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Proquest Dissertations The ethnoarchaeology of Kalinga basketry: When men weave baskets and women make pots Item Type text; Dissertation-Reproduction (electronic) Authors Silvestre, Ramon Eriberto Jader Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 19:22:49 Link to Item http://hdl.handle.net/10150/289123 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs Included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Infonnation and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 THE ETHNOARCHAEOLOGY OF KALINGA BASKETRY; WHEN MEN WEAVE BASKETS AND WOMEN MAKE POTS by Ramon Eriberto Jader Silvestre Copyright © Ramon E.J. Silvestre 2000 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ANTHROPOLOGY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College UNIVERSITY OF ARIZONA 2000 UMI Number: 9965923 Copyright 2000 by Silvestre, Ramon Eriberto Jader All rights reserved. UMI' UMI Microform9965923 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. 80x1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Ramon Erlberto Jader snvestrp entitled THE ETHNOARCHAEOLOGY OF KALINGA BASKETRY; WHEN MEN WEAVE BASKETS AND WOMEN MAKE POTS and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy W. A. Lonaafcre \ ^ Date ? m UM. Johjy^. Olsen Date ^ h !Zo<o Mamad Date William'L. Rathjf Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Diss«tation Director^ Date 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial ftilfilhnent of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests tor permission of extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Ramon K. J. Silvestre 4 ACKNOWLEDGMENTS My first exposure to the Philippine Cordillera cultures like the Kalinga was as a child tagging along with my mother to the Sunday open market in the city of Baguio in the Philippines. 1 was intrigued by the tattooed Kalinga men and women, the men dressed in their hand woven loin cloths and the women in bright colored traditional wrap around skirts with rows of agate and gold beads tied in their hair or hanging on their necks. They sat squat on the sidewalk chewing betel nut and spitting the red chew an amazing number of feet into the gutter! As a child I was impressed, (and those images remained vivid.). Never did I expect that graduate school in Arizona would lead me to do research on a people that had intrigued me as a child. The stereotypes of the Kalinga that I had grown up with faded away as I shared their lives each day for the year of fieldwork. I would be remiss if I did not say that living with the Kalinga was one of the most humbling, yet satisfying, e.xperiences of my life. Raised by parents who had a unique outlook in life, accepting people for what they are and not for what you want them to be was what my mother, Etta would say, a college professor, when I got Irustrated with people I could not understand. Like any teacher she would always have a handful of her college students come to the house to have study sessions or discussions about anything, life in general, maybe just to help her check papers, or just your normal hungry college kid coming home with my Mom to be fed. My father. Silver, was an architect and also dean of the college of a local university, also Tito Silver to most if not to all my finends - did the same. To Mama and Papa who saw the begirming of my life, and this project I am most grate till. My informal anthropological education started as a child. A year here and there of visiting exchange students living with us in our home in the Philippines from Australia, a bunch of American Field Scholars, a Rotary exchange student from Thailand and Japan, even a bunch of American army brat kids from the field troops that lived in Vietnam during the war who spend a whole summer month with us. I was pretty impressed by the richness of cultures that lived with us in our home. In retrospect, inspite of Catholic schools being a pain, it set a good foundation. College was A Blast! Literally in the Philippines, not withstanding military coups, dictatorships and a People Revolution made life interesting. Trips to see the world, outstanding. Most of all for graduate school in Arizona and for this Ph.D., 1 am indebted to: The Kalinga and the Kalinga Ethnoarchaeology Project network of friends and colleagues that have made this research possible. The Faculty of the Department of Anthropology who taught me through graduate school, to Prof. William A. Longacre, Outstanding Professor, Mentor and Friend, whose patience has been unending...To each every member of my committee. Professors John Olsen, William Rathje. Michael Schiffer, Mamadou Baro and Thomas Park. The Anthropology office staff for 5 scheduling, registration, copying. Most especially I am thankful tor those starving "foreign boy" lunches from Barbara Fregoso and Mary Stephenson. My family. The Jader's, Silvestre's and Aquino's. To Camille. Nonong and Abou. To Naomi and Jim Raby for being mom and dad after both of my own lived and left. Not withstanding all the other members of the Raby-Copsey Clan that I spend my birthdays. Holidays, even Hanukkah, and "Idaho Family Reunions" with. Big sister's Diane Bauer and Edy Raby who "encouraged" me through, not to forget great aunt Edith King for a great dinner in London. To Truly Great Friends, and there really is a lot ofyou who have egged me on. encouraged and pushed me through this seemingly never ending project. I am very grateftil. Most of all to my partner Jetf for sharing his lile with me. From all of you, I draw amazing strength, expertise, experience and impression, as an expression of utmost gratitude and love - 1 dedicate this work! Maraming Salamat. 6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS 10 LIST OF TABLES 14 ABSTRACT 15 CHAPTER ONE: INTRODUCTION TO THE STUDY 17 Rationale Behind the Study 19 "The Mystique of Pottery and the Non-Mystical Basketcase" 20 Relevance of Basketry as an Artifact Class 21 A Brief Introduction and Glossary to Basketry Technology 24 Analogy and Archaeological Interpretation of Basketry 29 The Relevance of the Ethnoarchaeology of Basketry 32 Basketry in Antiquity 36 A Review of Previous Publications on Prehistoric Basketry and Important Ethnographic Collections 42 Current Research on Southeast Asian Basketry 48 Pre Columbian Basketry 50 Constraints with the Literature 54 Problems in Basketry Nomenclature 55 The Relevance of Paleoethnobotanical Research 56 Recent Directions in Paleoethnobotanical Interpretation 57 The Kalinga Ethnoarchaeology Project 60 Outline of the Dissertation 62 Summary 64 CHAPTER TWO: SETTING THE STAGE: KALINGA AS A RESEARCH SETTING THE HISTORY AND THE SOCIO-ECONOMIC ORGANIZATION OF THE KALINGA 66 The Study Region 66 Geography 67 The Cordillera in Philippine Archaeological Context 73 The Kalinga in Philippine Archaeological and Historical Context 74 Kalinga Society: Political Structure and Economics 87 Kalinga Belief System 93 Summary 95 7 TABLE OF CONTENTS - Continued CHAPTER THREE: KALINGA BASKETRY PRODUCTION IN PERSPECTIVE.. 97 The Relevance of Kalinga Basketry Production 97 Cordillera Regional Basketry Production 98 Kalinga Basketry Production 105 Basket Ownership 121 The Kalinga Basketry Typology 122 Typological Constraints and Significance 125 Native Classification of Kalinga Baskets 129 Kalinga Basketry Typology 130 Summary 157 CHAPTER FOUR: THE TECHNOLOGY AND MORPHOLOGY OF KALINGA BASKETRY 159 The Analysis of Kalinga Plaited Basketry 160 Definition 160 Simple Plaiting 163 Twill Plaiting 165 Native Kalinga Basketry Terms of Functional Types 167 The Mechanics of Typing 168 Element Engagement 169 Shifts 170 Procedures for Analyzing Simple Plaiting 172 Procedures for Analyzing Twill Plaiting 175 Number.
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