NOT

Contemporary Philippine Arts

from the Regions
Filipino Artists and Their Contribution
to Contemporary Arts Quarter 1
- Module 4

Department of Education ● Republic of the Philippine

Contemporary Philippine Arts from the Regions

Alternative Delivery Mode
Quarter 1 - Module 4: Filipino Artists and Their Contribution to Contemporary Arts

First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalty.
 Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this book are owned by their respective copyright holders. Every
effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education – Division of Cagayan de Oro Schools

Division Superintendent: Dr. Cherry Mae L. Limbaco, CESO V
Development Team of the Module

Author/s: Darlene D. Daliva

Arlene Daug
Reviewer: Romulo M. Sarmiento, Jr.
Illustrator and Layout Artist: Darlene D. Daliva

Management Team
Chairperson: Dr. Arturo B. Bayocot, CESO III
Regional Director

Co-Chairpersons: Dr. Victor G. De Gracia Jr. CESO V

Asst. Regional Director

Cherry Mae L. Limbaco, PhD, CESO V

Schools Division Superintendent

Alicia E. Anghay, PhD, CESE

Assistant Schools Division Superintendent

Mala Epra B. Magnaong, Chief ES, CLMD

Members Neil A. Improgo, EPS-LRMS

Bienvenido U. Tagolimot, Jr., EPS-ADM
Lorebina C. Carrasco, OIC-CID Chief
Ray O. Maghuyop, EPS-Math
Joel D. Potane, LRMS Manager
Lanie O. Signo, Librarian II
Gemma Pajayon, PDO II
Printed in the Philippines by
Department of Education – Division of Cagayan de Oro City
Office Address: Fr. William F. Masterson Ave Upper Balulang Cagayan de Oro
Telefax: (08822)855-0048
E-mail Address: cagayandeoro.city@deped.gov.ph
SeniorSeniorHighHighSchoolSchool

Contemporary
 Philippine Arts
of the Regions
Filipino Artists and their
Contribution to Contemporary
Arts
Quarter 1 - Module 4

This instructional material was collaboratively developed and reviewed

by educators from public and private schools, colleges, and or/universities. We
encourage teachers and other education stakeholders to email their feedback,
comments, and recommendations to the Department of Education at action@
deped.gov.ph.

We value your feedback and recommendations.

Department of Education ● Republic of the Philippines

Table of Contents

What This Module is About

What I Need to Know
How to Learn from this Module
Icons of this Module
What I Know

Lesson 1: The Contemporary in Traditional Art: Gawad Sa Manlilikha

ng Bayan
What I Need to Know......................................................................................................1
What’s New: Color the words for me....................................................................... 2
 What Is It............................................................................................................................. 3-7
What’s More…….............................................................................................................. 8

What I Have Learned: Synthesizing......................................................................... 9

What I Can Do: Creating a poster.............................................................................. 9

Lesson 2:
National Artists of the Philippines and their Contributions
What I Need to Know......................................................................................................1
What’s New: Solving the Puzzle............................................................................. .. 2
What Is It: National Artists of the Philippines......................................................3-16
What’s More.................................................................................................................... .17
What I Have Learned …………………………………………………………. 17
What I Can Do: An Ideal Artist ……………………………………………….18

Summary
Assessment: (Post-Test)
Key to Answers
References
What This Module is All About

Welcome to this module!

Hello learners! Congratulations! You have come to this module wherein you will
encounter, explore, and deeply understand the significant roles of our National Artists
from all over the regions, and identify their contribution to contemporary arts. This
module becomes more exciting since you will also evaluate contemporary art forms
based on the elements and principles. Aside from that, you will delve deeper, interpret,
and relate the significance of art forms from the regions and promote your own art/s to
represent your own place and culture.

The activities in this module have been designed to provide you with rich and
stimulating learning practices about significant contemporary artists from the regions.
This module will discuss and introduce about our National Artists in music, dance,
theater, visual arts , literature, film and broadcast arts, architecture, design and allied
arts that will brings you the full understanding of the art of today.
Furthermore, you will make known also to the Contemporary in Traditional Art –
Gawad sa Manlilikha ng Bayan (GAMABA), our National Living Treasure who have
preserved some of the Philippines’ most important traditions and kept Filipino creativity
alive!

What I Need to Know from this module

1. Explains Filipino artists’ roles and identify their contribution to contemporary

arts. CAR11/12CAP-0c -e-5
 a. Explain how traditions becomes contemporary and vice versa through the
practices of artist awardees of Gawad sa Manlilkha ng Bayan (GAMABA)
Awards.
b. Identify the works of National Artists and recognize their contributions to
Philippine art and culture.
c. Creates a work / poster that promotes traditional art with local and GAMABA
awardees as examples.
d. Appreciate the value of the National artists awardees through painting,
drawing or performance.

How to Learn from this Module

To achieve the objectives cited above, you are to do the following:
• Take your time reading the lessons carefully.
• Follow the directions and/or instructions in the activities and exercises diligently.
• Answer all the given tests and exercises.
Icons of this Module
What I Need to This part contains learning objectives that
Know are set for you to learn as you go along the
module.

What I know This is an assessment as to your level of

knowledge to the subject matter at hand,
meant specifically to gauge prior related
Knowledge
What’s In This part connects previous lesson with that
of the current one.

What’s New An introduction of the new lesson through

various activities, before it will be presented
to you
 What is It These are discussions of the activities as a
way to deepen your discovery and
understanding of the concept.

What’s More These are follow-up activities that are

intended for you to practice further in order
to master the competencies.

What I Have Activities designed to process what you

Learned have learned from the lesson

What I can do These are tasks that are designed to

showcase your skills and knowledge gained,
and applied into real-life concerns and
situations.

What I Know
Pre - test
 Multiple Choice. Select the letter of the best answer from among the given choices.

1. A Tinalak weaver who have produced creations which remain faithful to the T’boli
tradition as manifested in the complexity of her design, fineness of workmanship and
quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. . Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists in the Philippines
to promote a genuine appreciation of traditional craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The Boy Wonder of
Philippine Movies”
A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
B. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”
A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
B. Fernando C. Amorsolo D. F. Sionil Jose
6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully
demonstrating the creative and expressive aspects of the Bagobo abaca ikat weaving.
A. Ginaw Bilog C. Salinta Monon B. Samaon Sulaiman D. Masino Intaray
7. She is known as the Queen of Kundiman.
A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana D. Haja Amina Appi
8. Asian president of the United Nations General Assembly who multifaceted career
spanned 50 years of public service as an educator, soldier, university president,
journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino filmmaker whose
life is devoted to the art and commerce of cinema spanning three generations of
filmmakers
A. Eddie Romero C. Ildefonso P. Santos
B. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Teofilo Garcia

The Contemporary in
Lesson
Traditional Art: Gawad sa Manlilikha
ng Bayan ( GAMABA)
1
What I Need to Know
In one form or another art has always been around. It helps mankind in the
improvement of various activities and their products. It has a varied and multiple complex. It is
as wide as an ocean, covers a wide range of activities such as photography, painting,
sculpting, and architecture, etc. But as time rolls by newer forms of art arose, such as music,
theatre, and photography, etc., in which are now a days considered the most beautiful types
of performing arts.
 From the preceding lesson we have learned that traditional arts, like the pre - colonial
indigenous arts are also contemporary. They are living traditions and are produced up to the
present, in modified ways.
In this lesson, you will learn about our National living treasures, more formally known
as the awardees of Gawad sa Manlilikha ng Bayan (GAMABA).
Their incomparable dedication to craftsmanship and excellence show how these
Filipinos lives and work. Many cultural practices of indigenous communities were preserved
because of their passion, abilities, and tenacity in passing down their tradition to the
youngsters. It’s one thing to be recognized as a living legend of the arts in the Philippines, and
it’s a whole other thing completely to be acknowledged as an artist who has kept a rare sort of
traditional Filipino creativity and ingenuity alive.
In 1992, the National Commission on Culture and therefore the Arts (NCCA) began
selecting and honoring recipients of the National Living Treasures Award, also referred to as
Gawad sa Manlilikha ng Bayan (GAMABA), through Republic Act No. 7355. It continues to be
awarded today and is handed out in the form of a medal.

Photo Credit: https://bit.ly/37Grcwe

The picture above shows the thirteen National Living treasures who have possess
technical and creative skills, creating work with fine artistic quality, and ties to community and
folk-art traditions. More than that, they show a strong character and unfaltering integrity,
leading them to earn the respect and admiration of the people.
The awardees yield art forms that are entwined into daily life. These proves how pre
colonial traditions continue through to the present.
How does tradition become contemporary, and the contemporary traditional? (retrieved
from Contemporary Art from the Regions textbook (2016 pp.57)
1

Traditional art is based on indigenous people’s cultures that are largely honed by oral
tradition. It finds deep affinities with nature, place, society, ritual, and spirituality and everyday
life. In traditional integrative art, forms and expressions do not normally end up as objects
distanced from everyday living. The site of dissemination and knowledge transfer is neither in
the formal spaces of a museum nor a theater. The process of creation is usually shared among
members of the community, and appeals to broader aspects of life.(extracted from
Contemporary Art from the Regions textbook , Flaudette May Datulin et.al pp. 58 ) Thus, it
emphasis on the intangible and communal aspects of art production that are closely aligned
with the process based and collaborative inclination of some contemporary art practices.
The worker of a farmer named Teofilo Garcia of San Quintin in the Province of Abra,
2012 GAMABA awardee who have discovered and popularized the durable tabungaw hat out
of enlarged upo or gourd. He hollowed out the upo / tabungaw, varnished and polished it to
make it more durable and unique yellow sheen.
He used different mediums such as varnish to strengthens organic material, strips of
rattan (uway) to line the hat, fern (nito) is placed on the mouth of the hat as decoration. He
intended to transform the harvest into durable hats to protect the people who are exposed for
long hours under the heat of the sun, especially the farmers. Until now, he shared his
knowledge and skills of making the Tabungaw hat at San Quintin National High School and
inspires the youth to value tradition and to ensure its preservation.
 Base from the given example of the work of Teofilo Garcia, we reiterate that Philippine
traditional art, though based on long - standing , established practices, has always been
contemporary in a sense that it is art that is being made now, and that it persists as part of
continuing performance of tradition ((extracted from Contemporary Art from the Regions textbook ,
Flaudette May Datulin et.al pp. 57 ) .

On the other hand, contemporary-traditional art refers to an art produced at the present
period that reflects the current culture by utilizing classical techniques in drawing, painting, and
sculpting. Practicing artists are mainly concerned with the preservation of timehonored skills
in creating works of figurative and representational forms of fine art as a means to express
human emotions and experiences. Subjects are based on the aesthetics of balancing external
reality with the intuitive, internal conscience driven by emotion, philosophical thought, or the
spirit. The term is used broadly to encompass all styles and practices of representational art,
such as Classicism, Impressionism, Realism, and Plein Air (En plein air) painting. Technical
skills are founded in the teachings of the Renaissance,
Academic Art, and American Impressionism (https://en.wikipedia.org/wiki/Contemporary-Traditional_Art)

What’s New
Activity 1: Coloring the words

For you to assess your level of understanding about the traditional arts and GAMABA
awardees ., you are going to hunt the word or group of words related to it by coloring it using
your crayons or colored pen .You can trace the word/s horizontal, vertical, diagonal, backwards
or another way to form a words. Write your answer in a sheet of paper.
T R A D I T I O N A L A R T L G
P A P O S U C E A S D F K V P A
E L B T H Q O A K E N S P L O M
L A A U S L N 2A T U R E E A L A
T S H S N N T R R F Y J O C I B
L T A G E G E H O B A O P I T A
A C Z S H T A E L T E K L S I Y
R A A D U A Y W E A V I N G C N
L A N G D U L A Y K G R O U N D
T T R A Y R A R O P M E T N O C
T E O F I L O G A R C I A O U H
N D I S A S T E R L H A Z A E D
R T E O F I L O G A R C I A O T
1. _____________________________ 6. _____________________________
2. _____________________________ 7. _____________________________
3. _____________________________ 8. _____________________________
4. _____________________________ 9. _____________________________
5. _____________________________ 10.
_____________________________
 What Is It
What is GAMABA?
The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN ( National
Living Treasures). It is an award given to recognize the outstanding work of the
artists in the Philippines. The given award was established in 1992 through Republic Act No.
7355 until 2012. There were thirteen finest folk artists of the land who have received this
distinction for their dedication in creating the craft, using skills, and indigenous methods and
materials. Artists who received the recognition for preserving the traditional art of the
Philippines which kept the art alive even in the contemporary period (Sandagan & Sayseng
2016).
Who are the GAMABA awardees? What are their qualifications?
The GAMABA awardees are the people who have adopts a program that will ensure the
transfer of their skills to others. They undertake measures to promote a genuine appreciation
of traditional craft and art and instill pride among our people about the skill of the Gawad sa
Manlilikha ng Bayan (GAMABA). Filipinos conferred as the forefront of the practice,
preservation, and promotion of the nation’s traditional folk arts.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
To become a GAMABA awardees is same as joining a contest there are mechanics
and guidelines to follow.
1. Must be an inhabitant of an indigenous/traditional cultural community
anywhere in the Philippines that has preserved indigenous customs, beliefs,
rituals and traditions and/or has syncretized whatever external elements
that have influenced it.
2. Must have engaged in a folk-art tradition that has been in existence and
documented for at least fifty (50) years.
3. Must have consistently performed or produced over a significant period,
works of superior and distinctive quality.
4. He/she/group must possess a mastery of tools and materials needed by the
art and must have an established reputation in the art as master and maker
of works of extraordinary technical quality.
5. Must have passed on and/or will pass on to other members of the
community their skills in the folk art for which the community is traditionally
known.
3

GAMABA Awardees

Uwang Ahadas, musician

A Yakan of Lamitan, Basilan was awarded for his dexterity

in playing Yakan musical instruments such as the
kwintangan, gabbang, agung, kwintangan kayu, tuntungan
among others. He has a deep knowledge of the aesthetic
possibilities and social contexts of those instruments. In spite
of the dimming of his eyesight, he has devoted his life to the
teaching of
Yakan musical traditions
(https://aboutphilippines.org/files/GamabaAwardees.pdf)

Yakan musical instruments are not the easiest or most affordable to maintain, but Uwang
Ahadas of Lamitan, Basilan made it his life’s work to master them. From an early age, he and
his siblings were encouraged to play these instruments, and he developed a passion for them,
training himself by observing older members of the community. At age 20, he broke
tradition by reaching excellence in playing the kwintangan, an instrument typically
played by a woman. The instrument, made up of logs arranged beneath a tree near a
rice field, is used to call for abundant grains and rice growth. He is also dedicated to
sharing his knowledge to younger folk; his teaching style is hands-on and supportive,
giving his students his full attention. He was awarded in 2000.
( https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

Magdalena Gamayo, textile weaver

Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving

when she was 16, guided by her aunt’s patterns. She received her first loom
from her father three years later, which she would end up using for 30 years.
She taught herself traditional patterns, such as kusikus (whirlwind),
marurup (Milky Way), and sinan paddak ti pusa (cat’s pawprint), building on
the more common inuritan (geometric design) and sinan-sabong (flowers)

.Gamayo’s skill and instinct are none more apparent than they are in her ability to replicate
designs she’s only seen once. Her binakol, or woven cloth, continues to draw praise and awe
for its above-average thread count and uniform weave. To keep Ilocos’ abel weaving tradition
alive, she teaches her practice to her cousin’s daughter-in-law and sister-in-law. She was
awarded in 2012.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

Eduardo Mutuc, metalsmith, and artist

A Kapampangan from Central Luzon is recognized for reviving

the Spanish colonial-era craft of Plateria. This self-taught master
craftsman found his calling in producing religious and secular art in silver,
bronze, and wood. In doing so, and in his pursuit of perfection for himself
and his apprentices,4he assures the continuity of this rich tradition.
Having finished up to elementary school, Eduardo Mutuc, a farmer at the time, became an
apprentice to furniture carvers to earn additional income. He had no prior knowledge of the
work he was getting into, but this did not stop him from expanding his experience and
becoming one of the most respected creators of religious and secular art today. He uses wood,
silver, and bronze to create exquisitely detailed and lifelike pieces of varying sizes: altars,
mirrors, retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He was awarded in
2004.

4
Lang Dulay, T’nalak weaver

A T'boli of Lake Sebu, South Cotabato, was awarded for weaving

the abaca ikat cloth called t'nalak . She has produced creations which
remain faithful to the T’boli tradition as manifested in the complexity of
her design, fineness of workmanship and quality of
finish. In Lang Dulay’s family, the weaving of the t’nalak (a fine abaca cloth) took place before
or after farm work, when the weather was cool and the conditions were better for the product.
Dulay, who grew up in Lake Sebu, South Cotabato, was taught to weave by her mother when
she was 12. As demand grew for new designs, she persisted and kept working with traditional
patterns, even though they were harder to complete — she knew around a hundred, including
bulinglangit (clouds), kabangi (butterfly), crocodiles, and flowers. She valued purity, so much
so that she never washed her t’nalak with soap. She was awarded in 1998 and died in 2015.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

Samaon Sulaiman, musician

 A Maguindanaon of Mamasapano, Maguindanao. He was
awarded for his outstanding artistry and dedication to his chosen
instrument, the Magindanao kutyapi. Kutyapi is a two-stringed
plucked lute, regarded as one of the most technically demanding and
difficult to master among Filipino traditional.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

Musician Samaon Sulaiman was a master of the kutyapi, a

two-stringed lute that requires highly technical skill to play. The
Maganoy, Maguindanao native learned from his uncle, Pinagunay, at age 13, developing and
learning different forms and styles of playing the instrument.

The sound is melodic and rhythmic, its effect meditative and captivating. He was also
proficient in playing instruments such as the kulintang, agong (a suspended gong with a wide
rim), gandingan (a gong with a narrow rim), and tambul. Sulaiman’s fascination for his craft led
him to become an influential teacher. He was awarded in 1993 and died in 2011.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

Haja Amina Appi, Pandan mat weaver

Lives in Ungos Matata, Tandubas, Tawi-Tawi,. She is

recognized as the master mat weaver among the Sama indigenous
community of Ungos Matata. Her colorful mats with their complex
geometric patterns exhibit her precise sense of design, proportion
and symmetry and sensitivity to color.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

Weaving pandan mats is a long and difficult process that is handed down from woman
to woman across generations: Pandan leaves are harvested and made into narrow, long strips,
sun-dried, pressed, and dyed before finally becoming suitable for weaving. The resulting mats
are used for sleeping and saying prayers or given as gifts to newly-weds. Haja Amina Appi of
Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that boast beautiful geometric
designs, vibrant colors, and fine symmetry. She was awarded National Living Treasure in
2004. She experimented with her work and developed her own tints to create the hues she
had in mind. Appi died in 2013, but her art lives on through her children and other young
women in her community.
((https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).
5

Federico Caballero, chanter and educator

A Panay-Bukidnon of Calinog, lloilo was awarded for his

mastery of chanting the sugidanon, the epic tradition of Central
Panay. He ceaselessly worked for the documentation of the epics
of his people painstakingly piecing together the elements of this oral
tradition nearly lost. ((https://aboutphilippines.org/files/Gamaba-Awardees.pdf) He
was best known for his expertise in the Sugidanon, a Central Panay epic traditionally chanted
while lying on a hammock, and his work in the preservation of oral literature, documenting 10
Panay-Bukidnon epics in an extinct language with close ties to Kinaray-a. His love of folklore
began when he was young, hearing tales of grand adventures as bedtime stories, and his
mother taught him to recite epics in lieu of doing household chores. In his spare time, he also
works with the Department of Education’s Bureau of Non-Formal Education, teaching elders
to read and write. He was awarded in 2000.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

Ginaw Bilog, poet

 A Hanunuo Mangyan of Mansalay, Oriental Mindoro. Awarded
for faithfully preserving the Hanunuo Mangyan script and Ambahan
poetry. He has promoted the local script and poetry so that the art will
not be lost but preserved. The Mangyan script is one of the four
remaining syllabic scripts in the country, and Ginaw Bilog’s work has
been crucial to its preservation. Based in Mansalay, Oriental Mindoro,
the poet was known for writing Ambahan (a metaphoric poem
comprising seven-syllable lines), first in a notebook, then on
traditionally used bamboo tubes. The poems, often recited with music
at social gatherings and used to convey messages among the
Hanunuo Mangyan, had topics like advising the young, bidding a friend goodbye, and asking
for a place to stay. Bilog, who was awarded in 1993, died in 2003.

Salinta Monon, textile weaver

A GAMABA awrdee of Tagabawa Bagobo of Bansalan,

Davao del Sur. She was awarded for fully demonstrating the
creative and expressive aspects of the Bagobo abaca ikat weaving
called Inabal at a time when such art is threatened with extinction.
Salinta Monon was 12 when she began learning to weave the
Inabal, a traditional Bagobo textile. In her home in Bansalan, Davao del
Sur,
Monon would isolate herself from family to be able to concentrate on
creating her cloths and skirts, which took three to four months to finish, respectively.

Her favorite pattern, despite or because of its difficulty, was the Binuwaya (crocodile),
and she continued weaving until her death in 2009. For her, not only was it a source of income,
it was a source of pride as well. She and her younger sister were the only Bagobo weavers
left in their community, and she dreamt of having a structure built for teaching new would-be
weavers. She was
awarded in 1998. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artistsnational-living-treasures.html)

Darhata Sawabi, textile weaver

A GAMABA awardee of barangay Parang, Jolo Island, Sulu province. Has preserved
the art of Pis Syabit weaving. It is difficult art of tapestry weaving that creates the traditional
squares used by the Tausug for ornamentation. Despite the conflict in Jolo, Sawabi’s
dedication to her art enhanced the preservation of traditional Tausug designs. Darhata
Sawabi’s mission was to lead young women towards making a living out of her craft. The
Parang, Sulu-based textile weaver’s primary creation was the headpiece Pis Siyabit — pis
stands for the pattern, which is said to be derived from India’s mandala, depicting spirituality
through geometric forms, and Siyabit refers to the hook and technique. She gained recognition
for the precision of her work and her passion for preserving traditional
designs, as well as teaching the youth and was awarded in 2004. She
died in 2005.

Teofilo Garcia, gourd hatmaker

 A GAMABA awardee of San Quintin Abra who have
discovered and popularized the durable Tabungaw hat out of
enlarged upo or gourd. He hollowed out the upo / tabungaw,
varnished and polished it to make it more durable and unique
yellow sheen. In San Quintin, Abra, Teofilo Garcia would often walk
around town wearing his gourd casques. Through word of mouth
and his participation in the annual local harvest festival, Garcia was
able to introduce the Tabungaw plant as a good and sturdy material
for functional, elegant, and protective hats. He produces everything
he needs — planting and harvesting the gourds, splitting, and refining rattan for the lining, and
weaving Nito and bamboo for accents himself — and usually takes seven days to finish a hat.
Awarded in 2012, he continues to experiment and work on new designs.

Alonzo Saclag, traditional dancer and musician

A Kalinga of Lubuagan, Kalinga was awarded for his

mastery of the Kalinga dance and the performing arts. He was
also recognized for his persistence to create and nurture a
greater consciousness and appreciation of Kalinga culture
among the Kalinga themselves and beyond their borders. It
was through observation, time, and experience — rather than
education or training or any kind — that Alonzo Saclag of
Lubuagan, Kalinga mastered local musical instruments, along
with dance patterns associated with rituals. Some of these are
rarely performed, but done so with special purposes, whether it’s preparing
for retaliation, a victorious vindication for the community, or forging
successful peace
pacts. Saclag understands the importance of his practice and is a strong advocate of passing
on his knowledge and continuing the use of traditional dress and adornments. His efforts have
included formal education, reaching radio stations, and the formation of the Kalinga Budong
Dance Troupe. He was awarded in 2000.

Masino Intaray, chanter and musician

A Pala'wan of Brookes Point, Palawan. He was awarded for his exemplary skills in
basal or gong music ensemble. He was also recognized for his versatility as musician, poet,
epic chanter, and storyteller of the Kulilal and Bagit traditions of the Pala'wan.
A member of the Pala’wan tribe, musician and epic chanter Masino Intaray was a master of
the basal, a gong music ensemble played during rice cooking (tambilaw) and sharing (tinapay)
rituals, which gather the community as they serve offerings to Pala’wan rice god Ampo’t Paray.
Intaray also performed the Kulilal, a lyrical poem expressing love, accompanied by two-
stringed lute and bamboo zither, and the bagit, an instrumental piece about nature. His
memory and determination guided him in chanting through many successive nights, reciting
epics, stories, myths of origin, and the teachings of ancestors. Intaray, who was awarded in
1993, died in 2013.

What’s More
Activity 2: Summing Up!
You have already discovered the famous GAMABA awardees and
their works and expertise. This time let us try how far your learning
is. What you are going to do is to fill in the table with the important information of all GAMABA
awardees. The first one is done for you.
Gamaba Awardees Form Ethnicity Expertise Year of
Confirmation
Lang Dulay Weaving T’boli Tinalak weaving 1998

Factors Affecting the Traditional Artist’s Production Process

1. Christianization. The impact of Christianity and the discussion of the locals to a

remote religion have made individuals from the network reject their indigenous
ceremonies and customs. At more regrettable, individuals are persuaded that the last
are crude and thusly their training has no spot in contemporary culture. Now and again
2. notwithstanding, the network figures out how to syncretize their indigenous ways with
customs of Christianity.
3. Mining and framework venture – mining and system adventures expel individuals
from their homes and seriously harm the earth. Denied the abundance of the land,
indigenous gatherings are provoked to look for short – term work from these
businesses to get by in a cash economy.
4. Tourism – plays a big role in one's nation. This is to promote the culture, environment,
and the life of a nation to others. Along these lines, land regions are changed over into
locales for traveler utilization. Environmental spaces become increasingly vulnerable
to harm with the consolidated powers of catastrophic events and visitor convenience.
Works of art local to the network will in general reduce in quality. Expelled from their
unique setting, the works are changed into mass delivered ornaments so as to satisfy
8
the needs of the traveler exchange. Neon hues and structures woven from engineered
strands have been made accessible as of late to make projects of levelheaded material
plans for business purposes.
5. Militarization. The weakness and pressures realized by hostile areas capture the
individuals' capacity to make workmanship. It keeps individuals from having public
social events, were trades and passing information can happen.

Activity 3: Create a story.

Create a comic strip or a story book. Choose from the above factors that affects the
traditional artist’s production process as your theme or topic. You can draw and color by hand
on a bond paper or any similar material. (The teacher will prepare rubrics as a tool for scoring)

What I Have Learned

Congratulations because you were able to succeed the activity above. What do you
believe are a portion of the issues identified with the awards? What do you think are the
challenges faced by our living treasures before they become an awardee?
Now, let us walk around and see the sights of the challenges met by our living treasures
when it comes to the production process and the changing environment.
 The conventional specialists' method of creation keeps on being influenced with the
elements of progress. Environmental debasement introduced by disasters, modernization, and
free enterprise tries uprooting the indigenous people groups from their hereditary path. As their
command post, it is considered of foremost significance - this is the place assets are
assembled and shared, and where culture is performed.

Answer the following questions briefly. 5 points each.

1. What is the essence of GAMABA? Do you think having two national credits for human
expressions emphasize the gap between independent articulations and regular,
network-based ceremonies and works of art?

2. How traditions become contemporary and contemporary becomes traditional.

3. Contemporary art is an art of today, as a senior high school student do you consider
yourself a contemporary artist or a traditional one? How and why?

What I Can Do
Activity 5: Creating a poster
(The Teacher will make rubrics as tool for scoring)

Name one traditional art form in your community. Create a poster to promote it. It can
be on long bond paper or you can digitally make the poster with computer. Explain your
concept and share to your friends or family.

Lesson
National Artists of the Philippines
and their Contribution
2
In the past exercise we have found out about the GAMABA as an honor given to the
customary expressions. Here we will find out about another national award for the craftsmen
who participate specifically disciplinal regions, for example, the visual expressions. We may
experience a portion of the craftsmen we have referred to already. In this lesson, we take a
gander at their works all the more intently, particularly as far as joint effort and trade, as we
see the National Artist Award in the soul of the open circle, to whom specialists and grant –
giving bodies are considered responsible.

What I Need to Know

What is the National Artists Award? Among the different honors and acknowledgment
instruments, the National Artists Award (NAA) presents the most elevated type of
acknowledgment to Filipino craftsmen for their noteworthy commitments in expressions of the
human experience and letters.
 It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions; in particular, Music,
Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts, and Architecture and Allied Arts.
The request is mutually directed by the National Commission for Culture and the Arts (NCCA)
and the Cultural Center of the Philippines (CCP) and gave by the President of the Philippines
upon suggestion by the two organizations.

It has a similar glory as the GAMABA and the National Scientist Award. The honor is
presented at regular intervals through a thorough consultation and determination process
mutually encouraged by two significant social workplaces, the National Commission on
Culture and expressions of the human experience and the social focal point of the Philippines.

NAA was built up in 1972 under Presidential Decree No. 1001 gave by then President
Ferdinand Marcos. The first was Fernando Amorsolo, who was presented the honor after
death. Much has changed since the organization of the honor. As of this composition, the list
has included 66 awardees from seven disciplinal zones, to be specific: engineering, structure
and associated expressions, film and communicate expressions, visual expressions, writing,
move, music, and theater.

What’s New
Activity 1: Solving the Puzzle – fill in the puzzle with the correct answer.
(Please answer in your own sheet of paper)
Across
1 The highest form of award given to Filipino artist
3 He issued PD no. 1001
5 National Commission on Culture and the
Arts 7 National Scientist Award
9 a person who is skilled in a craft.
1 2 6 8 10

4 3

Down:
2 First Filipino artist awardee
 4 Gawad sa Manlilikha ng Bayan
6 a person who is awarded something
8 merit / honor
10 skills

What Is It
Who are the awardees? How it was paved its way? Who are the National Artists in music,
dance, theater, architecture, and visual arts? What are their most important contributions in
the country? Are their criteria set as basis in choosing them? These questions are some of the
few questions that comes into mind when we talk about awardees.

The National Artist of the Philippines are based on a broad criteria, as set forth by the
Cultural Center of the Philippines and the National Commission on Culture and the Arts:
(https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines)

1. Living artists who have been Filipino citizens for the last ten years prior to nomination
as well as those who have died after the establishment of the award in 1972 but were
Filipino citizens at the time of their death.
2. Artists who have helped build a Filipino sense of nationhood through the content and
form of their works.
3. Artists who have distinguished themselves by pioneering in a mode of creative
expression or style, making an impact on succeeding generations of artists.
4. Artists who have created a significant body of works and/or have consistently displayed
excellence in the practice of their art form, enriching artistic expression or style; and
5. Artists who enjoy broad acceptance through prestigious national and/or international
recognition, awards in prestigious national and/or international events, critical acclaim
and/or reviews of their works, and/or respect, and esteem from peers within an artistic
discipline.

2
Since the criteria are presented above, let us get ready! We will sail to meet and greet the
famous National Artist of the Philippines. Now let us begin!

National Artists of the Philippines

(Note: All the information of the awardees are crafted from the National Commission for Culture and the
Arts) https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/

PABLO S. ANTONIO
National Artist for Architecture
(1976)
(January 25, 1902 – June 14, 1975)

His basic design is grounded

on simplicity, no clutter. The lines
are clean and smooth, and where
there are curves, these are made integral to the structure. Antonio’s major works
include the following: Far Eastern University Administration and Science
buildings; Manila Polo Club; Ideal Theater; Lyric Theater; Galaxy Theater;
Capitan Luis Gonzaga Building; Boulevard-Alhambra (now Bel-Air) apartments;
Ramon Roces Publications Building (now Guzman Institute of
Electronics)(https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-thephilippines/)
 LEANDRO V. LOCSIN
National Artist for Architecture, 1990
(August 15, 1928 – November 15, 1994)

He reshaped the urban landscape with a distinctive architecture reflective of Philippine

Art and Culture. He believes that the true Philippine Architecture is “the product of two great
streams of culture, the oriental and the occidental… to produce a new object of profound
harmony.” It is this synthesis that underlies all his works, with his achievements in concrete
reflecting his mastery of space and scale.

Locsin’s largest single work is the Istana Nurul Iman, the palace of the Sultan
of Brunei, which has a floor area of 2.2 million square feet. The CCP Complex itself is
a virtual Locsin Complex with all five buildings designed by him — the Cultural Center
of the Philippines, Folk Arts Theater, Philippine International
Convention Center, Philcite and The Westin Hotel (now Sofitel Philippine Plaza).
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

JUAN F. NAKPIL
National Artist for Architecture, 1973
(May 26, 1899 – May 7, 1986)

An architect, teacher, and civic leader is a pioneer and innovator in Philippine

architecture. Nakpil’s greatest contribution is his belief that there is such a thing as Philippine
Architecture, espousing architecture reflective of Philippine traditions and culture.

Among others, Nakpil’s major works are the Geronimo de los Reyes Building,Magsaysay
Building, Rizal Theater, Capitol Theater, Captain Pepe Building, Manila Jockey
Club, Rufino Building, Philippine Village Hotel, University of the Philippines
Administration and University Library, and the reconstructed Rizal house in Calamba,
Laguna. https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

ILDEFONSO P. SANTOS, JR.

National Artist for Architecture, 2006
(September 5, 1929 – January 29, 2014)

Ildefonso Paez Santos, Jr., distinguished himself by pioneering the practice of

landscape architecture–an allied field of architecture–in the Philippines and then producing
four decades of exemplary and engaging work that has included hundreds of parks, plazas,
gardens, and a wide range of outdoor settings that have enhanced contemporary Filipino life.

Santos, Jr., who grew up in Malabon, made his first mark with the Makati Commercial
Center where he introduced a new concept of outdoor shopping with landscaped walks,
fountains and sculptures as accents. Santos, Jr.’s contribution to modern Filipino landscape
architecture was the seminal public landscape in Paco Park. Santos, Jr.’s most recent projects
were the Tagaytay Highland Resort, the Mt. Malarayat Golf and Country Club in Lipa,
Batangas, and the Orchard Golf and Country Club in Imus, Cavite.
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

FRANCISCO T. MANOSA
National Artist for Architecture and Allied Arts (2018)
Birthday: 12 February 1931

For all his more than 60 years of architecture life, Arc. Bobby Mañosa designed
Filipino. From the 1960s in his landmark design of the Sulo Hotel until his retirement about
2015, he courageously and passionately created original Filipino forms, spaces with intricate
and refined details. But what is most valuable is that Mañosa was in the heart and soul of a
Philippine architectural movement. He has developed a legacy of Philippine architecture,
which is essential to our Filipino identity and at the same time, deeply appreciated and shared
in our world today.

Major Works:

• San Miguel Building, Ortigas Center, Pasig City (designed with the Mañosa Brothers)
• Chapel of the Risen Lord, Las Piñas City
• Our Lady of Peace Shrine, EDSA, Quezon City
• World Youth Day Papal Altar, Quirino Grandstand, Manila, 1995
• Metrorail Transit System Stations for LRT 1, circa 1980s
• Quezon Memorial Circle Development Plan
• Lanao del Norte Provincial Capitol, Tubod, Lanao del Norte
• Tahanang Pilipino (Coconut Palace), CCP Complex, Manila
• Amanpulo Resort, Palawan
• Pearl Farm Resort, Samal Island, Davao, completed 1994
• La Mesa Watershed Resort and Ecological Park, La Mesa Dam, Quezon City
( Source:https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

LAMBERTO V. AVELLANA
National Artist for Theater and
Film (1976)
(February 12, 1915 – April 25,
1991)

Lamberto V. Avellana,
4 director for theater and film, has the
distinction of being called “The Boy
Wonder of Philippine Movies” as
early as 1939. He was the first to use the motion picture camera to establish a point-of-view,
a move that revolutionized the techniques of film narration.

Sakay was declared the best picture of 1939 by critics and journalists alike and set the
tone for Avellana’s career in film that would be capped by such distinctive achievements as
the Grand Prix at the Asian Film Festival in Hong Kong for Anak Dalita (1956); Best Director
of Asia award in Tokyo for Badjao, among others. Avellana was also the first filmmaker to
have his film Kandelerong Pilak shown at the Cannes International Film Festival. Among the
films he directed for worldwide release were Sergeant Hasan (1967), Destination Vietnam
(1969), and The Evil Within (1970).

LINO BROCKA
National Artist for Film and Broadcast Arts (1997)
(April 3, 1939 – May 22, 1991)

Catalino “Lino” Ortiz Brocka, director for film and broadcast arts, espoused the term
“freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to
the screen leaving behind 66 films which breathed life and hope for the marginalized sectors
of society — slum-dwellers, prostitutes, construction workers, etc. He also directed for theater
with equal zeal and served in organizations that offer alternative visions, like the Philippine
Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP).
At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS,
TOYM, and Cannes Film Festival.

To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted:
Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka
Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar”
(1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa
Diyos” (1991).

ISHMAEL BERNAL
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996)

Ishmael Bernal was a filmmaker of the first order and one of the very few who can be
truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.”

Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage”
(1983), “Himala” (1982), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was
recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards;
four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the
ASEAN Cultural Award in Communication Arts in 1993.

FERNANDO5POE, JR.
National Artist for Cinema (2006)
(August 20, 1939 – December 14, 2004)

Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a cultural icon of
tremendous audience impact and cinema artist and craftsman–as actor, director, writer and
producer. *

The image of the underdog was projected in his films such as Apollo Robles(1961),
Batang Maynila (1962), Mga Alabok sa Lupa (1967), Batang Matador and Batang
Estibador (1969), Ako ang Katarungan (1974), Tatak ng Alipin(1975), Totoy Bato (1977),
Asedillo (1981), Partida (1985), and Ang Probisyano (1996), among many others. The
mythical hero, on the other hand, was highlighted in Ang Alamat (1972), Ang Pagbabalik ng
Lawin (1975) including his Panday series (1980, 1981, 1982, 1984) and the action adventure
films adapted from komiks materials such as Ang Kampana sa Santa Quiteria(1971), Santo
Domingo (1972), and Alupihang Dagat (1975), among others. Poe was born in Manila on
August 20, 1939. After the death of his father, he dropped out of the University of the East in
his sophomore year to support his family. He was the second of six siblings. He married actress
Susan Roces in a civil ceremony in December 1968. He died on December 14, 2004.

KIDLAT TAHIMIK
National Artist for Film (2018)
Birthday: 3 October 1942

Kidlat Tahimik has continually invented himself through his cinema, and so his cinema is as
singular as the man. His debut film, Mababangong Bangungot (1977), was praised by critics
and filmmakers from Europe, North America, Asia, and Africa and is still considered by many
as a pioneering postcolonial essay film. Tahimik’s intense independence as an artist and, at
the same time, the film itself called for Filipinos to actively live out their independence and not
allow their culture to be imperialized by the west. Kidlat’s “imperfect” film is an exemplar of
what is worldwide known as “Third Cinema,” a cinema that is critical of neocolonial exploitation
and state oppression.

Notable Works:

• Balikbayan #1: Memories of Overdevelopment Redux (2015)

• Japanese Summers of a Filipino Fundoshi (1996)
• Why Is Yellow the Middle of the Rainbow? (1983-1994)
• Orbit 50: Letters to My 3 Sons (1990-1992)
• Turumba (1983)
 • Who Invented the Yoyo? Who Invented the Moon Buggy? (1979) Mababangong
Bangungot/Perfumed Nightmare (1977)

FERNANDO AMORSOLO
National Artist for Visual Arts
(May 30, 1892 – April 24, 1972)

Fernando C. Amorsolo the first

National Artist awardee. He was 6
titled “Grand Old Man of Philippine
Art” was bestowed on Amorsolo
when the Manila Hilton inaugurated its art center on January 23, 1969, with an exhibit of a
selection of his works.

Among others, his major works include the following: Maiden in a Stream(1921)-GSIS
collection; El Ciego (1928)-Central Bank of the Philippines collection; Dalagang Bukid (1936)
– Club Filipino collection; The Mestiza (1943) – National Museum of the Philippines collection;
Planting Rice (1946)-UCPB collection; Sunday Morning Going to Town (1958)-Ayala
Museum Collection.
HERNANDO R. OCAMPO
National Artist for Visual Arts (1991)
(April 28, 1911 – December 28, 1978)

He is a self-taught painter and was a leading member of the pre-war Thirteen Moderns,
the group that charted the course of modern art in the Philippines. His works provided an
understanding and awareness of the harsh social realities in the country immediately after the
Second World War and contributed significantly to the rise of the nationalist spirit in the post-
war era.

Ocampo’s acknowledged masterpiece Genesis served as the basis of the curtain

design of the Cultural Center of the Philippines Main Theater. His other major works include
Ina ng Balon, Calvary, Slum Dwellers, Nude with Candle and Flower, Man and
Carabao, Angel’s Kiss, Palayok at Kalan, Ancestors,Isda at Mangga, The
Resurrection, Fifty-three “Q”, Backdrop, Fiesta.

ABDULMARI ASIA IMAO

National Artist for Visual Arts (2006)
(January 14, 1936 – December 16, 2014)

A native of Sulu, Abdulmari Asia Imao is a sculptor, painter, photographer, ceramist,

documentary filmmaker, cultural researcher, writer, and articulator of Philippine Muslim art and
culture. Through his works, the indigenous ukkil, sarimanok and naga motifs have been
popularized and instilled in the consciousness of the Filipino nation and other peoples as
original Filipino creations.

Industry Brass Mural, Philippine National Bank, San Fernando, La Union

Mural Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the Philippines, San Fernando, La Union Sulu Warriors
(statues of Panglima Unaid and Captain Abdurahim Imao), 6 ft., Sulu
Provincial Capitol.

GUILLERMO TOLENTINO7
National Artist for Sculpture (1973)
 (July 24, 1890 – July 12, 1976)

Guillermo Estrella Tolentino is a product of the Revival period in Philippine art. The
result was the UP Oblation that became the symbol of freedom at the campus. Acknowledged
as his masterpiece and completed in 1933, The Bonifacio Monument in Caloocan stands as
an enduring symbol of the Filipinos’ cry for freedom Other works include the bronze figures of
President Quezon at Quezon Memorial, life-size busts of Jose Rizal at UP and UE, marble
statue of Ramon Magsaysay in GSIS Building; granolithics of heroic statues representing
education, medicine, forestry, veterinary science, fine arts and music at UP. He also designed
the gold and bronze medals for the Ramon Magsaysay Award and did the seal of the
Republic of the Philippines.

Portrait, Night Glows,Grand Finale, Cities of the Past, Imaginary Landscapes.

His mural painting Black and White is displayed in the lobby of the CCP’s Bulwagang Carlos
V. Francisco (Little Theater). His sculpture of a stainless steel cube is located in front of the
Benguet Mining Corporation Building in Pasig.

LAURO “Larry” ALCALA

National Artist for Visual Arts (2018)
(18 August 1926-24 June 2002)

His comic strips spiced up the slices of Filipino lives with witty illustrations executed
throughout his 56 years of cartooning. He created over 500 characters and 20 comic strips in
widely circulated publications. Alcala’s most iconic work, Slice of Life, not only made for
decades long of widely circulated images of Filipino everyday life, it also symbolically became
an experiential way for his followers to find a sense of self in the midst of an often cacophonic,
raucous and at odds environment that Filipinos found themselves amidst.

Notable Works:
Slice of Life Weekend 1980-1986
Asiong Aksaya, Daily Express, Tagalog Klasiks, 1976-1984
Smolbatteribols, Darna Komiks 1972-1984
Siopawman, Daily Express, 1972-1983, 2002
Kalabogesyons, Pilipino Komiks, 1966-1972
Congressman Kalog, Aliwan Komiks, 1966-1972
Baryo Pogspak, Holiday Komiks, 1966-1972
Loverboy, Redondo Komiks, 1964-1969
Mang Ambo, Weekly Graphic, 1963-1965
Kalabog en Bosyo, Pilipino Komiks, 1949-1983 Islaw
Palitaw, 1946-1948

.
 FRANCISCO ARCELLANA
National Artist for Literature (1990)
(September 6, 1916 – August 1, 2002)

Francisco Arcellana, writer, poet,

essayist, critic, journalist, and teacher is one
of the most important progenitors of the
modern Filipino short story in English. He
pioneered the development of the short story
as a lyrical prose-poetic formA brilliant
craftsman, his works are now an
indispensable part of a tertiary-level-syllabi all over the country. Arcellana’s
published books are Selected Stories (1962), Poetry and Politics: The
State of Original Writing in English in the Philippines Today (1977), The Francisco
Arcellana Sampler (1990).

EDITH L. TIEMPO
National Artist for Literature (1999)
(April 22, 1919 – August 21, 2011)

A poet, fictionist, teacher and literary critic, Edith L. Tiempo is one of the finest Filipino
writers in English. Her works are characterized by a remarkable fusion of style and substance,
of craftsmanship and insight. Born on April 22, 1919 in Bayombong, Nueva Vizcaya, her
poems are intricate verbal transfigurations of significant experiences as revealed, in two of her
much-anthologized pieces, “The Little Marmoset” and “Bonsai”. As fictionist, Tiempo is as
morally profound. Her language has been marked as “descriptive but unburdened by
scrupulous detailing.” She is an influential tradition in Philippine literature in
English. Together with her late husband, Edilberto K. Tiempo, she founded and directed the
Silliman National Writers Workshop in Dumaguete City, which has produced some of the
country’s best writers.

BIENVENIDO LUMBERA
National Artist for Literature
(2006)

Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he introduced to Tagalog

literature what is now known as Bagay poetry, a landmark aesthetic tendency that has helped
to change the vernacular poetic tradition. He is the author of the following works: Likhang
Dila, Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang Lunot at
Manibalang, 2002; Sa Sariling Bayan, Apat na Dulang May Musika, 2004; “Agunyas sa
Hacienda Luisita,” Pakikiramay, 2004.

As a librettist for the Tales of the Manuvu and Rama Hari, he pioneered the creative fusion
of fine arts and popular imagination. As a scholar his major books include the following:
Tagalog Poetry, 1570-1898: Tradition and Influences in its Development; Philippine
Literature: A History and Anthology, Revaluation: Essays on Philippine Literature,
Writing the Nation/Pag-akda ng Bansa.

VIRGILIO S. ALMARIO9
National Artist for 2003
 He is also known as Rio Alma, is a poet, literary historian, and critic, who has revived
and reinvented traditional Filipino poetic forms, even as he championed modernist poetics.
In 34 years, he has published 12 books of poetry, which include the seminal Makinasyon and
Peregrinasyon, and the landmark trilogy Doktrinang Anakpawis, Mga Retrato at Rekwerdo
and Muli, Sa Kandungan ng Lupa. In these works, his poetic voice soared from the lyrical to
the satirical to the epic, from the dramatic to the incantatory, in his often severe examination
of the self, and the society.

RAMON L. MUZONES
National Artist for Literature (2018)
(20 March 1913-17 August 1992)

Ramon Muzones was a Hiligaynon poet, essayist, short story writer, critic, grammarian,
editor, lexicographer, and novelist who authored an unprecedented 61 completed novels. A
number of these represent groundbreaking “firsts’ in Hiligaynon literature such as the feminist
Ang Bag-ong Maria Clara, the roman a clef Maambong Nga Sapat (Magnificent Brute,1940),
the comic Si Tamblot (1946), the politically satirical Si Tamblot Kandidato Man (Tamblot is
Also a Candidate, 1949), the 125- installment longest serialized novel Dama de Noche (1982-
84), etc. Hailed by his peers as the longest reigning (1938-1972) among “the three kings of
the Hiligaynon novel,” Muzones brought about its most radical changes while ushering in
modernism. With a literary career that spanned fiftythree years (1938-1990), his evolution
covers the whole history of the Hiligaynon novel from its rise in the 1940s to its decline in the
1970s. Muzones tried his hand at a variety of types and proved adept in all as literary fashions.
In the process, he not only extended with remarkable versatility and inventiveness the scope
and style of the Hiligaynon novel, but he also enriched Hiligaynon literature’s dramatis
personae.

Notable Works:
Shri-Bishaya (1969)
Malala nga Gutom (Malignant Hunger,1965)
Babae Batuk sa Kalibutan (Woman Against the World,1959)
Ang Gugma sang Gugma Bayaran (Love with Love Be Paid, 1955)
Si Tamblot (1948)
Margosatubig (1946)
 RAMON VALERA
National Artist for Fashion Design
(2006)
10 (August 31, 1912 – May 25, 1972)

The contribution of Ramon

Valera, whose family hails from Abra,
lies in the tradition of excellence of his
works, and his commitment to his
profession, performing his magical
seminal innovations on the Philippine
terno. Valera is said to have given the
country its visual icon to the world via the terno. In the early 40s, Valera produced a single
piece of clothing from a four-piece ensemble consisting of a blouse, skirt, overskirt, and long
scarf. He unified the components of the baro’t saya into a single dress with exaggerated bell
sleeves, cinched at the waist, grazing the ankle, and zipped up at the back.

Using zipper in place of hooks was already a radical change for the country’s elite then
Dropping the panuelo–the longfolded scarf hanging down the chest, thus serving as the
Filipina’s gesture of modesty– from the entire ensemble became a bigger shock for the women
then. Valera constructed the terno’s butterfly sleeves, giving them a solid, built-in but hidden
support. To the world, the butterfly sleeves became the terno’s defining feature.

SALVADOR F. BERNAL
National Artist for Theater Design (2003)
(January 7, 1945 – October 26, 2011)

Salvador F. Bernal designed more than 300 productions distinguished for their originality.
Sensitive to the budget limitations of local productions, he harnessed the design potential of
inexpensive local materials, pioneering or maximizing the use of bamboo, raw abaca, and
abaca fiber, hemp twine, rattan chain links and gauze cacha.As the acknowledged guru of
contemporary Filipino theater design, Bernal shared his skills with younger designers through
his classes at the University of the Philippines and the Ateneo de Manila University, and
through the programs he created for the CCP Production Design Center which he himself
conceptualized and organized.

CARLOS QUIRINO
National Artist for Historical
Literature (1997)
(January 14, 1910 – May 20, 1999)

Carlos Quirino, a biographer, has

the distinction of having written one
of the earliest biographies of Jose
Rizal titled The Great Malayan.
Quirino’s books and articles span
the whole gamut of Philippine history and culture–from Bonifacio’s trial to Aguinaldo’s
biography, from Philippine cartography to culinary arts, from cash crops to tycoons and
president’s lives, among so many subjects. In 1997, Pres. Fidel Ramos created historical
literature as a new category in the National Artist Awards and Quirino was its first recipient. 11
He made a record earlier on when he became the very first Filipino correspondent for the
United Press Institute.His book Maps and Views of Old Manila is considered as the best
book on the subject. His other books include Quezon, Man of Destiny, Magsaysay of the
Philippines, Lives of the Philippine Presidents, Philippine Cartography, The History of
Philippine Sugar Industry, Filipino Heritage: The Making of a Nation, Filipinos at War:
The Fight for Freedom from Mactan to EDSA.
 FRANCISCA REYES AQUINO
National Artist for Dance (1973)
(March 9, 1899 – November 21, 1983)

Francisca Reyes Aquino is

acknowledged as the Folk-Dance
Pioneer. This Bulakeña began her
research on folk dances in the
1920s making trips to remote
barrios in Central and Northern
Luzon. Her research on the
unrecorded forms of local
celebration, ritual, and sport resulted
into a 1926 thesis titled “Philippine Folk Dances and Games,” and arranged specifically for
use by teachers and playground instructors in public and private schools.

Her books include the following: Philippine National Dances (1946); Gymnastics for Girls
(1947); Fundamental Dance Steps and Music (1948); Foreign Folk Dances (1949);
Dances for all Occasion (1950); Playground Demonstration (1951); and Philippine Folk
Dances, Volumes I to VI.

RAMON OBUSAN
National Artist for Dance (2006)
(June 16, 1938 – December 21, 2006)

Ramon Obusan was a dancer, choreographer, stage designer, and artistic director.
He achieved phenomenal success in Philippine dance and cultural work. He was also
acknowledged as a researcher, archivist and documentary filmmaker who broadened and
deepened the Filipino understanding of his own cultural life and expressions. Through the
Ramon Obusan Folkloric Grop (ROFG), he had affected cultural and diplomatic exchanges
using the multifarious aspects and dimensions of the art of dance. mong the full-length
productions he choreographed are the following: “Vamos a Belen! Series” (1998-2004)
Philippine Dances Tradition“Noon Po sa Amin,” tableaux of Philippine History in song, drama
and dance“Obra Maestra,” a collection of Ramon Obusan’s dance
masterpieces“Unpublished Dances of the Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration of Life. Saludo sa
Sentenyal”“Glimpses of ASEAN, Dances and Music of the ASEAN-Member
Countries”“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in Dance”

ALICE REYES
National Artist for12Dance (2014)

She is a dancer, choreographer, teacher, and director, she has made a lasting impact
on the development and promotion of contemporary dance in the Philippines. Her dance
legacy is evident in the dance companies, teachers, choreographers, and the exciting Filipino
modern dance repertoire of our country today. Her biggest contribution to Philippine dance is
the development of a distinctly Filipino modern dance idiom. Utilizing inherently Filipino
materials and subject matters expressed through a combination of movements and styles from
Philippine indigenous dance, modern dance, and classical ballet she has successfully created
a contemporary dance language that is uniquely Filipino.

Her masterpiece Amada to the modern dance classic Itim-Asu, to her last major work
Bayanihan Remembered which she staged for Ballet Philippines Among her major works:
Amada (1969), At a Maranaw Gathering (1970) Itim-Asu (1971), Tales of the Manuvu
(1977), Rama Hari (1980), Bayanihan Remembered (1987).

LEONOR OROSA GOQUINGCO

National Artist for Dance
(July 24, 1917 – July 15, 2005)

Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and “Dean of Filipino
Performing Arts Critics”, Leonor Orosa Goquingco, pioneer Filipino choreographer in balletic
folkloric and Asian styles, produced for over 50 years highly original, first-of-a-kind
choreographies, mostly to her own storylines.

These include “TREND: Return to Native,” “In a Javanese Garden,” “Sports,”

“VINTA!,” “In a Concentration Camp,” “The Magic Garden,” “The Clowns,” “Firebird,” “Noli
Dance Suite,” “The Flagellant,” “The Creation…” Seen as her most ambitious work is the
dance epic “Filipinescas: Philippine Life, Legend and Lore.” With it, Orosa brought native
folk dance, mirroring Philippine culture from pagan to modern times, to its highest stage of
development

LUCRECIA REYES-URTULA
National Artist for Dance (1988)
(June 29, 1929 – August 4, 1999)

A choreographer, dance educator and researcher, spent almost four decades in the
discovery and study of Philippine folk and ethnic dances. She applied her findings to project a
new example of an ethnic dance culture that goes beyond simple preservation and into
creative growth. Over a period of thirty years, she had choreographed suites of mountain
dances, Spanish-influenced dances, Muslim pageants and festivals, regional variations and
dances of the countryside for the Bayanihan Philippine Dance Company of which she was the
dance director. These dances have all earned critical acclaim and rave reviews from audiences
in their world tours in Americas, Europe, Asia, Australia and Africa. Among the widely
acclaimed dances she had staged were the following: Singkil, a Bayanihan signature number
based on a Maranao epic poem; Vinta, a dance honoring Filipino sailing prowess; Tagabili, a
tale of tribal conflict; Pagdiwata, a four-day harvest festival condensed into a six-minute
breath-taking spectacle; Salidsid, a mountain wedding dance ; Idaw, Banga and Aires de
Verbena.

ANTONINO BUENAVENTURA
National Artist for Music
13 (1988)
(May 4, 1904 – January 25,
1996)

In 1935, Buenaventura joined

Francisca Reyes-Aquino to
conduct research on folksongs
and dances that led to its
popularization. Buenaventura
composed songs, compositions,
for solo instruments as well as
symphonic and orchestral works based on the folksongs of various Philippine ethnic groups.
He was also a conductor and restored the Philippine Army Band to its former prestige as one
of the finest military bands in the world making it “the only band that can sound like a symphony
orchestra”. This once sickly boy who played the clarinet proficiently has written several
marches such as the “Triumphal March,” “Echoes of the Past,” “History Fantasy,” Second
Symphony in E-flat, “Echoes from the Philippines,” “Ode to Freedom.” His orchestral
music compositions include Concert Overture, Prelude and Fugue in G Minor, Philippines
Triumphant, Mindanao Sketches, Symphony in C Major, among others.
JOSE MACEDA
National Artist for Music (1997)
(January 31, 1917 – May 5, 2004)

Jose Maceda, composer, musicologist, teacher and performer, explored the musicality
of the Filipino deeply. Maceda embarked on a life-long dedication to the understanding and
popularization of Filipino traditional music. He wrote papers that enlightened scholars, both
Filipino and foreign, about the nature of Philippine traditional and ethnic music. Maceda’s
experimentation also freed Filipino musical expression from a strictly Eurocentric mold.Usually
performed as a communal ritual, his compositions like Ugmaugma(1963), Pagsamba (1968),
and Udlot-udlot (1975), are monuments to his unflagging commitment to Philippine music.
Other major works include Agungan, Kubing, Pagsamba, Ugnayan, Ading, Aroding,
Siasid, Suling-suling.

LUCRECIA R. KASILAG
National Artist for Music
August 31, 1918 – August, 2008

An educator, composer, performing artist, administrator, and cultural entrepreneur of

national and international caliber, had involved herself wholly in sharpening the Filipino
audience’s appreciation of music.

She dared to incorporate indigenous Filipino instruments in orchestral productions,

such as the prize-winning “Toccata for Percussions and Winds, Divertissement and
Concertante,” and the scores of the Filiasiana, Misang Pilipino, and De Profundis. “Tita
King”, as she was fondly called, worked closely as music director with colleagues Lucresia
Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr. Leticia P. de Guzman and made
Bayanihan Philippine Dance Company one of the premier artistic and cultural groups in the
country. Her orchestral music includes Love Songs, Legend of the Sarimanok, Ang
Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber music like Awit ng mga
Awit Psalms, Fantaisie on a 4-Note Theme, and East Meets Jazz Ethnika.

ERNANI J. CUENCO
National Artist for Music (1999)
(May 10, 1936 – June1411, 1988)

Ernani J. Cuenco is a seasoned musician born on May 10, 1936 in Malolos, Bulacan.
A composer, film scorer, musical director, and music teacher, he wrote an outstanding and
memorable body of work that resonates with the Filipino sense of musicality and which embody
an ingenious voice that raises the aesthetic dimensions of contemporary Filipino music.
Cuenco played with the Filipino Youth Symphony Orchestra and the Manila Symphony
Orchestra from 1960 to 1968, and the Manila Chamber Soloists from 1966 to 1970. He
completed a music degree in piano and cello from the University of Santo Tomas where he
also taught for decades until his death in 1988. His songs and ballads include “Nahan, Kahit
na Magtiis,” and “Diligin Mo ng Hamog ang Uhaw na Lupa,” “Pilipinas,” “Inang Bayan,”
“Isang Dalangin,” “Kalesa,” “Bato sa Buhangin” and “Gaano Kita Kamahal.” The latter song
shows how Cuenco has enriched the Filipino love ballad by adding the elements of kundiman
to it.

RYAN CAYABYAB
National Artist for Music (2018)
Birthday: 4 May 1954

Mr. C is the most accomplished composer, arranger, and musical director in the
Philippine music industry since this bloomed beginning 1970s. His learned, skillful, and
versatile musical style spans a wide range of genres: from conservatory or art compositions
such as concert religious music, symphonic work, art song, opera, and concerto to mainstream
popular idioms in the music industry and in live contemporary multimedia shows (musical
theater, dance, and film).

Notable Works:

• Rama-Hari (Two-act musical ballet, 1980)

• Katy! The Musical (Two-act musical, 1988)
• Smokey Mountain (Pop CD album, 1990)
• One Christmas (Christmas Album, 1993)
• Noli Me Tangere (Tele-sine musical, 1995)
• Spoliarium (Three-act opera, 2003)
• Ignacio Of Loyola (Film Score, 2016)
• Larawan: The Musical (Full-length musical film, 2017)
• Da Coconut Nut
• Kay Ganda Ng Ating Musika
• Nais Ko
• Paraiso
• Kahit Ika’y Panaginip Lang
• Kailan
• Tuwing Umuulan at Kapiling Ka

DAISY H. AVELLANA
National Artist for Theater (1999)
(January 26, 1917 – May 12, 2013)

Daisy H. Avellana, is an
actor, director, and writer. Born in
Roxas City, Capiz on January 26,
1917, she elevated legitimate
theater and dramatic arts to a new 15
level of excellence by staging and
performing in breakthrough
productions of classic Filipino and foreign plays and by encouraging the establishment
of performing groups and the professionalization of Filipino theater. Together with her
husband, National Artist Lamberto Avellana and other artists, she co-founded the
Barangay Theatre Guild in 1939 which paved the way for the popularization of theatre
and dramatic arts in the country, utilizing radio and television.

ROLANDO S. TINIO
National Artist for Theater and Literature (1997)
(March 5, 1937 – July 7, 1997)

Rolando S. Tinio, playwright, thespian, poet, teacher, critic, and translator marked his
career with prolific artistic productions. Tinio’s chief distinction is as a stage director whose
original insights into the scripts he handled brought forth production’s notable for their visual
impact and intellectual cogency. Subsequently, after staging productions for the Ateneo
Experimental Theater (its organizer and administrator as well), he took on Teatro Pilipino. It
was to Teatro Pilipino which he left a considerable amount of work reviving traditional Filipino
drama by re-staging old theater forms like the sarsuela and opening a treasurehouse of
contemporary Western drama. It was the excellence and beauty of his practice that claimed
for theater a place among the arts in the Philippines in the 1960s. Aside from his collections of
poetry (Sitsit sa Kuliglig, Dunung – Dunungan, Kristal na Uniberso, A Trick of
Mirrors) among his works were the following: film scripts for Now and Forever, Gamitin Mo
Ako, Bayad Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the komedya
Orosman at Zafira; and Larawan, the musical.
 WILFRIDO MA. GUERRERO
National Artist for Theater (1997)
(January 22, 1910 – April 28, 1995)

Wilfrido Ma. Guerrero is a teacher and theater artist whose 35 years of devoted
professorship has produced the most sterling luminaries in Philippine performing arts today:
Behn Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee Gamboa, etc. In 1947, he was
appointed as UP Dramatic Club director and served for 16 years. As founder and artistic
director of the UP Mobile Theater, he pioneered the concept of theater campus tour and
delivered no less than 2,500 performances in a span of 19 committed years of service. By
bringing theatre to the countryside, Guerrero made it possible for students and audiences, in
general, to experience the basic grammar of staging and acting in familiar and friendly ways
through his plays that humorously reflect the behavior of the Filipino. His plays include Half an
Hour in a Convent, Wanted: A Chaperon, Forever, Condemned, Perhaps, In Unity, Deep
in My Heart, Three Rats, Our Strange Ways, The Forsaken House, Frustrations.

HONORATA “ATANG” DELA RAMA

National Artist for Theater16and Music (1987)
(January 11, 1902 – July 11, 1991)

Honorata “Atang” Dela Rama was formally honored as the Queen of Kundiman in
1979, then already 74 years old singing the same song (“Nabasag na Banga”) that she sang
as a 15-year old girl in the sarsuela’s Dalagang Bukid. Atang became the very first actress in
the very first locally produced Filipino film when she essayed the same role in the Sarsuela’s
film version. As early as age seven, Atang was already being cast in Spanish zarzuelas such
as Mascota, Sueño de un Vals, and Marina. She counts the role though of an orphan in
Pangarap ni Rosa as her most rewarding and satisfying role that she played with realism, the
stage sparkling with silver coins tossed by a teary-eyed audience. Atang passionately believes
that the Sarsuela and the kundiman expresses best the Filipino soul, and even performed
kundiman and other Filipino songs for the Aetas or Negritos of Zambales and the Sierra Madre,
the Bagobos of Davao and other Lumad of Mindanao.

What’s More
Activity 2: Be Influenced
Choose among the Filipino artists at least three (3) mentioned above and explain how they
influenced you as a person.
Create a sample of their work: (Teacher will make rubrics as a tool for scoring)
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
 What I have Learned

Summary
1. Traditional art is based on indigenous people’s cultures that are largely honed by
oral tradition. It finds deep affinities with nature, place, society, ritual, and spirituality
and everyday life.
2. The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN ( National
Living Treasures). It is an award given to recognize the outstanding work of the
artists in the Philippines
3. There are mechanics and guidelines to become a GAMABA.
4. There are thirteen (13) GAMABA awardees recognized by the Philippine
Commission of Culture and the17Arts.
5. Factors Affecting the Traditional Artist’s Production Process
a. Christianization
b. Mining and infrastructure projects
c. Christianization
d. Militarization
6. National Artists Award is the highest national acknowledgment given to Filipino
people who have made noteworthy commitments to the improvement of Philippine
expressions; in particular, Music, Dance, Theater, Visual Arts, Literature, Film,
Broadcast Arts, and Architecture and Allied Arts. The request is mutually directed
by the National Commission for Culture and the Arts (NCCA) and the Cultural
Center of the Philippines (CCP) and gave by the President of the Philippines upon
suggestion by the two organizations.

What I Can Do
Activity 4: An Ideal Artist.
(Teacher will make a rubric as a tool for scoring)

Think about how you can represent an ideal artist. You may:

1. Create a drawing / painting / soft sculpture (using commercial clay, textiles, and cotton,
paper, etc.
2. Make an avatar using a computer program or application.
3. Perform a video monologue.
 18

Assessment
Post Test

Multiple Choice. Select the letter of the best answer from among the given choices.

1. A Tinalak weaver who have produced creations which remain faithful to the T’boli
tradition as manifested in the complexity of her design, fineness of workmanship and
quality of finish.
C. Magdalena Gamayo C. Haja Amina
D. Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions.
C. GAMABA award C. GAMBANA award
D. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists in the Philippines
to promote a genuine appreciation of traditional craft and art.
C. GAMABA award C. GAMBANA award
D. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The Boy Wonder of
Philippine Movies”
C. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
D. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”
C. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
D. Fernando C. Amorsolo D. F. Sionil Jose
6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully
demonstrating the creative and expressive aspects of the Bagobo abaca ikat weaving.
C. Ginaw Bilog C. Salinta Monon D. Samaon Sulaiman D. Masino Intaray
7. She is known as the Queen of Kundiman.
C. Honorata “Atang” Dela Rama C. Andrea Veneracion
D. Daisy H. Avellana, D. Haja Amina Appi
8. Asian president of the United Nations General Assembly who multifaceted career
spanned 50 years of public service as an educator, soldier, university president,
journalist, and diplomat.
C. Amado V. Hernandez C. Carlos P. Romulo
D. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino filmmaker whose
life is devoted to the art and commerce of cinema spanning three generations of
filmmakers
C. Eddie Romero C. Ildefonso , P. Santos
D. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
C. Ginaw Bilog C. Salinta Monon
sample Rubrics for Scoring (For the other activities)
 Activity 3 – lesson 4 Activity 1 – lesson 5
(Teachers will base the list of Across: down:
GAMABA awardees) 1. National Artist Award 2. Amorsolo
3. Marcos 4. GAMABA
Activity 3 & 4 – lesson 4 5. PCCA 6. awardee
Ratings depend on the 7. PSA 8. award
rubrics. 9. Awardee 10. dance
References:
Flaudette May Datulin et. al 2016. Contemporary Philippine Arts from the Regions

https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/

https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-

livingtreasures.html https://www.tccd.edu/magazine/volume-03/issue-02/arts/

https://artist-strange-work.com/why-is-art-so-important-to-mankind/

https://www.danebank.nsw.edu.au/why-the-arts-are-so-important-in-the-21st-century/

https://www.answers.com/Q/What_is_a_definition_of_context_in_art_terms

https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines

https://www.slideshare.net/DyenkayeSaludez/physical-education-and-health-grade-11
Para sa mga katanungan o puna, sumulat o tumawag sa:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph