RESEARCH DATA:

This belt or headcloth is an innovation of the sinanlupis by Patis Tesoro. This variant is woven on a blue background, combined with vertically arranged red and yellow mortar-like motifs (lupis) done in the supplementary weft technique or pinilian. This mortar design is interspersed with alternating red and yellow accents that run through the width of the cloth. Near its bottom edges are found the sinan-ramay (finger-like), or kuko-palay (fingernails and rice stalks) embroideries, which are reminiscent of the traditional embroidery used in Itneg or Tingguian skirts and blankets. From these edges hang decorative knotted tassels, locally called singlot (Cunanan, 2015).

Sinanlupis is a textile tied around the head of a mandadawak (shaman), a folk healer who performs the dawak or “chants” during important rites (Salvador-Amores, 2007). During rituals, this fabric may also be tied around the spear used in the performing rites. At times, it also functions as a belt for men (Salvador-Amores, 2019).

REFERENCES:

Cunanan, H. P. (2015). Ules in the life cycle of an Ilocano. In Inabel: Philippine textile from the Ilocos Region (pp. 144-153). Artpostasia.


Salvador-Amores, A. V. (2007). Batek: traditional tattoos and identities in contemporary Kalinga, North Luzon Philippines. Humanities Diliman: A Philippine Journal of Humanities, 3(1), 105-142.

Salvador-Amores, A. V. (2019). Anthropological Analysis of Itneg Textiles. In Anthropological analysis, mathematical symmetry and technical characterization of Cordillera Textiles. Corditex Research Report, UP Baguio 2016-2019.