KANKANEY TINAGTAGGU STATUE DAVID HOWARD TRIBAL ART KANKANEY TINAGTAGGU STATUE

Tinagtauue Kankaney Tribe Sagada Pgilippines

Kankaney Tribe Sagada Philippines Tinagtaggue Statue

David Howard Tribal Art Kankaney Tinagtaggu

Tinagtaggu Kankaney Tribe David Howard Tribal Art

Tinagtaggu Statue Kankaney Tribe Philippines

Filipino Kankaney Tinagtaggue Ancestor Statue

IFUGAO KANKANAEY:
ANCESTOR BULUL TINAGTAGGU
RICE GOD STATUE HAND CARVED WOOD
EARLY 20TH CENTURY
25 X 10 X 6 INCHES

HUGE OLD FILIPINO TRIBAL USED STANDING “KING” TINAGTAGGU BULUL STATUE CIRCA 1900. THIS REMARKABLE PIECE COMES FROM THE “KANKANAEY” HEAD HUNTING TRIBE: THAT INHABIT THE CORDILLERA MOUNTAINS ON THE ISLAND "LUZON" IN THE PHILIPPINES. THERE IS A COLLECTION STICKER ON THE BACK THAT READS: “418A." THIS IS A RARE AND UNUSUAL PIECE THAT WAS USED BY THE KANKANAEY HEAD HUNTING TRIBE IN SAGADA. IT WAS PRESENTED AT SACRED TRIBAL CEREMONIES TO CONJURE DECEASED TRIBAL ANCESTOR’S SPIRITS TO TRIBAL RITUALS. THIS IS AN EXTRAORDINARY PIECE OF OLD TRIBAL ART THAT HAS APPLIED BROWN PIGMENT ON THE FACE. THIS PIECE EXHIBITS WEAR AND SIGNS OF TRIBAL USE; FROM MY GRANDFATHER'S OLD TRIBAL ART COLLECTION. HE WORKED IN SOUTHEAST ASIA, SOUTH AMERICA, AND AMERICA'S SOUTH WEST IN THE 30'S. HE TRAVELED TO BURMA, INDONESIA, THE PHILIPPINES, AND MEXICO WITH A NATIONAL GEOGRAPHIC MAGAZINE PHOTOGRAPHER. HE COLLECTED THIS PIECE DURING HIS TRAVELS.

Two famous institutions of the Kankanaey of Mountain Province are the dap-ay, the men's dormitory and civic center, and the ebgan, the girls' dormitory where courtship between young men and women took place. The Bontoc Igorot in Sagada and some nearby pueblos, as Takong and Agawa, the o′-lâg is said to be called Ĭf-gan′.

The Kankanaey differ in the way they dress. The women soft-speaking Kankanaey's dress has a color combination of black, white and red. The design of the upper attire is a criss-crossed style of black, white and red colors. The skirt or tapis is a combination of stripes of black, white and red.

The women hard-speaking Kankanaey's dress is composed of mainly red and black with a little white styles, as for the skirt or tapis which is mostly called bakget and gateng. The men wore a g-string as it is called but it is mainly known as wanes for the Kanakaneys of Besao and Sagada. The design of the wanes may vary according to social status or municipality.

The Kankanaey's major dances include tayaw, pattong,as Igorot wedding dance, and balangbang. The tayaw is a community dance that is usually done in weddings; it may be also danced by the Ibaloi people but has a different style. Pattong is also a community dance from Mountain Province which every municipality has its own style. Balangbang is the modernized word for the word Pattong. There are also some other dances that the Kankanaeys dance, such as the sakkuting, pinanyuan (wedding dance) and bogi-bogi (courtship dance). Kankanaey houses are built like the other Igorot houses, which reflect their social status.

A Bulul is a carved wooden figure used to guard the rice crop by the Igorot peoples of northern Luzon. The sculptures are highly stylized representations of ancestors, and are thought to gain power from the presence of the ancestral spirit. The Ifugao are particularly noted for their skill in carving bululs. Bululs are used in ceremonies associated with rice production and with healing. Creation of a bulul involves alwen bulol ritual by a priest to ensure that the statue gains power. The bulul is treated with care and respect to avoid the risk of the spirits of the ancestors bringing sickness. The figures are placed in rice granaries to bring a plentiful harvest. A large granary may need two bululs, and a wealthy noble may also have one or more bululs in his house. Male and female Bulul statues are often found together, with sex-related symbols such as the mortar for the female and pestle for the male. A male bulul may sometimes be decorated with a g-string, and a female with a waist cloth, earrings and anklets. Although the form varies, the bulul is commonly represented as seated on the ground, with arms crossed over his upraised knees. The bulul has a simplified form, and is traditionally carved from narra or ipil wood or sometimes stone. The bulul is touched by hands dipped in blood of a chicken or pig in ritual called tunod during the rice planting season. Over time the blood imparts a dark color to the figures, overlaid with a patina of grease from food offerings. Bululs are handed down to the first child of a family. Typically the older statues have beetle holes made by insects in the granary.

Prior to colonization, Ifugao was a massive highland plutocracy, among the most sophisticated and prosperous of its kind in the whole archipelago and one of the two grandest highland plutocracies in Luzon, the other being the Plutocracy of Kalinga. The state existed for over 2,000 years and have built massive rice terraces that would be a symbol of the province in later time. There were no monarchs in the state. The state was ruled by its council of elders which led the state into a peaceful and prosperous plutocracy which developed one of the best agricultural technologies in Asia at its time. The state consisted of various subgroups which had similar yet somewhat distinct culture and traditions. Conflicts among the Ifugao people were resolved in the most peaceful way possible. Unlike most of the highland plutocracies in the Cordilleras at the time, the Plutocracy of Ifugao had the least conflict with lowland settlers or Ilokanos. Kiangan was known as the birthplace of the Ifugao people and Hungduan as the epicenter of its culture.

The Spanish had great difficulty in taking over Ifugao, like most of the Cordilleras due to the fierce belief of the Cordillera people of their rights since ancient times. The Ifugao battled colonizers for hundreds of years, even after the state was colonized and was transformed into a part of Nueva Viscaya province of the Spanish-administered Philippines. In 1891, the Spanish government established Quiangan as a comandancia-politico-milita for the Ifugao area. The Spanish occupation in the province ended with the outbreak of the Philippine Revolution.

Ifugao culture revolves around rice, which is considered a prestige crop. There is an elaborate and complex array of rice culture feasts inextricably linked with taboos and intricate agricultural rites, from rice cultivation to rice consumption. Harvest season calls for grandiose thanksgiving feasts, while the concluding harvest rites "tungo" or "tungul" (the day of rest) entail a strict taboo of any agricultural work. Partaking of the rice wine (bayah), rice cakes, and 'moma' (mixture of several herbs, powdered snail shell and betel nut/ arecoline: and acts as a chewing gum to the Ifugaos) is an indelible practice during the festivities and ritual activitiess. their retual and Agricultural terracing is their principal means of livelihood along with farming. Their social status is measured by the number of rice field granaries, family heirlooms, gold earrings, carabaos (water buffaloes), as well as, prestige conferred through time and tradition. The more affluent, known as kadangyan were usually generous by nature, giving rice to poor neighbors in time of food shortage(s) and/or hardship(s). Furthermore, their culture was known for their legal system, using one of the world's most extensive oral legal traditions specifying the offense depending on the use of custom law; trial by elders (influenced in part by public opinion); or trial by ordeal. The wealthy were subjected to greater fines than the poor.

Untouched by the influences of Spanish colonialism, Ifugao culture value kinship, family ties, religious and cultural beliefs. They're unique among all ethnic groups in the mountain province, not only for their interesting customs and traditions but also for their narrative literature such as the hudhud, an epic dealing with hero ancestors sung in a poetic manner. Another feature unique to the Ifugao is their woodcarving art, most notably the carved granary guardians bului and the prestige bench of the upper class, the hagabi. Their textiles renowned for their sheer beauty, colorful blankets and clothing woven on looms. Houses were well-built, characterized by as a square with wooden floors, windowless walls, and pyramidal thatch roofs. Elevated from the ground by four sturdy tree trunks, they feature removable staircases that were hoisted up at night to prevent entry by enemies and/or wild animals. Lastly, their attire remain traditional for male Ifugaos, donning the wanno or g-string; there are six types of wanno which are used depending on the occasion or the man's social status. Ifugao women, on the contrary, wear tapis, a wraparound skirt; there are five kinds of skirts worn, depending on the occasion and or status of the woman /girl.