom and cultural expectations: If you are an Igorot artist, musician, or creative, does that mean your work must always stay within what is considered culturally appropriate? For example, while the song “Sisiwit” has been interpreted by some as referring to male genitalia, others asked: why can’t sexuality also be an acceptable theme in music or creative expression by Igorot artists? This highlights the tension between honoring cultural norms and exploring personal or contemporary themes, and invites further dialogue about the evolving nature of Indigenous creativity.

6. Closing Remarks

To close the workshop session, each participant were asked to give short statement to describe the session. The descriptions are summed up as follows:

• “It was really nice to hear the perspectives of both elders and young people; it gave a good balance.”
• “This is another addition of wisdom for me.”
• “I’m really pleased to hear the wisdom shared by our elders.”
• “This discussion is so important. I’m glad we had this space.”
• “I love the search for more knowledge; it never ends.”
• “Even with the limited time, I learned a lot about what it means to be an Igorot, especially in relation to this idea of 'cowboys' and identity.”
• “I really felt the sense of intercommunity... like I truly belong to the tribe.”

Notes and report prepared by Myra Colis, 22 June 2025.

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12^th Igorot Cordillera BIMAAK-Europe (ICBE) Conference

ULB Campus du Solbosch, Bâtiment S, Salle Dupréel, Avenue Jeanne 44,

1050 Bruxelles, Belgium

29 May–1 June 2025

ICBE 2025 – Workshop Group 3

Reflection Notes

By Grisham Carame

Topic: Igorot Cowboys

1. Group Dynamics & Approach

The discussion was lively, spontaneous, and rich with personal reflection. The small-group format encouraged each participant to introduce themselves and speak freely, which deepened both connection and storytelling. Most shared insights based on lived experience, not academic research—offering a grounded, community-driven perspective on the topic.

2. Core Discussion Themes

a. Origins & Geographic Spread

• The cowboy influence is most visible in Benguet and certain parts of Mountain Province (e.g., Bontoc), with less presence in Kalinga, Apayao, and areas near Abra.
• Participants attributed this to the American colonial presence in Baguio, where horses and cattle ranching were introduced. This environment helped form the foundation of a localised “cowboy” identity.
  
  

b. Cowboy as Cultural and Social Symbol

• In many Igorot communities, especially in Benguet, the cowboy image is not just aesthetic—it also signifies status.
  
  Horse ownership is a marker of wealth, and wearing Stetson hats, leather boots, and Western-style jackets signals success or upward mobility, especially among returning migrants or those with overseas links.
  
  

• The “Igorot cowboy” became a cultural figure representing strength, pragmatism, hospitality, and a kind of grounded pride—qualities that strongly influenced multiple generations of Igorots.
  
  

c. Cultural Adaptation in the Diaspora

• Diaspora communities have not only maintained the cowboy tradition but have also adapted and reimagined it in creative ways.
  
  A standout example is the Benguet Organisation UK’s annual Cowboy Night, where participants fully embrace the Western cowboy image.
  
  

The event features line dancing displays, live country music, and often includes costume contests—a joyful blending of cultures that fosters community pride while acknowledging American influence.

This is also one of the few occasions when Igorots deliberately set aside their traditional wear to embody this hybrid cultural expression.

d. Tensions and Contradictions

• A significant point raised was the paradox of cultural adoption and rejection.
  
  

While Igorots openly adopt American elements like cowboy fashion, music, and values, this does not guarantee acceptance by mainstream Western society.

One participant shared a painful personal account of experiencing racism at a country and western concert in London, where despite dressing the part, they were made to feel they didn’t belong.

This highlighted the continuing exclusion and racial barriers faced by Igorots and other people of colour, even as they engage enthusiastically with dominant cultural forms.

e. Safeguarding Traditional Practice

• Toward the end of the discussion, attention turned to concerns around traditional Igorot dances.
  
  

Elders noted that some movements are no longer performed correctly, especially in diaspora settings where fewer cultural teachers are present. The example of sisiwit was given. One participant explained that the lyrics include sexual innuendo. Questions were raised as to whether people should dance along.

A delegate from the Philippines volunteered to create a detailed instructional video to document proper dance steps and techniques, with a target timeline of two years. This initiative was warmly welcomed by the group.

3. Reflections & Insights

• Layered Identity: The “Igorot cowboy” is a compelling example of how external cultural forms can be reinterpreted and internalised to express local pride, aspiration, and social status.
  
  
• Social Hierarchies in Dress: The cowboy figure isn’t just aesthetic—it marks economic distinctions, particularly around land, livestock, and imported goods.
  
  
• Diaspora Creativity: Events like Cowboy Night illustrate how Igorots in diaspora curate and evolve culture, making space for celebration and experimentation.
  
  
• Cultural Adaptation / Acceptance: While Igorots often embrace other cultures, their experiences - such as racism in Western spaces - remind us that cultural participation doesn’t erase discrimination. Example: Experiencing racism while wearing Country and Western style clothing while attending a Country music concert.
  
  
• The Need for Cultural Stewardship: To keep traditional Igorot practices intact amid cultural blending, intentional teaching and documentation will be crucial.
  
  

4. Suggested Follow-up Actions

• Develop an instructional video on Igorot traditional dance, focusing on proper steps and movement.
  Lead: Delegate from the Philippines with input from elders
  Timeline: Begin planning in late 2025
  
  
• Collect oral histories and visuals from Benguet communities on cowboy identity, including stories, photos, and early cowboy-related practices.
  Lead: Group 3 volunteers
  Timeline: Complete by ICBE 2026
  
  
• Document diaspora ‘Cowboy Night’ events, including video clips, photographs, music, and interviews with organisers and participants.
  Lead: UK-based members
  Timeline: Ongoing
  
  
• Organise a community webinar or panel discussion titled “Borrowed Hats, Deep Roots: The Igorot Cowboy Across Borders” to explore cultural adaptation, identity, and lived experience.
  Lead: ICBE Secretariat
  Timeline: Target for Q1 2026
  
  

5. Key Takeaway

Facilitating this conversation was a powerful reminder that culture is always in motion—layered, evolving, and sometimes contradictory. The Igorot cowboy is more than an image; it’s a living symbol of pride, practicality, aspiration, and resilience. But it’s also a mirror that reflects both the inclusivity and the limits of cultural exchange in a globalised world. What matters is that we keep telling our stories—truthfully, joyfully, and together.

Prepared by: Grisham Carame

ICBE 2025 – Group 3