# Marlon Martin ## expand\_more ## Method and Ritual: The Cultural Narrative of the Inlâdang ![dark blanket with patterns and thin stripes in yellow and white with red and red/white border.](/sites/g/files/omnuum4921/files/styles/hwp_1_1__960x960_scale/public/peabody/files/philmartin99580031.jpg?itok=WAgwDMWK) Among the Ifugao people, weaving practices include a diverse range of blankets, each carrying unique symbolic meanings tied to rank or social status within the community. These blankets serve as tangible expressions of identity and social standing, offering insights into the intricate layers of Ifugao culture and tradition. The production of these blankets, along with wraparound skirts and loincloths, adheres to established customary practices, which provide a guiding framework for weavers while still permitting individual artistic expression. While weavers enjoy some creative freedom, adherence to traditional colors and the incorporation of appropriate symbols are governed by strict customary regulations. Notably, blankets intended for commoners refrain from featuring spiritual or ancestral symbols, instead adhering to prescribed color motifs as dictated by age-old instructions, thereby ensuring the authenticity of Ifugao textiles. Various types of blankets, such as the *hapé* and *kintog*, exemplify categorization based on specific design elements. The hapé, characterized by its three-panel composition, earns its designation when adorned with bold white stripes against a backdrop of black or blue. Similarly, the kintog blanket is recognized through the inclusion of black or blue stripes set against a white background. The significance of these visual markers of social hierarchy is particularly pronounced among the elite *kadangyan*, or nobles. Through the strategic use of colors and spiritual symbols, these blankets distinguish among different tiers of nobility within Ifugao society. From childhood to adulthood, kadangyan individuals partake in a series of tiered community ceremonies that mark significant life milestones. Rooted in tradition and ritual, these ceremonies serve as rites of passage, guiding individuals along the path of social ascent. Central to these ceremonies is the privilege to wear certain blankets, each meticulously crafted to reflect the status and prestige of the user. Colors are carefully selected to denote specific levels of nobility, while symbols woven into the fabric hold deep ancestral and spiritual significance, tracing lineage and heritage across generations. ### **The Kadangyan Blankets** Nowhere in Northern Luzon do noble blankets hold greater significance than among the Ifugaos. These distinct blankets are not only worn to signify social status but also serve as essential attire for one's final journey, adorning the deceased as a passport to the afterlife. Indeed, even in the village of departed souls, prestige is acknowledged, mirroring the importance placed on social standing in the realm of the living. ![Photograph of an unidentified Ifugao woman and three children featuring an inlâdang hanging in the background.](/sites/g/files/omnuum4921/files/styles/hwp_1_1__720x720_scale/public/peabody/files/philmartinphoebe_hearst_13-2888.jpg?itok=MI-t9Ff5) Among the Ifugaos, the foremost symbols of prestige and social status are the *kinuttiyan* and the *inlâdang* blankets. These blankets are meticulously woven using handspun cotton, employing the ancient *binodbodan* (ikat or tie-dye) technique—a practice deeply rooted in Ifugao tradition. The art of weaving such intricate blankets is a rare skill possessed by only a select few women within the community, making these textiles highly coveted among the Ifugaos. Due to the complexity and labor-intensive nature of their creation, some individuals resort to commissioning these blankets from neighboring cultures renowned for their ikat-weaving expertise, such as the Isinai and the Igonhadan of nearby provinces. The procurement of a kinuttiyan or an inlâdang blanket comes at a considerable cost, often requiring the exchange of a full-grown buffalo—a testament to the value placed upon these prized possessions within Ifugao society. The acquisition of such blankets not only signifies wealth and social standing but also serves as a tangible reflection of the intricate networks of exchange and cultural interaction that characterize life in the region. ### **The Inlâdang** In contrast to conventional blankets consisting of three panels, the inlâdang stands apart with its unique composition of four main panels, complemented by two separate fringed panels at both ends. Notably, these fringed panels are woven independently and later attached during the final stages of production, a distinctive touch to Ifugao blankets’ design. To ensure the utmost precision and quality in weaving the inlâdang, weavers often opt for a methodical approach. Rather than weaving wider panels, they employ narrower ones, reducing the likelihood of encountering *munpallang*—an inherent challenge in body-tension weaving. Munpallang manifests as variations in tension within the fabric, resulting from the weaver's posture during the weaving process, ultimately yielding an uneven width in the finished product. By crafting narrower panels, weavers mitigate the risk of munpallang, thereby ensuring that the fabric maintains a consistent tension and width throughout. This deliberate attention to detail reflects the reverence and care with which the inlâdang is woven. ![woman seated on porch with verdant mountains in background weaves a long blanket.](/sites/g/files/omnuum4921/files/styles/hwp_1_1__720x720_scale/public/peabody/files/philmartinimg_20240322_164031.jpg?itok=0WBtEMbY) Just before the rice-planting season, the weaver engages in a deeply ritualistic process to procure the requisite materials for the crafting of the blanket. This process commences with the weaver carefully selecting the finest *kapo* (cotton bolls) from her cultivated plants, planted in compost mounds in her paddy fields. The weaver begins by delicately separating the seeds from the selected cotton bolls and then meticulously fluffing the fibers. Thereafter, she embarks on the intricate art of hand-spinning, transforming the cotton fibers into skeins and then meticulously into yarns. Following the preparation of the yarns, the weaver proceeds to starch and warp them onto the ikat frames, laying the foundation for the elaborate *bobod* (tying) process—a hallmark of Ifugao *binodbodan* (ikat/resist-dyeing) characterized by its intricate designs. During the tying operation that ensues, the weaver employs meticulous care in binding sections of the yarn, laying the groundwork for the desired patterns to emerge. The subsequent dyeing process draws upon ancient techniques and natural resources endemic to her mountain environment. Mud dye, sourced directly from the terraces, yields deep black hues, while the extraction of red dye from a long-forgotten plant found within the forest. Upon completion of the dyeing process, the weaving proper commences, with the weaver meticulously observing sacred rituals at each stage of the intricate process. These rituals, serve to honor ancestral traditions and invoke blessings upon the finished blanket. The weaving of the inlâdang represents far more than a simple act of craftsmanship; it is a deeply spiritual endeavor that necessitates the acknowledgment and reverence of the divine. Prior to the commencement of weaving, the weaver seeks permission from the gods and ancestral spirits whose symbols are poised to adorn the yet unwoven yarns. This ritual underscores the deep connection between the weaver, the materials, and the spiritual realm, emphasizing the Ifugao belief in the interconnectedness of the sacred and the secular. By invoking the blessings of the gods, the weaver acknowledges the divine guidance sought throughout the weaving process. Through this ritual of permission-seeking, the act of weaving transcends its material dimensions, becoming a sacred dialogue between the mortal and the divine. Each thread woven into the fabric carries not only the skill and intention of the weaver but also the spiritual blessings bestowed by the gods, imbuing the inlâdang blanket with a sense of sacredness. ### **Iconography** In Ifugao textiles, the patterns mainly represent the gods. With over two thousand gods in the Ifugao pantheon, the most significant ones are depicted on garments as a form of prayer, worship, or protection. Similar to how a Christian might wear a crucifix for blessings and protection, Ifugao people weave these symbols of gods onto their clothing to show status and to honor and praise the deities, whether anthropomorphic representations of deified ancestors, known as *tinagtaggu*, or important natural features and concepts tied to important life activities. In this blanket, several such designs can be identified: *Kinattibanglan, Ginatgattin, Linuhhung, Inambayung*, and the *Hinakhaklung*. The serpentine symbols called *inullog* (snake-like) are a defining feature of inlâdang blankets. The one seen here is named Kinattibanglan, meaning "fern-like," referring to the oldest plant species in the Ifugaos’ natural environment—the giant fern. Spiraling up along the entire length of blanket, this motif gives the blanket its name, Inlâdang, from the Tuwali Ifugao word *lad-ang*, meaning "to go up" or "ascending." It describes the weaving of the pattern that starts from the base of the warp until its end part. The weaver may either use this double helix-like pattern of the fernwood to represent the ancestors or, more accurately, the time of the ancestors, i.e. the past or the old ways. Or, as in the example seen here, the weaver may intend to use this pattern to reference the serpent god Buluhhan, and therefore could be more specifically called *iniddo* or the python design. ![Detail image of the inlâdang blanket identifying design motifs and their symbolic meanings. ](/sites/g/files/omnuum4921/files/styles/hwp_1_1__960x960_scale/public/peabody/files/philmartinmotif_diagram_final.jpg?itok=GXRA3H7l) Buluhhan is an agricultural god who belongs to the class of messenger gods, a go-between of the superior gods and the Ifugaos. Buluhhan descends upon the rice terraces during the blooming stage of the rice, signaling the other agricultural gods to work their magic to ensure formation of rice grains and a bountiful harvest. Rice plays a central role in the elevation of one’s social status. For only with rice fields can an Ifugao perform the lavish rites of merit *(kinadangyan)* that is accompanied by elaborate recitation of epic myths and chants, community feasts, and conspicuous consumption of rice and sacrificial animals. Next to the snaking Kinattibanglan pattern is the striking yellow Ginatgattin design. Meaning “like footsteps,” it connotes something to follow, worthy of emulation. As an animistic people, the Ifugaos would always mirror the ways of their ancestors in their everyday lives, drawing lessons from the ancients has become part of custom law. The Ginatgattin therefore represents the ancestors and their ways that have been passed down through the generations. The Linuhhung, (like a mortar) design, has always symbolized plenty and good harvest attributed to the *bagol*. The agricultural gods (bagol) are superior gods always offered sacrifices by the Ifugaos especially during rituals for rice. In its object form, the Ifugao *luhung* or mortar is made from the trunk of a hardwood tree or a rock, hollowed out halfway deep through its inner length and the outer part carved in the middle, hence narrower than the upper and lower sections. Similarly, the linuhhung pattern found on textiles mirrors this design, with motifs resembling two mortars positioned horizontally. The duality emphasizes plentiful harvest or having more than enough which can only be attributed to the consent or blessings of the bagol. Inambayung, “like an ambayung bag” (a type of Ifugao bag worn at the hip), characterized by their distinctive triangular shape, serve as sacred repositories for personal amulets blessed by the Halupe or charm gods. These charms and amulets, believed to possess protective powers, are safeguarded within the confines of the hip bag, hidden from the view of others to ensure their efficacy. In keeping with this principle, the Charm gods are not represented by the amulet themselves but by their vessel which is the hip bag. Finally, the Hinakhaklung or the “dipper-like” motif is the symbol of the dipper constellations, deified by the Ifugaos as the gods of fertility along with the heavenly stars. This motif especially appear in women’s garments such as the *gammit* skirt and the *mayad* belt. Invoking fecundity or fertility, it serves as a celestial reminder of the importance of multiplicity in agricultural prosperity. Collectively, these symbols enrich the cultural narrative woven into the fabric of the inlâdang blanket, embodying ancestral wisdom and spiritual connection. ## About the Contributor ![Portrait of Marlon Martin wearing a vividly colored woven scarf.](/sites/g/files/omnuum4921/files/styles/hwp_1_1__360x360_scale/public/peabody/files/philmartinmartin_headshot.jpg?itok=vbJXUSpT) Marlon Martin, the chief operating officer of the Save the Ifugao Terraces Movement (SITMo), is a dedicated advocate for the preservation of cultural heritage and sustainable development in the Philippines. SITMO is a community-based heritage conservation organization. In 2012, Martin founded the Kiyyangan Weavers Association, aimed at conserving the weaving heritage of Ifugao while improving the economic livelihoods of local farmer-weavers. The organization now goes by the brand Ifugao Nation, a social enterprise with a heritage conservation advocacy. His commitment to cultural preservation extends further through the establishment of the Ifugao Indigenous Peoples Education Center and Community Heritage Galleries in Kiangan, Ifugao Province, fostering community initiatives for local heritage education. The galleries feature a weaving center, an ethnographic gallery and a small library on Ifugao culture. Martin collaborates with academia and government agencies, focusing on researching and documenting the endangered traditions of his people and promoting social enterprise development. His recent publications include *The Inabol: Traditional and Contemporary Ifugao Textiles*, published by the Ifugao State University and the Office of Senator Loren Legarda. *Courtesy of Marlon Martin* ### Credits Figures 1 and 4. Museum Purchase, Huntington Frothingham Wolcott Fund, 1908, [08-36-70/74239](http://collections.peabody.harvard.edu/objects/details/88920). Figure 2. Courtesy of the Phoebe A. Hearst Museum of Anthropology and the Regents of the University of California. Acc 541 catalog number 13-2888. Figure 3. Courtesy of Marlon Martin. ### Notes Sources accessed for research: Stephen Acabado and Marlon Martin, "Saving Ifugao Weaving in the Philippines," SAPIENS, August 27, 2020, Francis Lambrecht, "Ifugaw Weaving," Folklore Studies 17 (1958): 1-53. Marlon Martin et al., *Inabol: Ifugao Traditional and Contemporary Textiles* (Ifugao State University, 2020).