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Ginamat (g)

LOCAL NAME:

Ginamat (g)

ENGLISH NAME:

Wrap-around skirt

DESCRIPTION:

Kalinga: Ginamat
A three-paneled skirt featuring red and black stripes, embroidered designs, supplementary weft-woven bands, and hanging bead and shell dangles. An extra strip of plain-woven white cloth is stitched to one of the warp edges of the skirt.

COMMONLY USED BY/IN:

Kalinga

MATERIAL COMPOSITION:

Cotton threads, Natural dye, Mother-of-pearl shells, Beads

ITEM CONSTRUCTION:

Plain weave, Brocade weave, Embroidery, Stitching, Beadwork

DIMENSIONS:

Length
95.5 cm

Width
66 cm

White Border
10.5 cm

ACQUISITION YEAR:

2021

RESEARCH DATA:

The ginamat or gilamat is a wrap-around skirt known for its continuous thick diamond-shaped embroidery at the joinery. These diamonds symbolize the ili, or homeland, while the yellow zigzag outlines surrounding them represent the mountains (Ngao-i, 2022). The motifs are set against a striped background of orange and indigo, with smaller asterisk and triangle-like embroideries scattered within the indigo stripes. The orange color symbolizes the soil or land, while the indigo represents the sky (Anderson et al., 2010). The double process of weaving and embroidering the cloth is called dinoble, meaning “doubled” (San Agustin, 2007). In essence, the ginamat reflects the deep connection between the people of Kalinga and their environment.

At the warp edges, brocade checkered patterns in yellow and orange are woven perpendicular to the striped design. These checkered patterns, which vary in thickness, shape, and color, are distinctive to Kalinga textiles and typically appear only in their woven garments and select blankets. Additionally, mother-of-pearl platelets called witawitan, described as having trapezoidal or rhombohedral shapes, hang from the lower sections of the skirt. When worn, they sway with the movement of the wearer, producing a soft clicking sound. The Kalinga people, often referred to as the “Peacocks of the North” (San Agustin, 2007), are known for their vibrant color palettes, as well as the intricate patterns and embroideries in their textiles.

REFERENCES:

Anderson, Eric M., van de Muijzenberg, O., Baradas, D., Silvestre, R., Maramba, R., & Beyer, H. (2010). Textile. In The Shape of Tradition: Indigenous Art of Northern Philippines (pp. 235-266). Leiden: Zwartenkot Art Books.

Ngao-i, L. (2022). Laga: Indigenous Textile of Kalinga, Northern Philippines. Golden Press.

San Agustin, L. P. (2007). The Traditional Attire of the Kalinga Tribe. In Traditional Attires of the Igorot Tribes (pp. 105-128). Central Book Supply, Inc.

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