Almost 25 years have passed since Tam-awan Village was inspired as a village of authentic Ifugao huts transported to Longlong Road, Pinsao Proper, Baguio City from the province.
Evolving into a culture and artists center of the city, it continues to celebrate the lifeways, crafts, and arts that are unique to the mountains.
On weekends, college students perform the different dances of the ethno-linguistic groups in this highland region. Although the wrap around skirts and the G-strings are of the Kalinga group, they give a short description of the dances and their meaning as they perform these for the visitors.
Some of the dances are from the Mt. Province or Ifugao. Community dancing is encouraged to have the guests feel the tayao or thanksgiving dance during feasts. Those who are curious about how the gongs are played can learn the fundamentals of this part of the culture.
At times, the nose flute can also be learned in the area. These students serve as resource persons on Saturdays and Sundays and the donations earned are split among them for their pocket money through the week.
There is a main gallery that often exhibits artworks of local visual and installation artists.
At this time, the works of two generations of Mango-sans are displayed.
Ga-eb 3 has James, the father, Sultan, and Jordan, his sons, with baskets, solar paintings, and portraits showcased.
Rattan basket weaving has been a lifestyle more than an art form in many villages of the Cordillera.
Growing up with basket weaving and backstrap loom weaving in. the household, many of the elements in the show have these material cultures in the frames.
Solar paintings of Sultan are almost life-like. The intricate arrangement of the rattan strands in baskets and a pasiking or backpack are like a photograph done in fine wood burn. These appear like these can be touched.
Jordan, on the other hand, has refined his wood burning and his images of different mothers and children are rendered with symbols in a fashion like woven fabrics of Abra and Paracelis, Mountain Province.
There is a pattern within a pattern, but these are neatly arranged and pleasant to look at. On the other hand, the basket shows a finesse in the skill of winding the twine into different shapes and sizes. These are also used to decorate bottles or jars by the father.
The influence of the artforms in the sons’ expressions will store the unique cultural element through time in their special medium of solar painting.
The Ugnayan Gallery of Tam-awan Village is space for visiting art groups. Diverse paintings express the milieu from which they derive their expressions.
The painting of Domeng Cruz has texture because this is done with acrylic paint. Cruz in Water Lilies has allowed the properties of acrylic paints to express his ideas making colorful textures appear.
Marco Canas used the egg tray as his canvas for a portrait. There are also other paintings of Cordillera women included among the works of the Pangasinan artists. These showed the fascination for the most popular images of tattooed and beaded elder women. In a way, the exchange of content exposes the art and allows the initiation of other ideas.
The dining area offers pinikpikan or boiled smoked chicken with etag or sundried pork belly. Brewed Benguet coffee is also available to warm the guests on cooler days.
Although, the other dishes on the menu are common and available in other cafés, these are prepared with local produce.
The tapuey or rice wine is available for those who want to sample it and at times, demonstrations on how to make this is done here too.
Tam-awan Village is still a venue for culture and art all year round. This is where one encounters the artist, practices, handicrafts, and cuisine on ordinary days.
