Before the Spanish colonial period, the Manobo wore bark cloth to cover their genitalia. Today they wear Western clothes: the skirt and blouse or dress for the women, trousers and sports shirt for men. The heavily embroidered traditional Manobo costume is now worn only on special occasions.
Traditional fabric for clothes was abaca or hemp, weaved by the ikat process, but is now cotto cloth obatained through trade. Dyes were acquired from plants and trees: the tagum plant and the bark of the lamud treee produced lack, the turmeric root, yellow, and the keleluza plant, red. Ginuwatan are inwoven representational designs such as flowers. If cotton trade cloth is bought, big floral designs are preferred. Typical colors are red, black, yellow, green, blue and white.
Manobo ancestors had blankets of abaca fiber which were linetungan if these had multicolored design, and bayas if plain white.
Traditional costume most extensively described by researchers are those of the Agusanon Manobo, the Bukidnon/Higaonon, and the western Bukidnon. According the Manuel (1973), this costume was introduced only in the early part of this century or a little earlier, for the Manuvu did not know weaving. It was during the 19th century that contact with other groups acquainted the Manuvu with abaca cloth.
The color of the body of the jacket with it's matching skirt or trousers identifies the tribal groups to which the wearer belongs. The Agusanon Manobo usually wear red, with contrasting colors for the sleeves and embroidery thread. The Umayamnon Manobo wear royal blue, and the Matigsalug, navy blue, with red and white as the favorite embroidery or patch work colors.
The costume style varies with each tribal group. The Agusanon Umpak o Illianon Kumbala, the jacket for both men and women, is closed, so that it is pulled over the head. Among the Tigwahanon, the women wear the pakabu, a blouse with flared sleeves: the men wear the binukad, the typical Manobo jacket. It is embroidered on all the seams, i.e., the cuffs, shoulders, sides, neckline, the hemline, which is at the waist level. Typical decorative colors are red, yellow, white, and blue. Binain or decorative patterns are geometric., such as diamonds, rectangles, squares, and triangles; horizontal lines and zigzags; and representational figures such as a dancing man, stars, leaves, and crocodiles. Patchwork consists of red, white, and black cloth; embroidery colors are red, white, black, yellow, blue, and green. Based on the type of decoration used, western Bukidnon women's blouses are called linebian (zigzag) kinulingtan ( striped patchwork), tinedtezan (geometrical patchwork patterns).
For most groups, the men's jacket is short, moderately close fitting, square cut, and long sleeved. Besides being embroidered, the seams of the jacket are covered with cotton tuffs of red, yellow, and dark blue. A strip of cloth of a different color from the jacket is sewn between the sleeves and the body of the jacket. The top of the jacket's back is covered with an embroidered band, 4-6 cm wide.
Most Manobo men have two kinds of sawa/sawal, trousers: one for working and the other for festive occasions. Both types reach to just below the knees. The working trousers are close fitting and plain. The Tigwahanon call this type of trousers the bandira. The festive trousers are square cut, baggy, and embroidered in the typical colors and designs on the sides and cuffs. A fringe of cotton yarn is sewn between all the seams except at the waist. The trousers are kept in place with a drawstring, to both ends of which are attached tassels in the typical colors.
The men carry their betel quid in a kamuyot, a square abaca knapsack, usually decorated only by a fringe of multicolored yarn that is attached around the seam. It is worn with the arms passing under two strings attached to both sides. If elaborately decorated, it is surrounded by tassels and covered with beads and embroidery.
The chief of the bagani had a special attire, which was predominantly red. The red jacket and trousers were embroidered in the same colors and designs as the ordinary man's attire. His red headkerchief was embroidered with white, blue, and yellow cotton yarn at the corners.
The woman's blouse is a lavishly adorned as the man's jacket. The color of the cuffs matches that of the body. Embroidery is profuse on the front of the blouse. Bands of embroidery is alternating colors cover the seams and the oval-shaped neckline. No embroidery is done on the hemline. On the back near the shoulders is a band of intricate embroidery 5-6 cm wide.
There are two kinds of skirts: the saya and the malong. The saya is wide and kneelenght. It's color is identical to that of the blouse. It is adorned with patchwork or embroidered with geometric patterns or realistic figures. The malong was originally of abaca but is ow of cotton cloth. It is shaped like a long barrel and is folded over so that one half is inside the other. It is gathered at the left side and tucked in at the waist. Among the Agusanon Manobo, it is almost always red, with inwoven horizontal designs, such as black bands or alternating bands of red and black, with white stripes in between. Some Manobo tribes never wear the malong, but use it for many other purposes: as a blanket, a crib, mosquito bar, carrying bag, and so forth. The Tigwahanon also have the ampit, a barrel skirt shorter than the malong, with an inwoven checkered design.
The skirt is held in place with a waistband consisting of braided nito or human hair, the ends of which are prevented from unravelling by a strip of cloth. Attached to each end are multicolored strands of yarn and strings of white seed beads. Hanging from the waistband, on the right side, are pendants which hold hawk bells, seashells, additional strings of beads, and medicinal and magical charms of strong-smelling seeds, roots, and grass. The Ilianon have rattan belts called pinding.
The traditional hairdo for both sexes is a bun and bangs cut straight on the forehead from one side to the other. The woman wears her bun on the crown of her head, whereas the man's bun is lower, halfway between the top of his head and his nape. The woman's bun is fastened in place by a bamboo comb with incised decorations or inlaid mother-of-pearl bits of circles, squares, and triangles. Tigwahanon women sometimes tie teir bangs back and wear the lambong, strings of beads, in place of their bangs.
The tubao, the common turban, is knotted in front by the men and knotted at the back by the women. It comes in a combination of colors, the favorite being white, black, red, green, and yellow. Tigwahanon women have the komakulkul, a headdress of club mosses. During social or religious gatherings, the western Bukidnon women wear the pelupandung, which fans out from the head "like a giant radial comb" (Polenda 1989:144). It is made of wooden rods tied together with multicolored yarn. It is adorned with beads and sequins. A less spectacular headpiece is one that hangs straight down from the bun. It is embroidered and is flanked by two large tassels of yarn each hanging in front of the ear.
The men's headgear is the tengkulu, a piece of cloth which they bind around their head. Those worn for special occasions are adorned with beads, yarn, goats hair, and, in western Bukidnon, with feathers. Originally worn when the bagani went on a raiding expedition, each raider's tengkulu was unique in pattern and design. In western Bukidnon, the equivalent of the pelupandung is adorned with large plumes, such as those of the hawk, eagle, or garuda, and dyed in different colors. Wooden rods, about 3 cm long, make up the base, and are wrapped with multicolored yarn.
The baklaw, armbands, and tikes/tikkos, legbands of braided nito, 1.5 cm wide, are worn tightly around the forearms and just below the knees. Sometimes these are covered with beads. Besides being ornamental, these are believed to strengthen the major limb muscles. The pugnot, tight-fitting wristbands 50 mm wide, are made of braided, glossy black agsan vines and believed to work as a charm against scorpion bites.
Hanging from each ear of the woman is a wooden disk, 3 cm in diameter and laminated with silver, gold, or beaten brass wire. Red cotton yarn passes through the hole in the ear disk and the hole in the ear lobe, with tuft of the cotton yarn left over the ear hole. Another type of ear ornamentation is made of four strings of beads, 30 cm long, hanging from each ear. Cotton tassels are attached to the ends of the beads. The colors of both the beads and tassels are red, white, black, and yellow. The balaring are strings of beads attached to a pair of round metal earplugs so that the beads pass under the chin from one earplug to the other.
Balungkag are necklaces made of multicolored small seed beads, small shells, crocodile teeth, coins, or multicolored glass beads strung together to make geometric patterns. The sinakit is a necklace of beadstrings that fit snugly around the neck. The man's necklace is a sinakit about three fingers wide with a zigzag pattern like a python's back.
Attached to the front of the woman's jacket is a silver disk 7-10 cm in diameter. It is incised with concentric circles or other such geometric designs, comtained with a series of small triangular holes.
The women wear armlets so numerous that they can fill up the whole forearm. Highly prized armlets are those made of sagai-sagai (black coral), because these are believed to contract around the wearer's arm to warn of impending danger. Another armlet is made of taklobo (seashell), which is used for its whorl whose cross section is triangular. About five of the black coral and white taklobo armlets are placed alternately and worn all at once, usually on the left arm.
Bracelets are bands of beaten brass wire, 1 cm wide, or braided bands of plant fiber covered with white beads. The baloso is a shell bracelet. At festive occasions, the women wear dutus (anklets), 6 mm in diameter, two to each leg. As many as 15 pewter bells are attached to each anklet. Together with the hawk bells hanging from the belt, these make tinkling sounds as they dance.
Toe rings are made from brass wire coiled around a wooden base. Besides being ornamental, toe rings prevent the wearers from slipping as they walk, for the toe rings act as "tread".
A bride wears additional accessories of bead necklaces, from which hang pendants of crocodile teeth and pieces of mother-of-pearl, and from which hang cotton tassels; and leglets of braided plant fiber.
Teeth filing, no longer practised now, was done for both boys and girls when they reached puberty. Fourteen front teeth were filled down to the gums, and the final effect was that the upper teeth appeared to jutout over the lower teeth. The teeth were then blackened with juice of the mau-mau plant.
A stimulant, consisting of a mixture of the mau-mau juice, tobacco quid, lime, and soot compressed into the size of a marble, is placed between the upper lip and upper gum and removed only when the mouth is used for other purposes. Hence, there is little bulge on the upper part of the mouth. This mixture is replaced whenever it loses its flavor.
Manobo of both sexes have their earlobes pierced, although the women enlarge the holes up to 2.5 cm wide with tufts of pandanus grass. Two smaller holes may be added on the upper part of the ear lobes. The face is kept hairless; hence, both sexes shave their eyebrows, and the men prevent beards from growing by plucking.
Tattooing, a practice that is now fading, is done for ornamental purposes. The men wore tattoos on their chest, upper arms, forearms, and fingers. The women wore theirs on the same parts of the body, but the most elaborate tattoos were done on their calves. The Manuvu women wore less around their waistline and on their forearms. Tattoo designs are the same as those embroidered on their clothes, with the addition of the binuaja (crocodile figure), ginibang (iguana), binuyo (betel leaf) and other leaf designs, and stars. The western Bukidnon Manobo use any design that catches their fancy, e.g., a name, bird, or human figure.
The sayap is a bamboo hat made of badtek bamboo cut into thin strips and woven. It has two layers, between which are either erik-ik grass or anahaw leaves to make the hat waterproof. Woven split rattan strips from an inner layer which snugly fits the head. To this is added a brim which extends and is fitted to the underside of the brim of the hat.
The Manobo have numerous types of baskets made of either wickerwork or plaited rattan: fish baskets, rice baskets, storage baskets, betel nut baskets, and pack baskets. Other implements of basketwork are fish traps, chicken traps, and ceremonial trays.
The frame of a basket is a cylindrical piece of wood with a flat top and bottom. Rattan stips are woven around this frame. The upper rim is reinforced with a circular band of bamboo. The whole basket is made water-tight with tabon-tabon seeds filling up all spaces.
The bubo is a fish trap made of rattan strips. The cage is about 1 m long, cigar shaped, with one end larger than the other. A cone-shaped trap, made of bamboo slats, is placed inside the large end to allow the fish to enter but not to escape. A similarly constructed fisth trap is the cylindrical da-ing/sungkub used in the swamps for mudfish.
Mats are made from stalks of sedsed, a wild sedge. These are dried, dyed, flatened, and boiled in red, black, yellow, or green dye before weaving. Patterns are bitudu, bineligyas (diagonal), pineselangga and megapid.
The limbutung is a sleeveless armor of abaca fibers dyed wit several colors and woven in patterns that resemble the Manobo embroidery designs. The armor consists of three layers, between which is cotton stuffing.
Further protection is provided by the lemina, a round, concave piece of brass of whatever size its user chooses. One end of the pelewanen, a long embroidered piece of red cloth, is wrapped around the waist to keep the limbutung in place. Then the lemina is fastened to the chest with small but strong chains.
The shield is made of wood called lipega. The center is hollowed out for the handgrip. Tufts of horsehair are stuck through a row of holes on the outer edges. Each tuft us clamped in place by a pair of polished bentung bamboo.
From the Articles Published by Lydia Mary De Leon
Traditional fabric for clothes was abaca or hemp, weaved by the ikat process, but is now cotto cloth obatained through trade. Dyes were acquired from plants and trees: the tagum plant and the bark of the lamud treee produced lack, the turmeric root, yellow, and the keleluza plant, red. Ginuwatan are inwoven representational designs such as flowers. If cotton trade cloth is bought, big floral designs are preferred. Typical colors are red, black, yellow, green, blue and white.
Manobo ancestors had blankets of abaca fiber which were linetungan if these had multicolored design, and bayas if plain white.
Traditional costume most extensively described by researchers are those of the Agusanon Manobo, the Bukidnon/Higaonon, and the western Bukidnon. According the Manuel (1973), this costume was introduced only in the early part of this century or a little earlier, for the Manuvu did not know weaving. It was during the 19th century that contact with other groups acquainted the Manuvu with abaca cloth.
The color of the body of the jacket with it's matching skirt or trousers identifies the tribal groups to which the wearer belongs. The Agusanon Manobo usually wear red, with contrasting colors for the sleeves and embroidery thread. The Umayamnon Manobo wear royal blue, and the Matigsalug, navy blue, with red and white as the favorite embroidery or patch work colors.
The costume style varies with each tribal group. The Agusanon Umpak o Illianon Kumbala, the jacket for both men and women, is closed, so that it is pulled over the head. Among the Tigwahanon, the women wear the pakabu, a blouse with flared sleeves: the men wear the binukad, the typical Manobo jacket. It is embroidered on all the seams, i.e., the cuffs, shoulders, sides, neckline, the hemline, which is at the waist level. Typical decorative colors are red, yellow, white, and blue. Binain or decorative patterns are geometric., such as diamonds, rectangles, squares, and triangles; horizontal lines and zigzags; and representational figures such as a dancing man, stars, leaves, and crocodiles. Patchwork consists of red, white, and black cloth; embroidery colors are red, white, black, yellow, blue, and green. Based on the type of decoration used, western Bukidnon women's blouses are called linebian (zigzag) kinulingtan ( striped patchwork), tinedtezan (geometrical patchwork patterns).
For most groups, the men's jacket is short, moderately close fitting, square cut, and long sleeved. Besides being embroidered, the seams of the jacket are covered with cotton tuffs of red, yellow, and dark blue. A strip of cloth of a different color from the jacket is sewn between the sleeves and the body of the jacket. The top of the jacket's back is covered with an embroidered band, 4-6 cm wide.
Most Manobo men have two kinds of sawa/sawal, trousers: one for working and the other for festive occasions. Both types reach to just below the knees. The working trousers are close fitting and plain. The Tigwahanon call this type of trousers the bandira. The festive trousers are square cut, baggy, and embroidered in the typical colors and designs on the sides and cuffs. A fringe of cotton yarn is sewn between all the seams except at the waist. The trousers are kept in place with a drawstring, to both ends of which are attached tassels in the typical colors.
The men carry their betel quid in a kamuyot, a square abaca knapsack, usually decorated only by a fringe of multicolored yarn that is attached around the seam. It is worn with the arms passing under two strings attached to both sides. If elaborately decorated, it is surrounded by tassels and covered with beads and embroidery.
The chief of the bagani had a special attire, which was predominantly red. The red jacket and trousers were embroidered in the same colors and designs as the ordinary man's attire. His red headkerchief was embroidered with white, blue, and yellow cotton yarn at the corners.
The woman's blouse is a lavishly adorned as the man's jacket. The color of the cuffs matches that of the body. Embroidery is profuse on the front of the blouse. Bands of embroidery is alternating colors cover the seams and the oval-shaped neckline. No embroidery is done on the hemline. On the back near the shoulders is a band of intricate embroidery 5-6 cm wide.
There are two kinds of skirts: the saya and the malong. The saya is wide and kneelenght. It's color is identical to that of the blouse. It is adorned with patchwork or embroidered with geometric patterns or realistic figures. The malong was originally of abaca but is ow of cotton cloth. It is shaped like a long barrel and is folded over so that one half is inside the other. It is gathered at the left side and tucked in at the waist. Among the Agusanon Manobo, it is almost always red, with inwoven horizontal designs, such as black bands or alternating bands of red and black, with white stripes in between. Some Manobo tribes never wear the malong, but use it for many other purposes: as a blanket, a crib, mosquito bar, carrying bag, and so forth. The Tigwahanon also have the ampit, a barrel skirt shorter than the malong, with an inwoven checkered design.
The skirt is held in place with a waistband consisting of braided nito or human hair, the ends of which are prevented from unravelling by a strip of cloth. Attached to each end are multicolored strands of yarn and strings of white seed beads. Hanging from the waistband, on the right side, are pendants which hold hawk bells, seashells, additional strings of beads, and medicinal and magical charms of strong-smelling seeds, roots, and grass. The Ilianon have rattan belts called pinding.
The traditional hairdo for both sexes is a bun and bangs cut straight on the forehead from one side to the other. The woman wears her bun on the crown of her head, whereas the man's bun is lower, halfway between the top of his head and his nape. The woman's bun is fastened in place by a bamboo comb with incised decorations or inlaid mother-of-pearl bits of circles, squares, and triangles. Tigwahanon women sometimes tie teir bangs back and wear the lambong, strings of beads, in place of their bangs.
The tubao, the common turban, is knotted in front by the men and knotted at the back by the women. It comes in a combination of colors, the favorite being white, black, red, green, and yellow. Tigwahanon women have the komakulkul, a headdress of club mosses. During social or religious gatherings, the western Bukidnon women wear the pelupandung, which fans out from the head "like a giant radial comb" (Polenda 1989:144). It is made of wooden rods tied together with multicolored yarn. It is adorned with beads and sequins. A less spectacular headpiece is one that hangs straight down from the bun. It is embroidered and is flanked by two large tassels of yarn each hanging in front of the ear.
The men's headgear is the tengkulu, a piece of cloth which they bind around their head. Those worn for special occasions are adorned with beads, yarn, goats hair, and, in western Bukidnon, with feathers. Originally worn when the bagani went on a raiding expedition, each raider's tengkulu was unique in pattern and design. In western Bukidnon, the equivalent of the pelupandung is adorned with large plumes, such as those of the hawk, eagle, or garuda, and dyed in different colors. Wooden rods, about 3 cm long, make up the base, and are wrapped with multicolored yarn.
The baklaw, armbands, and tikes/tikkos, legbands of braided nito, 1.5 cm wide, are worn tightly around the forearms and just below the knees. Sometimes these are covered with beads. Besides being ornamental, these are believed to strengthen the major limb muscles. The pugnot, tight-fitting wristbands 50 mm wide, are made of braided, glossy black agsan vines and believed to work as a charm against scorpion bites.
Hanging from each ear of the woman is a wooden disk, 3 cm in diameter and laminated with silver, gold, or beaten brass wire. Red cotton yarn passes through the hole in the ear disk and the hole in the ear lobe, with tuft of the cotton yarn left over the ear hole. Another type of ear ornamentation is made of four strings of beads, 30 cm long, hanging from each ear. Cotton tassels are attached to the ends of the beads. The colors of both the beads and tassels are red, white, black, and yellow. The balaring are strings of beads attached to a pair of round metal earplugs so that the beads pass under the chin from one earplug to the other.
Balungkag are necklaces made of multicolored small seed beads, small shells, crocodile teeth, coins, or multicolored glass beads strung together to make geometric patterns. The sinakit is a necklace of beadstrings that fit snugly around the neck. The man's necklace is a sinakit about three fingers wide with a zigzag pattern like a python's back.
Attached to the front of the woman's jacket is a silver disk 7-10 cm in diameter. It is incised with concentric circles or other such geometric designs, comtained with a series of small triangular holes.
The women wear armlets so numerous that they can fill up the whole forearm. Highly prized armlets are those made of sagai-sagai (black coral), because these are believed to contract around the wearer's arm to warn of impending danger. Another armlet is made of taklobo (seashell), which is used for its whorl whose cross section is triangular. About five of the black coral and white taklobo armlets are placed alternately and worn all at once, usually on the left arm.
Bracelets are bands of beaten brass wire, 1 cm wide, or braided bands of plant fiber covered with white beads. The baloso is a shell bracelet. At festive occasions, the women wear dutus (anklets), 6 mm in diameter, two to each leg. As many as 15 pewter bells are attached to each anklet. Together with the hawk bells hanging from the belt, these make tinkling sounds as they dance.
Toe rings are made from brass wire coiled around a wooden base. Besides being ornamental, toe rings prevent the wearers from slipping as they walk, for the toe rings act as "tread".
A bride wears additional accessories of bead necklaces, from which hang pendants of crocodile teeth and pieces of mother-of-pearl, and from which hang cotton tassels; and leglets of braided plant fiber.
Teeth filing, no longer practised now, was done for both boys and girls when they reached puberty. Fourteen front teeth were filled down to the gums, and the final effect was that the upper teeth appeared to jutout over the lower teeth. The teeth were then blackened with juice of the mau-mau plant.
A stimulant, consisting of a mixture of the mau-mau juice, tobacco quid, lime, and soot compressed into the size of a marble, is placed between the upper lip and upper gum and removed only when the mouth is used for other purposes. Hence, there is little bulge on the upper part of the mouth. This mixture is replaced whenever it loses its flavor.
Manobo of both sexes have their earlobes pierced, although the women enlarge the holes up to 2.5 cm wide with tufts of pandanus grass. Two smaller holes may be added on the upper part of the ear lobes. The face is kept hairless; hence, both sexes shave their eyebrows, and the men prevent beards from growing by plucking.
Tattooing, a practice that is now fading, is done for ornamental purposes. The men wore tattoos on their chest, upper arms, forearms, and fingers. The women wore theirs on the same parts of the body, but the most elaborate tattoos were done on their calves. The Manuvu women wore less around their waistline and on their forearms. Tattoo designs are the same as those embroidered on their clothes, with the addition of the binuaja (crocodile figure), ginibang (iguana), binuyo (betel leaf) and other leaf designs, and stars. The western Bukidnon Manobo use any design that catches their fancy, e.g., a name, bird, or human figure.
The sayap is a bamboo hat made of badtek bamboo cut into thin strips and woven. It has two layers, between which are either erik-ik grass or anahaw leaves to make the hat waterproof. Woven split rattan strips from an inner layer which snugly fits the head. To this is added a brim which extends and is fitted to the underside of the brim of the hat.
The Manobo have numerous types of baskets made of either wickerwork or plaited rattan: fish baskets, rice baskets, storage baskets, betel nut baskets, and pack baskets. Other implements of basketwork are fish traps, chicken traps, and ceremonial trays.
The frame of a basket is a cylindrical piece of wood with a flat top and bottom. Rattan stips are woven around this frame. The upper rim is reinforced with a circular band of bamboo. The whole basket is made water-tight with tabon-tabon seeds filling up all spaces.
The bubo is a fish trap made of rattan strips. The cage is about 1 m long, cigar shaped, with one end larger than the other. A cone-shaped trap, made of bamboo slats, is placed inside the large end to allow the fish to enter but not to escape. A similarly constructed fisth trap is the cylindrical da-ing/sungkub used in the swamps for mudfish.
Mats are made from stalks of sedsed, a wild sedge. These are dried, dyed, flatened, and boiled in red, black, yellow, or green dye before weaving. Patterns are bitudu, bineligyas (diagonal), pineselangga and megapid.
The limbutung is a sleeveless armor of abaca fibers dyed wit several colors and woven in patterns that resemble the Manobo embroidery designs. The armor consists of three layers, between which is cotton stuffing.
Further protection is provided by the lemina, a round, concave piece of brass of whatever size its user chooses. One end of the pelewanen, a long embroidered piece of red cloth, is wrapped around the waist to keep the limbutung in place. Then the lemina is fastened to the chest with small but strong chains.
The shield is made of wood called lipega. The center is hollowed out for the handgrip. Tufts of horsehair are stuck through a row of holes on the outer edges. Each tuft us clamped in place by a pair of polished bentung bamboo.
From the Articles Published by Lydia Mary De Leon
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