KINDS, USES, AND IMPLICATIONS OF WOVEN

ETHNIC MATERIALS OF THE BENGUET PEOPLE'

Erlinda B. Alupias', Betty T. Gayao',

Dalen T. Meldoz' and Jaila S. Sagpa-ey4

ABSTRACT

Ethnic clothes and blankets are important elements of the Cordilleran culture. Benguet tribes of the
Northern Philippines have a high regard for the woven ethnic costumes and blankets, as an identity of their
culture. This study aimed to document the historical background of the woven ethnic materials in Benguet
Province, Philippines; the different kinds, uses and implications of these ethnic woven cloths; and the potentials
of improving them.

The different woven ethnic materials of the Benguet tribes are blankets and the clothes worn by 1nen and
\Vornen. There are two 1najor tribes of Benguet that were considered in this study, the Kankana-eys and Ibalois.
These two tribes have the san1e attires and clothes but differ in the local tenn. Major blankets are the pinagpagan,
dilli/shendi, kuabawlsarong, bayaonglkoieba>t\ and bandala!safey. The aiahdang, which used to be the blanket
for the very rich, is seldon1 used. Other blankets like n1anta and adefus are the co1nn1on ones. The ,nabli was
used in the later years, mostly by the Kalanguyas, another Benguet tribe. The different kinds of blankets implies
the social status of the user. The social status can be inherited or acquired and have sub-levels that are determined
by the number of eyes/eyelets embedded in the designs of the blankets.

The won1en's costume is a pair of tapis, which is composed of a wrap-around skirt and blouse (ka,nbal
or sa,nbra). There are different kinds of color co1nbinations of the tapis, while the ordinary one is a co1nbination
of the black and white. For the Kankana-ey tribes, aside frotn the cotnmon tapis, they also have another design
called lamma. For the men, they wear G-string (kubalkuval). The Kankana-eys have different kinds of kuba: the
baa, binoltong, pillac, pinangsas and sinulan1a11. The Ibaloi's kuval are the pinangsas/padasan and donas. The
kind of clothing worn by the 1nen and women must also correspond with the blanket used, which implies the
social status of the user. Originally, these clothings were used for casual wears by their ancestors. At the time of
the study, they are used during special occasions, rituals, and festivals.

Benguet cloth is generally composed of red, black and white colors. The figures embedded in the
pinagpagan blankets are X or the shield, man, snake and the eye-like design. Generally, the kind of cloth that
they use especially for ritual offerings is inherited, meaning they follow what was used by their ancestors during
their time. The exact meanings or implications of the designs and patterns of the ethnic cloths are not fully
understood by the Benguet elde1~ interviewed. Their perception is that if the cloths have better quality and have
more complicated design, and with brighter colors, it is more expensive. This implies wealth and/or prestige for
those who were able to buy and use it in the early days.

To sustain the cultural identity, there is a great potential in itnproving the ethnic woven materials to cope
with the new trends of lifestyle/fashion. It is good to note that the uses of the native blankets and attires transcend
from merely for ceremonial but also into other purposes. At present, gowns out of native cloth, decorations,
and modified attires are out in the market. Different products like poncho/vest, dress, gowns, table 1unners, and
clothes patterned from the original designs and motif of native attires are available in the markets.

Keytvords: woven ethnic materials/costumes/ clothes; Cordillera Philippines

Abbreviations: Kn - Kankana-ey, lb - Ibaloi
BSU Research Journal 64 January -June 2010

INTRODUCTION

The foundation of every Cordillera tribe is the attires are similar for all tribes. Whal differ
its culture and tradition which paved the way to the among them are their lifestyles, rituals and beliefs.
retention of the talent and skill of weaving that had Even in the clothing of the people, the culture is
been passed on from generation to generation. embedded probably to serve as a way to pass on
History tells that Benguet people were not inclined the culture and the innate artistry of the people.
to weaving. They were dependent on the clothing On this premise, the study aimed to: trace and
and blankets that were introduced by the llocano document the historical background of the ethnic
weavers and traders from Tagudin, llocos Sur. It woven materials of the Benguet tribes; determine
was later in the 1980's, with the introduction of the different kinds, uses and implications the
loom weaving industry to the Benguet people different designs patterns and symbols in the
that they started weaving the ethnic costumes tapestry and determine the potentials of improving
and blankets following usual design of clothing these woven material culture. This study is part
they used to buy from llocos. Each community of the baseline study on the textile industry of
group has their respective designs, colors, and Benguet province.
symbolism. The blankets and articles of clothing
that they produce by means of backstrap do not
only fulfill a practical function but also play a part MATERIALS AND METHODS
in religion and ritual (DTI Report, 2007). Miligard
(1991) states that textile probably play one of
their most important roles at the time of death The study approach started with the
as funerals necessitated the lavish use of cloth collection of secondary data from published and
in each stage of the ritual. Records show that unpublished reports, and from key informant
Lieutenant Colonel Guillermo Galvey, governor of interviews during reconnaissance field survey.
the lgorot territory in 1882, climbed a section of This was followed by in-depth interviewing of
Mt. Cabunian near Bakun, Benguet to visit lfugao individuals who have the knowledge on these
tombs and there he examined 'the cadavers woven fabrics used by Benguet people, mostly
inside 24 coffins and found them all wrapped in the old folks. The tools used in data gathering
a wealth of good blankets (Scott, 1970 cited by were semi-structured interview guides, direct
Miligard, 1991). observations, and focus group discussions. Photo
documentations of the materials were collected.
The province of Benguet has two major The respondents were delimited to the major tribes
tribes, the lbalois and the Kankana-eys. Other of Benguet - the lbalois and the Kankana-eys.
tribes found in the province are the Kalanguyas,
lkalahans, lkaraos, and the 1-owak. These different The key information gathered were: ( 1)
tribes are rich in different culture. Clothing is the What is the historical background of ethnic woven
basic material culture that gives a distinct identity materials of the Benguet tribes; 2)What are the
for the Benguet people. The basic clothing that kinds, uses, implications or meanings of the
the old people used to wear is the devil and different woven ethnic material culture; (3) What
kambal (skirt and blouse) for women and the are the potentials of improving and sustaining
kuval (G-string) for men. The color and design of these woven ethnic materials?

'This study is part of a project that gathered baseline data on the status
and potentials of the textile industry in Benguet Province and the
other provinces of the Cordillera Administrative Region implemented
by members of CARASUC with Sen. Angara's financial assistance.
'Associate Professor (UBA), 'Science Research Specialist (NPRCRTC),
and 'Research Assistant
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ALUPIAS, E.B. et al.: Kinds, Uses and Implications of the Different. ..

RESULTS AND DISCUSSIONS

Historical Background of Ethnic Woven

Materials of the Benguet Tribes

Clothes and blankets are important done in the llocos and was specifically centered in
elements of the Cordilleran culture. Benguet the weaving towns of Amianan Northern llocos.
tribes likewise have a high regard for their ethnic
costumes and blankets as an identity of their Aside from the fact that culturally, Benguet
culture. Clothing and blankets are not simply used people are not inclined with weaving, there
as attires which keep the body warm at night, but is also a view that there is no available artifact
as a symbol of the social status of the user, more that would enlighten the history of textile in the
of his/her ancestors. More often, they are used as province. Miligard (1991) also mentioned that
offerings during their rituals. there is inadequate archaeological evidence and
document which preludes the reconstruction of
There is no specific literature on the the history of cloth production not only in Northern
Benguet clothing. Most literatures are focused on Luzon but also throughout the Philippines
general situationer of the region on this matter. archipelago. It cannot be stated with certainty
Secondary data available discussed more on how textile traditions spread and developed both
lfugao, Kalinga, and Bontoc tapestry. However, outside and within island areas.
this may be supported by the findings of Races
(1991) that lbaloi, lsneg, and llongot "do not Mrs. Evelyn S. Laway, of Tuba, retold the
appear to have enjoyed a weaving tradition per story of her great grandfather that of a rich man
se. These three groups however contrived an named Melo and his wife Shamja from Indonesia
extremely refined accessory repertoire applied who traveled far away to get rid of a conflict.
to fabrics acquired through trade. Moreover, the Bringing with them some important belongings,
lbaloi seemed perfectly content with tailoring they begun their expedition passing through
layered clothing from llocano plaids (Races, the Celebes Sea, they landed at Lingayen
1991 ). Gulf. Looking for a better place to live they find
themselves settled at Loo, Buguias. Later, their
Another account was mentioned by Races daughter, Baksay married a man from Besao.
(1991). Generally, in the Cordillera, Conquistador Baksay, being the wife, was obliged to live with
Alonso Martin Quirante, wrote in 1624 of a way her husband's place. There, she passed the
with clothing which was to change little in the next knowledge and skills on weaving. For that reason,
three centuries, for most of the Cordilleras. The skills on weaving were given to the people of the
ordinary dress and costume of these people is a Mountain Province not to Benguet people. It was
loose shock of disheveled hair that reaches below only in the later years of (1980's) that weaving
the ears, and certain bands about one foot wide was embraced by the Benguet people when they
made from the bark of trees. Having wound these started weaving the ethnic costumes and blankets
about the waist, they twist to cover their private but still following the original design made by the
parts. These they call 'bahag', the chiefs wear llocanos.
1/ocano blankets .. .inherited from their ancestors;
this garment is crossed from the shoulder to the Truly, Benguet people did not originally
waist, where they knot it. Thus, they go, without produce their woven cloth. Mr. Agu "Edison"
any other clothes or shoes whatever. Nagayus, 87, of Atok recanted that the use of
woven clothing was introduced
Even in Spanish documents, production of by the Tagudin traders.
textile or textile weaving in the country was mostly Accordingly, these products

38 iM· #flaiiiiMiiiihiiiiiiib- -¥¥6¥ihiii§hiiP¥M-M 4 iiihiiididiiiiiih€ 1A~-¥iiiiiiHi#ikidHiiid##~#M

BSU Research Journal 64 January - June 201 0

are traded to the mountain areas, which later be similar with what the ancestors have used,
were accepted by the highland people. Woven meaning the status is hereditary. When a person
products were then considered precious both to is dead, the kind of blanket that is used to wrap
the Tagudin and upland people. The introduction him will serve as an identification for him/her to
earmarked a great trading relationship between be acknowledged by the ancestors in the spirit
the two groups. world.

Interviews with the weavers and traders of The different types of blankets that are
Benguet ethnic cloths reveal that aside from the used by the Benguet people are:
supplies coming from the lowlands, there are now
a number of local weavers who are making the Alahdang (Kn) Ala'shang {lb ). This is
Cordillera woven attires which includes Benguet the highest kind of ethnic blanket that the richest
costumes and blankets. among the rich families used. It was said that a
man who performed a cafiao by butchering 25
Kinds, Uses, and Implications pigs at one setting can use this kind of blanket.
of the Different Woven Ethnic Unfortunately there was no collection of alahdang
Materials of Benguet found during the study, not even the old time
weavers in the Lowlands have it, so, no photo
Both Kankana-ey and lbaloi tribes of was taken. According to the informants, this
Benguet have almost the same kind of blankets, kind of blanket is very rarely used now a days.
clothing and accessories. These are used Accordingly, what makes it different from other
during rituals, ceremonies and special events blankets is that it is thicker, and the square design
in the community. The knowledge on the use of is bigger. Alahdang/ala'shang is known among
clothing, blankets and accessories is passed on the Kankana-ey tribe of Benguet and the lbaloi
by oral tradition. Kinds and uses of the different tribe in Kabayan. This blanket is not used much
blankets and attires are discussed with photo in Bokod, Sablan, and Ilagan, municipalities of
documentation in the ensuing pages. Benguet, where most people belong to the lbaloi
tribe. In Mountain Province, it is likewise the
Ethnic Blankets highest form of blanket.

Ethnic blanket is commonly referred to Pinagpagan. It is considered the second

as the cloth being used to keep the body warm highest status blanket usually used by the
and protect against coldness especially at night. Kankana-eys and the lbalois (Figure 1) though at
However, in the Benguet, it is a part of their present, it is now the highest in the absence of
material culture. Known as ketap or ules for the Alahdang. The pinagpagan is more popular
the lbaloi and ga/ey for the Kankana-ey, these to the Kankana-eys both from Benguet and Mt.
blankets depict the social status of the person Province as blanket for the kadangyans (rich). For
using them. Thus, not anybody can use any kind the Benguet people, it is a blanket used only by a
of blanket especially the ones specified for the rich person who has performed the highest level
babaknangs (rich people). It is a taboo for the old of cafiao called "peshet". The number of eyelet
folks because they believe that a family member design of the blanket is an indicator which equates
might get sick or something not good will happen the number of animals butchered by the user during
and that the spirits will require him to perform a his most recent canao. For the respondents from
canao (cultural feast). the municipality of Bakun, this is an ethnic blanket
with a design of 11 to 15 eyes/eyelets or batek. It
Mr. Sally Kayat, a mambunong (pagan is a tradition that only the rich old men can use it.
priest) of Sablan stated that However, there are some considerations in their
native cloth and attires are culture. Pinagpagan can also be used by an old
considered important as the man who passed the canao tradition. A young man
flag. Blankets to be used must can also use it but he should have performed the

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39
Fig 1. Pinagpagan has a color
combination of red and black
seen in both sides. Black and
white is concentrated on the
center part of the blanket
(Photo tal<en at Ailyn's store,
Abatan, Buguias, Benguet.)

Fig 2. (below photos). Shows the different collections of pinagpagan from the differ~_nt sources

Photo taken
from Benguet
Capitol
Tourism Office

Photo tal<en
at Tinongdan,
Barangay
Hail, ltogon ,
Benguet

Pinagpagan
owned by
Ms. Aileen of
Buguias

Owned by Mrs.
Evelyn Laway
of Asin, Baguio
City

40 llllf..tltl< I lllf I 111111IIIllll.i*"'1II111111111111111111 u.+-1111I1111 II I I I I J 11111 ~»-41 I I tit 1111111111111 .,....,. ,

BSU Research Journal 64 JanuartJ • June 2010

Fig 3. On both sides of the blanket

are column panels with designs of X
(shield), snake and man. The middle
part of the plnagpagan blanket is
plainly white with six columns of
black strips.
Genuine attire can be determined
by the arrangement of the X, snake
and man. The position of the snake
which should be chasing the man.

Fig 4. On both ends of the middle columns

of the blanket are the eyelet designs. The
number of eyelets is varied. There are 9,
11 , 13 & 15. The difference in the eyelet
design depends on the source of the
blanket or weaver's design.

Fig 5. Plnagpagan blankets

with eyelets embroid ered
in red design representing
light.

Fig 6. The middle part of the

plnagpagan blanket is white
background with three wide black
panels and white thin stripe
dividing each black panel.

i i•tDt+HWl llllltlllllll1Uilllt-tlt*illlUII Ii l1 I 1l1i•11,....,.t1tU th,., 11,,t111,111 , ............. ,, ,1t1 fl 111111 IIJ IHN ...........
41
ALUPIAS, E.B. et al.: __Ki_nds, Uses and Implicatio~s of_J'}e Di.fferent. ..

cafiao required. Folks from Kibungan seconded Tublay they are not very particular about these
that to them, pinagpagan is the second highest rules.
blanket next to alahdang. It has a sub-level by
number of eyes such as 9, 11, 13 and 15. More, On the other hand, some people became
pinagpagan can be used as an offering or worn flexible in using shendi. They may be entitled
by someone who performed a canao with 15 pigs to use shendi when they have acquired wealth
butchered at one time. For a woman, 13 pigs can through their own effort. An example is the case of
make her use such a blanket. A woman from Atok Mr. Apilis Mania from Kabayan. He was given the
view pinagpagan as blanket used by a baknang privilege to use/to have a shendi after performing
(rich person) who have performed the peshet (a a certain steps of cafiao. Later, he acquired a
highest level of cafiao). · pinagpagan blanket after performing the next
higher level of cafiao. This was seconded by
Di/Ii (Kn)/ Shendi/Chindi (lb) is one of the Mr. Retonio Saguid of Kabayan, that shendi can
status blankets being used by the Benguet people be inherited or acquired by someone who had
(Fig. 7). To most lbaloi areas, this is the highest perform the peshet. In Bakun, dilli!shendi is known
blanket use by wealthy families. Though there are as the blanket woven from !locos. Combination
pinagpagan and alahdang, few have mentioned of dilli blanket and a salibobo (head band) are
the existence of these two higher blankets in their commonly used in Buguias.
respective lbaloi communities. In the Kankana-ey
areas, di/Ii is the third highest blanket. The dilli/ The documented uses of dilli!shendi are
shendi has sub-levels as distinguished in the as follows:
number of eyelet found in it.
Di/Iii shendi blanket is used by men when
The number of eyes varies from 9, 11, 13 performing the tayaw (native dance). A woman
and 15 similar to the pinagpagan . .This number to be paired with the dancer must also belong to
of eyes corresponds to the number of pigs one a wealthy family and should use the sarong (lb)/
has butchered during the latest performed canao. kuabaw (Kn)- the status blanket for women.
According to the old folks, since this kind of blanket
is a symbol of prestige, it is a requirement that the When a dead person has a rich ancestor,
one who will use this must be someone who has shendi is placed beside or on top of the head of
performed the rich man's cafiao (peshet). his corpse, with the belief that this blanket (spirit of
the blanket) will be recognized by his ancestors.
Interpretation and usage of attires are not
the same in different communities even those Another view was mentioned by Mrs.
belonging to same ethno-linguistic group. The Evelyn Laway of Tuba, that shendi is placed
lbalois have a higher regard on shendi since it to cover the coffin so that the spirit of the dead
is popularly recognized as their highest blanket. person will know and accept that he is already
Like in Bokod, this status blanket is passed on to dead.
the next generation or inherited. Mr. Willy Velasco
reiterated this during an interview that a dead For the lkarao of Bokod, account on the
person who may have perform several canaos use of chindilshendi was lifted from the research
can not be wrapped with shendi upon death if study of Marvin Atos ( 1982). It says that there are
his parents did not use the same blanket. In like two kinds of blankets used in cafiao - the chindi/
manner, even one did not perform a rich man's shendi, the status blanket of the men which is
cafiao if his parents or grandparents who have paired with a kiyodog a women's blanket when
gone ahead used shendi, then he has to have the dancing. A pair of kiyodog and chindi is needed
same kind of blanket. Originally, Velasco's family for kasew or keshaw, i.e. a
roots came from Bokod but they settled in Tublay, ritual performed when the
hence, he has to carry the culture of his family spirits ask an offering through
from his origin. In the case of original people of dreams. For the rich dead, a

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 Januwy - June 201 O

Fig 7. Shendildil/i. The design of this

blanket is simpler than the pinagpagan.
The middle panel has the same design
with that of the pinagpagan but with
wider space in between the black
columns. The difference is on the
design of the side panels, which
consist of red and black strips. Both
ends of the shendi blanl<et have eyelet
design which has varied number of
eyelets.

Fig 8. Shendi /di/Ii

owned by
Mr. Luis Bongsiw
of Bokod, Benguet.

Fig 9. Shendlldi/li
owned by
Mr. Willy Velasco
of Bokod and Tublay.

Fig 10. The vertical

sides of the shendildi/li
blanket has a design of
red and black strips.

43
A_LUPIAS, E.B._ et _al.: Indig_enous l(noiy_leclgf! on the P~o_dl_'ct_io!~ -~nd P_r_oces_~~(19: ..

status blanket (chindi) is hung inside the room Kuabaw (Kn)/ Sarong (lb). This kind of
during his wake. blanket (Fig. 11) is said to be for rich women. It
must be paired with pinagpagan and/or shendi.
In Suyoc, Mankayan, and Buguias, as The lbalois has similar rules on the use of this
mentioned by Mr. Ago Nagayus, the use of di/Ii for blanl<el. The use is inherited but can be acquired
a dead woman, is paired with bayaong, /amma, by performing some rituals.
and eten. Meanwhile, di/Ii with 13 eyelets, two
salibobos, and a bayaong are used for dead men. In Bakun, another interpretation was
Di/Ii is used to wrap the corpse of a rich man. As given. The kuabaw is the generic term for sinikwit
part of the ritual, a male pig must be butchered and tinuang. These two have the same figures
and a cow or carabao can be added if the family but the difference is observed in the way the X is
can afford. designed. The old folks also stated that tinuang
can be used by older men and for the dead male
Di/Ii and pinagpagan can be used by both person; while the sinikwit is used by younger men
living and dead person. Di/Ii blanket is paired with and can also be used in other occasions. Mr. Sally
bayaong to wrap a dead body or for offering during of Sablan said that kuabaw is a "kadaanan nga
rituals. Interview with folks from Labey, Tublay enabel nga ada sinantatao na", (oldest blanket
mentioned that di/Ii has a level of 13-15 eyelets with man-like design).
and must be paired with bedbed!sa/ibobo (head
band) having the same number of eyelets. Di/Ii It is to note that the word sarong in lbaloi
with 13 eyelets is said to be the lowest level that is the dance performed by a woman using the
can be use by old men having many grandchildren blanket sarong (Figures 12 & 13) that is paired
even if they did not perform canao. In Kabayan, with the man dancing the ta yaw with the shendi.
it is a must that a new shendi must be bought for
the dead. The photos in Figure 13 and 14 are taken
from collections of two families.
Maya Dimas, a mambunong from Guise!,
ltogon disclosed that when two shendi blankets Bayaong (Kn)/ Safey (lb). It is the basic
are used, it means that his ancestors have common blanket used by a person of any status.
performed the highest canao called peshitlkedut, This is used as an ordinary blanket for the living
wherein 15 pigs and animals are butchered at a people since it is the cheapest and only available
time. The pigs are tied and lined up on the ground design during the olden days. At present, they are
then they dance the tayaw (lbaloi dance) around used for offering during rituals and for wrapping
the pigs. A person who performed a lower form of the dead. Bayaong/safey is ordinarily paired with
canao is allowed to use one shendi and a white bandala/kolebaw. If a dead person is rich or had
blanket. performed the kedot or peshet, his/her corpse is
wrapped with three kinds of ethnic blankets: the
Figure 8 shows the picture of a shendi bayaong!safey, banadala!kolebaw, plus shendi/
that is owned by Mr. Luis Bongsiw of Bokod. di/Ii or pinagpagan or a/ahdang. Bayaong is also
Accordingly, this kind blanket can only be kept or used to wrap the corpse of a person who died at
owned by someone whose family had performed young age and those who have no children. This
a canao. Another sample of shendi (Figure blanket is usually offered during death-related
9) is owned by Mr. Willy Velasco of Bokod and rituals. For most, it is usually paired with the
Tublay. According to him, the use of shendi is bandala!kolebaw.
inherited. This blanket is used as an offering to
his ancestors every time he performs canao. He Further, Bakun folks mentioned that
is also privileged to dance the tayawwith this kind bayaong is used for dead
of blanket when attending cafiao. A person who person at age 30-50 years
did not perform a rich man's canao, cannot dance old while bandala is for 20-
the tayaw using this blanket. 30 yrs old. Both blankets are

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BSU Research .Joum a / 64 .January - J une 2010

Fig 11. The figures and color

combination of the lwabaw is
similar with the design of the
sides of the pinagpagan. Red
and black colors dominate the
whole blanket. The designs of X,
snake and man are placed in the
row. It has two wide black panels
at the middle.

Fig 12. Sarong (binakl<et

type) owned by Mrs. Evelyn
Laway of Asln Rd. Baguio
City. This is a simpler type of
sarong which is plain stripes
of red, black, and gray
without any figure design.

Fig 13. Sarong owned by

Mr. Bongsiw of Bokod is
similar· to that of with the
Velasco's. This type is
the old/original one,
consisting of the X,
snal<e and man figure.

Fig 14. Bayaong (Kn)/

safey {lb). It is a black-
dominated blanket with
two white stripes at the
middle part of the blanket.
Sometimes the
dominating color is dark
blue depending on the
availability of threads
the weavers can avail of.
Photo taken from the
Bongsiw's of Ambul<lao,
Bokod, Benguet
~_LUPI}i_S, E.B. et al.: Indigeno_Ll:~_ ]!nowle_(jfJ_e_ o~ t_he Production and Proc~s~infl_·_._

originally produced by the Ilocanos particularly with added yellow strips. This is used as offering
from Tagudin, llocos Sur and Bangar, La Union. during rituals for dead ancestors who have used
this blanket.
Banda/a (Kn)/ Kolebaw (lb). This is the
most common and basic blanket that is usually In Sapuan, Tublay, it is a part of the
paired with the bayaong!safey. This is said to be Kankana-ey culture that the dead person is not
the blanket for the poor or ordinary people either clothed but wrapped with the proper blanket.
living or dead. It is because the design is simple Pants and upper garments are placed on top of
and it is the cheapest kind of blanket that they the corpse. Wanes (G-string) is also included
can avail of in the early days. As mentioned regardless of whether the dead person have
earlier, these blankets are also used by people of used one or not. For women, inad-adug/bakket is
higher status together with any of the appropriate included.
blankets for higher status. It is noted that people
with higher status when they die, are wrapped with Women's Attire
3 to 4 layers of different kinds of blanket while the
ordinary or younger people are wrapped with only Tapis is the generic term for the complete
one or two blankets woman's attire (Fig. 17). This is composed of a
wrap around skirt called etenldevit in lbaloi and a
Other blankets blouse called either a lamma, sambra or kambal.
Unlike blankets, the use of tapis does not have
Manta. This is a blanket in pure white rules. To some people, it signifies the social status
with bird's eye designs in it made by the llocanos of the user. On the other hand, it is a majority
in llocos Province. According to Lakay Adawi, perception that tapis was used as an ordinary
mambunong of Tub lay, the manta or white blanket clothing of women. It is only in the present days
is included with the kadaanan or oldest blankets that tapis is used during special events because
when the dead person is half-Christian or those of the availability of so many kinds of clothing.
individuals still believing in old practices. For
some, this blanket is added in the middle layer There is no exact interpretation given as
of blankets to wrap the corpse of the person with to the color of the tapis. In the early days, black
higher status. This also offered during rituals. and white tapis are commonly used (Fig. 18).
Some people prefer to use this especially for dead Accordingly, black and white was the original
children. tapis for women. Although some, particularly in
Tuba and La Trinidad, say that the black/gray
Adefusladipospos (lb), This is a plainly and white strip design is usually for the poor. The
woven thin blanket, some have colored strips or bright colors are associated with the higher class.
checkered designs. This is a popular ordinary Later, more color combinations like red, white, and
llocano blanket. This is used by ordinary people black stripes made up the tapis. At present, green
or young children when dancing the tayaw and and yellow stripes are included denoting that the
sarong. One pair is used by men hanging on their user is rich or of Kankana-ey origin or both.
shoulders while dancing the tayaw. For women,
one blanket is wrapped around their body then Leano (1958) added that the poor lbaloi
they dance the sarong following the steps of the woman wore a single divit of llocano cloth with
man. After serving its ceremonial purposes, it can dark blue borders called ku/ebaw. An lbaloi woman
be used as an ordinary blanket or as eban (strap could wear a many-layered divit as wrap around
to carry babies). skirts but she must celebrate peshit to show she
can afford to use one - otherwise she wears the
Mabli. This is another design of a blanket single ku/ebaw even if she is
(Fig. 16)which is said to be used by the kalanguya's the wife of the rich man. Divit
of Kabayan and Buguias. It is said that this design is generally wide consisting at
was introduced later after the WWII, probably least six layers of woven cloth
an innovation of the bak-ket design of a blanket excluding the foundation cloth
46 Uifkh- 1ihiiiihiMJ¥¥iA! #MQ#Ahi#ihAH@- il-§S#iiWdh#Wi#iii§--~,- iiihhhhii&i#iH-·4#¥ #
0
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00
BSU Research Joumal 64 January - J une 2010

Fig 15. Banda/a (Kn)/

Kolebaw (lb) is a thin white
(dirty white) dominated
blanket with two wide black
strips at the center with equal
distance. This weaving
design originated from
Tagudin and Bangar, llocos
Sur.

Fig 16. The mabli blanket

which has a similar design
with that of the Benguet
bak-ket but the black is
more dominant than th e
other colors. It has stripes
of different colors such
as red, white, yellow, blue,
and black.

Fig. 18. The first design of a pair of

tapis, with black and white color
combination.

Fig 17. On the left Is a Benguet woman wearing Benguet tapis

during the Strawberry festival in La Trinidad, Benguet; right
photo shows the new style of tapis with yellow or green
stripes

i., I I tt U 11 t I uu i It,.,......... .
'1 l I DH+ta 1111t11111111111 u 11 .. HU..+-ctt 1111 i.111 u, 1 111, I ............. 111, •• ,, r .,, ti"' 111 H·f..n......
47
ALUP/AS, E.B. et al.: Indigenous /(no11.:ledge on thf! ~ro_<}-_'-!_Ct~o_n_?-_,nd Pro~f!S_sing._.: __

to which the layers are attached. The cloth that There are no meanings and interpretations
has black, white, and red strips is called bak-ket, of the colors of the kuba. The general rule is that,
the checkered parts is kambayashu. the kuba to be worn or offered during rituals should
also be the kind of kuba his father or ancestors
Some old women nowadays prefer to use have used. There are more kuba in the Kankana-
the lighter modern sewing of tapis rather than the ey areas than in the lbaloi side. Kankana-eys
use of katsa and the layering of several cloths, have the baa, binoltong, pi/lac, pinangsas, and
the reason why the old kind of tapis were so sinulaman. The lbalois have only the pinangsas,
thick. Also, with the availability of more colors, the padasan, and donas.
ethnic designs are being modified to adopt with
the present trend. Various color combinations are Baa is all pure black or dark blue in color;
now out in the market. the nawanisan kuba is dark blue or black with
three red stripes distributed evenly into columns;
With the entry of other beliefs and religions, the binoltong or etuling is dark blue with while
Benguet people are not compelled to cloth their stripes at both sides and the pilak kuba or padasan
dead people with the native attires. Others prefer is white in color with black stripes at both sides.
to use Sarong Tagalog and white T-shirt or any The padasan is used by ordinary men and young
polo for men. To some, native attires and/or men until 1960's. It was used for offerings to the
blankets are just used as pillows, placed near spirits of the dead relatives and usually worn or
the head, put on top of the corpse or simply laid placed in the coffin of a dead male person. Kuba
beside the corpse inside the coffin. (G-string) is usually included with the blankets as
offerings, worn by dead people or placed inside
Men's Attire· G-string the coffin. Live persons can also wear kuba
during special events and by the different groups
Kuba (Kn)/Kuva/(lb). This man's clothing when performing activities depicting Cordilleran
has undergone several changes. In the olden culture.
days, men's G-string was made from beaten barks
of trees followed by the introduction of woven Head Turban and Handkerchief
cloth G-string. Even the llocano's ofTagudin wore
G-string in the earlier days as recalled by Mr. Salibobo! bedbed (Kn) I Sadivovul
Edison of Atok. Old women in Bokod perceived shenget (lb). For the Kankana-ey, salibobo is
that even in the late twenties, the eten and kuval paired with the status blanket like pinagpagan
woven cloth are already worn. The year when old and di/Ii. The salibobo is used by the old men who
men stopped wearing G-string differs from each are member of the rich clans and the leaders of
area. To areas nearer Baguio like in Alok, it was the communities. It has levels as determined by
in the late 1940's that the kuba was seldom worn. the number of eyes from 11, 13, and 15 which
In the municipality of Kibungan, old men from is paired with the same status blankets. lbalois
barangay outskirts ceased to wear kuba in the in Kabayan often use this garment which they
late 1980's. In Kabayan, it was in the early 1970's call as sadivovu. Most lbalois make use of the
that the use of to-to, a kuval made out of pounded konshiman or the pure red-colored kind, and the
bark trees ended. The kubal disappeared when binajek-red and white checkered design. Both
the Americans introduced the khaki short pants. are also used as panjo or handkerchief. For the
The old men easily adopted the use of khaki women, any cloth can be used as head band or
shorts that outdated the kuval until the emergence shenget. Women have mentioned that the head
of maong pants that again outdated the khaki band is used to hold the tobacco pipe.
shorts. Apilis Manio of Kabayan added that when
President Magsaysay opened the trade for other Binajek and Konshiman.
cloth products, the demand for woven products The binajek, and the
from !locos slowly declined. As he recalled, the konshiman handkerchiefs or
price per blanket at that time was PhP3.00. bandana also take part in the

48 H¥¥·-#·,#iUiiHAHiihiii6¥¥·'; #dhiiiiihiiHiiOf~ ¥ -,i@j§j@Qiiii¥¥¥Pii¥#-·,. #i&OiHhiiiHiiifi•,#§{aaH

BSU Research Jownal 6'1· Ja11ua1y • June 2010
~-================-=====.-.------==lill:,;;--::z:.::.:=:==1ia:11imma....
Fig 19. The divit or eten is
made up of layers of manta as
the base, the red strip and
black strip called bal(/<ef and
checkered combination of
different colors like green,
yellow, blue and white called
l<ambayashu.

Fig 20. The upper garment is called l<ambal/

sa-dey (lb). Just lil<e the sl<irt it is made up of
layered cloth from manta as the base and the
combination of bal<ket and l<ambayashu.

Fig 21. (above) Lamma: white blouse for

women striped with dark blue at the ends of
the arm sides, and with red and blue along the
edges.This usually used by the Ka nkana-ey
women.

Fig 22. Recent design and style of a pair of

tapis, with a combination of more colors. It
Is lighter because the materials were not
layered and the skirt not completely
wrapped around.

, ............ 111,,tl lilUH1,.~u 1t......-t111u1111, I illltt1u1.... ,-ttt•lt llit111,1,111,111,>'1~11l I I I fl II f f.l l•IU>At-t . . . t

49
 Fig 23. 1) Baa (Kn);
2) Nawanisan (Kn);
3) Binoltong(Kn)I
Etufing (lb);
4) Pinangsas (Kn)/
Padasan(lb)

Fig 26. (a) Binajek - checkered

red and white and the
(b) l<onshiman - pure red used
as handl<erchief or bandana.

50 .. , .......... 11,u111••11111u1 ......"t111tllllHH•t11uit 1\.DtHllll l 11 II HftJ fllJltllltl Ht...... 411 •• , IIIIUI tUIUJJzWt,W\
BSU Research Journal 64 January - June 2010

rituals and ceremonies along with the blankets, native or indigenous products. In order to utilize
rice wine, gabi, animals, and money. According the availability of these produce, businesses are
to Lola Maya of ltogon, binajek is used by using these as decorations and accents in other
women while the konshiman is use by men only products. The tailoring shops for example are
for ceremonies. There are also instances that a making this native cloth into gowns; others are
mambunong/ pagan priest uses the konshiman adding native cloth as motif to gowns, Barong
while officiating a ritual Tagalog and other clothing. To some, the
inclusion of native accent can be made according
Bakget (Kn)/ Balkes (lb). In the Kankana- to specifications and preference of the customers.
ey areas of Benguet, they have the bakget Aside from the native cloth, the ikat, another
(inakgu/ing or sinulaman), a waistband use by indigenous process or design is making its way in
women. However, among the lbaloi's, bakget the fashion world.
is not a common accessory for the women. In
ltogon, the donas or the G-string of the little boys Native products from the different
are also used by the women as their waistband or provinces are commercialized at Baguio City,
balkes. being the center of trade in the region. Inevitably,
these native clothes, blankets and accessories
Binongkod is a black cloth wider than the need to cope up with the new trends and fashions
kuval (g-string). Usually, it is placed inside the to continually sell in the market. Producers are
coffin as a pillow for the corpse. finding ways for these woven materials to be more
useful and be sustained despite the changing
Potentials of Improving the culture. Designs of native cloth are modified which
Ethnic Woven Materials can be sewn into table runners, bags, decorations
and curtains.
At present, Benguet cloth has many
variations as to color combination, designs, and Special events like the Adivay Festival
uses. These native clothes and attire are still out of the Province of Benguet, the Panagbenga of
in the market. Though it had changed gradually, Baguio City, and the Strawberry Festivals of the
cultural beliefs on the significance of blankets and Municipality of La Trinidad is made colorful with
attires still prevail among the old folks, which made the use and trade of the native attires, blankets,
these woven products survive. With the presence and accessories. Collection of blankets like
of other religious belief and for practical reasons, pinagpagan, shengdi, kuabaw, bandala and
the demand for these attires is decreasing. kulebaw are used as curtains and decorations.
Presently, native blankets used during rituals and Native cloth and attires like tapis and kuval are
ceremonial activities are still valuable for as long displayed as part of the material culture found
as the belief of an afterlife of their dead ancestors among the ethnic communities.
prevails.
Since, meanings of the symbols and
As observed by some old folks, they designs were not passed on or disseminated
have seen the changes in the designs. One for to the present generation, the designs and
example is the ku/ebawwherein the black strip on uniqueness of the native clothes and attires have
both sides became wider than the original ones been modified. Pinagpagan, di/Ii and kuabaw are
not limited as blanket nowadays. These are sewn
With the introduction of weaving as into poncho or vests and tapis.
alternative source of income in the city and in
the province, there is an influx of woven products Even the users have their preference. An
that include the native cloth. old woman from Ambuklao disclosed that she
Though there are alterations prefers modified devil sewn as skirt for daily use
from the original designs, or during special events because skirt is lighter
these clothes are considered and more convenient to use.

¥¥if·-§ -~FHiM#liiiii##Uii#-~a- ¥#¥¥¥##iihh#iihii¥=-¥-¥=ih!MHH iiffd#f4•- #ih¥¥iihiH¥SPhifi-- ¥ ~,19 51

/ILUPIAS, E.B . et al. : Indigenous Knowledge on the Production and Processing ...

Fig 27. The lnafrgulingl

sinulaman bal<get of the
Kankana-ey women is white
in color with evenly
distributed black strips in
spiral design.

Fig 28. (Below) Modified bal<l<et using brown color

instead of black strip (upper garment of women).
Binakket is the term used for tl1e blacl< and red
colors of the stripe combination. In the modified
binakget, brown color was used instead of black.

Fig 30. Photos above are some examples on th e new native products are utilized. 1) Native cloth are
sewn into gown/dress; 2) man's upper cloth for special occasion; 3) native woven cloth used as an accent
to beautify the vehicle during a parade.

52 l n Dit+ti.l\ It 111, 11 Uirt 11111 1t t,tft.U•Hl lltl 11 t 1111 HP fl I •ut1+M11," 'It,. ti I I 111 tttt JI H .., ~ f I I ti r 11111 ~ 111 Utl ..... M,q I
BSU Research Joumal 64 Ja nuary - June 201 0

Fig 31. This photo

shows the new trend of
utilizing the native
blankets. Designs of the
tapis of Mt. Province
and Kalinga are made
into upper garment for
women. Likewise, the
pinagpagan blanl<et is
made into upper
garment.

CONCLUSIONS AND RECOMMENDATIONS

Conclusions

Based on the finding, the following number of eyes/eyelets embedded in the designs
conclusions were arrived at: blankets.

1. Clothes and blankets are important The women's costumes are a pair of tapis,
elements of the Cordilleran culture. Benguet which is composed of a wrap-around skirt and
tribes have a high regard for the woven ethnic blouse (/<ambal or sambra). There are different
costumes and blankets, as an identity to their kinds of color combinations of the tapis, while
culture. History tells that Benguet people were the ordinary one is the combination of the black
not inclined to weaving. They were dependent on and white. For the Kankana-ey tribes, aside from
the clothing and blankets that were introduced by th e common tapls, they also have another design
the llocano weavers and traders from Tagudln, called lamma. For the men, they use G-string
I locos Sur. Lately, some Benguet women became (Jwba/kuval). The Kankana-eys have diffe rent kind
interested in loom weaving resulting to ethnic of kuva: the baa, blnoltong, pi/lac, pinangsas and
materials woven locally. sinulaman. The lbaloi's f<uval are the pinangsas,
padasan, and donas. The kind of clothing worn by
2. Both Kankana-ey and lbaloi have the the men and women must also correspond with
same attires and clothes but differ in the local the blanket used, which implies the social status
term. Major blankets are th e pinagpagan, di/Iii of the user. Originally, these clothing were used
shendi, kuabaw/sarong, bayaong!f<o/ebaw, and for casual wears by their ancestors. Today, they
bandala/safey. The a/ahdang, being the highest are used during special occasions, rituals, and
rank or rich man's blanl<et is seldom used. There festivals.
are also other blankets like manta, adefus, mabli
which were used in the later years. The different Benguet cloth is generally composed of
kinds of blankets implies different red, black and w hite colors. The figures embedded
social-economic status of th e in the blankets are X or the shield, man, snake and
user. The social status can be the eye-like design. Generally, the kind of design
inherited or acquired and have and color of the cloth that they will use especially
sub-levels determined by the for ritual offerings is inherited , meaning th ey
53
ALUPIAS, E.B. et_ al.: Indigenous Knowledge on_th~ Pr_o_duction and Processing ...

follow what was used by their ancestors during

their time. Benguet elders interviewed cannot REFERENCES
fully interpret the meanings of the designs and
colors. Their perception is that if the cloths has ATOS, MARVIN. 1982. The Culture of the Karao
better quality and have more complicated design, Tribe. Unpublished Doctorate Disseration.
it is more expensive. This implies wealth and/or University of Baguio.
prestige for those who were able to buy and used
it. BAUCAS, BIANO L. 2003. Traditional Beliefs
and Cultural Practices in Benguet. New
3. To sustain the cultural identity, there Offset Priniting Press. Baguio City.
is a great potential in improving the ethnic woven
materials to cope with the new trends of lifestyle. It DEPARTMENT OF TRADE AND INDUSTRY-
is good to note that the uses of the native blankets CAR. 2007. Weaving-An "In-between"
and attires transcend from merely ceremonial Culture: The Case of Baguio and
into other purposes. During the conduct of this Benguet.
study, gowns out of native cloth, decorations, and
modified attires are out in the market. Different DUMANGHI, MARY I. 1995. Cultural Practices,
products like poncho/vest, dress, gowns, table Beliefs and Rituals of the People of
runners, and other accessories, which are Mountain Province: Their Contribution to
patterned from the original designs and motif of Education. Unpublished Dissertation,
native attires are being commercialized. Benguet State University.

KEITH, GABRIEL PAWID and EMMA BABAN

Recommendations KEITH. 1983. Culture and Artifacts, A
Glimpse of Benguet. Hilltop Printing
Continuous skills training on the Press. Baguio City.
development of ethnic cloth weaving is
recommended in order to enhance the talents LEANO, !SABEL N. 1958. The lbaloys of
and skills of the younger generation and sustain Takdian, Their Social, Economic and
the availability of the ethnic material culture of the Religious Life. Philippine Women's
people of Benguet. University. Manila.

The use and appreciation of the ethnic MILIGARD, BARBARA LYNN. 1991. Textiles of
woven cloth should be encouraged in order Highland Luzon, Philippines: A Case
to sustain the identity of the Benguet tribes. Studyin Materials Culture. Unpublished
Maintaining the School for Living Tradition of the Thesis for Master of Arts, Graduate
Local Government Unit would be a great avenue Studies, New York University.
for the local elders to teach the young ones learn
and appreciate their unique culture. ROCES, MARIA P. 1991. Sinaunang Habi,
Philippine Ancestral Weave,
More improvement and modification of Communication Technology Inc. Manila,
the designs and style of the ethnic costumes is Philippines.
recommended in order to cope with the modern
trends of attires and encourage people to wear or SACLA, WASING. 1987. Treasury of Beliefs and
use them more often. Home Rituals of Benguet. BCF Printing
Press, Baguio City.
In-depth study on the uses and implications
of the designs and patterns of the Benguet ethnic
woven material culture is recommended.

54 U@a§# "Hidiiih&iiffiW# Za &!hHAiOiiHU##MF··# ~J&iiH iiiFFihAhU#-••" #hiiiii#iiiiihhFFf ¥-·"ffl