Cultural representation
We are always amused and pleased to see cultural presentations that follow the accepted and favored norms. The things that are consistently given to us whenever we are in a social context also play a role in this appreciation. Additionally, for some artists, expressing their artistic freedom serves as a convenient rationale for altering or adjusting some elements of the presentation. But how far may an artist take use of this freedom? Is this level of freedom unrestricted? When can we claim that it has already trampled on certain venerable customs and has thus gone as far as to depict reality truthfully?
This is the idea underlying the National Commission on Indigenous Peoples (NCIP) office in the Cordillera's disapproval of the presentation of female dancers wearing the traditional "bahag" that is only worn by Igorot males. Additionally, they stated that the dance number was an inaccurate representation of Igorot women who had never worn or been made to wear the bahag, in addition to making fun of and mocking traditional clothing and highland culture.
After all, this is not the first time they have been the victim of misrepresentation. Over the years, there have been many instances of distortion and cultural appropriation. The misidentification of Aetas as coming from Mountain Province indigenous and the Banaue Rice Terraces as being in the Ilocos Region, among other errors, was brought out by Cordilleran IPs in a number of DepEd-approved textbooks. A well-known local footwear brand's "Kankana-ey" sandals and an international apparel brand’s attempt to copy Kalinga tattoo artist Whang-od's designs on caps and shirts sparked outrage as well.
The act of appropriation is not always a dreadful thing. For instance, the commercial usage of various indigenous materials has led to a growing appreciation for Cordilleran weaving. To avoid adopting the name of an ethnolinguistic group to describe footwear, people must be attentive to how they observe these appropriations. Every aspect of cultural heritage needs to be meticulously researched and documented, from the more tangible, like weavings and sculptures, to the more ethereal, such dances and knowledge systems. In this way, the local populace may decide for themselves how their culture should be used both internally and externally.
Indigenous Peoples of the Cordillera were subjected to centuries of ethnocentrism, prejudice, and plain ignorance because of colonization, which led to the current cultural misrepresentation. The centuries-long practice of a colonial power defining what constitutes culture resulted in the labeling of people they were unable to colonize as "savages" or "uncultured". These false beliefs were deeply ingrained in the nation's daily life, educational institutions, and even government policy.
The diverse cultures of the world are a magnificent manifestation of the best qualities of humanity on a larger scale, as seen in media, for example. Racist representations of other cultures in children's programming are dangerous. We must acknowledge that these concerns affect people with the most innocent minds and that they affect all forms of media.
Stereotyping and misrepresentation problems are quite serious and need several remedies. All the remedies to this problem, meanwhile, depend on the participation of businesses, corporations, and organizations that have previously created damaging content. These groups must actively endeavor to avoid making the same mistakes again by reflecting on their mistakes. The marginalized are especially susceptible to having their customs, connections, and knowledge and skills neglected and denigrated in this era of globalization, despite all its benefits, and to experiencing growth with an intense sense of pain, loss, and social isolation.
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