CORDILLERA ADMINISTRATIVE REGION INDIGENOUS WEAVING DESIGNS AND SYMBOLS

Introduction
The patterns, colors, and figures woven reflect the way the indigenous people think and live, embodying their
culture, traditions, values, and beliefs. Weber (1986) defines culture as the collective ideas, skills, values, and
institutions that shape a society at a particular point in history. In earlier times, people have integrated their distinct
life style, culture, and livelihood in their weaving, which became an integral part of their identity. Over time, woven
textiles have withstood the changing times and cultural shifts, strengthening their role as a significant aspect of
heritage and worth sharing and preserving. According to Weber (1996), heritage encompasses the cultural and
traditional elements passed down from ancestors.

Beyond being a source of livelihood, weaving serves as an artistic expression of daily experiences and interactions
with nature. The designs woven into the fabric tell stories, with bold colors representing strength of character and
harmonious color combinations forming artistic patterns. Warm hues like red, orange, and yellow evoke excitement
and enthusiasm, while cooler shades such as blue, green, and violet create a calming effect. These color
combinations also generate optical illusions, adding depth to the designs (Weber, 1996).

Weaving is recognized at local, national, and international levels as a craft that requires patience and dedication
(Jornacion, 2005). Preserving this tradition aligns with the Philippine Constitution, specifically Article XIV, Section
14, which mandates the state to promote the preservation, enrichment, and dynamic evolution of Filipino national
culture while embracing diversity and encouraging artistic and intellectual expression (De Leon, 2005). Senator
Loren Legarda, chair of the Senate Committee on Cultural Communities, has spearheaded initiatives like the Hibla
Pavilion of Textiles and Weavers of the Philippines. This project seeks to address the growing threat of indigenous
artistry fading into obscurity due to lack of interest. It showcases the intricate weaving processes passed down
through generations and highlights the dedication of master weavers and cultural custodians (Torrevillas, 2012).
Furthermore, Senator Legarda authored the Philippine Tropical Fabrics Law of 2004, which requires the use of
indigenous fibers in government employees' official uniforms to strengthen the local textile industry (Senate Press
Release, 2012).

The weaving designs also has educational applications, particularly in teaching geometry. Shaughnessy (2011)
argues that geometry can unlock students’ potential in mathematics, as it often provides an accessible and engaging
introduction to the subject. The intricate geometric patterns of the woven fabric offer tangible examples of
mathematical concepts, allowing educators to incorporate them into lessons. By integrating traditional weaving into
education, students gain a deeper appreciation of both mathematics and cultural heritage. Promoting this craft in
schools ensures that the artistry, precision, and work ethic of indigenous textile materials continue to be recognized
and preserved.

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 ABRA WOVEN MATERIALS: DESIGNS AND SYMBOLS

The Embroidery Stitch Designs:

Mountain River Rice plants Human nail

Bundled
Frog Spider Male lizard Female lizard Scare crow rice stalks

Proud human Dancing prince Tinulbek

Dancing princess Star

Abra is found in the mountain ranges of Cordillera. It is situated at the heart of the region. Most of the residents of
the province who are Ilocanos live at its valleys while the minority who are the Tinguians reside at the highland
parts of the province. The long and winding Abra river still flows down in most of the municipalities of the
province. According to the history of the province, the river has served as the only way of the people from the
nearby provinces to reach Abra through the bamboo raft during the Spanish era for the purpose of barter and trade
(Diocese of Bangued, 2005).

Though Abra is a mountainous province, the primary occupation of the local inhabitants is farming. This is the
reason why most of the stitch designs that appear in the loom woven cloth are symbols of mountains which
represents the province, and the river which farmers use it for irrigating their rice crops. The symbol of the rice
plants is accompanied by the symbol “kuko”, a human nail, which reveals the hard working attitude of the
Abrenios.

As part of their culture, they have developed certain belief systems especially in their planting and harvesting
activities. The presence of the symbols of the frog, spider, the male and female lizards, scare crow and the bundled
rice stalks in the woven cloth show certain practices and beliefs. The frog is believed to display fertility in their rice
fields; the spider is believed to employ diligence to the people; while the scare crow is said to send away enemy or
any unwanted condition. Additionally, the bundled rice stalks signify the people’s frugality. On the other hand,
symbols of the male and female lizard embody good luck. It is usually embroidered in the belts and dresses for

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good luck. These belts and dresses could be bestowed as gifts to visitors and friends, thus, the giver wishes the
receivers good luck.

The lowland Tinguians who reside in the municipality of Penarrubia, Abra have preserved their culture and
practices as evident in their Inlaud dialect. They always use their dialect even with their visitors and friends from
another place. The presence of the symbols of a proud man, the dancing princess and prince signify that they have a
unique identity of which they are always proud of. It is good to note that the Tinguians use their folk dance “tadek”
in all occasions. They dance when there is something to celebrate and they also do the same to remove undesirable
feeling and conditions like when somebody is sick or when they just came from the funeral of a family member.

The symbol of a star is also placed on the woven cloth which symbolizes light of one’s path. People considered
their Tinguian beauty, Dolimaman, as their star who lights up their life’s journey and whom they always look up to
for inspiration. On the other hand, “tinulbek” a short term for “tulbek ti biag” (key of life) is embroidered on their
“piningitan”.

The Ethnic Descriptions of the Color

The same embroidery designs also appear in the “kinamayan” tapis (Plate No. 8.2). It is a ritual skirt used to request
protection from heavy typhoon and foreseen overflow of the river or to ask for rains to start the planting season.
The folks wave the cloth to the river to impede overflow of water. The same is placed on the un-irrigated rice fields
to ask for rains. The “pinapa” cloth in Plate No. 8.1 is used as a ritual cloth placed on top of a cadaver. This is to let
others identify the person belonging to a particular tribe according to what color combination the “pinapa” cloth
used. It is believed that the color of the “pinapa” cloth helps the spirits of their ancestors to distinguish the dead
person’s spirit of which tribe he should join. Similarly, “piningitan” (Plate No. 8.3), the white cloth tapis (skirt wrap
around the waist), is worn by female Tinguians in all occasions accompanied by the “anigtan” belt (Plate No. 8.4).
The “piningitan” tapis implies the rich culture of the Tinguians – the key of their life.

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The colors used in the loom woven clothes signify which tribe they belong. The dominant colors they
use are white and blue. Tayum, which was the place of growing plants for dyeing called the tayum –
tayum, became very popular in the dyeing industry in the early times. Such plants are also known as
the indigo plants because they produce blue-violet color when applied as dye. The corn field areas
between Tayum and Lapaz had many cotton trees which bore cotton fruits. Residents used these
fruits to produce fine thread for weaving through the process of spinning. These two incidents might
be the reason why white and blue colors are the most dominant in the woven ritual cloth (Jornacion,
2005).

Lowland Tinguians claimed that they are peace loving people and they associate the blue and white
colors as their symbol for calmness. The Tinguians moved to the mountainous parts of the province
when the Spaniards came. This manifests that they did not only exhibit refusal to conversion from
their ancestral belief systems to Christianity but also an illustration of people who love tranquillity
which is a state of calmness and absence of any form of intrusion to their daily routine. They
believed that their conversion will destroy their ancestral culture (Diocese of Bangued, 2005), such
belief reflects a strong tribe – blue and a tribe which has pure culture – white. When the Spanish
friars and the Ilocanos penetrated the province, Penarrubia inhabitants are the only Tinguian group
who were not displaced by the foreign visitors. Although they tried to fight for their rights to stay, in
the end, they befriended the friars and the Ilocanos, welcomed them and later converted to
Christianity. On the other hand, other Tinguian tribes used other dominant colors to distinguish
themselves from others. High land Tinguians use stronger combination of colors because these
manifest their strong personality. The red color of a head dress signifies their readiness for a tribal
war. From their belief that the new faith brought by the Spaniards and Ilocanos might destroy their
ancestral culture, they wanted to preserve it even at the expense of losing their lives. This principle
illustrates the strong colors of their cloth such as red.

SYMBOLIC MEANING OF FIGURES IN BONTOC

Matmata (eyes) Matmata corresponds to the shape of an eye in a

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 diamond figure. This represents the eyes of the
Lumawig (the Almighty) who is watching all His
children on Earth.This could also symbolize
awareness and vigilance, a reminder that the tribe
must always stay alert to the world around them,
ensuring harmony with nature and the spirits.

Tiktiko (zigzag) Tiktiko as shown in the indigenous attires is a

zigzag line representing the mountainous place of
the Tribe.The zigzag line could represent the paths
of life and the constant change in the terrain,
symbolizing the challenges the tribe faces in
navigating both the physical and spiritual world.

Tagtakho (man)
Tagtakho corresponds to a human shape
representing the people. It also represents the
warriors of the ancestors of the tribe and signifies
unity and the strength of the tribe as a collective,
highlighting the importance of cooperation and
shared identity in overcoming adversity.

Kalasag Tufay Pinpinnang Kalasag, tufay, and pinang correspond to the

(shield) (spear) (bolo) shape of the shield, spear, and axe. These are
materials used by the warriors to protect the tribe
from their enemies during tribal conflict. These
are also used as hunting materials for food.The
shapes could also represent the tribe’s resilience,
their protection not just from enemies, but also
from the elements, hardships, and external threats
to their way of life.

U-uweg (snake) U-uweg is a snake-like design while faniyas is a

lizard-like design. They represent other creatures
(inkutkuri). The snake also represents the good
and the bad sign of warriors going to war. This
snake is a good sign if the warriors see a snake
Faniyas (lizard) going a head of their way. It is a bad omen if the
snake crosses their way, hence it means that they
have to go back. On the other hand, the lizard
means agility, and it also symbolizes long life.

Fatawer (pole used to carry anything) Fatawer, X-shape designed based from traditional

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 material used by men to carry and transport
materials. This material is still use as of today due
to an easier and comfortable use. It is believed that
this represent the two rods used by men of Bontoc
to carry the two sons of Lumawig killed Can-co
Sokyong told in some versions of Lumawig stories.

Sokyong is a V-shaped design which was used to

hold the blood of the sons of Lumawig.

Sabsafong (flower)
Sabsafong is a new design based from the shape
of a flower. It denotes layad or love among the
fafalo and balasang

Talaw (star)
Talaw is a star-like design. It is believed to be the
star from the sky that had seen the death of the
two son's of Lumawig.
Guides the people of Bontoc for hunting, war and
agricultural purposes

Pigpiki (corn)
Pigpiki a new design based from a corn plant.
Corns are one of the crops that commonly planted
by farmers during rainy seasons.

Wide Stripes The wide stripes located in the middle of the tapis
represents the Chico river, which divides the east
and west part of the province(kidlaa & churyaa).

SYMBOLIC MEANING OF FIGURES IN KALINGA

Name SILUGWID

Geometrical Connected Trianlgles (Zig-zag) , horizontal lines

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Figures

It portrays the home of the Ikalinga tribe, it represents the

mountainous landscape of the place that composed of
Cultural trees and plants, the mountains where the Ikalinga sow
Implication their palay and perform their rituals and ceremonies. The
horizontal line segments signify rice terraces which leave
a sense of self-possession among the Ikalinga.

Name SILAMBITOWON

Geometrical Star, Diamond, horizontal and vertical lines

Figures
Cultural The star and the diamond are insects patterns which
Implication depicts fertility symbols, Vertical lines
symbolizes sunrise cast upon the place
Name LILUWALUWANG

Geometrical Carabao figure, Horizontal and vertical lines

Figures
Cultural It signifies wealth and support. It represents support
Implication because it is being utilized by the Ikalinga in working the
field as source of livelihood.
Name KILULUKULUP

Geometrical Kuup (owl) figure, Diamond, horizontal lines

Figures
To the Ikalinga, the symbolic meaning of owl revolved
around guardianship of the underworlds, and a protection
Cultural of the dead. In this light the owl is ruler of the night and
Implication seer of souls. It should be cleared that the owl is honored as
the keeper of spirits who had passed from one plane to
another.
Name LILUSULUSSUNG

Geometrical Connected triangles on its vertex, diamond, and

Figures horizontal lines
The two connected triangles on its vertex represent the
Cultural lusung, the material culture of the Ikalinga use
Implication to pound palay to be served to the family.
Name KILAWAKAWA

Geometrical Kawa figure (spider) and vertical lines

Figures
It signifies patience and possessiveness and it is attributed

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 to the Kalinga culture with the origination of weaving,
Cultural spinning and net making. The spider is a symbol that
Implication awakens creative sensibilities. It weaves a web of subtle
fabric, as if to remind us that the past always subtly
influences
the present and future.
Name SILLAKASAKAW

Geometrical Connected diamonds,horizontal lines

Figures
Cultural It symbolizes a woven rattan attached to a wall
Implication where kitchen wares like panay plates and bowl.
Name KAYAW

Geometrical A Woman figure, spear, and vertical lines, horizontal

Figures lines
Cultural The kayaw design has a motif of a shield and a woman
Implication carrying pot. Kalinga women are using pots to cook their
foods and as a container to store water while the shield
and the arrow as seen in the design pattern were tools
being used by the early Ikalingas to fight in a battle and
used the tubay to hunt laman (wild pig) for their food.

SYMBOLIC MEANING OF FIGURES IN IFUGAO

Lamma (Ifugao woman's upper garment)

Use: It was originally used by women mainly as a protection
from the sun when they work in the rice fields.
Materials: It was made from two panels of cloth woven from
raw cotton (kapo) or baste fiber (kinàge).
Designs: featuring kutilap stitches., binobodan (ikat) patterns,
and even collar and sleeves in some areas.

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 Ampuyo or Tolge (tapis)
Use: A wraparound skirt.
Designs: The ordinary tapis consists of a blue or red cloth with narrow
white horizontal stripes and two broken lines of red triangles, and is
worn just above the knee (Vanoverbergh1929:209).
The red ampuyo has green, yellow, white and black stripes. The black
ones are usually worn by the NAWOTWOT or the poor.

Balkoh Belts
- supplementary girdles of Ifugao women
Use: worn to keep the skirt in place.

Wanga“woanga”/ “bayyaung”
Use: cover their upper bodies. (though some doesn’t use such)
Designs: The more common blankets called bayaong are red with narrow black stripes
sometimes covered with designs.
Symbols: These may represent linuhhong (mortars), tinatagu (men), inulog (snakes),
bittuon (stars), bannia (iguanas),and hinolgot(spears).

Pongot (head dress)

Use: A head dress that is sometimes fancy and can denote the position of the person
wearing.
Butong (hip bags);
- the larger kind is called pinuhha, the smaller kind ambayong.
Materials: The pinuhha bags are made of white threads, the ambayong of double black
thread.
Use: The men usually put their betel- nut leaves and lime container, kottiwong (small
crescent-shaped knife), wooden spoon, amulets, and other things here.

Ifugao Weaving Symbols

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SYMBOLIC MEANING OF FIGURES IN BENGUET

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1.“PINAGPAGAN”
– considered the highest status blanket. The number of eyelet design of the blanket equates the
number of animals butchered during cañaos or “peshet.” Different views in using
pinagpagan includes a symbol of status, as an offering, and worn by someone who performed a
cañao with 13 or 15 pigs at one time. Designs represent men, snakes, shields, eyes and other
geometric figures. The red pinnit (wild raspberry) embroidered on the pagpag indicates that at
least one carabao will be included as a sacrificial animal in one’s funeral.

2. “CHINDI” OR “SHENDI”
– a symbol of prestige. Also, the “eyes” represent the
number or level of cañao performed. To most Ibalois,
this is the highest blanket used by wealthy families. On
the other hand, some people became flexible in using
shendi. They may be entitled to use shendi when
they have acquired wealth through their own effort.

3.
“Sarong”
– this is said to be for rich women. Sarong must be
paired with shendi or pinagpagan. The use is
inherited but can be acquired by performing some
rituals. Note that the word sarong in Ibaloi is the
dance performed by a woman using the blanket
sarong that is paired with the man dancing the
tayaw with the shendi.

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 4. “BINAJEK” AND “KONSHIMAN”
– most Ibalois make use of the pure- colored konshiman (b)
and red and white-checkered design binajek (a) garments as
handkerchiefs. Binajek is used by women while konshiman is used by
men only for ceremonies. A mambunong may use the
konshiman while officiating a ritual.

5. “SAFEY” OR “BAYAONG”
– the basic common blanket used by any person of any status. It is the
cheapest and only available design during the olden days. It is a black-
dominated blanket with two white stripes at the middle part. Sometimes, the
dominating color is dark blue depending on the availability of threads the
weavers can avail of. At present, they are used for offering during rituals and
for wrapping the dead. Safey is ordinarily paired with bandala or
kolebaw. This blanket is usually offered during death-related rituals.

6. “KOLEBAW” OR “BANDALA”
- also, a common blanket paired with the bayaong or saley. Basically, a thin white blanket with
wide black stripes at the center. This weaving design originated from Tagudin and Bangar, Ilocos Sur.
This is said to be the blanket for the poor or ordinary people either the living or dead. It is because
the design is simple and is the cheapest kind of blanket that they can avail of in the early days. It is
significant also to note that when people die before, individuals having higher status are wrapped
with three to four layers of blanket, while the ordinary or younger people are wrapped with only one
or two blankets.
7. “KUBA” OR “KUVAL”
– the g-string for men. Initially, this is made from beaten barks of
trees then followed by the woven g-string. The influence of
Americans outdated the use of kuval until it was rarely used in the
present. There are no meanings and interpretations of the colors of
the kuval. However, the general rule is that, the kuval to be worn
or offered during rituals should also be the kind of kuval his father or
ancestors have used. Live persons can also wear kuba or kuval
when performing activities depicting Cordilleran culture.

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 “TAPIS”
– the generic term for the complete
female attire. Tapis is composed of wrap
around skirt called eten or devit in Ibaloi
and a blouse called lamma, sambra, or
kabal. Devit, consist of at least six
different layers of woven cloth. Further,
Tapis was originally an ordinary clothing
for women, but it signified social status.
Besides, the first design of a pair of tapis
were black and white colors. Bright colors
are associated with the higher class. It is
only in the present days that it is used
during special events. At present, green
and yellow stripes were included.

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