Since ancient times, thrones and raised seats depicted power, and great rulers. If one should be fit to take the place, he must be of royal lineage or a gallant warrior. Cognately, the Sangadil in Benguet is a fashioned seat equal to a throne, deliberately for men of honorable deeds. Instead of costly embellishment, it is rather austere, made plainly of wood. But that is not what makes it entirely sole from all the famous thrones of the world, for the Sangadil can only be served by a noble man upon the end of his life.

It is a traditional custom among tribes in Benguet to honor the dead for their contributions to the community during the breadth of their life. This is practiced by fulfilling the requests or will of a man before his death, and performing the appropriate death and burial rituals as instructed by community elders.

Each province in Cordillera has their own way of preparing their dead. Usually, the corpse is laid in a coffin, while some enthrone them in seats made of wood from pine trees or bamboo. The latter process is known by the folks of Amgaleyguey, Buguias, Benguet, as Sangadil.

According to a research by Sharon Faith Maliones, Sangadil is an old tradition performed by the Kadangyan or people with high community or social stature, upon the request of the person before death or preference of the family, and instruction of the elders.

Sangadil as an Emblem of Respect

Sangadil is performed to allow the dead’s spirit to see the relatives and attendants during the wake. This is entwined with the belief of the community that upon a person’s death, the kading or the soul remains on earth, capable of hearing requests from his family and friends. The kading may fulfil or deliver these requests to Kabunian, the supreme god as recognized by early Igorots. 

Moreover, the death ritual is also executed for the purpose of showing respect to the dead by fulfilling their wishes before their death. Before they die, people leave instructions for their wake, such as how long it should last, the specific number of animals to be butchered, and the site of their graveyard. The kading can take the form of an animal, or send unusual dreams to communicate their message with the living. If these signs are constantly disregarded, they believe it may bring bad omen to the relatives of the deceased, such as death. 

Sangadil serves also as a recognition for the contributions of the dead in the community during their lifetime. In the past, those who were seated in the Sangadil were mostly politicians, priests, people who shared their blessings through Cañao, and others who have generously contributed in the development of the community.

The Phases of Sangadil

The family of the deceased is responsible for preparing the materials needed in the ritual. These includes the Buddus or wood from a young pine tree to build the Sangadil, a Bed-bed or a woven cloth to wrap around the forehead and cover the mouth to prevent insects from swarming inside, and also to hold the arms, chest, and legs of the body against the Sangadil, and a blanket to cover the corpse. The blankets to be used will depend on the social or community stature of the dead. The aladdang is a blanket intended for the rich, while the pinagpagan and Dili are for the middle class.

After everything is prepared, the Dilusen is carried out. The elders instruct the family of the deceased to butcher a pig with the help of the community. It is believed that by this procedure, the kading will know that he or she has passed away. Meanwhile, the corpse will be laid into a table-like wood covered with blanket, inside the house. A madmad or a prayer will be recited by the elder inviting the kading to join them in the feast. Sabusab or sorting of conflicts within the family circle of the deceased comes next to the process. 

The next procedure is called Daupan, a task where females in the family wash the face of the corpse with cold or boiled water, mixed with guava leaves, to help in delaying the process of decay. Afterwards, the body is dressed with kubal or g-string (if male), and/or eten or woven skirt paired with sinak-eb or woven blouse (if female). 

The dead is finally then seated on the Sangadil. It is placed on the right side of the house door if male, or on the left side if female. The elders stick a bundle of bedlang or cogon grass near the Sangadil with a native chicken tied to it to drive away souls of people and avoid death. A day-eng or eulogy addressed to the dead or narrates a folktale is next led by the elders. 

The first day of the wake marks the start of counting the number of days and the number of Lepsak or animal donations, which is done by the family. In the second day, the family is forbidden to perform work or any ritual, for it is considered a taboo or ba-es. This is done to allow the Kading to roam around his or her properties without interference. The clothes of the deceased are cut into strips and tied on sticks or woods as poles, then struck around the perimeters of the land property by elders, to serve as signposts for the Kading. On the third day, the family tie strings on their wrist to be recognized by the Kading. 

On the fourth day, men butcher a pig while the women cook pising or taro and tugi or sweet potato to be served to everyone. This process is called Pan-awilan. A part of the food will be offered to the kading and placed near the Sangadil. 

The Punpun or burial usually takes place during the fifth day, but may sometimes extend depending on the preference of the dead, the family, or elders. However, locals said the number of days is always odd. 

For the elders, burials should be during the night to deter other succeeding deaths. The son or son-in-law brings the dead to his grave carrying the head first to prevent the kading from leaving the body. Noises like farting, sneezing, or laughing is forbidden, otherwise the burial will not pursue. Elders perform lapok or clapping as they accompany the dead to the location of the grave to obstruct any other sound that may hinder the burial.

Values Reflected in Performing Sangadil

Certain values are communicated in the practice of Sangadil such as strengthening family ties, establishing respect and obedience to elders, perduring the virtue of being a Samaritan to others in distress, and honoring the dead. 

Sangadil is a family decision which requires the presence and participation of every member in the tasks and activities to be done. Moreover, the family is unified in prayer and in purpose in their request for a prosperous life for them and the community. 

In the practice, the community is also joined in making efforts for solace like offering voluntary help to their neighbors who are in grief. Men butcher pigs together, gather fire woods, and build the grave and coffin, while the women cook food, and wash dishes. This Samaritan custom is known to them as ubo. Aside from assisting, other members of the community also give donations like animals to be butchered or fruits and vegetables as well as cash amounts. 

Respect and obedience to elders is also manifested in Sangadil. The elders who attend the vigil are offered with food, rice wine, reserved seats, and are accompanied by young people on their way home. 

According to Maliones, the process of Sangadil has undergone changes and innovations in response to modernization, inter-culture interaction, and the spread of Christianity, but the values remained intact. 

“The notion of Sangadil being barbarous is formed from mere prospect alone without learning the essence of the practice. We value the life of people, which is why isimpa tayo ti minatay tayo nga enggana tadta isu ti araramiden tayo. Ti nagdumaan na lang ti Sangadil ket jay belief that the dead spirits serve as messengers to our ancestors, isunga pagtugawen da ta denggen na ti prayers ti living” stated Kimberly Lobeda, BSDC IV. 

From a different perspective, indigenous practices of Lusod, Kabayan, Benguet such as Sangadil may be misjudged as bizarre and hostile. But in actuality, the heart of the act is genuine respect and honor for a noble man who once lived. 

These practices along with values and virtues interwoven, is what shapes the identity of Igorots. An identity that sustained and kept our societies connected for centuries long, and shall continue to mold and guide the next generations to come. If it should be lost, so it goes with our very existence.