International Journal of Culture, Tourism and Hospitality Research

Challenges and opportunities for the development and promotion of Ibaloy crafts as tourism products
Jamaica Gayatin Ona, Leticia Susan Lagmay Solis,
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To cite this document:
Jamaica Gayatin Ona, Leticia Susan Lagmay Solis, "Challenges and opportunities for the development and promotion of
Ibaloy crafts as tourism products", International Journal of Culture, Tourism and Hospitality Research, https://doi.org/10.1108/
IJCTHR-11-2016-0112
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 Challenges and opportunities for the development and promotion of Ibaloy
crafts as tourism products
Introduction

The Ibaloy is an ethno-linguistic group in the Cordillera Administrative Region (CAR), Philippines who were
the first settlers of Baguio City, the gateway to the region. They originally had control of politics and
natural resources before the area developed into a multi-ethnic city (Brett, 1996; The Kahimyang Project,
2011). Due to modernization, changes in their lifestyle, livelihood and spiritual inclination, many have
forgotten about their culture. There have been initiatives by the Ibaloys that aim to rekindle their
ancestry and make known among themselves, especially with the youth, their culture. These initiatives
are supported by sectors in the society such as the government, non-government organizations (NGOs),
the academe, and the Ibaloys themselves.
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Farming has been the traditional livelihood of the Ibaloys (Barnett, 1967). However, nowadays the Ibaloys
seek daily wage and contractual jobs and regular paying jobs elsewhere which has led to the loss of
practice of their traditional livelihoods (Anton, et. al., 2010). In a study by Rovillos and Morales (2002) it
was found that income-generating and livelihood activities such as handicraft businesses, together with
education for their children and food security are among the needs and aspirations of the poor in the
Cordillera. With the potential that indigenous entrepreneurship has in improving the cultural and
economic status of the Ibaloys, the study aimed to assess the landscape within which this can be
undertaken through identification of challenges and opportunities for the development and promotion of
Ibaloy crafts as tourism products.

However, while indigenous entrepreneurship wherein material culture is appropriated for commercial
purposes may serve as a means to address the needs and aspirations of IPs, there are significant issues
that need to be taken into consideration. According to Fletcher et al. (2016), indigenous tourism
products, as well as attractions and activities can offer a point of difference for tourism destinations and
that the role of and opportunities for IPs in providing these experiences has been increasingly recognized.
There are some studies, however, which raise some issues relating to intangible cultural heritage when
appropriated for tourism purposes. Chutia and Sarma (2016) pointed out that when there is a
commercialization and subsequent modification of traditional crafts which take place either through
tourism or the expansion of export markets, there is a need to understand the extent of the producer-
consumer interface, which acts as a catalyst in the commodification of the crafts. Hill (2011) pointed out
the need to balance ‘preservation of cultural integrity with the selling of marketable wares, and
suggested a community based approach to obtain a balance between economic reward and cultural
preservation. Culture and its sustainability was found to be a factor needed for success of indigenous
tourism businesses, among other criteria identified (Whitford and Ruhanen, 2010). George (2010)
advanced the possibility of an inequity gap in distribution of benefits to communities, with little of the
benefits realized by the creators and owners of the local culture, and suggested the need to develop an
approach that would ensure sustainable benefits to all stakeholders.

Most studies on Filipino indigenous peoples deal with the history, political institutions and cultural
practices, language and arts; there are no sources found that deal with indigenous entrepreneurship. The
study adds to the literature about Filipino indigenous peoples, particularly the Ibaloys of Cordillera, and
their aspirations for the inclusion of their material culture to the tourism industry. The findings can serve
 to identify issues and concerns related to indigenous entrepreneurship that may be addressed through
policy intervention and support from stakeholders.

Research questions

The study sought to address the following research questions:

RQ1. Which of the crafts in the Ibaloy material culture can be publicly shared and developed
as tourism products?

RQ2. What are the challenges and opportunities faced by the Ibaloys in developing and promoting their
crafts as tourism products?

Conceptual framework

- Insert here - Figure 1. Conceptual framework - -

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The novelty crafts of the Ibaloy are those which can be publicly shared and developed as tourism
products, while those which are used in sacred activities are not to be included. Strengths, challenges
within and outside of the indigenous group (weaknesses and threats), and opportunities for the crafts’
development and promotion would serve as the landscape within which indigenous entrepreneurship
may prosper.

Literature Review

Indigenous Peoples

Indigenous people (IPs) have been described as those who hold unique languages, knowledge systems,
beliefs, and who possess invaluable knowledge of practices for the sustainable management of natural
resources. They have a special relation to and use of their ancestral land which has a fundamental
importance for their collective physical and cultural survival as a people (United Nations Permanent
Forum on Indigenous Issues, n.d.).

While having their own social and cultural identity intact and distinct from the mainstream society, they
are vulnerable to being disadvantaged in the processes of development and are commonly among the
marginalized sectors in the society. Characterized by relative economic deprivation, IPs along with other
poor populations of the world, have long been the target of a wide range of initiatives, efforts and
programs to assist in economic development (Peredo, et. al., 2004).

Indigenous arts and crafts as tourism products

Most tourists bring back souvenirs, these being an important component of the tourist experience, and
perceived as tangible carriers of memories in a vacation (Paraskevaidis and Andriotis, 2015; Wilkins,
2011). Handicrafts is one type of souvenir, which serve as mementos that connect one to an experience.
The acquisition of such was described as a rite of cultural exchange; they, reflect history and can hold the
values of heritage, hence embracing it is an important tool for learning (Smith, n.d.). Ibadat (2016) noted
that the sale of handicrafts is one of the few sources of income for indigenous societies with barter
economies, and this has allowed them to start making investment decisions, citing as an example the case
of the Uros people of Lake Tititakaka in Peru who used the income earned to purchase provisions from
local markets in order to continue handicraft production.
 According to Friel and Santagata (2008), traditional artefacts represent a crucial part of a community’s
culture; both the physical shape and functional nature are the outcome of many factors such as local raw
materials, traditional knowledge and practices, specific cultural behaviors and beliefs. Peralta (2006)
describes crafts of IP’s as those that are not made as art objects per se, but rather produced along the
specific lines of a genus or type of artefact which is made as a response to the demands of culture.

Indigenous Entrepreneurship

Indigenous entrepreneurship is a pursuit for a business venture which enables the marginalized sector to
be dependent on their own capabilities for their self-defined and directed sustainable development.
Entrepreneurship is a means for IPs to directly improve their economic and social circumstances when
they are active players in the industries as business owners and artisans. According to Lindsay (2005),
indigenous entrepreneurship provides the potential for unlocking economic wealth and enabling
empowerment of, and prosperity for, a disadvantaged population sector.
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While entrepreneurship from a non-indigenous perspective is focused upon the commercialization of

innovation, indigenous entrepreneurship is associated with creating, managing, and developing new
ventures by indigenous peoples for the benefit of IPs (Peredo, et. al, 2004; Lindsay, 2005). In the pursuit
of venture success through entrepreneurial activity, indigenous peoples can use their heritage as positive
entrepreneurial force (Hindle and Lansdowne, 2005).

Issues

According to Lindsay (2005), culture is important to indigenous peoples and it affects their attitude which
includes new venture creation and development. In traditional societies, crafts play an important role as
means of employment and production; they are also a significant aspect of creative expression of the
community, closely tied to its way of life (Dhamija, 2008).

While indigenous entrepreneurship has positive potential for the IPs, it has also been observed that there
are negative impacts on their cultural heritage. Commodification of material culture wherein cultural
goods has led to the degradation of cultural and religious significance of crafts that are perceived as
profitable merchandise to satisfy the demand for tourism may occur (SITMo, 2008). The problem in
capitalizing on cultural objects is that the consumer-centered and profit-driven enterprises that are
owned by non-indigenous businessmen or “middlemen” may induce pressure to artisans in communities
to mass produce and manipulate the cultural objects and reduce their value into mere novelties even
though the object may have been highly regarded by the indigenous people.

However, in one study it was advanced that commercialization of crafts does not necessarily entail the
degradation of traditional crafts; further, that promotion of traditional handicrafts in support of tourism
may rekindle people’s awareness of their role and importance, as well as vulnerability in the face of
modernization (Parnwell, 1993).

Whitford and Ruhanen (2010) elaborated on a number of factors that can facilitate Indigenous
businesses, among which include operational business aspects such as access to start up financing and
capital, supply and access to skilled labor, and education and training. Moreover, broader external issues
such as governance, community participation and control, and government support systems and funding
are also contributing factors. Embedding culture within the business and its operations was identified as a
factor for success of indigenous community based enterprises. This could be done in a variety of ways
 such as rigorous approval process for cultural issues, incorporation of educational elements into products
among others.

On the other hand, there may also be a number of hindrances to the success of indigenous business.
Morley (2014) named poor organisational governance and lack of business planning and financial literacy,
and failure to provide continuous support to indigenous entrepreneurs, and access to capital among the
contributory elements which have served as barriers to business success.

From a number of case studies involving different IP groups, it was shown that there are elements
involved in indigenous entrepreneurship that serve to make it a complex undertaking. Collins, et al (2017)
in a study of indigenous culture and entrepreneurship in Australia, advanced that there are social, cultural
and economic dynamics that shape indigenous entrepreneurship and which make the relationship
between the two complex and sometimes contradictory. Among the reasons given for such include
diversity within the community, the fact that IPs have non-indigenous partners, and the way in which
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racial discrimination and socio-economic disadvantage has impacted indigenous communities in Australia.
Varutti (2015), in a study involving a Taiwanese IP group, highlighted the role of artists and artisans in the
creation, renewal, authentication and transmission of ‘Indigenous heritage’ in the revival of cultural
practices and connected material culture, noting that it is constructed through the fusion of several
elements including tradition, value, authenticity and indigeneity, as well as creativity and innovation. In a
study of the Gumatj Clan in East Arnheim Land, Pearson and Hems (2013) pointed out visionary
leadership for fostering value creation, innovation and social capital, to create a pathway for alleviating
poverty and enhancing the socio-economic environment of an Indigenous community. Further, the need
for an appreciation of the role of existing social structures, the imperative of operating at the local level
and the importance of cultural heritage were also identified as vital components in the pursuit of
economic and social goals of sustainable indigenous social entrepreneurship

Methodology

The study utilized a qualitative methodology which involved a combination of participant observation and
semi-structured interviews. Observations and interviews were conducted in Baguio City and La Trinidad,
Benguet, in the Cordillera Administrative Region, Philippines in the community of the Ibaloys in the
naturalistic setting comfortable to the informants. Information from print and online sources
supplemented the primary data obtained.

Data collection

Most of the primary respondents were the Ibaloys themselves, with the notion that IPs hold their own
concept of development which is based on their traditional values, visions, needs and priorities (United
Nations Permanent Forum on Indigenous Issues, n.d.). There were 11 respondents altogether, nine of
whom were Ibaloys. The two other respondents, one from the provincial tourism office, and another who
is a curator/archivist in Baguio are both knowledgeable on indigenous material culture.

Using an interview guide which consisted of open ended questions that focused on themes such as
identification of Ibaloy crafts, the crafts’ various categorization and significance, the challenges and
opportunities including the Ibaloy’s aspirations for development and promotion of their crafts, and their
perceptions on what they want done for their crafts and material culture in general, semi-structured
 interviews were undertaken. This method of inquiry allowed for the opportunity to further explore
responses and themes that emerged.

The interviews were conducted in Taglish (a mixture of English and the Tagalog dialect), the languages
that most Ibaloys understand. A translator was needed in only one case where one respondent could only
speak in Nabaloy, the Ibaloy dialect. The interviews, with permission sought from the respondents, were
recorded on tape. Note taking was also undertaken while the interviews were being conducted. After
each interview, the notes were reviewed and elaborated on to ensure that all key points conveyed by the
respondents were documented. A journal was also maintained to record other observations and
impressions at the time of the interview aside from other vital data such as identifying information
(respondents name and other characteristics), date, time and location. Each respondent was later
assigned an identifying number, i.e. IP1, IP 2, etc. to preserve their anonymity in the report. Together with
the transcriptions, the written notes and journal entries served as raw material for the report.
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Samples of the Ibaloy crafts that were available were also collected, otherwise photos were taken for
documentation. Further, other materials and documents such as brochures and collaterals were
obtained.

Data Analysis

In order to allow for a methodical treatment of the data, the framework method was utilized. This
method is an analytic method which facilitates rigorous and transparent data management, and allows
one to move back and forth without losing sight of the raw data (Ritchie, et. al, 2003).

The tapes were transcribed and coded. Initially the researchers went through the transcriptions several
times to get an overall sense of the data. Relevant words, phrases and sentences were coded, with
marginal notes on the transcriptions made to facilitate analysis. Data that corresponds to the predefined
themes that were primarily focused on the objectives of the study were sought. A framework for analysis
was developed from the codes, and applied to other data on hand, and which served as the basis for the
interpretation of data.

Findings

This section presents the findings resulting from an analysis of the interviews with the Ibaloys and other
stakeholders, combined with information gleaned through participant observation made as part of the
data gathering process and the artefacts in the form of sample Ibaloy crafts and other documents that
were collected. The three themes presented is a synthesis of the information obtained from the
observations and responses in the interviews in answer to the research objectives of identification of
Ibaloy crafts which can be publicly shared and developed as tourism products, and assessment of the
landscape within which indigenous entrepreneurship can be undertaken through identification of
challenges and opportunities that abound vis a vis the development and promotion of Ibaloy crafts as
tourism products.

1. Ibaloy Material Culture

Ibaloy crafts are made from materials found in their immediate surroundings such as rattan and bamboo
for baskets; pine wood, coconut, maguey plant for ropes; and metal for instruments. Ibaloys claim that
 the crafts have practical use in their households, livelihood and rituals and are merely made for such
purposes that they do not consider them as novelty items.

An explanation on the use of those crafts which are considered as sacred was narrated by some of the
respondents. Several of the respondents mentioned that not all their crafts can be promoted as tourism
products, as expressed by IP 2 who said that “there are crafts for rituals and which are sacred. The Ibaloys
stick to that and it might be difficult for these to suddenly be utilized for other purposes”. IP 6 said that
“there are things that we could put into the market but there are also things that we should use only for
rituals; there are items which are considered sacred… there are artefacts that should be left for the family,
the community, so we do not sell everything.” This notion was also advanced by IP 7 who said that some
crafts cannot be sold in the market due to their beliefs: “…it’s a taboo for us to play the gongs, or to use
the G-string… if there is no special occasion…unlike the others where they can use these on ordinary
days…” IP 8 has the same belief, “…those that are used for rituals are primarily for those purposes. …
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sacred items cannot be sold for tourism purposes.”

The Ibaloy crafts identified to have potential to be developed and promoted as tourism products are
listed in Table 1 together with their names in local terms and descriptions. Most of these crafts were
identified by IP 9, an Ibaloy “cultural master” who teaches Ibaloy culture, crafts and their uses, music and
dances, rituals to Ibaloy youth.

Insert here-- Table 1. Categories of Ibaloy crafts --

Aspirations

The promotion of crafts as tourism products is seen with the potential of providing livelihood to the
Ibaloys. There are however, certain aspirations with respect to the appropriation of their indigenous
crafts for commercial purposes that were expressed by several of the respondents. IP1 expressed that it is
“….to improve and to make a living of the most of the things in the household, to give the housewives or
those who are not going to school to have a livelihood, to make them busy.” IP3 said “… I favor crafts to
be sold as tourism products but I hope it will be the Ibaloys who will benefit. I think it is more the sellers
who make a larger profit rather than those who produce the crafts.” IP 6 said “crafts for tourism purposes
is alright… that is income for the local people in the community.”

Crafts can also be a means to promote Ibaloy culture as verbalized by IP 2 “… the crafts would be an
instrument of understanding who the people are, their history and spirituality…. I go for having crafts for
sale but in the context of teaching people who the Ibaloys are….” This sentiment is echoed by IP 3 who
stated that “…the crafts would just be an instrument of understanding who the people are, their history. It
has to be part of understanding who are the Ibaloy”.

There is a felt need to include an education component when merchandising crafts so the customers
would know the significance of the craft and also learn about the culture of those who produced these. IP
3 claims that “entrepreneurs are the ones who promote the crafts, but they don’t have much knowledge
about the Ibaloy culture…. that will be the best thing to happen…if there is an educational component in
the selling of crafts…. that consumers know the story behind what they are buying.” IP 8 said that “…the
 crafts can be appreciated if a description or a story is provided; otherwise the artifact will be just like any
ordinary item. When an item has a symbolic meaning, this has to be made known to and be understood by
the consumer….in this way they know how to properly use the item.”

There is a hope for the government to provide more support, not only financially but also for the Ibaloys
in their endeavors in promotion of their crafts, and to put more focus on their group, them being the first
settlers in the Kafaguay, now known as Baguio City. IP2 expressed that “the Ibaloys are trying to keep
their culture with lack of support and recognition from the local government unit.” IP 3 echoed this
sentiment and said that “I hope the city recognizes that Ibaloys were the first ethnic group in Baguio City,
and hence put more focus on the Ibaloys and their initiatives, instead of a hodgepodge of support to all
the various ethnic groups.” On the aspiration for more financial support, IP 6 expressed the need for more
funding from the government “…give more funding so the industry can grow.”

At the same time, there is a realization of the need to take initiatives on their own and not rely solely on
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the government for support. IP 3 stated that “you cannot rely solely on the government because they
have so many concerns. Ibaloys must also help themselves.” IP 6 expressed the same opinion “…Ibaloy
material culture can be developed by the Ibaloys themselves…. it comes from their own initiative and
government will only support….”

2. Challenges

There are a multitude of challenges that are the Ibaloys are faced with in the possible pursuit of
promotion of their crafts as tourism products. There are challenges identified that can be addressed by
the Ibaloys themselves. However, there are some that are already beyond their control.

Challenges within the control of the Ibaloys

a. Loss of interest in their culture especially amongst the younger generation of Ibaloys- According to IP 2-
“The Ibaloys in Baguio City are so called the vanishing tribe. Because it’s in a multicultural, highly
urbanized area where the original settlers are now besieged with the different cultures and the danger In
the long run is that the young Ibaloy will no longer know their own identity. So that’s the issue of
recognition, appreciation, and sustaining the Ibaloy culture in Baguio City…because some of us are guilty
parents who don’t teach the language to the children. They learn other dialects but not the Ibaloy.” With
reference to the younger generation of Ibaloys, IP 3 said that “they are not interested in our culture;
instead they are interested in American colonial heritage.” IP 4, one of the oldest living Ibaloy has the
same lament: “.I want to teach how to make crafts, but it depends on the younger generation if they are
willing to learn. Nowadys, the young ones don’t want to learn…even the dialect, they don’t want to learn
this anymore.”

b. Change in their livelihood and spiritual inclinations which has led to the diminishing of production of
ritual objects- IP 4 said that “…the old religion where there are rituals is no longer practiced. In rituals
there are objects used. The conversion of the Ibaloys to Christianity or other religions deemed the old
practices to be no longer done, so there’s no longer a need for the Ibaloys to make the sacred items.

c. Lack of opportunities for knowledgeable people to make the traditional crafts based on indigenous
designs- IP 8 said that “….it would be very difficult for an Ibaloy to market his or her product if he has not
been trained to be creative or come up with something.”
 d. Some crafts are ritual objects cannot be utilized for commercial production because those are sacred.
There are some items used for rituals, however, which are seen as having future potential as a product
for mass production.” IP 2 expressed that “it is possible that a craft item has the potential since it may
have a practical use, aside from its significance for use in rituals.” As an example, “…the singkalong
(offering container made of bamboo). Is actually an implement because it can become a container for
things for practical purposes but it has its roots from rituals.”

e. Viewpoint that their crafts are not for novelty and which hinders them from seeing the potential of
these items in the tourism marketplace - According to IP 1 “There are few Ibaloy who make crafts for
tourism products, as they probably do not see its value for entrepreneurship; it is more the businessmen
who do. This is echoed by IP4 who said that “we do not produce some items such as wood crafts used for
food, and baskets because these are for home use and there are other substitutes that can be used. There
is no idea for producing for tourists.”
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f. few skilled people to make the crafts- IP 2 claims that there is a rarity of craftsmen with the skills for
certain crafts: “There is only one in Loakan who is skilled in making that certain (ritual) basket…. that skill
is very rare so we hope to have children learn from him (referring to one of the oldest living Ibaloy)
because he is the only one who remains who knows how to do it- referring to the kawil (coconut shell
bowl) and sahob (ritual basket). IP 8 also said that “the artists are fading out… artisans, are diminishing in
number.” This was confirmed by the respondent who is a museum curator/archivist who said that “the
artists are fading out.the artisans, the basket and fabric weavers are diminishing… “

IP 6, however, stated that amongst themselves, there are also initiatives to pass on craft making skills to
the younger generation. “…we are trying to look for old people who can teach so now we found some old
women who know the practice and who are willing to teach…the old people are teaching the younger
people so that the tradition will not be lost.”

Challenges Outside the Control of the Ibaloys

a. proliferation of malls and curio shops that sell the Ibaloy crafts and artefacts who serve as their
“middlemen” to the market, IP 1 complains that “Customers say they will just buy at the big malls. I say
yes it may be nice there but the truth is that I am also the supplier of the crafts to malls.”

b. lack of product differentiation per indigenous groups thereby having the objects to be generally
branded as “Cordillera”, “Baguio” or “Igorot”. IP3 said that “the customers do not know that what they
are buying are Ibaloy crafts. All ethnic products in the marketplace are seen as coming from Cordillera,
without a distinction as to whether these are Ibaloy or from other groups, such as Kankanaey, etc. in
origin.”

c. inadequacy of museums or places to exhibit the Ibaloy material culture, the lack of market outlet for
the crafts’ enterprise.

d. loss of resources from which crafts are made due to administrative policies that prohibit the acquisition
of those materials to make the cultural. According to IP 8, “there are policies that affect the production of
many local items. For instance, even bamboos have restrictions in their use.”
 3. Opportunities

The opportunities are from the stakeholders, i.e., the Ibaloys themselves, the government, the Indigenous
Peoples’ Organizations (IPOs), the academe and Ibaloy proprietors, having their respective contributions
that can serve as strengths that can be tapped and maximized for the benefit of the Ibaloys. There is a felt
need to tap their human and non-human resource, and with support from institutions such as the
national government, IP organizations, academe and local government units (LGUs), a sustainable craft
industry that produces distinct Ibaloy crafts as tourism products can be made possible.

The Ibaloys’ Inititatives for Cultural Heritage Preservation

Ibaloys have established guilds to form communities that share and take pride on their culture, and assert
their identity. The Onjon Ni Ivadoy Association, Inc. (“Onjon Ni Ivadoy” means “unity of the Ibaloy
people”) is a community of Ibaloys which provides support to their fellow Ibaloys, and educates their
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youth about their culture and dialect, the Nabaloy. They also hold events like the annual Ibaloy Festival
and the Adivay (which means “coming together”), and participate in or host other major events such as
the Gong Festival in Baguio City. Events and cultural activities are avenues for the Ibaloys to showcase
their culture and pass on their knowledge to the youth; otherwise, on ordinary days, it is a taboo for
Ibaloys to wear their traditional clothing, perform their dances and play their instruments.

There are Ibaloy youth guilds that uphold the arts and culture of the Ibaloys such as the Chiva Ni Doakan
and Chiva Ni Virac in Loakan and Itogon, Benguet, respectively. These guilds are cultural and performing
groups that teach young Ibaloys their dances, how to play their musical instruments and create
traditional crafts.

Aside from the guilds, the Ibaloys have non-human assets such as their Ibaloy Heritage garden which
already has a prospective development plan made by an Ibaloy architect who is also member of the
Onjon ni Ivadoy. Besides the fact that the area is designated for the Ibaloys by the Local Government Unit
(LGU), it has been the venue of Ibaloy festivities and other IPs-inclusive events which makes the place
ideal for any income-generating activity for the Ibaloys.

Government Support

The support and promotion for micro, small and medium enterprises (MSMEs) that sell agro-industrial
products which include bamboo and rattan crafts is one of the key focus areas of the Regional
Development Plan 2011-2016. The Plan also includes the Eco-cultural Tourism Asset Conservation/
Protection, Development and Rehabilitation Program which calls for a strong collaboration of sectors
involved, i.e., the LGUs, the private sector and the IPs in the communities for the conservation,
protection, development and rehabilitation of CAR’s cultural and environmental assets (NEDA, 2010).

The national government, through the Department of Tourism-Cordillera Administrative Region (DOT-
CAR) and the Department of Trade and Industry-CAR (DTI-CAR), provides financial and technical
assistance to artisans who sell their products. Furthermore, investors for tourism are encouraged to do
business in CAR through the Tourism Business Development and Marketing program by allowing
tax/revenue incentives to investors of tourism projects (NEDA, 2010).

Alongside the plan, the local government (LGU) of Benguet, the Capitol, provides strong support for the
Ibaloy artisans. Aside from providing technical and financial support to artisans in communities, they also
 organize events such as trade fairs where Ibaloy crafts can be promoted and sold. In partnership with the
National Commission for Culture and the Arts (NCCA), a policy making, coordinating and grants giving
body for culture and the arts in the Philippines, the LGU works to seeks traditional arts that have been
forgotten or nearing obsolescence. The NCCA approves and provides funds to buy and distribute musical
instruments, traditional clothing and other paraphernalia for cultural schools of the IPs. Furthermore, in
partnership with the DTI, the LGU provides product development trainers and facilitate the
entrepreneurs’ participation in fairs within and outside of Cordillera.

The Academe, the Indigenous People’s Organizations, and the Private Proprietors’ Initiatives

There are Indigenous Peoples Organizations (IPOs) such as the Igorota Foundation, Inc. which are
supportive institutions that look into heritage conservation using culture as a means for livelihood among
the Igorots. The academe also supports the Ibaloys through research and programs involving IPs, their
material culture and livelihood initiatives. There are also individual proprietors who contribute in their
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own ways. As an example, there is one IP who is a crafts proprietor who donates from her profits for the
development projects of the Onjon ni Ivadoy of which she is a member of. Other community-based crafts
makers form guilds and are assisted by the local government of Benguet for their training and the
improvement of their products, marketing and exposure.

The challenges and opportunities for the development and promotion of Ibaloy crafts as tourism products
are summarized in the framework in Figure 2:

-- Figure 2. Challenges, strengths and opportunities for the development and promotion of Ibaloy crafts
as tourism products - -

Recommendations of the Ibaloys

The Ibaloys and cultural advocates say that there is a still a felt need to acknowledge them and promote
the indigenous cultures in the city. Continuous technical and financial support for the livelihood initiatives
are needed to underpin the indigenous crafts industry, which require funding support for business
ventures of Ibaloys and other indigenous artisans. IP 6 expressed the need for “continuous learning,
continuous enhancement of products and collaboration with agencies who can give support.”

Other recommendations mentioned include: continuous support from the national government, the
utilization of the new media or the internet as a means to promote and sell crafts, and continuous
research and support programs from IPOs and supportive institutions. The academe’s major contribution
on research initiatives at the University of the Philippines Baguio’s Cordillera Studies Center and other
universities should be applied hand in hand with projects where indigenous crafts are innovated such as
what is done in Baguio State University.

The furthering of crafts development trainings for artisans, culturally sensitive crafts innovation, balanced
promotion with cultural education through proper labeling and write-up or blurbs for each product,
providing a marketplace for such crafts, and the promotion of these via trade fairs, events, cultural shows
and the “new media”, community livelihoods initiatives in local industries, as well as innovations by
artisans, can be leveraged.
 Discussion

There is a wide variety of crafts that the Ibaloys produce, each with its distinct utility as either for
household or agriculture purposes, clothing and bodily ornaments, toys or as musical instruments, or as
ritual objects. These crafts are distinct to the Ibaloy and are representative of their culture and way of
life. In the identification of the particular crafts which can be produced for commercial consumption, it is
essential that the Ibaloys themselves are the ones who are involved since they are in the best position to
determine which can be shared for public consumption. As pointed out by Lindsay (2005), IPs have prior
knowledge on their immediate environment and are aware of their cultural limits and the significance of
the objects they produce, hence they are most rightful to be decision-makers of what and how products
should be developed and produced, and how these should be included in the market.

Indigenous entrepreneurship wherein Ibaloy crafts are appropriated for commercial purposes is seen as a
livelihood opportunity and with corollary positive benefits for the Ibaloys. At the same time, there are
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notable aspirations that were expressed on what can be achieved, i.e. that ultimately it would be the
Ibaloys who would benefit from this endeavor, that their culture be made known through the crafts, and
further that the crafts not become commodities that are just sold and profited from. There was also an
expression of the hope that their culture can be made known through their crafts, with a distinction made
between the Ibaloy crafts from those produced by other IPs in the Cordillera region.

It is henceforth apparent that in order for indigenous entrepreneurship to become a sustainable

endeavor for the Ibaloys, an essential element advanced by Lindsay (2005) must be in place, and that is to
put the IPs in the position where they are major decision-makers and play active involvement in the
industries that hail from their own cultures and knowledge systems.

There are a number of challenges that have to be addressed in order for any entrepreneurial endeavor of
the Ibaloys to succeed. To begin with, there is a lack of interest by younger generations of their own
culture, and hence are not keen on acquiring the necessary skills related to their crafts. This finding is
consistent with the idea advanced by Butler and Hinch (2007) that traditional crafts and art forms are at
risk when there is no interest amongst the younger generations, adding that the wisdom of the elders
have to be tapped in order to pass on indigenous knowledge to future generations. Competition from
other producers, with mass produced souvenir items available in malls and shops, add to the difficulties
in promoting Ibaloy crafts as tourist souvenirs. The lack of access to finance as well as technical advice
and mentoring on entrepreneurial ventures is experienced by the Ibaloys who expressed their hope for
more support from the government. The success of entrepreneurial ventures of the Ibaloys is hence
deemed as partially hinged on the ability of the government to provide support. As pointed by Whitford
and Ruhanen (2010) indigenous economic development projects have the chance of becoming
sustainable when government support is in place; this includes the facilitation of effective governance
and holistic development strategies.

The works of guilds serve as an impetus to the preservation of the rich cultural heritage of the Ibaloys as
indigenous peoples. Through the guilds that are uniting as a community, the Ibaloys are able to assert
their identity and share their culture. The guilds are also instrumental for holding events and festivities
where the Ibaloys are able to showcase their material culture by wearing them in parades and cultural
performances, and using them during the rituals they perform. The conduct of events, therefore, are of
high significance for the perpetuation of Ibaloy crafts because their production depends on the frequency
 of use by the Ibaloys for their activities. When they no longer practice their traditional livelihoods and
spiritual activities, so will the production and use of the objects.

Events are avenues for crafts to enhance tourism experience for festival goers. As these crafts (including
clothing, baskets, brooms, instruments, etc., and intangible aspects of culture like music) are showcased
during these events. Furthermore, these events do not merely exist as a show for the citizens of Baguio or
Benguet, or for the tourists who visit. Rather, these events exist as a “coming together” of the Ibaloy
people as one indigenous people that share a common ancestry. Further, events serve to educate the
younger Ibaloys about their culture, including their material culture through this actual get together,
music and dances, and real rituals undertaken. Thus, the events being just a tourism “show” is something
more. It is a sort of reunion that is important for every indigenous individuals’ assertion of their identities.

The Ibaloys have concerns regarding indigenous entrepreneurship that are common to all other
indigenous communities throughout the world. Commodification of culture and the need to balance the
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interests of all stakeholders are among the potential issues that arise. As Hindle and Lansdowne (2005)
conveyed, “indigenous entrepreneurs can use their heritage-they don’t have to lose it when they set out
in pursuit of venture success.’’ Similar to what has been suggested in other studies, in order to help
indigenous businesses become a sustainable endeavor, what is important is that there is continuous
support from the government through programs that provide assistance to indigenous people in various
forms such as advise on marketing and promotional strategy, and access to finance. Government and all
other stakeholders should always bear in mind that what is important is that there is a respect for and
focus on keeping the traditions and culture of all indigenous groups as they embark on entrepreneurship
activities.

Conclusion

Other than serving their purpose in an Ibaloy household and as objects used for special occasions, this
study found that Ibaloy crafts have the potential to be developed as tourism products and thereby serve
to promote the tourism destination and the ethnicity of the Ibaloys.

There are many challenges faced by the Ibaloys and other sectors involved in developing and promoting
Ibaloy crafts as tourism products. However the availability of resources, both human and non-human, and
collaborative support by the government and other institutions can bring opportunities that will lead
Ibaloy crafts to become prime tourist products. These, however, must be approached cautiously, bearing
in mind that there could be negative ramifications on the material culture without safeguards in place.

Recognizing the bright prospect for the development of Ibaloy crafts as tourism products, as well as the
challenges that need to be addressed, areas for policy intervention in order to have sustained economic
empowerment through indigenous entrepreneurship should be identified, alongside efforts to continue
cultural preservation.

In tapping opportunities for the development and promotion of the Ibaloy’s crafts as tourist products, the
twofold objective should be to enable indigenous entrepreneurship to flourish so that Ibaloys are able to
pursue livelihood that will sustain and uplift them economically, and at the same time to preserve their
material culture and non-tangible aspects of their culture.

The Ibaloys are the first settlers in the Baguio City. With influences from the modern world and the
seemingly loss of interest in their culture among the younger generation, there is an imminent danger of
 eradication of the values and traditions of the group. Indigenous entrepreneurship involving the
promotion of crafts as tourism products may be an avenue for the preservation of Ibaloy culture, aside
from its potential as a means of livelihood.

Opportunities for the development of Ibaloy crafts, not just as tourism products are vast. The use of new
media or the internet via e-commerce can enable cultural objects to be showcased and sold thus, even
furthering the promotion of tourist attractions. All these, however, must be accompanied with rightful
guidance and regulation of sectors concerned, especially the IPs themselves, in order to protect the
dignity of the Ibaloys and other indigenous groups’ cultural patrimony.

Future studies can explore the potential of cultural tourism in the Cordillera Administrative Region which
would highlight Ibaloy crafts as part of the visitor experience.
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Fig 1. Conceptual Framework

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Fig. 2 Challenges, Strengths and Opportunities for the Development and Promotion of
Ibaloy Crafts as Tourism Products
 Category Craft name in local term Description
Household Boyboy small brooms made in Sablan, Benguet
crafts Rope made from maguey plant fibers
Karing grass toy grasshopper
shuyo, abuyo wooden food bowls
Irus wooden spoon
Batbatan food tray for swine
Kawil coconut shell bowl
Crafts for kayabang and apid vegetable basket and rattan sling
agriculture Pakkong bamboo noise makers against snakes
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Musical Solibao bamboo drum

instruments Kimbal bamboo drum (has higher pitch than
solibao)
ganza and pinsak gongs
Tiktik iron clappers for ceremonial rituals
Ritual objects sahob ritual basket
singkalong offering container made of bamboo
Kawil coconut shell bowl
Clothing and Kuval G-string for men
bodily Duvet wrap-around skirt for women
Ornaments katjan ono necklace made from katjan seeds
Textile, Kulbong weave design
embroidery seded weave design
Ginalut weave design
Digao weave design
patda star, mountain traditional embroidery

Table 1. Categories of Ibaloy crafts