Did you know that the art of tattooing was practiced by the precolonial Filipinos? These ancient tattoos represented bravery, prestige, power, and beauty. And the preconquest Filipinos have a special word for tattoo — the patik.
Patik comes from the Cebuano language, the lingua franca of the 16th-century Central Visayas, which means to tattoo, mark, or print. In the 1500s, when the Spaniards sailed on Visayan waters, they described that the natives of these islands were black with tattoos. Thus, they named the Visayas as the Islas de los Pintados or the Islands of the Painted People.
Surprisingly, it was not only the precolonial Visayans who practiced the art of tattooing, for up in the mountains of Northern Luzon, the Igorot people or the Cordillerans, have this similar practice, and in the Kalinga province, they called this the batok.
Meanwhile, the Ibanags, the people living on the banks of the Cagayan River, they named tattooing as the appaku. And appaku came from the word paku or fern because of its fern-like designs.
For the numerous Agtas in the archipelago, they called tattooing as the pika. Whereas for the Dumagats, they named it as the cadlet.
In preconquest times, for men and women, having a tattoo was no easy feat — one has to earn it. Precolonial tattoos were treated like precious pieces of jewelry or medals of honor, which announced the rank, valor, and social standing of the tattoo owner. The more skin paints they had, the more experience they had; therefore, the more respect they would receive.
Regional tattoos might be geometric shapes that symbolized powerful or poisonous animals such as pythons, crocodiles, eagles, dogs, centipedes, and other cunning creatures. And there were also decorative and flowery tattoos such as lilies, lotuses, ferns, and hibiscus. Thus, a full-body tattooed man showcasing dangerous animals was believed to be a very powerful and capable warrior.
In the ancient Visayas, warriors would have their first tattoos on their ankles, working its way up on to the chest, shoulders, buttocks, and back as their warring experience grew. Tattoos on the face, from ears to chin and around the eyes, were reserved for the greatest and fiercest Visayan warriors who had successfully protected their villages and eliminated their enemies.
TATTOOS AND SEX
Upon research, there’s a Visayan term called tigma that means a youth’s first taste of sex or war, while tiklad is their first victory in love or battle. And the pre-Hispanic Visayans who had experienced these were tattooed for laudatory notices.
It is widely believed that these precolonial tattoos were connected with magic and religion as though these tattoos provided special powers to their owners, giving them a sense of strength, protection, and luck.
The wives of the warriors were also tattooed, for if these women were not lavishly painted, they could not enter their ancestral land of the dead as for the old beliefs of the Ibanags.
POINTS TO PONDER
Currently, the ancient Filipino-inspired tattoos are now accessible from tattoo shops — not necessarily requiring heroic feats — and they are collectively classified as tribal tattoos, yet upon understanding patik, batok, appaku, pika, and cadlet, we can appreciate the following:
- The precolonial Filipinos had a system of awards and recognition through these valuable tattoos.
- These ancient tattoos were earned through bravery, hard work, and invaluable services.
- And these pre-Hispanic tattoos are cultural treasures that the modern-day Filipinos can be proud of.
- Blair, Emma Helen, and Alexander Robertson, eds., The Philippine Islands 1493-1898 (Volumes I–LV). Reprint of the 1903-1909 edition, Michigan Library, 2005. https://quod.lib.umich.edu/p/philamer.
- Jocano, Felipe Landa. Anthropology of the Filipino People II: Filipino Indigenous Ethnic Communities; Patterns, Variations, and Typologies. Quezon City: Punlad Research House, 2003.
- Manansala, Vicente. Planting of the First Cross, 1960s. Manila: National Museum of the Philippines.
- Scott, William Henry. Barangay: Sixteenth-Century Philippine Culture and Society. Quezon City: Ateneo De Manila University Press, 2004.
Patronage Note: If our culturally driven endeavors inspire you to learn more about our country’s noble heritage, please consider becoming one of our sustaining patrons, click here and support. Join the Revolution! This is a public service, an educational campaign of Datu Press®.