ABSTRACT

BIBLIOGRAPHY
NGUSLAB, CHRISTINA B. APRIL 2007. Symbolic Meaning of Figures in the
Bontoc Tapis. Benguet State University, La Trinidad Benguet.
Adviser: Marife D. Carpio, BSc
ABSTRACT
The study aimed to describe the Bontoc ‘tapis’ or ‘lufid’ in terms of its physical
appearance, how it is made and how it is used; to describe the different types of ‘lufid’; to
identify the figures in its design and to determine the meanings of these figures. Ten
elderly women who have been weaving ‘lufid’ for years served as the key informants in
the study. Aside from interviews, photos were also taken of different types of ‘lufid’.
The ‘lufid’ is the native garment for Bontoc women. It is woven using the
backstrap loom or the “pinagud”. There are six types of ‘lufid’ in Bontoc: “Kulibang-
bang”, “Kinain”, “Kinawaan”, “Kinuwafaw”, “Kinayaan”, and the ‘lufid’ for the dead.
Their names came from the designs woven in them. Design figures of the ‘lufid’ include
star, butterfly, flowers, human, snake, lizard, eye, spear, and shield. These figures stand
for light, beauty, courage, regeneration, long life, guidance and protection, which are the
things that are asked for from Kabunian in prayers, hence, it is considered as a prayer in
itself.
It is also concluded that information about the ‘lufid’ is threatened so a more in-
depth study on the ‘lufid’ should be done to validate the results of this study. It is further
recommended that information materials on the ‘lufid’ and its special attributes should be

prepared to help educate the people, especially the youth. There should be a school that
will train the next generation how to weave so that the material culture will be preserved.

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TABLE OF CONTENTS

Page

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i
Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iii
INTRODUCTION

Rationale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

Statement of the Problem . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2

Objective of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3

Importance of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3

Scope and Limitations of the Study . . . . . . . . . . . . . . . . . . . . .

4
REVIEW OF LITERATURE

Introduction. . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .

5

Native Wear and Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5

Women Costume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7
METHODOLOGY

Locale and Time of the Study . . . . . . . . . . . . . . . . . . . . . . . . .

9

Respondents of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9

Data Gathered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10

Data Collection Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

Data Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

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RESULTS AND DISCUSSION

General Description. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11

Legend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

How the Lufid is made . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

How the Lufid is Used . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .
16

Types of Lufid. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18

Features of the Different types of Lufid. . . . . . . . . . . . . . . . . . . . 19

Designs/Pattern and their Meaning . . . . . . . . . . . . . . . . . . . . . . .
27

Symbolic Meaning of the Figures in the Lufid . . . . . . . . . . . . . . 29

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

31

Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32

Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32

LITERATURE CITED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
APPENDICES . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . . . . 34
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INTRODUCTION

Rationale

The dawn of the new age sanctions the transformation of the way we live. The
exponential growth of information has brought about technological advances. These
technological advances inevitably cause several changes in the way we think and act,
thereby discarding what are no longer needed and adopting new things to survive.

These changes however, should not totally preclude our identity and our roots, of
which are heavily entrenched in our traditions, customs, arts, beliefs, and the like. Less
civilized cultures are the basis of development for they give way to a better and more
comfortable way of living. When you examine the history of the society, it is obvious that
its culture has changed over time. Some of the shared behaviors, beliefs, and values that
were common at one time are modified or replaced the next time. As Carol and Melvin
Ember (2002) stated, “culture refers to the total way of life of any society, not simply to
those parts of which the society regards as higher or more desirable, thus culture, when
applied to our own way of life, has nothing to do with playing piano or reading”.
Mountain Province of Northern Luzon has a distinct culture of its own. It has its
own assortment of traditional values, customs, beliefs and practices handed down from
generation to generation. Some nuances of this culture however, have been totally
forgotten, some are in the brink of extinction, and some are just starting to fade away.
The ‘tapis’, for one, is an aspect of the culture of Mountain Province which may
soon lose its importance. Only a few of the old folks are wearing it and often times, only
on special occasions. The younger generations may not even have an inkling on how this
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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piece was developed, its relevance to their heritage, and the meaning of the symbols
woven into the fabric.
The garment is more popularly referred to with the term ‘tapis’ borrowed from the
Ilocanos but it is called ‘lufid’ in Bontoc and ‘gabuy’ in other parts of Mountain
Province. Considering that this study is on the Bontoc garment, it is henceforth referred
to as ‘lufid’ in this study. ‘Lufid’ literally means “thread”.
The ‘lufid’ is worn by women. It is a native woven skirt which is wrapped around
the waist and covers the waist down to the knees. This is held tight by a thick woven belt
called ‘wakes’, about five inches wide, wrapped around the waist and the ends hanging at
the back of the wearer.
The lack of information about the symbolical meaning of figures in the ‘lufid’
reduces their significance and implications. Researchers have done studies on Igorot
Culture but rarely focused on the ‘lufid’, its history, meaning and importance.
This study would then be a means of advocating the use of ‘lufid’, understanding
its meaning (particularly the symbols) and its importance to the lives of the Bontoc
people, thereby preserving its value and place in the culture.

Statement of the Problem

This study endeavored to answer the following questions.
1. What is ‘lufid’ and how is it made and used?
2. What are the different types of ‘lufid’?
3. What are the designs and patterns woven into the ‘lufid’?
4. What are the meanings of the designs woven in to the ‘lufid’ ?
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Objectives of the Study

The specific objectives of the study were:

1. To describe the ‘ lufid’;
2. To determine the different types of ‘lufid’;
3. To describe the designs/patterns used in the ‘lufid’; and,
4. To determine the meaning of the designs woven in the ‘lufid’.

Importance of the Study

In understanding one society, it is important to also identify and understand the
significance of material culture. More often than not, especially among indigenous
peoples who are predominantly governed by oral traditions, material culture, like native
garments, embodies some meaning and significance in the lives of the people and the
community. Experts say that indigenous people’s life ways are interrelated. This means
that understanding their life ways, traditions and beliefs requires keen understanding of
all the aspects of their lives -- from their culture, socio-political institutions, governance,
economic activities, and to some extent, their symbols, artifacts or their material culture.

This study is a modest attempt to help the readers have a deeper understanding of
the relevance and significance of the ‘lufid’ to the Bontoc culture. Furthermore, it tries to
address common misconceptions in the use of the ‘lufid’ and the role it plays in the lives
of the Bontoc people. It also draws attention to a closer look on the culture of the
indigenous peoples of the Cordillera and hopefully, corrects misguided notions, and
probably, discriminating acts committed towards the people concerned.

Results will also serve as documentation of a part of the Bontoc material culture.
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Scope and Limitations

This study is qualitative and primarily used open-ended questions to gather
information from key informants in Samoki, Bontoc. Some key informants who migrated
from Can-eo, Bontoc but are now working in Baguio City have also been interviewed.
The benefit of a quantitative analysis was not employed at all. It is also limited to the
Bontoc ‘tapis’ or more accurately called ‘lufid’ in the locality.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

REVIEW OF LITERATURE

Culture is the total way of living. In a sense, culture makes people intact, hence it
gives the authority for an action to be practiced until it slowly changed and later
habituated.

The thirst for knowledge particularly about the cultural heritage has become not
only a necessity but also a fundamental factor in nation building. In the Cordillera,
existing cultural heritage is mostly limited to oral transmission and such has yet to be
documented, published and adopt as component for socio-economic development. The
people of the Cordillera are called ‘Igorots’ a derivative of two words from the Spanish
Era, ‘golot’ meaning ‘mountains’ and the prefix ‘I’ meaning ’people’... ‘Igorot’ literally
means ’peoples of the mountains’. The peoples of the Cordillera however, prefer to
identify themselves with the names of their tribes or groups.
To a large extent, the indigenous customs and traditions of the people of the
Cordillera as a whole have persisted through the centuries, although there have been
many changes and accommodations of non-indigenous practices especially in Town
Centers. Among these many cultures and traditions of the Cordilleras is their cultural
dress- the ‘lufid’. These are integral to the community’s way of life, which connects the
material world to the spiritual world of the Cordillera.(Vanoberbergh, 1929)

Native Wear and Design
The art of weaving is a very old art indeed. It had its beginning even before
history began, for man has been a weaver since he has been man and perhaps longer.
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Some animals and birds use simple weaving methods (Wilson, n.d.). Gagelonia (1946),
weaving is so old that in fundamentals, it is the same in all parts of the world, so old that
nothing really new has come to it for hundreds of years. In the Cordillera weaving is done
by the women in a hand loom. The trade is not extensive as their clothing is limited.

The gossamer linens of ancient of Egypt, fine enough to be drawn through a
fingering, are finer than anything we can weave today. Nothing more gorgeous than the
old of the East will probably ever be woven.

The art of weaving was brought here many centuries ago, probably from India.
The name for cotton, ‘kapas’, is of indo-Malaysian origin, as are also many of the
methods and motifs. The natives here use the simple two-bar loom; where one bar is
attached, per chance to a post under the house, and the other is held in front of the sitting
weaver by a back strap. The woof is wound on a shuttle which is held apart by the rods
Each time, the woman tamps the way down hard with a wooden batten, she changes the
colors of the warp by altering rod or heddles.

The primitive designs used by the women in weaving cloth for clothing are the
snake, frog, lizard, star, centipede, man and spear and shield. These are also designs used
in tattooing the skin. And as Clifford Geertz popularized the idea that culture is like a
literary text that can be analyzed for meaning, as the ethnographer interprets is (Ember &
Ember, 2002).These patterns, explained (Cross, n.d.) in her interesting paper on the
subject, are rooted deep in the forgotten past and represent the deepest fears and basic
hopes of the people. They represent entities of great potency. Born of a primitive
animism, common to most peoples, they represent a strong religious compulsion
expressed in words of art. The woman feels that harm would come to them if they did not
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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represent the snake, frog and lizard in their weaving. These would be angry if left out.
Basically these animals are considered to be ‘anitos’ who have taken that form. They are
known to give omens, particularly of evil. If one crosses your path on a journey, appears
or is heard during a ‘Caňao’, or other ceremony, it is a bad omen. A snake is a sign of
good luck if it enters a house, but if seen going away, it takes the luck with it.

In the natives lore there are many stories and references to the snake, frog, lizard
and centipede. Possibly the people brought them as part of their knowledge of weaving
when they migrated to these mountains many centuries ago via southern Asia. In
garments for the young, the frog is far ahead. The end comes when the snake is seen just
in the act of about to engulf the frog. This is the pattern used on death blankets.

Thus the years and hopes and basic beliefs of the native are symbolized in the
designs of their costumes.

Women’s Costumes

According to Reid (1961), women clothe themselves in their best, brightly
colored, intricately patterned, woven wrap-around skirts, secured at the waist by a woven
waist band about 4-6 inches wide. This is tightly wound twice around the waist, and tied
so that the 18 inch long strings from each meet at the center of the back and form a
swaying tail when dancing. Blouses of cheap brightly colored cotton manufacture bought
from Bontoc stores seem to be considered the ideal top covering. Women who normally
do not wear a blouse of any description would never dance without some form of
coverings. Older women shape themselves with their best woven blanket, passed under
one arm and tied into a knot on the opposite shoulder.
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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He also stated that head dress is both colorful and varied. The bulk consists of the
string upon string of beads, of many different kinds and manufacture. The head beads
worn in normal everyday wear are all used. There are large white bead which, it is said,
are maid of shell, interspersed with strings of small red and red and white beads, made of
a type of plastic, which can be bought cheaply in town. Added to these are the beads
which are worn only on special occasions. These are the genuine stones which have been
passed down through many generations, and are valued at hundreds of pesos per strand.

In addition, snake spine circlet, an important piece to any headdress, and one
which takes a particular significance during child birth. To crown it all flowers maybe
placed one on either side of the head – the common sunflower being often used or leaves
of tobacco may be draped from the beads. A common tradition is a 6-inch piece of (runo)
reed split to receive a piece of paper, or a bunch of peso bills, usually of the Japanese
occupation currency variety.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

METHODOLOGY

Locale and Time of the Study
The study was conducted in Bontoc, the capital of Mt. Province and in Baguio
City where weavers from Bontoc are based. Bontoc is located at the heart of Mt.
Province and is bounded on the north by Sadanga, northeast Tinglayan, Kalinga, east by
Barlig, south by Banaue, Ifugao and Sabangan west by Sagada and northeast by Tubo,
Abra. Bontoc can be reached by land transportation through the scenic Halsema
Highway of the Mt. Trail or the Banaue-Bontoc Road or passing trough the Tagudin-
Cervantes road. Bontoc has sixteen barangays.
The sitios within two barangays of Bontoc are clustered along the national road
and bounded by rice fields and mountain slopes. The place is chosen as the study area
because of the unique practices and relatively intact traditions among family members.
Bontoc also is one of the few places known not only for its beauty and peaceful
environment but also for the rich culture that attract foreign attention.
The study was conducted from November 2006 - March 2007.

Respondents of the Study

Key informants of the study were selected on the basis of their expertise in the
Bontoc ‘lufid’. They are the following:
1. Five elderly women in Samoki, Bontoc who were engaged in weaving ‘lufid’
for sale and who were still wearing the garment;
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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2. Five elderly women who migrated from Can-eo, Bontoc and who were
employed at the Easter Weaving Room. They used to weave ‘lufid’ back in
Can-eo.

Data Collection
Key-informant interviews using guide questions were done by the researcher.
Photos of the ‘lufid’ and the informants were taken. Details of the ‘lufid’ design were
also noted.
The researcher personally asked the questions in an open-ended form to allow the
informants to elaborate their answers. A tape recorder and digital camera were used to
come up with a more reliable document.

Data Gathered
The data gathered were the physical features of the ‘lufid’, how it is made and
used, the figures in the designs and their meanings.

Data Analysis
Since this is a descriptive study, data were simply consolidated, summarized and
presented in narrative form. Differences and similarities were also noted and described.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 1. Map of Mountain Province showing the locale of the study

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

RESULTS AND DISCUSSION

Description of the ‘Lufid’
General description. The ‘lufid’, an intricately patterned woven cloth, is the
native attire of the Bontoc women. It may just seem to be a piece of clothing primarily
used to enclose the body. But it could be a reflection of the history of the Bontoc people’s
rituals, festivities, and lifestyles. Not one of the informants, however, was sure where the
‘lufid’ came from and when people started wearing it.
The ‘lufid’ is a rectangular garment consisting of colorful horizontal stripes with
distinctive designs of varying shapes. Many also have white strips with designs in the
middle that are easily distinguished from the other strips. The dominant colors in the
Bontoc ‘lufid’ are white, red, black and green although none of the informants could
explain the choice of colors. These are seen in two of the more common types shown in
Figures 2 and 3. The green one is popularly referred to as ‘sinamoki’ with reference to
Samoki, the place where it is woven. In other parts of Mountain Province, it is called
‘binontok’ meaning it is ‘of Bontoc’.
Its width ranges from 28 to 30 inches while its length varies from 40 up to 55
inches long. King size is 55 inches, regular is the 45 inches and small is the 40 inches
long.
Legend. According to key informant Mary Waay, her great grandparents once
told her of a story about the origin of ‘lufid’. Long ago, there was a hardworking carabao.
The carabao tirelessly worked in the fields, plowing and tilling the soil. One day,
Lumawig (son of God, Kabunian) was watching how hard the carabao worked and
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 2. The dominantly red ‘lufid’ of Bontoc worn during
special occasions

Figure 3. The dominantly green ‘lufid’ of Bontoc unique to the
place is also worn during special occasions
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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realized that the carabao needed to rest. So He decided to turn him into a human being
assigned to weave clothes for other people. Each part of his body was made into
something that would help him weave. Like, the skin of the carabao became the
‘tsakufan’, the leather strap which supports the hips and the lower back of the weavers.
The ‘kuku’ (hoof) of the carabao, became the “ipitan” or thread holder. The carabao’s
body parts were transformed into the different parts of the ‘pinagud’ (a machine used for
weaving). The first product from the carabao’s transformation was the ‘lufid’.
How the ’lufid’ is made. According to key informant Victoria, weavers use the
back strap loom or what they call ‘pinagud’ to weave ‘lufid’. The ‘pinagud’ is usually
made by the ‘lalakays’ (old men) in the barrio and sold to the weavers. It is a set of sticks
and some pieces of wood. Using the ‘pinagud’ is more tedious but the device is
portable. It is usually set up under the house or even outdoors in the front yard.
The bigger size of ‘pinagud’ is two hundred fifty inches long while the smaller
one is one hundred inches. This is used by tying one end to a sturdy beam underneath
their houses and the other end is tied to the weaver’s waist. All of the weavers in
Samoki, Bontoc use the ‘pinagud’ to make ‘lufid’ (Figure 4- 5).
In the middle 80’s, the ‘tellar’ was introduced and brought by the Ilocanos from
Bangar, Ilocos Sur (Figure 6). The ‘tellar’ is a lot easier to use than the ‘pinagud’. By
using the ‘pinagud’, a weaver can finish one ‘lufid’ in six days but with the ‘tellar’, one
‘lufid’ is finished in four days only.
In using the ‘tellar’, the steps are as follows: 1) determine the set of your cloth, or
how many threads per inch the fabric will be; 2) calculate the yarn requirements;
3) wind the yarn using a warping board or warping mill called ‘gul-on’ in the Bontoc
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 4. Weaving the ‘lufid’ using the back strap loom ‘pinagud’

Figure 5. Weaving with the ‘pinagud’

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 6.Weaving with ‘tellar’

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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language; 4) remove the warped chains and place them on the “tellar”; 5) thread the
heddles, following the design; 6) wind the warp onto the back beam; 7) tie the warp
ends to the front beam; and 8) start weaving.
Only a few however use the ‘tellar’. Weavers from Bontoc who are now based in
Baguio prefer to use the ‘tellar’. Their crafts are sold in stores in Bontoc and Baguio.

How the ‘Lufid’ is Used
There are different ways of wearing the ‘lufid’. Some users wear it in such a way
that the navel may or may not be covered. In the case of pregnant women, the whole
abdomen protrudes above the ‘lufid’.

Figure 8 shows how the ‘lufid’ is put on. Both upper corners of the ’lufid’ are
held one in each hand, keeping the cloth spread open at the back, about waist-high. The
left hand corner is then pressed to the right hip. The right-hand is then pressed to the left
hip tucking in the tip. To keep the ‘lufid’ in place and secured, the other tip is also be
tucked in.
Lola Fadtec stated that Bontoc girls usually do not wear the ‘lufid’ before they are
seven or eight years old, however it is not extraordinary to see girls of eight, nine or even
ten years old go bare naked. Sometimes they even wear a small blanket. In the absence of
the two, women wear strips of dried banana leaf sewn to string and wrapped around the
waist. When they work in the rice fields, or when it rains, they sometimes lift up the
‘lufid’ and tuck it in front of the girdle. Sometimes they take the two ends of the ‘lufid’
and pass it through their legs toward the back and tuck it at the back. However, they often
take it off entirely, and wear nothing but a girdle with a piece of a banana leaf or some
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Step 1
Step 2

Step 3
Figure7.Steps on how to wrap the ‘lufid’.
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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herbs, that would cover either the front part only or the front and the back part.
Sometimes they do without even this miniature garment, and go bare-naked; however,
they cover themselves at the approach of strangers.
Jenks (1904) stated that when things as part of performing practices and rituals
are seen rarely in the community, it implies that the activity had changed or is not in
practice anymore. On the other hand, if ancient belongings still exist in the present time
in the eyes of the people, there is a great possibility that cultural practices of their
ancestors still live. During earlier times the ‘lufid’ was being used everyday but now,
only the old folks wear them. The younger generations only wear them during festivities
or other occasions.

Types of ‘Lufid’
The different types of ‘lufid’, as identified by the Bontoc weavers are
‘Kulibangbang’, ‘Kinain’, ‘Kinuwafaw’, ‘Kinawaan’, ‘Kinayaan’, and the ‘lufid’ for the
dead. Table 1 presents the features of the different types of ‘lufid’. The term for each
type is usually based on the main features of the design.
Kulibangbang. ‘Kulibangbang’ is a native term for butterfly and this type of
‘lufid’ has several butterfly-like figures in the design. The dominant colors are red and
black stripes, the design is in white, yellow, green and blue which are considered colors
of a butterfly. This can be usually made in one to three days. This type of ‘lufid’ can be
used by anybody. This is shown in Figure 8.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Table 1. Features of the different types of ‘lufid’

TYPE OF TAPIS
DOMINANT
GENERAL DESCRIPTION
COLORS

Kulibang-bang
Yellow, red or
May be dominantly red or green. The
green, black
butterfly-like design dominate the outer
horizontal strips. The middle white and
black strips are designed with some other
figures and adorned on the sides with
embroidered flowers. May be woven in 3
days.

Kinain Red,
black,
green,
May be dominantly red or green. Its
yellow, white,
distinguishing feature is a big ‘X’
embroidered in the middle. May be woven
in 3 days.

Khinawaan
Green, black, red,
Dominantly green. Main feature is the
yellow, blue, white, middle (‘khawa’ in the Bontoc language)
strip of black and white with embroidered
adornments at the sides. May be woven in 3
days.

Kinayaan Red,
white,
yellow,
Simplest in design consisting of uniform
black
horizontal lines throughout the garment – no
distinct designs in the middle. May be
woven in 1 day.

Kinuwafaw Red,
black,
yellow,
Dominantly red with black and white stripes
green
in the middle with designs. Most intricate
in design. May be woven in 4 days.

Tapis for the Dead Black, blue, red,
It is purely black in color with designs in
yellow, white
both sides.

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Figure 8. Picture of the ‘Kulibang-bang’

‘Kinain’. There are two kinds of ‘kinain’, the red and the green. Unfortunately,
none of the informants had an example of the green ‘kinain’. The design however is the
same except for the colors. Interviewees were asked why they call it ‘kinain’ and they
answered that the name ‘kinain’ was just passed from generation to generation and they
really do not know the reason. The word ‘Kinain’ cannot be found in the Bontoc dialect
except that it refers to a type of ‘lufid’. The ‘kinain’ (red lufid) will be recognized with
the big X design which is embroidered at the center. The same as the ‘kulibang-bang’,
‘kinain’ can be done in one to three days.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 9. Picture of the ‘Kinain’ (red)

’Kinuwafaw’. Being the most beautiful among the types, ‘kinuwafaw’, is usually
woven in 4 days. This type is where most of the symbols can be found, the lizard, the star
and others. The most dominant color present here is red and black, with stripes of green,
yellow and white. Majority of the weavers claimed that in most occasions, this is the
main type that everybody use for this type since it is original than the ‘kinain’. There is
also the letter X and diamond embroidery but a little bit smaller.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 10. Picture of ‘Kinuwafaw’.
‘Kinawaan’. Fourth is the ‘kinawaan’, it is called such because most of its
design is found in the middle which is purely embroidery. In Bontoc language,
‘khawa/gawa’ means middle.
‘Kinayaan’. Among all of the ‘lufid’, this is the simplest because it is purely
made of horizontal colors of yellow, orange and black. This kind of ‘lufid’ can be woven
Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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in one day. Sometimes they call it ‘sinangbituin’ (looks like a star) because most of its
horizontal lines are designed with stars. They claimed that before, this kind of ‘lufid’ was
for the poor. But now, even poor people will buy other kinds if they can afford to.

Figure 11. Picture of ‘Khinawaan’ Figure 12. Picture of the ‘Khinayaan’

A ‘lufid’ can be identified with the designs in the middle and/or in the stripes.
There is a special type of ‘lufid’. This is the one designed for the dead. It is purely black
with geometrical patterns in white, yellow and red. It is made simpler for it is believed
that it’s just an accessory as the person is dead anyway. While still alive a person can
request her relatives that she be buried wearing the ‘lufid’ or it will just be placed beside
her coffin. Interviewee Julia stated that tradition dictates that women who already
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reached the menopausal age are the ones to weave the ‘lufid’ for the dead people.
However, Lola Victoria clarified that anyone who is willing to weave such kind of ‘lufid’
can do so.
In case, however that a ‘lufid’ is brought for or used by the weaver’s relative or
any young person, the weaver is no longer allowed to weave ‘lufid’ for the dead. She
however can continue to weave other types of ‘lufid’.

The ’lufid’ for the dead people have two classifications. One is for the rich people
and the other one is for the poor people. Victoria stated that if it has eight-nine ‘mata-
mata’ (eye-liked) designed in both sides of the ‘lufid’ for the dead, it is for the rich, while
if it only has six- seven eyes, it is for the poor.
The Bontoc people are like the Chinese, in that they prepare for their death. They
buy the clothes and accessories they want to be adorned with when they die. ‘Lufid’ for
dead are not supposed to be for public display. They are only brought out when someone
intends to buy one in preparation for her death. This is even given to the buyer in a sealed
package. The ‘lufid’ for the dead cannot be seen by anyone except the weaver and the
intended user. If somebody else request to look at a sample or take a picture of the said
‘lufid’, there is a need to first butcher a ‘besa-ang’ (black piglet) to asked permission to
the ‘anitos’ (Deities). The picture used for this study (Figure 13) a ‘lufid’ for a rich dead
person was provided by the researcher’s relative, primarily for the purpose of this study.
And there was no need to butcher a pig.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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Figure 13. Lufid for the rich dead person

As to the use of a belt, ‘wakhes’ in Bontoc language, Janet said that any kind of
belt can be used for any kind of ‘lufid’ except only for the ‘wakhes’ of the dead. Bontoc
‘wakhes’ has two kinds, the ‘kuspala’ and the ’palasan’ . ‘Kuspala’ is said to be the
original belt.
It is made of mercerized fiber which is treated (cotton fabrics) with caustic soda
or potash, so as to increase their colors. Its width is three inches and thirty two inches
long. ‘Palasan’, which is the ‘wakhes’ most Bontoc women have now. It is normally
white in color with a design of flower and made of cotton fiber, and measures eight
inches in width and 32 inches long. As for the ‘wakes’ for the dead, it’s just pure white
with no design. The fiber is thicker, or ‘slaser’ in weavers language.

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Figure 14. Picture of the Bontoc ‘wakhes’ (Kuspala)

Figure 15. Picture of the Bontoc ‘wakhes’ (Palasan)

Figure 16. Picture of the Bontoc ‘wakhes’ for the dead.

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Designs/ Patterns and their Meanings

The different symbols that are found in ‘lufid’ are things that people commonly
see in their environment. These figures or symbols according to Mary Maay, have
significance to the Bontoc culture. However, most members of the community
acknowledged the fact that they themselves do not know the significance of these
symbols. Hence, a key informant who had more insights on the meaning of the symbols
found in the ‘lufid’ was tapped.

Table 2 shows the different figures found in the different types of ‘lufid’. The
most common among the types of ‘lufid’ is the eye figure. It is found in four types, the
‘khinain’, ‘khinain’, ‘khinawaan’ and ‘khinuwafaw’. Next is the human figure which is
found in three types, the ‘kulibangbang’, ‘khinain’ and ‘khinuwafaw’.

Table 2. Symbolic figures in the different types of ‘lufid’

TYPE OF ‘LUFID’
FIGURES

Kulibang-bang
butterfly, human, shield, flowers,

Khinain
X, human, eye,

Khinawaan
eye

Khinayaan
star

Khinuwafaw
human, lizard, star, eye, snake, shield,

Tapis for the Dead
eye

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The ‘khinuwafaw’ has the most figures in its design: the human, lizard, star, eye,
snake, and shield figures. It is also noted that three types of ‘lufid’ had only one figure:
the ‘khinawaan’ with the eye figure, the ‘khinayaan’ with the star figure, and the ‘lufid’
for the dead with the eye figure. Only the ‘kulibangbang’ had flowers and butterflies.
The symbolic meaning of figures in the ‘lufid’ are presented in Table 3. Close-up
pictures of the figures are also shown for easy reference. Some of the figures are easy to
recognize but some needs a lot of imagination to see what the informants said they were
supposed to represent.
The human and snake figures as presented in the table as easy enough to
recognize as they are. On the contrary, the butterfly figure is not easily recognized.
Some see it as a scorpion or a spider or a crab or even a snowflake. But the weavers see
it as a butterfly, hence the name ‘kulibangbang’.
According to the key informants, the human figure represents the Cordillera
warrior which could actually stand for “courage” or “bravery”. The star figure is not
easily recognized but it symbolizes the light that brightens their path.
The lizard stands for long life supposedly because it grows back its tail when it
loses it while the snake is for regeneration because it sheds its skin regularly. The lizard
and snake figures are also seen in other material culture of Mountain Province like
blankets and even wooden utensils like bowls and jars.
The butterfly and the flower figures are merely for aesthetic purposes. The shield
and spear both stand for protection and the shield, guidance.
The symbolic meaning of the figures in the design are the very same things that
are being solicited from Almighty Kabunian everytime a prayer is said.
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Table 3. Symbolic meaning of figures in the ‘lufid’

FIGURES
PICTURES
SYMBOLIC MEANING

Human
Representing a Cordillera
warrior (bravery)

Star

Refers to light that will
brighten their path

Lizard

Symbolizes long life

Snake

Meaning regeneration

Butterfly
For aesthetic value

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Table 3. continued

FIGURES
PICTURES
SYMBOLIC MEANING

Shield

Protection

Spear
Protection

Eye

Guidance

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

Summary

The study aimed to describe the Bontoc ‘tapis’ or ‘lufid’ in terms of its physical
appearance, how it is made and how it is used; to describe the different types of ‘lufid’; to
identify the figures in its design and to determine the meanings of these figures. Ten
elderly women who have been weaving ‘lufid’ for years served as the key informants in
the study. Aside from interviews, photos were also taken of different types of ‘lufid’.
The study revealed that no one knows the origin of the ‘lufid’ except for a legend
about its existence. The ‘lufid’ evolved from pieces of banana leaves/ bark used in the
ancient times as protective covering. The device used to weave ‘lufid’ is the backstrap
loom or the “pinagud”. Another machine used is the ‘tellar’ which was introduced by the
Ilocanos. There are six types of ‘lufid’ in Bontoc: “Kulibang-bang”, “Kinain”,
“Kinawaan”, “Kinuwafaw”, “Kinayaan”, and the ‘lufid’ for the dead. Their names came
from the designs woven in them. Design figures of the ‘lufid’ include star, butterfly,
flowers, human, snake, lizard, eye, warriors, spear, and shield. The most commonly used
symbols are the human and eye-like figures. The ‘kinuwafaw’ has the most number of
figures so it requires a longer period of weaving time.
These figures stand for light, beauty, courage, protection, guidance, long life,and
regeneration.

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Conclusions

The following conclusions are drawn from the study:
1. The ‘lufid’ and its place in the history and culture of the Bontoc people is
being threatened because not even key informants knew the basic information
about the native garment like its history and how the terms for it came about.
2. The figures symbolize things that are normally included in prayers. It can be
concluded that in itself, the figures ‘lufid’ is also manifestations of a prayer.
This explains why the native garments, ‘lufid’ included, are considered
sacred.

Recommendations

This study recommends the following:
1. A more in-depth study on the symbolic meaning of figures in the material
culture should be carried out to validate the conclusions derived from the
results of the study.
2. Information materials on the ‘lufid’ and its special attributes should be
prepared to help educate the people, especially the youth.
3. There should be a school that will train the next generation how to weave so
that the material culture will be preserved.

Symbolic Meaning of Figures in th e Bontoc Tapis / Christina B. Nguslab. 2007

LITERATURE CITED

CROSS, C.D. (n.d). The People of the Skyland. Philippines. Urna. Pp 15-16

EMBER, C. and EMBER, M. 2002. Cultural Antrophology. Philippines. Carol and
Melvin. Pp. 200-2001

GAGELONIA, A. 1946. The Filipino of the Yesterday Years. Quezon City. Robert
Publishing House. Pp. 194-195

JENKS, A. E. (1904). Bontoc Igorot Clothing. American Anthropologist. Pp 700

REID, L. 1961. Rituals and Ceremony in Mountain Province. Manila. Philippine
Sociological Review. Pp. 61-62

VANOBERBERGH, M. (1929). Dress and Adornment in the Mountain Province of
Luzon. Anthropological Conference. Pp 210

WILSON, L.L. (n.d.). The Skyland of the Philippines. Philippines. Skyland Publishing.
Pp.234-236.

Symbolic Meaning of Figures in the Bontoc Tapis / Christina B. Nguslab. 2007

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APPENDICES

INTERVIEW SCHEDULE
Name:
Age:
Occupation:
Date:

1. What is the tapis?
• How is it used?

2. How did the tapis come about?
• How/When was it introduced?
• Is it indigenous in the area?

3. What are the materials used in making the tapis?
• How is it woven?
• Who does the weaving?

4.What are the different types of tapis
• What are the differences?
• When are they used?
• Why should use them?

5. What are the symbols and designs?
• What are the symbols?
Symbolic Meaning of Figures in th e Bontoc Tapis / Christina B. Nguslab. 2007

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• What are their traditional meanings?
• What are their contemporary meanings (if it has been changed)?
* What caused these changes?
• What are the different designs with regards to the following:
o Color
o pattern
• What are the manifestations of the differences in the designs?

6. Have there been changes in the designs of the tapis?
• What are the old designs?
• What are the new designs?
• Who changed it? Why? (If there is)

Symbolic Meaning of Figures in th e Bontoc Tapis / Christina B. Nguslab. 2007

Document Outline

Symbolic Meaning of Figures in the Bontoc Tapis
- BIBLIOGRAPHY
- ABSTRACT
- TABLE OF CONTENTS
- INTRODUCTION
  - Rationale
  - Statement of the Problem
  - Objectives of the Study
  - Importance of the Study
  - Scope and Limitations
- REVIEW OF LITERATURE
  - Native Wear and Design
  - Women�s Costumes
- METHODOLOGY
  - Locale and Time of the Study
  - Respondents of the Study
  - Data Collection
  - Data Gathered
  - Data Analysis
- RESULTS AND DISCUSSION
  - Description of the �Lufid�
  - How the �Lufid� is Used
  - Types of �Lufid�
  - Designs/ Patterns and their Meanings
- SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
  - Summary
  - Conclusions
  - Recommendations
- LITERATURE CITED
- APPENDICES