BAGUIO CITY – Artists, cultural practitioners, educators, and community groups from across the Philippines and abroad gathered at Tam-awan Village from October 9 to 11 for the 16th Tam-awan International Arts Festival, bringing together 70 participating groups – approximately 300 individuals in a celebration of art, heritage, and cultural exchange.
Organized by the Chanum Foundation Inc. in partnership with the National Commission for Culture and the Arts (NCCA), the annual festival carried the theme “Obra ken Tawid: Panagtitipon,” emphasizing the relationship between artistic expression, living heritage, and community connections.
The gathering transformed Tam-awan Village into a meeting place for diverse artistic traditions, providing opportunities for artists and cultural organizations to exchange ideas, present their work, and engage with audiences through exhibitions, discussions, performances, and collaborative activities.
Established in 2010, the festival has developed into a platform for promoting Philippine arts, culture, and heritage, with particular emphasis on the artistic and cultural traditions of the Cordillera region. Tam-awan Village itself was established in 1998 by the Chanum Foundation as a space dedicated to preserving and promoting indigenous cultural and artistic traditions.
Art as a living expression of heritage
The festival opened on October 9 with a Sangbo ritual led by Elder Vicky Mackay, also known as “Madmad,” joined by Indigenous Peoples Mandatory Representative Felix Siplat. The opening program continued with a Kapihan discussion moderated by the Kapisanan ng mga Brodkaster ng Pilipinas and the Philippine Information Agency, featuring performances by the Ragsak Cultural Group and ECPAT-Ibagiw Performers.
The opening also marked the launch of the 16th Tam-awan International Arts Festival exhibition at the village’s Main Gallery and Ugnyan Gallery.
Discussions during the first day explored the role of galleries in sustaining contemporary art and building cultural communities. Maria Teresa Rayos del Sol of the National Commission for Culture and the Arts, identified in the program as National Committee on Art Galleries head, discussed the evolving role of galleries in the cultural landscape.
Another session, “Mending Time: The Art of Restoration,” featured cultural heritage specialists Dino Carlo S. Santos, Robby Dela Vega, Luisa Galang, and Binalyn Lucindo of the Intramuros Administration. The discussion highlighted the importance of restoration and the preservation of historical and cultural properties.
The day’s activities concluded with “Inspired by Tradition: Stories Behind the Art,” an artists’ forum moderated by visual artist Horhe Jacinto and Roland Cruz, owner of the Campfolkswagen Cafe Gallery Museum and former curator of the Ayala Museum.
Contemporary works rooted in cultural identity
The festival’s featured installations demonstrated how artists could draw from cultural memory, environmental awareness, and indigenous identity to create contemporary works.
Among the featured artists was Khim Vailor C. Camba, whose installation, “Green Spheres,” used 360-degree sphere painting inspired by the fish-eye lens to present immersive perspectives of Baguio City’s green spaces. The work encouraged viewers to appreciate these environments and reflect on their importance to the city’s character.
Froidhalaine G. Dulnuan presented “Maitlenggan,” a seven-foot abstract sculpture made from metal scraps, brass, wood, and moss. Drawing on a Kankana-ey term associated with a cure for deafness, the work depicted a Cañao and explored ancestral connections to the land and the reclamation of cultural identity.
Artist-archaeologist Ian Cartalaba presented “Tangible Wonder,” a site-specific outdoor installation suspended from tree branches. Its flowing forms evoked the movement of energy through the forest, inviting visitors to reconnect with nature and reflect on their relationship with ancestral heritage.
Together, the installations illustrated the festival’s effort to bring indigenous knowledge and contemporary artistic practices into conversation without separating cultural traditions from the communities that sustain them.
A gathering beyond regional boundaries
The participating groups represented different parts of Luzon, the Visayas, and Mindanao, alongside international artists from France, Australia, and Japan.
The international participants named in the program were Henri Lamy of France, Jeff Gauci of Australia, Jun Amanto of Japan, and Michelle Vito Gauci of Australia.
The festival’s program also featured the participation of artists’ groups, galleries, educational institutions, cultural organizations, and independent practitioners. Among those listed were the Ifugao Creatives, Linang Art Cave, Korsaki Art Space, Ricardo’s Galleria, Vice Versa Artists Group, the Culture-Based Educators Society of the Philippines, and the Philippine Art Educators Association.
Groups from the Visayas included Art Palo, the City Arts and Culture Office of Calbayog City, Samar, Espazio Art + History Gallery, Kasugbong Art Group, Kultura Samar Kalinayan, and the Sinirangan Artists Guild.
Mindanao participants included the ABS Trax Arte Biswal ng Sto. Tomas, Alampat Visual Artist, Artverse Group, Artsumon, BuLAK, Carmen Art District, Pinta Island, Pinta Okir, RitzeI Oyao, and Tangcub Art Camp, among others.
The program also featured performances and presentations involving Teduray, Maguindanao, and Cotabato Manobo cultural traditions, alongside artists and performers associated with Mga Kwento ni Hulyo, Dazzlers Dance Company, and other participating groups.
Knowledge-sharing and community participation
The second day, October 10, continued with discussions on the meaning and significance of the Sangbo ritual, featuring Vicky Mackay and Felix Siplat.
Artist and intellectual property lawyer Trixie Cruz-Angeles led a session on copyright, ownership, and fair use, addressing practical concerns that artists face in protecting and sharing their creative work.
Exhibition openings at Campfolkswagen and the SM City Baguio exhibit followed the day’s discussions, extending the festival’s artistic presence to other venues in the city.
The evening program, Panag-aapon Cultural Night, featured cultural performances and artistic presentations, including participation by the Teduray, Maguindanao, and Cotabato Manobo tribes, Dianna David, Mga Kwento ni Hulyo, Soliman Cruz, Dazzlers Dance Company, Guilliene Sanchez and Handiong Kapuno, Jun Amanto, Pugaw Laya, and Talahib.
On October 11, the final day, artists participated in a reflection and sharing session, followed by the acknowledgment of organizers, partners, sponsors, and volunteers, and the presentation of certificates and festival tokens. Jordan Mang-osa, president of the Chanum Foundation, took part in the closing program, which included a performance by the Shadsak Cultural Group and a festival closing ritual.
Sustaining a space for cultural exchange
Beyond the exhibitions and performances, the festival’s objectives included supporting emerging and established artists, encouraging community participation, strengthening partnerships among cultural organizations, and promoting Baguio’s creative tourism and cultural identity.
The gathering also underscored the continuing role of community-based cultural spaces such as Tam-awan Village in providing platforms where artistic practice and heritage can be experienced together.
With 70 groups and approximately 300 individuals participating, the 16th edition demonstrated the breadth of the artistic and cultural networks that can converge around a shared commitment to creative expression and cultural preservation.
Under the banner “Obra ken Tawid: Panagtitipon,” the festival reaffirmed the idea that heritage is not simply something inherited from the past. It is also something continually interpreted, practiced, shared, and renewed through the work of artists and the participation of communities. – CCT
