top of page

Sipatal (c)

LOCAL NAME:

Sipatal (c)

ENGLISH NAME:

Isnag chest ornament

DESCRIPTION:

A chest ornament featuring dual rows of butterfly-shaped shell pendants, with each row culminating in a triangular shell. The string connecting the butterfly-shaped pendants is adorned with beads in black, red, white, and yellow hues, securely fastened to another triangular shell at the top, forming a choker-like beadwork. Notably, the two triangular shells at the end of each string are embellished with intricate beads and delicate shell tassels.

COMMONLY USED BY/IN:

Isnag, Apayao

MATERIAL COMPOSITION:

Beads, Fiber threads, Mother-of-pearl shells

ITEM CONSTRUCTION:

Beadwork, Shellwork

DIMENSIONS:

Pendant
Length: 25 cm

Choker
Diameter: 13 cm

ACQUISITION YEAR:

2021

RESEARCH DATA:

Known as sipatal or sipattal (Maramba, 1998), also referred to as sipital or kilkilang (Anderson, 2010), this Isnag chest adornment is a cultural gem found in the province of Apayao. Worn with pride by men, women, and children alike, sipatal comprises butterfly-shaped pendants, known as bissin or bisin, and a beaded collar named sipatal. The butterfly-shaped pendants bear a notable resemblance to the pawisak or bawisak, shell earrings commonly worn by the Kalinga and Ga’dang communities. As an ornamental piece, sipatal is a vital component of the festive attire worn by Isnags, reserved exclusively for special occasions (Maramba, 1998).

The sipatal, along with other intricately designed Isnag ornaments, holds significant cultural value and is passed down from mothers to their sons and daughters. Isnag mothers particularly treasure the sipatal due to its cultural and symbolic importance. Serving as more than just an accessory, sipatal can be presented as a marriage gift and is therefore included in the dowry of the groom’s family. Mothers present their cherished sipatal to their sons as a tadug, a local term referring to a gift given by a man to the parents of his bride as a token of gratitude for the care given to their daughter and compensation for the loss of services the daughter provided to her family (Maramba, 1998).

REFERENCES:

Anderson, E. M., & van den Muijzenberg, O. D. (2010). In the shape of tradition: Indigenous art of the northern Philippines. Zwartenkot Art Books.

Maramba, R. (1998). Form and Splendor: Personal Adornment of Northern Luzon Ethnic Group. Manila: Bookmark, Inc.

bottom of page