At Whang-od’s village, is there a place for modern tattoo?

We are used to seeing the legendary tattoo artist or mambabatok Apo Whang-od Oggay giving her signature three-dot tattoo to visitors in her village in Buscalan, Lubuagan, Kalinga.

But, four days ago, someone posted a video of Whang-od this time on the receiving end, being tattooed by a German tourist, only named as Linda, with a portable tattoo gun or machine.

A young and equally famous mambabatok from Whang-od’s own Butbut tribe raised concerns over the video. In a Facebook post, Ammin Acha-ur questione the use of the tattoo gun.

“This is inappropriate…. From my personal perspective, it’s irrelevant to ink Apo Whang-od in a mechanical way,” Acha-ur said, adding that she felt compelled to speak despite initial hesitation.

Acha-ur framed her concerns not as a personal attack but as a cultural issue, asking why modern tools were being introduced into a place widely known as a center of traditional tattooing.

She also raised questions about consent and context, suggesting that decisions surrounding such practices should be understood within the broader framework of Indigenous identity and heritage.

“Documenting and getting ink is already a privilege,” she said, emphasizing the need to protect the community’s traditions and hospitality.

Supporters of contemporary approaches argue that the use of mechanical tattooing may represent a form of artistic evolution or collaboration, particularly given Whang-od’s global recognition. They point to the agency of artists and clients alike in shaping how traditions adapt in a modern context.

Acha-ur used to tattoo when invited in other places in the Philippines, but recently she opened a shop at Ili Likha in Baguio, still using the indigenous method of thorns and soot.

Acha-ur and other cultural advocates counter that meaningful exchange should remain grounded in traditional techniques. They have called for clearer community guidelines to help residents navigate the growing intersection between tourism and cultural preservation.

“Sabihin natin gusto niya? Bakit niya nagustuhan?” Ammin asked. (Let us say she wanted it. But why did she come to want it?)

“Let’s go back to the agenda of why there are mechanical tools in a particular place like Buscalan, a renowned center of traditional tattooing culture. It was brought there for a purpose. The hospitality of our culture needs a better protection to prevent such acts that even the community itself doesn’t have the knowledge for its consequences,” she said.

Buscalan currently has no formal rules governing the use of modern tattoo equipment during sessions with elders, leaving decisions largely informal and open to interpretation. The lack of structure has contributed to ongoing discussions among artists, residents, and cultural workers about how best to safeguard the integrity of batok.

Whang-od is being assisted by her great nieces who do most of the tattooing.

For many in the Cordillera region, the issue goes beyond tools and techniques. It reflects broader questions about ownership, authenticity, and the responsibilities that come with global attention.

“There’s a better way for cultural exchange and to appreciate Apo Whang-od or the tradition of tattooing. Documenting and getting ink is already a privilege to someone visiting the village,” Ammin said. – Rappler.com

At Whang-od’s village, is there a place for modern tattoo?