Woman's clothing

From infancy to the age of 8 and very often 10 years the little girls are naked; not unfrequently one sees about the pueblo a girl of a dozen years entirely nude. However, practically all girls from about 5 years, and also all women, have blankets which are worn when it is cold, as almost invariably after sundown, though no pretense is made to cover their nakedness with them. During the day this pi'-tay, or blanket, is seldom worn except in the dance. I have never seen women or girls dance without it. The blankets of the girls are usually small and white with a blue stripe down each side and through the middle; they are called "kud-pas'." Those of the women are of four kinds -- the ti-na'-pi, the fa-yi-ong', the fan-che'-la, and the pi-nag-pa'-gan. In Barlig, Agawa, and Tulubin the flayed tree-bark blanket is worn; and in Kambulo, east of Barlig, woven bark-fiber blankets are made which sometimes come to Bontoc.

Before a girl puts on her lu-fid', or woven bark-fiber skirt, at about 8 or 10 years of age, she at times wears simply the narrow girdle, later worn to hold up the skirt. The skirt is both short and narrow. It usually extends from below the navel to near the knees. It opens on the side, and is frequently so scant and narrow that one leg is exposed as the person walks, the only part of the body covered on that side being under the girdle, or wa'-kis -- a woven band about 4 inches wide pa.s.sing twice around the body (see Pl. XXIII). The women sometimes wear the braided-string bejuco belt, i-kit', worn by the men.

The lu-fid' and the wa'-kis are the extent of woman's ordinary clothing. For some months after the mother gives birth to a child she wears an extra wa'-kis wrapped tightly about her, over which the skirt is worn as usual. During the last few weeks of pregnancy the woman may leave off her skirt entirely, wearing simply her blanket over one shoulder and about her body. Women wear breechcloths during the three or four days of menstruation.

During the period when the water-soaked soil of the s.e.m.e.ntera is turned for transplanting palay the women engaged in such labor generally lay aside their skirts. Sometimes they retain a girdle and tuck an ap.r.o.n of camote leaves or of weeds under it before and behind. I have frequently come upon women entirely naked climbing up and down the steep, stone dikes of their s.e.m.e.nteras while weeding them, and also at the clay pits where Samoki women get their earth for making pottery. In May, 1903, it rained hard every afternoon for two or three hours in Bontoc pueblo, and at such times the women out of doors uniformly removed their clothing. They worked in the fields and went from the fields to their dwellings nude, wearing on their heads while in the trail either their long, basket rain protector or a head covering of camote vines, under which reposed their skirts in an effort to keep them dry. Sometimes while pa.s.sing our house en route from the field to the pueblo the women wore the girdle with the camote-vine ap.r.o.n, called pay-pay. Often no girdle was worn, but the women held a small bunch of leaves against the body in lieu of an attached ap.r.o.n. Sometimes, however, their hands were occupied with their burdens, and their nudity seemed not to trouble them in the least. The women remove their skirts, they say, because they usually possess only one at a time, and they prefer to go naked in the rain and while working in the wet s.e.m.e.nteras rather than sit in a wet skirt when they reach home.

Few women in the Bontoc area wear jackets or waists. Those to the west, toward the Province of Lepanto, frequently wear short ones, open in front without fastening, and having quarter sleeves. Those women also wear somewhat longer skirts than do the Bontoc women.

In Agawa, and near-by pueblos to the west, and in Barlig and vicinity to the east, the women make and wear flayed-bark jackets and skirts. From Barlig bark jackets for women come in trade to Tulubin. They are not simply sheets of bark, but the bark is strengthened by a coa.r.s.e reinforcement of a warp sewed or quilted.

Many of the women's skirts and girdles woven west of Bontoc pueblo are made also of the Ilokano cotton. The skirts and girdles of Bontoc pueblo and those found commonly eastward are entirely of Igorot production. Four varieties of plants yield the threads; the inner bark is gathered and then spun or twisted on the naked thigh under the palm of the hand (see Pl. Lx.x.xIII).

All weaving in Igorot land is done by the woman with the simplest kind of loom, such as is scattered the world over among primitive people. It is well shown in Pl. Lx.x.xIV, which is a photograph of a Lepanto Igorot loom.

Implement and utensil production

Introduction

It is only after one has brought together all the implements and utensils of an Igorot pueblo that he realizes the large part played in it by basket work. Were basketry and pottery cut from the list of his productions the Igorot's everyday labors would be performed with bare hands and crude sticks.

Where is the Igorot's "stone age"? There are stone hammers and stones used as anvils in the ironsmith's shop. There are stone troughs or bowls in most pigpens in which the animal's food is placed. Very rarely, as in the Quiangan area, one sees a large, flat stone supported a foot or two from the earth by other stones. It is used as a bench or table, but has no special purpose. There are whetstones for sharpening the steel spear and battle-ax; there is the stone of the "flint-and-steel" fire machine; and of course stones are employed as seats, in constructing terrace walls, in dams, and in the building of various inhabited structures, but that is all. There is no "stone age" -- no memory of it -- and, if the people were swept away to-day, to-morrow would reveal no trace of it. It is believed that the Igorot is to-day as much in the "stone age" as he ever has been in his present land. He had little use for stone weapons, implements, or utensils before he manufactured in iron.

Before he had iron he was essentially a user and maker of weapons, implements, utensils, and tools of wood. There are many vestiges of the wood age to-day; several show the use of wood for purposes usually thought of as solely within the sphere of stone and metal. Among these vestiges may be noted the bamboo knife used in circ.u.mcision; the sharp stick employed in the ceremonial killing of domestic hogs in Benguet; the bamboo instrument of ten or a dozen cutting blades used to shape and dress the hard, wooden spear shafts and battle-ax handles; the use of bamboo spearheads attached to hard-wood shafts; and the bamboo spikes stuck in trails to impale the enemy.

In addition to the above uses of wood for cutting flesh and working wood there follow, in this and subsequent chapters, enough data regarding the uses of wood to demonstrate that the wood age plays a large part in the life of a primitive people prior to the common use of metals. Without metals there was practically no occasion for the development of stone weapons and tools in a country with such woods as the bamboo; so in the Philippines we find an order of development different from that widespread in the temperate zones -- the "stone age" appears to be omitted.

Wooden implements and utensils

The kay-kay (Pl. LXI) is one of the most indispensable wooden tools in Igorot land. It is a hard-wood implement from 5 to 7 feet long, sharpened to a dull, flat edge at one end; this end is fire tempered to harden and bind the fibers, thus preventing splitting and excessive wear. The kay-kay is obtained in the mountains in the vicinity of most pueblos, so it is seldom bought or sold. It is the soil-turning stick, used by both men and women in turning the earth in all irrigated s.e.m.e.nteras for rice and camotes. It is also employed in digging around and prying out rocks to be removed from s.e.m.e.nteras or needed for walls. It is spade, plow, pickax, and crowbar. A small per cent of the kay-kay is shod with an iron point, rendering them more efficient, especially in breaking up new or sod ground.

The su-wan', the woman's camote stick, is about 2 feet long and an inch in diameter (Pl. LXXV). It is a heavy, compact wood, and is used by the woman until worn down 6 or 8 inches, when it usually becomes the property of a small girl for gathering wild plants for the family pigs. The su-wan' of the woman of Bontoc and Samoki comes, mostly in trade, from the mountains near Tulubin. It is employed in picking the earth loose in all unirrigated s.e.m.e.nteras, as those for camotes, millet, beans, and maize. It is also used to pick over the earth in camote s.e.m.e.nteras when the crop is gathered. Perhaps 1 per cent of these sticks is shod with an iron point. Such an instrument is of genuine service in the rough, stony mountain lands, but is not so serviceable as the unshod stick in the irrigated s.e.m.e.nteras, because it cuts and bruises the vegetables.

The most common wooden vessel in the Bontoc area is the kak-wan', a vessel, or "pail" holding about six or eight quarts. In it the cooked food of the pigs is mixed and carried to the animals. Every household has two or more of them.

A few small, poorly made wooden dishes, called "chu'-yu," are found in each dwelling, from which the people eat broth of fish or other meats. All are of inferior workmanship and, in common with all things of wood made by the Igorot, are the product of the man's art. Both the knife and fire are used to hollow out these bowls.

A long-handled wooden dipper, called "ka-od'," is found in every dwelling. It belongs with the kak-wan', the pig-food pail.

Tug-on' is a large, long-handled spoon used exclusively as a drinking dipper for the fermented liquor called "sa-fu-eng'."

Fa'-nu is a wooden ladle employed in cooking foods.

A few very crude eating spoons, about the size of the dessert spoon of America, are found in most dwellings. They are usually without ornament, and are called "i-chus'."

Metal implements and utensils

The wa'-say is the only metal implement employed at all commonly in the area; it is found in each family. It consists of an iron, steel-bitted blade from an inch to an inch and a half in width and about 6 inches in length. It is attached to the short, wooden handle by a square haft inserted into the handle. Since the haft is square the implement may be instantly converted into either an "ax" with blade parallel to the handle or an "adz" with blade at right angle to the handle.

This is the tool used in felling and cutting up all trees, and in getting out and dressing all timbers and boards. It is the sole carpenter tool, unless the man by chance possess a bolo.

There are no metal agricultural implements in common use. As was noted earlier in the chapter, the soil-turning stick and the woman's camote stick are now and then shod with iron, but they are rare.

There are a few large, shallow Chinese iron boilers in the area, used especially for boiling sugar, evaporating salt in Mayinit, and for cooking carabao or large quant.i.ties of hog on ceremonial occasions. There are probably not more than two or three dozen such boilers in Bontoc pueblo, though they are becoming much more plentiful during the past three years -- since the Igorot has more money and goes more often to Candon on the coast, where he buys them.

Pottery

Most of the pottery consumed in the Bontoc area is the product of Samoki, the sister pueblo of Bontoc. Samoki pottery meets no compet.i.tion down the river to the north until in the vicinity of Bitwagan, which makes and vends similar ware both up and down the river. To the south there is also compet.i.tion, since Data makes and sells an excellent pot to Antedao, Fidelisan, Sagada, t.i.tipan, and other near-by pueblos. It is probable, also, that Lias and Barlig, to the east, are supplied with pottery, and, if so, that their source is Bitwagan. But Bitwagan and Data pots are really not compet.i.tors with those of Samoki; they rather supply areas which the Samoki potters can not reach because of distance and the hostility of the people.

There are no traditions cl.u.s.tering around pottery making in Samoki. The potters say they taught themselves, and have always made earthenware.

To-day Samoki pottery is made of two clays -- one a reddish-brown mineral dug from pits several feet deep on the hillside, shown in Pl. Lx.x.xII, and the other a bluish mineral gathered from a shallow basin situated on the hillside nearer the river than the pits, and in which a little water stands much of the year.

Formerly Samoki made pottery of only the brown clay, and she used cut gra.s.s intermixed for a temper, but she claims those earlier pots were too porous to glaze well. Consequently the experiment was made of adding the blue surface clay, in which there is a considerable amount of fresh and decaying vegetable matter -- probably sufficient to give temper, although the potters do not recognize it as such.

Samoki consists of eight ato, one of which is I-kang'-a. occupying the outer fringe of dwellings on the northwest side of the pueblo. It is claimed that all of the women of I-kang'-a, whether married or single, are potters. Even women who marry men of the I-kang'-a ato, and who come to that section of the pueblo to live, learn and follow the potter's art. A few married women in other ato also manufacture pottery. They seem to be married daughters of I-kang'-a ato.

A fine ill.u.s.tration of community industry is presented by the ato potters of Samoki. It could not be learned that there are any definite regulations, other than custom, demanding that all women of I-kang'-a manufacture pots, or any regulation which forces daughters of that ato to discontinue the art when they marry outside. But custom has fixed quite rigidly such a regulation, and though, as just stated, a few I-kang'-a women married into other ato of Samoki do manufacture pottery, yet no I-kang'-a women married into other pueblos carry on the art. It may be argued that a lack of suitable clay has thwarted manufacture in other pueblos, but clay is common in the mountains of the area, and the sources of the materials used in Samoki are readily accessible to at least the pueblo of Bontoc, where also there are many Samoki women living.

The clay pits lie north of Samoki, between a quarter and a half of a mile distant, and the potters go to them in the early morning while the earth is moist, and dig and bring home the clays. The woman gathers half a transportation basket of each of the clays, and while at the pits crudely works both together into b.a.l.l.s 4 or 5 inches in diameter. In this form the clay is carried to the pueblo.

All the pottery is manufactured in the shade of the potter's dwelling, and the first process is a thorough mixing of the two clays. The b.a.l.l.s of the crudely mixed material are put into a small, wooden trough, are slightly moistened, and then thoroughly worked with a wooden pestle, the potter crouching on her haunches or resting on her knees during the labors. She is shown in Pl. Lx.x.xIX A. After the clay is mixed it is manipulated in small handfuls, between the thumb and fingers, in order that all stones and coa.r.s.e pieces of vegetable matter may be removed. When the mortarful has thus been handled it is ready for making pots.

A ma.s.s of this clay, thoroughly mixed and plastic, is placed on a board on the earth before the kneeling or crouched potter. She pokes a hole in the top of this ma.s.s with thumbs and fingers, and quickly enlarges it. As soon as the opening is large enough to admit one hand it is dug out and enlarged by sc.r.a.ping with the ends of the fingers, and the clay so gathered is immediately built onto the upper rim of the ma.s.s. The inside is next further sc.r.a.ped and smoothed with the side of the forefinger. At this juncture a small ma.s.s of clay is rolled into a strip between the hands and placed on the upper edge of the shaping ma.s.s, completely encircling it. This roll is at once shaped by the hands into a crude, flaring rim. A few swift touches on the outer face of the crude pot removes protruding ma.s.ses and roughly shapes the surface. The rim is moistened with water and smoothed inside and out by the hand and a short, round stick. This process is well ill.u.s.trated in Pl. XC. The first stage of manufacture is completed and the vessel is set in the sun with the rim of an old broken pot for a supporting base.

In the course of a few hours the shaped and nearly completed rim of the pot becomes strong and set by the heat of the sun. However, the rough and irregular bowl has apparently retained relatively a larger amount of moisture and is in prime condition to be thinned, expanded, and given final form. The pot is now handled by the rim, which is sufficiently rigid for the purpose, and is turned about on its supporting base as is needed, or the base is turned about on the earth like a crude "potter's wheel." A smooth discoidal stone, some 4 or 5 inches in diameter, and a wooden paddle are the instruments used to shape the bowl. The paddle is first dipped in water and rubbed over one of the flattish surfaces of the stone slightly to moisten it, and is then beaten against the outer surface of the bowl, while the stone, tapped against the inner surface, prevents indenting or cracking, and, by offering a more or less nonresisting surface, a.s.sists in thinning and expanding the clay. After the upper part of the bowl has been thus completed the potter sits on her feet and haunches, with her knees thrust forward from her. Again and again she moistens her paddle and discoidal stone, and continues the spanking process until the entire bowl of the pot is shaped. It is then set in the sun to dry -- this time usually bottom side up.

After it has thoroughly dried, both the inner and outer surfaces are carefully and patiently smoothed and polished with a small stone, commonly a ribbon agate. During this process all pebbles found protruding from the surface are removed and the pits are filled with new clay thoroughly smoothed in place, and the thickness of the pot is made more uniform. The vessel is again placed on its supporting base in the sun, and kept turned and tilted until it has become well dried and set. Two and sometimes three days are required to bring a pot thus far toward completion, though during the same time there are several equally completed by each potter.

There remains yet the burning and glazing. Samoki burns her pots in the morning before sunrise. Immediately on the outskirts of the pueblo there is a large, gravelly place strewn with thin, black ash where for generations the potters coming and going have completed their primitive ware. Usually two or more firings occur each week, and several women combine and burn their pots together. On the earth small stones are laid upon which one tier of vessels is placed, each lying upon its side. Tier upon tier of pots is then placed above the first layer, each on its side and each supported by and supporting other pots. The heat is supplied by pine bark placed beneath and around the lower layer. The pile is entirely blanketed with dead gra.s.s tied in small bunches which has been gathered, prepared, and kept in the houses of the potters for the purpose. The gra.s.s retains its form long after the blaze and glow have ceased, and clings about the pile as a blanket, checking the wasteful radiation of heat and cutting out the drafts of air that would be disastrous to the heated clay. As this blanket of gra.s.s finally gives way here and there the attending potters replenish it with more bunches. The pile is fired about one hour; when sufficiently baked the pots are lifted from the fire by inserting in each a long pole. Each potter then takes a vessel at a time, places it red hot on its supporting base on the earth before her, and immediately proceeds, with much care and labor, to glaze the rim and inside of the bowl. The glaze is a resin obtained in trade from Barlig. It is applied to the vessel from the end of a glazing stick -- sometimes a pole 6 or 7 feet long, but usually about a yard in length. After the rim and inner surface of the bowl have been thoroughly glazed the potter begins on another vessel -- turning the last one over to one or two little girls, from 4 to 6 years of age, who find great happiness in smearing the outer surface of the now cooling and dull-brown pot with resin held in bunches in the hands. This outer glaze, applied by the young apprentices, who, in play, are learning an art of their future womanhood, is neither so thick nor so carefully laid as is the glaze of the rim and inner surface of the vessel. When the glazing is completed the pot is still too hot to be borne in the hands; however, the glaze has become rigid and hard.

a.n.a.lyses made at the Bureau of Government Laboratories, Manila, show that the clays used in the Samoki pots contain the following mineral:

a.n.a.lyses of Samoki pottery clays

Minerals.

Brown pit clay Blue surface clay

Per cent PER CENT