2ND Semester

ART APPRECIATION G-HUMA003

MODULE 3: ARTISTS AND ARTISANS THE DIFFERENT JOB ROLES IN ART
WHAT IS THE DIFFERENCE? Art is a dynamic industry that abounds with creativity and
imagination.
ARTISAN
➢ Artisans’ work focuses on accessorizing and
ARTIST
functionality more than aesthetics. ➢ Is a person who is engaged in the activity of
➢ Artisans sell their crafts at fairs and shops. creating, practicing or demonstrating art, working
➢ Is essentially a craftsman or woman who makes with visual techniques, such as composition, color,
items with his or her hands, and who through skill, space, and perspective to produce the desired effect.
experience and talent can create things of great ➢ It could be in the form of installations, sculptures,
beauty as well as being functional. paintings, drawings, pottery, performances, dance,
➢ They are carpenters, carvers, potters, blacksmiths, photography, video, film and any other medium.
weavers, and the like. ➢ Artists may also combine several different
➢ They help us in meeting our basic needs, such as mediums into their work referred to as mixed
food, shelter, clothing, dwellings, furniture, etc. media.
➢ They craft everything that makes our life easier. ➢ Artists tend to create their own pieces for sale
➢ They serve us for a long time, supplying us directly directly to the public or through an intermediary
with functional arts. such as a gallery or an agent.
➢ Artists can also be commissioned by a client,
ARTIST gallery or organization to produce a piece of work,
and may also run art classes or be involved with
➢ Artists focus on creating aesthetically pleasing
community art projects.
works.
➢ Skills Required: Creativity, imagination, business,
➢ Works of artists tend to be shown in museums or
marketing, and financial awareness.
galleries.
➢ Artists are dedicated only to the creative side,
making visually pleasing work only for the ART AGENT
enjoyment and appreciation of the viewer, but with ➢ An art agent represents an artist working on their
no functional value. behalf to promote and sell their work.
➢ The word “artist” is generally defined as an art ➢ The role involves negotiating individual sales,
practitioner, e.g. painter, sculptor, dancer, singer, commissions, licensing deals, as well as organizing
poet, among others. publicity, and seeking opportunities such as
➢ They provide us with paintings, sculptures, dances, teaching and workshops.
songs, and so on, as a means of provoking our ➢ Skills Required: Negotiation and financial
thoughts, ideas, and emotions. acumen, communication and networking,
➢ Artists exhibit courage to take risks. They can see awareness of art trends, and marketing and PR.
their surroundings in new and unusual ways. They
look to many sources for inspiration. ART CONSULTANT / ADVISOR
➢ Acts as an intermediary between artists, galleries
*In Bali, this distinction is often very blurred since many and auction houses, and buyers by helping people
farmers paint, many sculptors farm or have other jobs. Most such as art collectors select and acquire art for their
walls are carved, and most houses have decorative motifs. home, business, or collection as well as help them
Art is everywhere. sell pieces they no longer require.
➢ Skills Required: A great eye for art, negotiation,
*To the Balinese, the act of creation of beautiful things is communication and listening, sales, finances and
second nature. All the ladies of a village will make amazing taxes.
decorations for temples, and the elaborate offerings,
thinking nothing of spending three days making things ART DEALER
which will be only used for a few hours. ➢ A person or company that buys and sells works of
art with the aim of making a profit.
*Bali is a place where the “Artistic License” has not been ➢ A dealer may present artwork and might sponsor
separated from the Artisan. Talent is practiced across his artists fully for mutual benefits. In such case, it
society in a daily basis. It provides an age-old connection to works well for artists who accept to work as
historical purpose through a plethora of cultural traditions. employees not as free individuals for he/she is
asked what to paint within a given time.
 ➢ Dealers have a secondary market; the first market ➢ A curator prefers to work with a small group of
is targeting artists with certain artwork, second; is artists and creates a variety of presentations.
targeting art buyers with their collection to get the ➢ Skills Required: research, art/cultural history and
best prices possible. awareness, organization, project management,
➢ Skills Required: A great eye for art, awareness of communication, presenting and creative flair.
trends, negotiation, communication and
networking, sales, finances. ART CONSERVATOR
➢ Are responsible for restoring, preserving and
ART AUCTIONEER analyzing artifacts and works of art.
➢ Works on behalf of their clients to sell pieces of art ➢ Art conservators tend to specialize in particular
for the highest possible price. types of objects or materials such as books,
➢ The art auctioneer is responsible for setting the paintings, sculptures or textiles.
price of the artwork. ➢ Skills Required: Research, art and cultural history,
➢ Art auctioneers need to be active in the arts by fine art, writing and analytical.
attending art exhibitions at galleries and museums,
as well as attending art lectures and other related ART HISTORIAN
professional events. ➢ Art historians study art created in the past by
➢ Skills Required: Art history relevant to their area individuals, learning about artists’ lives and their
of expertise, research, valuation, marketing and societies, and seeking to interpret and understand
business, interpersonal skills these works of art for the preservation of future
generations.
ART VALUER ➢ Skills Required: Research, art and cultural history,
➢ Like an art auctioneer, an art valuer gives advice on fine art, writing and analytical.
how much a work of art, or a collection of art is
worth. ART CRITIC
➢ Art valuers need to be active in the arts by ➢ Specializes in interpreting, analyzing and
attending art exhibitions at galleries and museums, evaluating art.
as well as attending art lectures and other related ➢ Art critics produce written critiques or reviews that
professional events. are published in newspapers, magazines, books,
➢ Skills Required: Research, art history, exhibition brochures and catalogues and well as on
communication, financial, and an eye for detail. websites.
➢ Art critics are highly influential and can make or
GALLERY OWNER / MANAGER break careers with their words.
➢ Chooses and presents art for sale. Galleries may ➢ Skills Required: Observation, writing and editing,
specialize in specific areas. analytical, objective and research.
➢ A gallery owner or manager’s responsibilities
include managing both the creative and business ART COLLECTOR
sides of running an art gallery, as well as organizing ➢ is the person who loves certain pieces of
and exhibitions, private sales and loaning out art. art/paintings and collect art not necessary to sell
➢ A gallerist is the person who represents and later but the chance is there.
promotes artists in the primary art market, the one ➢ He/she is also called an art lover with the
with an exhibition space to offer and who raises possibility of having a personal project in mind for
relationships with collectors and art organizers. his/her collection in the future, such as having own
He/she might own an actual building called a museum or use/rent the collection for
gallery or online gallery to present artists. films/movies and TV shows, etc.
➢ Skills Required: An eye for art, creative flair, an
awareness of trends, business, financial, marketing,
KNOW YOUR ART – MEDIUMS AND
sales, negotiation and communication.
TECHNIQUES
CURATOR PAINTING TECHNIQUES
➢ In charge of a collection of exhibits in a museum or
art gallery, and is responsible for assembling, A. OIL
cataloguing, managing, presenting and displaying ➢ Capable of capturing even the most nuanced details
artworks, cultural collections and artifacts. shadowed amidst light and dark, oil is the paint of
➢ Curators can also deliver public talks, publish history.
articles as he/she has the knowledge of the current ➢ Oil paint is made with natural pigments, linseed oil
collecting market for their area of expertise and are and turpentine, making it recognizable in sight and
aware of existing ethical practices and laws that smell. The main downside is that it can take up to
may impact their organization's collection. nine months to dry completely and even years for
heavy impasto (texture).
 ➢ Oil paint usage can be traced back in origin to the SPRAY TECHNIQUES
5th century in Asia, broadening the scale of its
beauty when introduced to European traders in the A. GICLÉE
15th century. ➢ Giclee (pronounced gee-clay) printing is the art
➢ The Old Masters like Leonardo da Vinci, Rembrandt medium of “now,” fusing together traditions of
van Rijn and Francisco Goya used oil as a tool to realism and digital innovation.
evoke sentiments of agony, ecstasy and poetry. ➢ A French term, translating into “the spraying of
➢ Modern artists seeking color saturation, versatility ink,” giclee aren’t simply printed reproductions;
and subtle illumination prefer to use oil paint. rather, they’re the result of obsessive digital fine-
These include Park West Gallery artists Duaiv, tuning and modification, and are able to capture
Csaba Markus, Emile Bellet, Maya Green, Slava great photorealistic detail.
Ilyavev, Michael Milkin, and Hua Chen. ➢ The process begins with a high-resolution
photograph of the artwork being translated into
B. WATERCOLOR giclee form. The image is then scanned, turned into
➢ Watercolor was initially developed in Asia during a digital source file, color corrected, printed,
the 8th century to be laid on fine silks and woven revised, reprinted – and subject to constant
paper. adjustment until the artist is satisfied with the
➢ The paints slowly made their way to Byzantium and printed product.
Europe in the 14th century, placing its aesthetic ➢ Artists like Pino, Andrew Bone, Scott Jacobs,
hold onto illuminated manuscripts, and later Autumn de Forest, and many more have utilized
rendered itself to the gossamer aesthetic of the giclee for their limited-edition artworks.
French Impressionists.
➢ Watercolor paint uses ground pigments mixed with B. DYE SUBLIMATION
water-soluble binders. ➢ Dye sublimation is one of Park West Gallery’s latest
➢ Watercolor painting lends itself to a gradient of and most innovative mediums.
tonal hues that can imitate the washes of sky and ➢ Dye sublimation is the digital printing process that
sea, but it is considered one of the most difficult transfers imagery onto materials such as metal,
mediums to master, as it doesn’t lend itself to glass and plastic.
correction after application. ➢ The concept is based on sublimation, which is when
➢ Many consider Itzchak Tarkay (1935-2012) to be a substance changes from a solid to a gas without
an especially gifted watercolorist who awed becoming a liquid.
viewers with his technique. ➢ The original image is rendered into a digital matrix,
or map, and from there the artist has complete
C. ACRYLIC control over how the colors appear on the final
➢ Made commercially available only as recent as the work of art. Lastly, the mapped image is printed
1950s, acrylic is paint that binds its pigment with a onto transfer paper using dye-based inks and then
synthetic resin. transferred onto a specially coated aluminum plate
➢ Acrylics are water soluble during application, yet with heat and pressure.
water-resistant when dry, making them easy to ➢ Dye sublimation works are renowned for achieving
blend and fast drying. striking and crisp detail and vivid luminosity.
➢ Unlike its oil-infused predecessor, acrylic paint ➢ Artists such as Michael Cheval, Guy Harvey and
emerged in the era of advertising, graphic design Yuval Wolfson utilize the technique.
and glossy, cosmopolitan editorials.
➢ Therefore, by association, acrylic paints are SURFACE TECHNIQUES
vibrantly hued, eye-catching and possess an
advertent pop of bright ceruleans and magentas. A. LITHOGRAPHY
➢ No surprise that creators of pop art like Peter Max,
➢ Lithography, or “stone writing,” is a printmaking
Simon Bull, Romero Britto and Andy Warhol
process where images are inked and pressed on
brought acrylic paint into celebrity.
slabs of stone.
➢ Lithography was heavily utilized by 19th and 20th
century artists like Henri de Toulouse-Lautrec,
Marc Chagall and Marcel Mouly.
➢ Revered for its capability to produce atmospheric,
delicate colors and soft tonalities, lithography lends
itself to a painterly aesthetic.
➢ Based on the antipathy of water and oil, the
lithographic process begins by drawing an image,
in reverse, on a stone using a greasy crayon or
liquid form called a tusche.
 ➢ The stone is treated with water, which adheres to INTAGLIO TECHNIQUES
all areas except those drawn with the crayon. Lastly,
a layer of ink is rolled onto the stone, which is A. ETCHING
repelled by the water and sticks only to the greasy ➢ Etching is a laborious and painstakingly detail-
drawn or painted areas. oriented medium.
➢ Paper is then placed on the surface and pressed, ➢ Old masters such as Rembrandt van Rijn and
transferring the ink to paper. This process must be Francisco Goya heavily utilized the medium to
completed separately for each color on each achieve awe-inspiring images.
example. In fact, it can take months to finish an ➢ Creating an etching begins with covering a metal
edition of lithographs. plate with an acid-resistant ground.
➢ The image being printed is then scratched into the
B. SERIGRAPHY ground with a fine tool, exposing the metal plate
➢ From applying images to T-Shirts, stenciling holiday beneath. The plate is then submerged into an acid
cards or even airbrushing, we’ve all dabbled in bath, burning away at the exposed metal – the
serigraphy, or its common iteration, screen longer the plate is submerged, the deeper the
printing. Don’t let this familiarity trick you, impressed lines became. Once removed from the
however, as fine art serigraphy is a time-consuming bath, the plate is inked, the surface is cleaned so
and physically demanding medium. that ink is only residing in the incisions and
➢ In serigraphy, stencils are adhered to a porous moistened paper is pressed into the paper,
polymer screen and tightly stretched around a extracting the ink and creating the mirror image of
frame. Paper is then placed under the screen, and the composition.
ink is applied to the top of the screen and layered
across the entire surface with the aid of a squeegee. B. ENGRAVING
➢ Like lithography, a separate stencil or matrix is ➢ Engraving, like etching, requires a patient hand and
created for each color, which requires a patient and keen eye for detail.
precise eye. ➢ Engraving uses cutting tools to incise lines directly
➢ Serigraphy creates images of striking texture, into the surface of a metal plate – no acids are
decisive lines and sharp colors. employed or grounds used to treat the plate.
➢ Artists like Erte, Tarkay and Yaacov Agam are ➢ This means a precise technique is needed to print a
among the innovators of the medium. successful impression. The plate is then inked and
pressed against paper, to create a mirrored version
C. SERIO-LITHOGRAPHY of the engraving.
➢ Serio-lithography is a hybrid medium, ➢ Albrecht Durer preferred the technique, creating
incorporating characteristics of both serigraphy some of the most intricate engravings of all time.
and lithography.
➢ Artworks that utilize this technique are initially RELIEF TECHNIQUES
inked and pressed on a lithography plate and then
enhanced with one or more serigraphic screens. RELIEF PRINTING
➢ By combining these two graphic techniques, serio-
➢ Relief printing is done as you would imagine
lithographs are appreciated for their vivid colors,
pressing a rubber stamp, however, the process for
tonal depth, and texture.
creating a relief matrix is comprehensive and
requires a clean design.
➢ Relief techniques are essentially the opposite of the
intaglio techniques described previously, which
mean that the image’s negative areas are cut away
with a knife or chisel, leaving the image to reside on
the surface once inked.
➢ Like many forms of printing, the final image is the
reverse image of the matrix.
➢ Examples of relief techniques include wood cuts
and linocuts, where the relief is chiseled onto a
block of wood in the former and a sheet of linoleum
in the latter.
 AWARDS AND RECOGNITIONS FOR ARTISTS AND • Antonio “Tony” Mabesa - National Artist for
ARTISANS Theater
• Nora Aunor - National Artist for Film
GAWAD NG MANLILIKHA NG BAYAN (GAMABA)
➢ Also known as the National Living Treasures Notable Awardees: Highlights include Fernando Amorsolo,
Award, the GAMABA is conferred to individuals or the first National Artist, and others who have made
groups recognized by the Philippine government significant contributions to Philippine arts.
for their contributions to the country’s intangible
cultural heritage. Cultural Impact: The recognition celebrates the artists’ role
➢ The awardees are Filipino citizens engaged in in enhancing the status of Philippine arts and preserving the
traditional arts that are uniquely Filipino, nation’s cultural heritage.
exhibiting high levels of technical and artistic
excellence. The selection of a National Artist in the Philippines is a
➢ These arts have been passed on and widely prestigious process that involves several criteria and steps:
practiced within their communities.
CRITERIA FOR SELECTION:
➢ The award was institutionalized in 1992 through
Republic Act No. 73551. 1. Citizenship: Nominees must be Filipino citizens at
the time of their nomination and, if living, at the
NATIONAL ARTISTS OF THE PHILIPPINES time of the awarding. Posthumous nominations are
accepted for artists who died after the award’s
➢ The Order of National Artists is the highest national establishment in 1972 and were Filipino citizens at
recognition given to Filipino individuals who have
the time of their death.
made significant contributions to the development
of Philippine arts. 2. Contribution to Nationhood: Artists whose works
➢ This includes music, dance, theater, visual arts,
have contributed to building a Filipino sense of
literature, film, broadcast arts, architecture, design, nationhood.
and allied arts.
➢ The order is administered by the Cultural Center of 3. Pioneering Works: Those who have pioneered a
the Philippines and the National Commission for mode of creative expression or style, impacting
Culture and the Arts, and the title is conferred by succeeding generations.
the President of the Philippines.
4. Body of Works: Artists who have created a
* Both awards are a testament to the rich cultural tapestry substantial and significant body of works and/or
of the Philippines and serve to honor those who have consistently displayed excellence in their art form.
dedicated their lives to the preservation and promotion of
Filipino arts and crafts. They highlight the importance of 5. Recognition: Artists who enjoy broad acceptance
cultural heritage and the role of artists and artisans in through prestigious national and/or international
nation-building and cultural identity. recognition, critical acclaim, and respect from
peers.
ORDER OF NATIONAL ARTISTS OF THE
PHILIPPINES PROCESS OF SELECTION:
The National Artists of the Philippines are individuals who
1. Nominations: Cultural organizations and
have made significant contributions to the development of
individuals submit nominations.
Philippine arts in various categories, including music,
dance, theater, visual arts, literature, film, broadcast arts,
2. Screening and Evaluation: A panel of experts
architecture, design, and allied arts.
conducts thorough screening and evaluation of the
nominees.
The title is conferred by the President of the Philippines and
is the highest national recognition given to Filipino artists.
3. Recommendations: The panel makes
It is conferred every three years.
recommendations to the National Commission for
Culture and the Arts (NCCA) and the Cultural
As for the latest available information, there have been 73
Center of the Philippines (CCP).
individuals recognized as National Artists. The most recent
additions to this prestigious list were in 2022, when eight
4. Presidential Proclamation: The final decision is
new artists were honored. These included:
made by the President of the Philippines, who
• Agnes Locsin - National Artist for Dance
confers the title by means of a Presidential
• Salvacion Lim-Higgins - National Artist for Fashion
Proclamation.
Design
• Gemino Abad - National Artist for Literature
• Fides Cuyugan-Asensio - National Artist for Music
FERNANDO AMORSOLO: NATIONAL ARTIST FOR ➢ As a journalist, Nick Joaquin uses the nom de plume
VISUAL ARTS (MAY 30, 1892 – APRIL 24, 1972) Quijano de Manila but whether he is writing
➢ The country had its first National Artist in literature or journalism, fellow National Artist
Fernando C. Amorsolo. Francisco Arcellana opines that “it is always of the
highest skill and quality”.
➢ The official title “Grand Old Man of Philippine Art”
was bestowed on Amorsolo when the Manila Hilton ➢ Among his voluminous works are The Woman Who
inaugurated its art center on January 23, 1969, with Had Two Navels, A Portrait of the Artist as Filipino,
an exhibit of a selection of his works. Manila, My Manila: A History for the Young, The
Ballad of the Five Battles, Rizal in Saga, Almanac for
➢ Returning from his studies abroad in the 1920s, Manilenos, Cave and Shadows.
Amorsolo developed the backlighting technique
that became his trademark where figures, a cluster LEANDRO V. LOCSIN: NATIONAL ARTIST FOR
of leaves, a spill of hair, the swell of breast, are seen ARCHITECTURE 1990 (AUGUST 15, 1928 –
aglow on canvas. NOVEMBER 15, 1992)
➢ Leandro V. Locsin reshaped the urban landscape
➢ This light, Nick Joaquin opines, is the rapture of a with a distinctive architecture reflective of
sensualist utterly in love with the earth, with the Philippine Art and Culture.
Philippine sun, and is an accurate expression of
Amorsolo’s own exuberance. His citation ➢ He believes that the true Philippine Architecture is
underscores all his years of creative activity which “the product of two great streams of culture, the
have “defined and perpetuated a distinct element of oriental and the occidental… to produce a new
the nation’s artistic and cultural heritage”. object of profound harmony.” It is this synthesis
that underlies all his works, with his achievements
➢ Among others, his major works include the in concrete reflecting his mastery of space and
following: Maiden in a Stream (1921)-GSIS scale.
collection; El Ciego (1928)-Central Bank of the
Philippines collection; Dalagang Bukid (1936) – ➢ Every Locsin Building is an original, and
Club Filipino collection; The Mestiza (1943) – identifiable as a Locsin with themes of floating
National Museum of the Philippines collection; volume, the duality of light and heavy, buoyant and
Planting Rice (1946)-UCPB collection; Sunday massive running in his major works. From 1955 to
Morning Going to Town (1958)-Ayala Museum 1994, Locsin produced 75 residences and 88
Collection. buildings, including 11 churches and chapels, 23
public buildings, 48 commercial buildings, six
NICK JOAQUIN: NATIONAL ARTIST FOR major hotels, and an airport terminal building.
LITERATURE 1976 (MAY 4, 1917 – APRIL 29, 2004)
➢ Nick Joaquin is regarded by many as the most ➢ Locsin’s largest single work is the Istana Nurul
distinguished Filipino writer in English writing so Iman, the palace of the Sultan of Brunei, which has
variedly and so well about so many aspects of the a floor area of 2.2 million square feet. The CCP
Filipino. Complex itself is a virtual Locsin Complex with all
five buildings designed by him — the Cultural
➢ Nick Joaquin has also enriched the English Center of the Philippines, Folk Arts Theater,
language with critics coining “Joaquinesque” to Philippine International Convention Center,
describe his baroque Spanish-flavored English, or Philcite and The Westin Hotel (now Sofitel
his reinventions of English based on Filipinisms. Philippine Plaza).

➢ Aside from his handling of language, Bienvenido LINO BROCKA: NATIONAL ARTIST FOR FILM AND
Lumbera writes that Nick Joaquin’s significance in BROADCAST ARTS 1997 (APRIL 3, 1939 – MAY 22,
Philippine literature involves his exploration of the 1991)
Philippine colonial past under Spain and his ➢ Catalino “Lino” Ortiz Brocka, director for film and
probing into the psychology of social changes as broadcast arts, espoused the term “freedom of
seen by the young, as exemplified in stories such as expression” in the Philippine Constitution.
Dona Jeronima, Candido’s Apocalypse and The
Order of Melchizedek. Nick Joaquin has written ➢ Brocka took his social activist spirit to the screen
plays, novels, poems, short stories and essays leaving behind 66 films which breathed life and
including reportage and journalism. hope for the marginalized sectors of society —
slum-dwellers, prostitutes, construction workers,
etc.
 ➢ He also directed for theater with equal zeal and SALVADOR BERNAL: NATIONAL ARTIST FOR
served in organizations that offer alternative THEATER DESIGN 2003 (JANUARY 7, 1945 –
visions, like the Philippine Educational Theater OCTOBER 26, 2011)
Association (PETA) and the Concerned Artists of
➢ Salvador F. Bernal designed more than 300
the Philippines (CAP). At the same time, he
productions distinguished for their originality.
garnered awards and recognition from institutions
Sensitive to the budget limitations of local
like the CCP, FAMAS, TOYM, and Cannes Film
productions, he harnessed the design potential of
Festival.
inexpensive local materials, pioneering or
maximizing the use of bamboo, raw abaca, and
➢ Lino Brocka has left behind his masterpieces,
abaca fiber, hemp twine, rattan chain links and
bequeathing to our country a heritage of cinematic
gauze cacha.
harvest; a bounty of stunning images, memorable
conversations that speak volumes on love, betrayal
➢ As the acknowledged guru of contemporary
and redemption, pestilence and plenty all pointing
Filipino theater design, Bernal shared his skills
towards the recovery and rediscovery of our
with younger designers through his classes at the
nation.
University of the Philippines and the Ateneo de
Manila University, and through the programs he
➢ To name a few, Brocka’s films include the following:
created for the CCP Production Design Center
“Santiago” (1970), “Wanted: Perfect Mother”
which he himself conceptualized and organized.
(1970), “Tubog sa Ginto” (1971), “Stardoom”
(1971), “Tinimbang Ka Ngunit Kulang” (1974),
➢ To promote and professionalize theater design, he
“Maynila: Sa Kuko ng Liwanag” (1975), “Insiang”
organized the PATDAT (Philippine Association of
(1976), “Jaguar” (1979), “Bona” (1980), “Macho
Theatre Designers and Technicians) in 1995 and by
Dancer” (1989), “Orapronobis” (1989), “Makiusap
way of Philippine Center of OISTAT (Organization
Ka sa Diyos” (1991).
Internationale des Scenographes, Techniciens et
Architectes du Theatre), he introduced Philippine
CARLOS QUIRINO: NATIONAL ARTIST FOR theater design to the world.
HISTORICAL LITERATURE 1997 (JANUARY 14,
1910 – MAY 20, 1999) RAMON OBUSAN: NATIONAL ARTIST FOR DANCE
➢ Carlos Quirino, a biographer, has the distinction of 2006 (JUNE 16, 1938 – DECEMBER 21, 2006)
having written one of the earliest biographies of ➢ Ramon Obusan was a dancer, choreographer, stage
Jose Rizal titled The Great Malayan. designer, and artistic director. He achieved
phenomenal success in Philippine dance and
➢ Quirino’s books and articles span the whole gamut cultural work.
of Philippine history and culture–from Bonifacio’s
trial to Aguinaldo’s biography, from Philippine ➢ He was also acknowledged as a researcher,
cartography to culinary arts, from cash crops to archivist and documentary filmmaker who
tycoons and president’s lives, among so many broadened and deepened the Filipino
subjects. understanding of his own cultural life and
expressions. Through the Ramon Obusan Folkloric
➢ In 1997, Pres. Fidel Ramos created historical Grop (ROFG), he had affected cultural and
literature as a new category in the National Artist diplomatic exchanges using the multifarious
Awards and Quirino was its first recipient. He made aspects and dimensions of the art of dance.
a record earlier on when he became the very first
Filipino correspondent for the United Press RYAN CAYABYAB: NATIONAL ARTIST FOR MUSIC
Institute.
2018 (MAY 4, 1954)
➢ His book Maps and Views of Old Manila is ➢ Mr. C is the most accomplished composer, arranger,
considered as the best book on the subject. His and musical director in the Philippine music
other books include Quezon, Man of Destiny, industry since this bloomed beginning 1970s.
Magsaysay of the Philippines, Lives of the
Philippine Presidents, Philippine Cartography, The ➢ His learned, skillful, and versatile musical style
History of Philippine Sugar Industry, Filipino spans a wide range of genres: from conservatory or
Heritage: The Making of a Nation, Filipinos at War: art compositions such as concert religious music,
The Fight for Freedom from Mactan to EDSA. 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).
 ➢ Being very visible in the national media (once a TV
host of a long-running arts and culture series and ➢ In the twilight of his years, he helped another
recently a judge in TV singing competitions), university, the University of Angeles in Pampanga
Cayabyab is a household name. with its theater arts program, directing plays and
conducting classes with the school’s students.
➢ His compositions reflect a perspective of music that
extols the exuberance of life and human happiness, SALVACION LIM-HIGGINS: NATIONAL ARTIST FOR
thus capturing the very essence of our Filipino soul. FASHION DESIGN 2022 (JANUARY 28, 1920 –
SEPTEMBER 15, 1990)
➢ Da Coconut Nut is a song composed by Filipino
➢ Salvacion Lim-Higgins, known to the fashion world
National Artist Ryan Cayabyab, for the band
as “Slim’s”, is credited for having masterly
Smokey Mountain in 1991.
innovated on and transformed the “national
costume” into a world-class silhouette.
LAURO “LARRY” ALCALA: NATIONAL ARTIST FOR
VISUAL ARTS 2018 (AUGUST 18, 1926 – JUNE 24, ➢ By marrying elements of Philippine costume with
2002) European couture details and construction, she
➢ His comic strips spiced up the slices of Filipino lives modernized the look of the terno, inflecting it with
with witty illustrations executed throughout his 56 an apparent feminine sensibility, ushering it to an
years of cartooning. exciting post-war era.

➢ He created over 500 characters and 20 comic strips ➢ One of the most enduring and notable
in widely circulated publications. contributions of Lim-Higgins to fashion was being
an educator.
➢ Alcala’s most iconic work, Slice of Life, not only
made for decades long of widely circulated images ➢ She founded her own fashion and design school, the
of Filipino everyday life, it also symbolically Slim’s Fashion and Arts School, which celebrated its
became an experiential way for his followers to find 60th anniversary in 2020.
a sense of self amid an often cacophonic, raucous
and at odds environment that Filipinos found GAWAD SA MANLILIKHA NG BAYAN (GAMABA)
themselves amidst. In April 1992, the Gawad sa Manlilikha ng Bayan (GAMABA)
or the National Living Treasures Award was
TONY MABESA: NATIONAL ARTIST FOR THEATER institutionalized through Republic Act No. 7355.
2022 (JANUARY 27, 1935 – OCTOBER 4, 2019)
➢ In a career that spanned more than four decades, Tasked with the administration and implementation of the
director, actor, and teacher Antonio Mabesa, also Award is the National Commission for Culture and the Arts
known as the Lion of the Theater, greatly (NCCA), the highest policymaking and coordinating body for
contributed to the growth and diversity of culture and the arts of the State.
Philippine theater.
The NCCA, through the Gawad sa Manlilikha ng Bayan
➢ In the early seventies, with some Filipino students Committee and an Ad Hoc Panel of Experts, conducts the
in Hawaii, Mabesa formed Tanghalang Repertory, a search for the finest traditional artists of the land, adopts a
theater group devoted solely to the production of program that will ensure the transfer of their skills to others
traditional and modern Filipino plays. and undertakes measures to promote a genuine
appreciation of and instill pride among our people about the
➢ Upon returning to the Philippines, he joined the genius of the Manlilikha ng Bayan.
Department of Speech Communications and Drama
in the University of the Philippines Diliman where TO BECOME A MANLILIKHA NG BAYAN AN
he laid the ground for a solid theater curriculum INDIVIDUAL OR GROUP CANDIDATE MUST:
founded on the classics thus, the Dulaang a. possess a mastery of tools and materials needed for
Unibersidad ng Pilipinas or DUP was born in 1976. the traditional, folk art and be a maker of works of
extraordinary qualities.
➢ In 1976, he initiated the formation of the UP b. have consistently produced works of superior quality
Playwrights Theater, an adjunct production arm of over significant periods.
DUP to exclusively stage original works and revivals c. have engaged in a traditional and folk art which has
of plays by Filipino playwrights. been in existence and documented for at least 50
years.
➢ He was instrumental in the development of an d. command respect and inspire admiration of the
academic program for the training of theater artists country with its character and integrity.
and scholars. He was the Metropolitan Theater’s
Theater Director in 1978.
 e. must have transferred and or willing to transfer to TEOFILO GARCIA: CASQUE MAKER 2012
other members of the community the skills in the ➢ Whenever Teofilo Garcia departs from his farm in
traditional and folk arts for which the community has San Quintin, Abra, he consistently dons a tabungaw.
become nationally known. This unique, functional, and stylish headgear
f. However, a candidate, due to age or infirmity, has left captures the attention of people in the surrounding
him/her/them incapable of teaching further towns of the province, neighboring Sta. Maria and
his/her/their craft, may still be recognized if Vigan in Ilocos Sur, and even as far as Laoag in
he/she/they must possess the qualifications as Ilocos Norte, protecting him from both rain and
enumerated above. sunshine.

DUTIES AND RESPONSIBILITIES OF AWARDEES: ➢ On closer inspection, one would notice it's crafted
The Manlilikha ng Bayan is a link between the past, in which from a native gourd, hollowed, polished, and coated
his or her traditional folk art found fertile soil for growth, with a bright orange varnish to enhance its
and the future, during which he/she seeks his/her art to be durability against the elements. The interior is
permanently sustained. It becomes his or her responsibility, lined with a delicate rattan mat, while the brim
therefore, to undertake the following: features a discreet bamboo weave for decoration.
His pride in his craft has earned Teofilo numerous
1. to transfer the skills of his/her traditional folk art orders. Through personal endeavors, word-of-
to the younger generation through apprenticeship mouth, and participation in an annual harvest
and such other training methods as are found to be festival in Abra, many have learned of tabungaw’s
effective. practicality.
2. to cooperate with the implementing agency, as
provided for in Section 7 of this Act in the ➢ Countless individuals have visited his home to
promotion and propagation of his or her traditional purchase this indigenous all-weather headwear.
folk arts. Clients have donned his creations, gifted them to
3. to donate to the National Museum a sample or a overseas relatives, and showcased them as
copy of his/her work. exemplars of Filipino artisanship.

MAGDALENA GAMAYO: TEXTILE WEAVER 2012 ➢ With adequate maintenance, a quality tabungaw
➢ The Ilocos Norte known to Magdalena Gamayo is can endure three to four generations, and Teofilo's
just a few hours’ drive from the capital, Laoag, yet it are reputed to be some of the finest. They are so
stands apart from the burgeoning city's rapid pace. robust that farmers typically need just one.
It is a tranquil rural area devoted to cultivating rice,
cotton, and tobacco. ➢ In fact, Teofilo and his son each possess only a
single tabungaw.
➢ Magdalena Gamayo, the 2012 Gawad sa Manlilikha
ng Bayan awardee, is deeply indebted to the land ALONZO SACLAG: MUSICIAN AND DANCER 2000
and its yearly yield. Despite being a master weaver, ➢ It is often said that history is penned by the victors.
weaving alone does not suffice. Its objectivity is questionable, contrary to what we
were taught as children while learning about Jose
➢ Moreover, even with better roads, obtaining high- Rizal and other prominent ilustrados.
quality cotton threads for her abel weaving
remains a struggle. Although the North is famed for ➢ History's impartiality is comparable to today's
its cotton, it lacks factories to transform cotton editorials that praise or criticize governmental
bales into thread spools. Magdalena must depend actions, yet it carries an inherent authority that is
on local traders and their scant stock. She once seldom questioned by students or adults.
spun and beeswax-coated her own cotton to
strengthen it, but post-World War II, she had to ➢ The Kalinga people have been portrayed
resort to purchasing thread from the market. She unfavorably in history and media. Early Spanish
recalls exchanging rice for thread, but those days of chronicles painted them as so aggressive that
barter are gone. Threads are now costlier and of Dominican missionaries had to halt their
inferior quality, leading her to reject many samples, Christianization efforts. Their opposition to the
though her options are often limited. Marcos regime's hydroelectric dam projects on the
Chico River further tarnished their image.
➢ Today, fewer local thread suppliers exist, indicating
a diminished demand for their products. ➢ The name "Kalinga," given by neighboring Ibanag
Nevertheless, the abel-weaving tradition in Ilocos and Gaddang tribes, translates to "enemy," harking
endures robustly, with no one representing the back to a time when headhunting was a respected
pinnacle of the Filipino abel weaving heritage practice for demonstrating valor and protecting
better than Magdalena Gamayo. one's community.
GINAW BILOG: POET HANUNUO MANGYAN 1993 + ➢ Their fundamental social principle is sharing. Their
2003 most significant ceremonies, such as the tambilaw
➢ Across various cultural communities nationwide, and the tinapay, are expressions of extensive and
the oral tradition is a common thread, often generous sharing, especially of food and beverages,
expressed through poetic verses sung or chanted. talents, and ideas.

➢ The Mangyan literary tradition stands out with its FREDERICO CABALLERO: EPIC CHANTER 2000
unique ambahan, a form of poetry with seven- ➢ Stories are the lifeblood of a culture. They offer a
syllable lines that express messages through glimpse into the thoughts, beliefs, and desires of a
metaphors and imagery. people, encapsulating the very essence of their
humanity. This phenomenon is not unique to any
➢ Ambahans are performed vocally and cover a wide single group; it is a common thread that runs
range of themes, from courtship and imparting through the civilizations of the ancient East and the
wisdom to youth, to seeking hospitality or bidding cultures of the industrial West.
farewell to a cherished friend.
➢ The importance of stories is such that, as African
➢ This form of oral tradition is prevalent among writer Ben Okri suggests, to corrupt a people's
indigenous groups, yet the ambahan persists today stories is to taint their very lives. This notion is
primarily because it is inscribed on bamboo tubes echoed in the experiences of many. Among the
in the ancient Southeast Asian, pre-colonial script folklore of the Tagalog people, there are numerous
known as surat Mangyan. tales of a mythical hero who, once released from
confinement within a holy mountain, would rise to
➢ Ginaw Bilog, a Hanunoo Mangyan from Mansalay, free the nation. The cunning Spaniards exploited
Mindoro, was raised amidst this rich cultural this legend, using it to deepen their control. They
milieu. Deeply aware that the ambahan is integral emphasized it, ingraining it in the psyche of every
to comprehending the Mangyan spirit, Ginaw Tagalog, presenting this fabled savior as one might
dedicated himself to preserving numerous dangle a carrot. The myth became so entrenched
ambahan poems, not just on bamboo but also in that enduring hardship silently and awaiting
worn notebooks given by friends. salvation was seen as noble. For a period, it seduced
the people into a deceptive hope, quelling any
➢ The most valued in his collection are those passed ambition to revolt.
down by his father and grandfather, which serve as
wellsprings of inspiration and guidance in his UWANG AHADAS: MUSICIAN 2000
artistic pursuits. ➢ Life is shrouded in mystery, and it is an instinct to
hypothesize in the face of the unknown. Before
MASINO INTARAY: MUSICIAN AND STORYTELLER people would often attribute mysterious
1993 + 2013 phenomena to the actions of gods or spirits. Thus,
➢ Inhabiting the southern Palawan highlands are the rain and thunder were seen as the sorrows of a
Palawan people, who, alongside the Batak and deity spurned by his fickle wife, while night and day
Tagbanwa, form the principal indigenous cultural were the result of a compromise between siblings
groups of Palawan. vying for dominion over the world after their
father's demise.
➢ The Palawan have a rich, intense, yet highly
sophisticated culture that spans tangible and ➢ These divine entities were believed to exert control
intangible realms. While they may not display the over the earth and its inhabitants. According to the
ornate grandeur of the Maranaw or the striking folklore of a northern tribe, there is a tale about
grace of the Yakan, their complex cosmology, rich why a three-kilometer stretch at the summit of
poetic and literary heritage, tiered architecture, Binaratan, a mountain in the region, is enveloped in
musical theories, social ethics, and ceremonies an almost supernatural silence.
showcase a deeply spiritual awareness and a
nuanced inner life. This life is in harmony with the ➢ The story goes that the mighty Kaboniyan was
abundant energies and forms of their lush teaching men how to hunt with hounds. At the peak
mountainous home, a forested habitat filled with of Binaratan, the hunters' calls were lost beneath
towering trees, a vast array of plant and animal the birds' chorus. A hunter pleaded with Kaboniyan
species, and an expansive sky. to silence the birds, fearing the hunt would be
unsuccessful. In response, Kaboniyan's thunderous
➢ The Palawan do not recognize the concept of command stilled all creatures of Binaratan,
ownership. For them, the earth, sea, sky, and all instilling a silence that persists to this day, despite
natural elements are communal. the many birds that dart among the trees.
DARHATA SAWABI: TEXTILE WEAVER 2004 + 2005
➢ In Barangay Parang on the island of Jolo, Sulu ➢ The entire process, from the harvesting and
province, women weavers diligently craft the pis preparation of pandan leaves to the final weaving,
syabit, a traditional cloth tapestry worn as a head is carried out exclusively by women. This extensive
covering by the Tausug people of Jolo. "This is our and meticulous process demands considerable
heritage," the weavers declare. "It's a skill passed patience, endurance, an eye for detail, an instinct
down from our mothers." for color, and a talent for practical mathematics.

➢ Darhata Sawabi is among those who have SALINTA MONON: TEXTILE WEAVER 1998 + 2009
embraced the art of pis syabit weaving with ➢ From a young age, Salinta Monon observed her
passion. mother skillfully working the loom, creating
traditional Bagobo textiles. At the age of 12, she
➢ In her hometown of Parang, families primarily rely approached her mother to learn the craft. Her deep
on subsistence farming for their livelihood. passion for mastering her ancestral art allowed her
However, farming alone often fails to provide to quickly absorb the techniques.
sufficient income to sustain a family.
➢ She honed her ability to discern traditional
➢ For someone like Darhata Sawabi, who was raised patterns, and now, at 65, she can identify both the
solely to perform household chores and has never design and the creator of a textile with just a glance.
married, weaving represents her sole avenue for
earning an income. ➢ Throughout her life, she has never stopped
weaving, persisting through marriage, six
EDUARDO MUTUC: METALSMITH 2004 pregnancies, and the passing of her husband two
➢ Eduardo Mutuc is an artist devoted to crafting decades ago. She and her sister are the last Bagobo
religious and secular artworks in silver, bronze, and weavers in their community.
wood.
➢ Her husband had offered a substantial bride prize
➢ His work, known for its intricate details, includes for her because of her weaving expertise. Yet, he
retablos, mirrors, altars, and carosas found in tasked her with the collection and preparation of
churches and private collections. Some of his abaca fibers, while he focused on their farm's
creations are quite expansive, with a few productivity.
surpassing forty feet, while others are small,
showcasing fine and delicate craftsmanship. ➢ The demands of farm life often required her to set
aside her weaving to ensure crops were planted
➢ Despite his work adorning cathedrals and and harvested. After her husband's death, she
churches, Mutuc's studio is modestly situated in a found herself managing both the farm and her
corner of his yard, sharing space with a tailoring family alone, but she persevered in her weaving,
shop. which provided both income and a sense of pride.

➢ Recently, heavy rains caused the nearby river to LANG DULAY: TEXTILE WEAVER 1998 + 2015
overflow, flooding his studio in Apalit, Pampanga, ➢ With abaca fibers as delicate as hair, Lang Dulay's
and soaking his woodblocks. Nonetheless, Mutuc weaving speaks volumes beyond words. Her skilled
remains undeterred by these challenges. hands bring to life the images of her T'boli
ancestors—crocodiles, butterflies, flowers, and the
HAJA AMINA APPI: MAT WEAVER 2004 + 2013 landscapes of Lake Sebu, South Cotabato, where
➢ Haja Amina Appi from Ungos Matata, Tandubas, generations were born. These motifs imbue the
Tawi-Tawi, is celebrated as the master mat weaver fabric with a yearning for remembrance. Through
within the Sama indigenous community. her craft, Lang Dulay strives to preserve the
weaving traditions of her people.
➢ Her mats are vibrant, showcasing complex
geometric patterns that reflect her keen sense of ➢ The traditional weavers of the T'nalak, or Tboli
design, proportion, symmetry, and color sensitivity. cloth, are dwindling in number. The laborious
The distinctive multi-colored mats she creates are process of T'nalak weaving starts with stripping
encased in a plain white outer mat, which acts as the abaca plant stem for fibers, refining them for
backing. These functional yet artistic pieces can the textile, then hand-drying and tying each thread.
take up to three months to complete. The intricate task continues with arranging the
strands on a bamboo "bed-tying" frame, carefully
➢ Mat weaving is a tradition passed down through the selecting which ones will resist the dye. It is this
matrilineal line, as Sama culture does not involve meticulous tying of the abaca fibers that ultimately
men in this craft. crafts the design.
SAMAON SULAIMAN: MUSICIAN 1993 + 2011 ➢ The precise location was, and still is, called Amgu-
➢ The Magindanao, one of the largest Islamic groups o, a small settlement of interrelated families within
in the Philippines, are primarily found in the towns Landan, which is now a barangay, a part of a larger
of Dinaig, Datu Piang, Maganoy, and Buluan in town.
Magindanao province. They are highly skilled in
weaving, okir designs, jewelry, metalwork, and ➢ In the early twentieth century, Amgu-o was merely
brassware, creating art that is uniquely Southeast a group of homes, completely detached from the
Asian in essence. national political framework, nestled in a hilly,
wooded area dotted with streams and rocks of
➢ In music, the Magindanao are renowned within various sizes, surrounded by ancient trees.
Filipino cultural communities. Their expertise in
playing the kulintang (gong-chime) and kutyapi ➢ Now, as ancient as the trees once were, and
(two-stringed plucked lute) rivals that of any embracing the title Fu, meaning elder, without any
instrumental virtuoso from the East or West. pretense, Fu Yabing has witnessed the
transformation of Amgu-o into a barren, treeless
➢ The kutyapi, beloved as a solo instrument by both expanse.
Muslim and non-Muslim Filipinos, is also played
alongside other instruments. It comes in various ➢ Her home, a blend of thatch, wood, and concrete,
designs, shapes, and sizes, and is known by stands as a testament to permanence, a stark
different names such as kotapi (Subanon), fegereng contrast to the old practice of shifting agriculture,
(Tiruray), faglong (B’laan), hegelong (T’boli), and which required its adherents to relocate entire
kuglong or kudlong (Manobo). villages to allow the land to recover after prolonged
use, returning it to the forest.
AMBALANG AUSALIN: TEXTILE WEAVER 2016
➢ The Yakan people of Basilan are renowned as some ESTELITA BANTILAN: MAT WEAVER 2016
of the most skilled weavers in the Southern ➢ Born seventy-two years ago, she was named Labnai
Philippines. They produce vibrant and intricate Tumndan, a name well-known in the Blaan
textiles with small motifs, using techniques that language of the mountainous hamlet of Mlasang.
only experienced weavers can execute, often Her extended family's identity was deeply
reserved for specific categories of weaving. connected to the mlasang tree, which annually
bursts into profuse bloom, promptly sheds its
➢ Weaving holds significant cultural importance flowers, and blankets the dwelling and
within the Yakan community. Historically, every surroundings in splendor all at once.
Yakan woman was taught to weave.
➢ In the mid-twentieth century, within what is now
➢ It was customary for the pandey, or traditional known as the Mindanao provinces of Sarangani and
midwife, to cut a newborn girl's umbilical cord with South Cotabato, the Blaan people — sharing their
a wooden bar known as bayre (also pronounced name with their language — began to embrace a
beyde by some Yakans), which was also used to more settled village life. Their ancestors had moved
'beat-in' the weft on the loom. This act symbolized homes for centuries to allow the land, where they
the hope that the girl would grow up to be a master grew wild rice and yams, to rejuvenate.
weaver.
➢ During Labnai's early years, the community started
➢ The embodiment of the Yakan weaving heritage is to recognize their place within the Philippine
a seventy-three-year-old expert from the Yakan's political framework, identifying Mlasang as Upper
weaving heartland in Parangbasak, Lamitan City: Lasang, a barangay in the municipality of
Ambalang Ausalin. Malapatan, within the then province of Cotabato.
This province was later divided, and Malapatan
YABING MASALON DULO: IKAT WEAVER 2016 became part of the newly formed province of
Sarangani.
➢ Yabing Dulo, a centenarian, considers herself to be
older than ninety. Her identity card records her age
as such, with her birth date listed as August 14,
1910.

➢ Given that the esteemed ikat-dyer possesses a

memory sharper than any blade, heeding her
advice is always wise. She distinctly remembers
being born in a place already known as Landan
back then.