Gov. Alfonso D.

Tan College

Maloro, Tangub City

GE ARTAPP (ART APPRECIATION)

UNIT 5
Watch the music video of LUPANG PINANGAKO by ASIN.

Here is the rationale and discussion proper of the video:

The 70s and 80s were not a good time for the Philippines: conflict
and violence enveloped the nation, from Luzon, all the way to Mindanao. It
was as if every major island in the country had one major conflict, and that
peace was far from sight. But in 1976, out of the cacophony of songs and
propaganda on the radio, a band emerged, whose sound hoped to bring
people together, and strived to make the Philippines into a whole nation
once more.

The bands was Asin, composed of Lolita “Nene” Carbon, Mike

“Nonoy” Pillora Jr., and Cesar “Saro” Bañares Jr., and were responsible for
many patriotic songs, though they were often deemed subversive by the
dictatorial government under the Marcos regime.

HISTORY OF THE CONFLICT IN THE PHILIPPINES

The Philippines has suffered two major armed conflicts in recent

years – in Mindanao involving the Moro Islamic Liberation Front (MILF) and
a countrywide communist insurgency with the National Democratic Front
(NDF).

At the heart of the conflict in Mindanao lies deep-rooted prejudices

against a minority Muslim and indigenous population. The conflict has roots
in the colonial period, but the armed struggle for an independent state
began in 1969, sparked by discrimination and human rights violations
under President Marco’s dictatorship. Many armed groups, most notably
the Moro National Liberation Front (MNLF) and the Moro Islamic Liberation
Front (MILF), fought against the government to establish an independent
Muslim region on the island of Mindanao. Over 150,000 were killed in the
decades-long insurgency that ensued.

The conflict between the Government of the Philippines and the

communist NDF began in 1968 and since then has caused immense unrest
for the civilian population and claimed more than 40,000 lives. Since 2001,
Norway has been the facilitator of the peace talks between the Government
and the NDF but these peace efforts have not resulted in further
agreements, with the latest round of talks ending in 2017. Neither side has
yet explicitly committed to a peaceful solution, which makes confidence
building and compromise more difficult.

PEACE AGREEMENT WITH THE MILF

In March 2014 the Government of the Philippines and the MILF

signed a peace agreement, which they call the Comprehensive Agreement
on the Bangsamoro. The agreement ended four decades of conflict and
envisioned the establishment of a new self-governing region in Muslim-
dominated areas of Western Mindanao, called the Bangsamoro.

In July 2018 President Duterte signed the Bangsamoro Organic Law,

and agreed to a referendum to give voters in the Autonomous Region in
Muslim Mindanao the final say in the future status of the Bangsamoro. The
successful vote in January 2019 paves the way for the establishment of the
Bangsamoro Autonomous Regional Government that will replace the
current authorities. The regional government will have greater financial
autonomy and a more representative parliamentary system.
LOCAL CLAN CONFLICTS

Despite these successes, poverty and political tensions persist in

Mindanao. It remains the poorest region in the Philippines, and a lack of
resources, along with corruption, means the local government structures
are weak. These all contribute to the prevalence of local conflicts.

Locally known as “rido” or clan wars, these conflicts are sporadic in

nature yet last for generations, often becoming flashpoints between the
state and revolutionary armed groups. While some cases have been
resolved, the region needs improved social and institutional structures for
preventing and resolving these conflicts. Without these, the security and
safety of the people of Mindanao is fragile at best.

Let us discuss the indigenous people of the Philippines:

INDIGENOUS PEOPLES OF THE PHILIPPINES

The Philippines consist of numerous upland and lowland

indigenous ethnolinguistic groups living in the country, with
Austronesians making up the overwhelming majority, while full or partial
Australo-Melanesians scattered throughout the archipelago. The
highland Austroneians and Australo-Melanesians have co-existed with
their lowland Austronesian kin and neighbor groups for thousands of
years in the Philippine archipelago. The primary difference is that they
were not absorbed by centuries of Spanish and United States
colonization of the Philippines, and in the process have retained their
customs and traditions. This is mainly due to the rugged inaccessibility of
the mountains and established headhunting and warrior cultures, which
discouraged Spanish and American colonizers from coming into contact
with the highlanders.

In the interest of clarity, the term indigenous as used in the

Philippines refers to ethnolinguistic groups or subgroups that maintain lt
of partial isolation, or independence, throughout the colonial era. The
term indigenous when applied to the Philippine population can be a
deceptive misnomer, connoting alien migrant populations who have over
time become the majority ethnolinguistic and cultural group in the land
and thereby pushing indigens to the fringes of socio-cultural inclusion,
such as in the Americas, Middle East, Australia, or New Zealand.
Contrarily, the vast majority of people in the Philippines descend from the
same Austronesian and Australo-Melanesian ancestral populations
indigenous to the archipelago, regardless of cultural, religious,
ethnolinguistic or tribal affiliations. (Ethnic groups in the Philippines).

Culturally-indigenous peoples of northern Philippine highlands can

be grouped into the Igorot (comprising many different groups) and
singular Bugkalot groups, while the non-Muslim culturally-indigenous
groups of mainland Mindanao are collectively called Lumad. Australo-
Melanesian groups throughout the archipelago are termed Aeta, Ita, Ati,
Dumagat, among others. Numerous culturally-indigenous groups also
live outside these two indigenous corridors.[1]

According to the Komisyon ng Wikang Filipino, there are 135

recognized local indigenous Austronesian languages in the Philippines,
of which one (Tagalog) is vehicular and each of the remaining 134 is
vernacular.[citation needed] There are 134 ethnic groups in the
Philippines, the majority of which are indigenous, though much of the
overall Philippine population is constituted by only 8-10 lowland ethnic
groups.

DEMOGRAPHICS

In the 1990s, there were more than 100 highland tribal groups
constituting approximately 3% of the population. The upland tribal groups
were a blend in ethnic origin, like those in lowland areas of the country,
although the upland tribal groups do not interact nor intermingle with the
latter, because they displayed a variety of social organization, cultural
expression and artistic skills. They showed a high degree of creativity,
usually employed to embellish utilitarian objects, such as bowls, baskets,
clothing, weapons and spoons. The tribal groups of the Philippines are
known for their carved wooden figures, baskets, weaving, pottery and
weapons.
ETHNIC GROUPS

Northern Philippines

These groups ranged from various Igorot tribes, a group that

includes the Bontoc, Ibaloi, Ifugao, Isneg, Kalinga, Kankanaey and
Tinguian, who built the Rice Terraces. They also covered a wide
spectrum in terms of their integration and acculturation with lowland
Christian and Muslim Filipinos. Native groups such as the Bukidnon in
Mindanao had intermarried with lowlanders for almost a century. Other
groups such as the Kalinga in Luzon have remained isolated from
lowland influence.

There were several upland groups living in the Cordillera Central of

Luzon in 1990. At one time it was employed by lowland Filipinos in a
pejorative sense, but in recent years it came to be used with pride by
native groups in the mountain region as a positive expression of their
ethnic identity. The Ifugao of Ifugao province, the Bontoc, Kalinga,
Tinguian, the Kankanaey and Ibaloi were all farmers who constructed the
rice terraces for many centuries.

Other mountain peoples of Luzon are the Isnag of the province of

Apayao, the Gaddang of the border between Kalinga and Isabela
provinces and the Ilongot of Nueva Vizcaya province and Caraballo
Mountains all developed hunting and gathering, farming cultivation and
headhunting. Other groups such as the Negritos formerly dominated the
highlands throughout the islands for thousands of years, but have been
reduced to a small population, living in widely scattered locations,
primarily along the eastern ranges of the mountains.

Southern Philippines

In the southern Philippines, upland and lowland tribal groups were

concentrated on Mindanao and western Visayas, although there are
several upland groups such as the Mangyan living in Mindoro. Among
the most important groups found on Mindanao are collectively called the
Lumad, and includes the Manobo which is a bigger ethnographic group
such as the Ata-Manobo and the Matigsalug found in Davao City, Davao
del Norte and Bukidnon Province; the Langilan-Manobo in Davao del
Norte; the Agusan-Manobo in Agusan del Sur and southern parts of
Agusan del Norte; the Pulanguiyon-Manobo of Bukidnon Province; the
Ubo-Manobo in southwestern parts of Davao City, and northern parts of
North Cotabato Province that is also to include the Arumanen-Manobo of
Carmen (N. Cotabato); the Dulangan-Manobo in the Province of Sultan
Kudarat; the Talaandig, Higaonon and Bukidnon of Bukidnon province,
Bagobo, Mandaya, Mansaka, Tagakaulo in Davao region who inhabited
the mountains bordering the Davao Gulf; the Kalagan lives particularly in
lowland areas and seashores of Davao del Norte, Compostella Valley,
Davao Oriental and some seashores in Davao Del Sur, the Subanon of
upland areas in Zamboanga; the Mamanua in the Agusan-Surigao border
region; the B'laan, Teduray and Tboli in the region of the Cotabato
province, and the Samal. Samal is synonymous with Luwa'an. Yakan is
the indigenous tribe in the hinterlands of Basilan Province. In the lowland
lives the Sama Banguingui tribe while in coastal areas there leave the
nomadic Luwa'an. Sulu lowland areas are also home of the Sama
Banguingui. The Sama or the Sinama and the Jama Mapun are the
indigenous tribes in the province of Tawi-Tawi.

Reservations

The Philippine government succeeded in establishing a number of

protected reservations for tribal groups. Highland peoples were expected
to speak their native language, dress in their traditional tribal clothing,
live in houses constructed of natural materials using traditional
architectural designs and celebrate their traditional ceremonies of
propitiation of spirits believed to inhabit their environment. They are also
encouraged to re-establish their traditional authority structure in which,
as in indigenous society was governed by chieftains known as Rajah and
Datu.

Contact between primitive and modern ethnic groups usually

resulted in weakening or destroying tribal culture without assimilating the
indigenous groups into modern society. It seemed doubtful that the shift
of the Philippine government policy from assimilation to cultural pluralism
could reverse the process. Several Filipino tribes tend to lead to the
abandonment of traditional culture because land security makes it easier
for tribal members to adopt the economic process of the larger society
and facilitates marriage with outsiders.

In the past, the Philippine government bureaus could not preserve

tribes as social museum exhibits, but with the aid of various nationwide
organizations, they hoped to help the people adapt to modern society
without completely losing their ethnic identity.

Importance of Philippine Artistic Handicrafts

The Philippines is abundant in natural resources that scattered

throughout its islands. Filipino artist used the parts of trees, plants, and
other natural resources as the raw materials. Like in any other country, art
influenced the life of the Filipinos and the things that surround them. The
Philippine arts reflect a Filipino society with diverse cultural influences and
traditions of the Malayan people such as the Chinese and Indians. Islamic
traditions were introduced to the Philippine Islands in the 14th century.

Likewise, Europe and the United States intensely influenced Filipino

artists. However, while drawing on Western forms, the works of Filipino
musicians, painters, and writers are imbued with distinctly Philippine
themes. By expressing the richness of the culture of the archipelago in all
its diversity, Filipino artists have helped in shaping a sense of national
identity. Many Malay cultural traditions have continued until this time
despite foreign rule. Muslims and tribal groups maintained distinct traditions
in dance, music, and sculpture.

Indigenous arts in the Philippines are labors of love and patience. The
intricate carvings on wood, metal, stone or glass are products of skillful
hands and imaginative minds of the different tribes of the archipelago.
Indigenous musical instruments like the flute, drums, rainsticks, native
guitars, and bells made of bamboo, animal skin, seeds, and seashells. The
careful manipulation of these materials produces sounds and unique
instruments used mostly in tribal dances and rituals (Ramirez, 1999).
Pre-Colonial Art forms in the Archipelago

The arts in the Philippine archipelago had its past and continued to
develop by numerous modern artists. With their different context regarding
history, style, cultural symbols, and meanings, these artworks are portrayed
(Estrella, 2017).The following are some known artforms in the Philippines:

Agung. It is a musical instrument of the Kulintang ensemble which is

played by one or two persons depending on its number. By using a rubber-
padded beater, this instrument is performed on both the boss/knob and the
face of the gong.

Banog-banog. It is a dance that portrays hunters shielding in their

chickens from the famishing hawk.

BlitB’laan. It is a courtship dance of the Bilaan of Davao del Sur

mimicking birds during mating season. The females scurry to safety,
burying their heads under their wings (using the malong), but the
aggressive males follow them wherever they go.

Cañao. It is a ritual-dance performed during native feasts or

celebrations in the highlands of the Cordilleras in the Luzon area of the
Philippines. It is a symbol of triumph or expectation for abundant crops.

Gangsa. It is an indigenous musical instrument of the Bontoc tribes of

Kalinga, Ifugao in the mountain regions (the Cordillera) of the northern
Philippines.
Inamong. It is an ethnic dance among Tigwahanon Manobos in the
Province of Bukidnon and performed during their harvest time. This type of
dance shows a couple, with their bodies and arms slightly bent forward,
mimicking the movement of a pair of flirting among monkeys.

KadalIwas. It is a dance performed by the T-boli and Tausug tribes

respectively which mimic a mealtime of monkeys in removing nits and lice
from each other. A variation of this dance is to mimics a monkey who sits
on an anthill by mistake and is attacked by angry ants all over his body.

Kashawing. It is a ritual among the Maranaos and is performed to

ensure a good harvest.
 Kinabua. It is ritual dance among the Mandaya tribes in Northern
Mindanao. This type of dance portrays the Hawks’ use of sweet songs to
lure out the hen and the chicks that are made into a meal.

Mamakar. It is a Bontoc War Dance performed during the planting

season and a bountiful harvest.

Man-manok. It is a dance performed in Vigan, Ilocos Sur. This type of

dance mimics fowls wherein a tribal blankets that represent the colorful
plumage of wild cocks are shown off by the warriors who intend on winning
the attention of the maiden hen.

Mayvanuvanua. It refers to a sacrificial rite performed at the beginning

of the summerfishing season among mataw fishers in Batanes Island. This
type of dance is an act of invitation to capture the fish dorado successfully.

Mumbaki. It is a local term which refers to the “sayer of prayers” among

the Ifugaos in Northern Luzon. These prayers are performed during
funerals, wedding, Thanksgiving, and other celebrations. This is offered to
the supreme deity, Maknongan.

Ngilin. It is a cultural dance performed among the Kalinga tribe during

Marriage rituals andother celebrations like the budong (peace pact). This
type of dance is played to simulate the romantic or peaceful interactions of
a rooster and a hen.

Pagdiwata. It refers to a ritual performed among the ethnic group in the

north and centralPalawan. The ceremony is held on various occasions
including bountiful harvests and weddings.

Pangalay(also known as Sea Gypsies).It is a native dance of the

Badjao performed duringweddings and other social gatherings. This type of
dance emphasizes the agility of the upper body wherein the rhythmic
bounce of the shoulder with the simultaneous alternating waving of arms is
the essential movement.

Sampak. It is a war dance performed by the Mandaya tribe. This type of

dance requires excellent skill in the handling of a shield, spear, and a
sword.
 Saut. It is a ritual dance performed by a male Talaanding tribe
presenting their expertise in style and arts in fighting their opponent. This
ritual dance is also an offering to their magbabaya (god).

Talip. It is a courtship dance among the Ifugao. This is performed during

the celebration of the intaneg (wedding). In this dance, the man traps a
woman with an attractive blanket to place on her shapely shoulders.

Famous Indigenous Musical Instruments in the Philippines

Aerophones. It refers to any musical instrument which produces sound

without the use of stringsor membranes. Examples of these are as follows:

a. Baliing- Nose flutes of the Apayao

b. Bansik- Bamboo flute of the Negrito
c. Kaleleng- a Long bamboo tube of the Bontoc
d. Bulungudyong-Vertical & long flute of the B'laan
e. Kalaleng- Bamboo flute of the Tinggian
f. Lantoy–Nose flute of the Mangyan
g. Palandag(Palendag)–Lip-valley flute of the Bagobo
h. Paldong and Tongali–Lip valley flutes of the Kalinga
i. Pulalo–Lip valley flute of the Mansaka
j. Sahunay- Pipe with reed (clarinet) of the Tausog

Chordophones. It refers to any musical instrument which makes sound by

way of tremblingstrings stretched between two points. Examples of these
are as follows:

a. Faglong–Two-stringed, lute-like instrument of the B'laan

b. Kolitong–Bamboo guitar of the Kalingga
c. Kudlong- Two stringed boat lute of the Bagobo
d. Kudyapi-Two stringed boat lute of the Maranao
e. Kulit-en–Guitar of the Tinggian
f. Pas-ing–Guitar of the Igorot
g. Serongagandi–a Decorated bamboo tube of the Maranao
h. Saludoy–Bamboo guitar of the T’boli

Idiophone. It refers to any musical instrument which produced sound

primarily by way of theinstrument's vibrating, without the use of strings or
membranes.
 a. Afiw–Jaw Harp of the Bontoc
b. Agung - Bossed gong of the Maranao
c. Balingbing–Bamboo buzzer of the Kalingga
d. Bangibang–Percussion bar of the Ifugao
e. Gabbang–Bamboo xylophone of the Tausog
f. Kinaban–Jaw Harp of the Hanunoo
g. Kubing –Jaw Harp of the Ata and Maranao
h. Kulintang - Metal xylophone of the Maranao
i. Kumbing–Jaw Harp of the Manobo
j. Palipal–Bamboo clapper of the Ifugao
k. Tagutok–Decorated bamboo scraper of the Maranao
l. Tanggunggu–Gong chime of the Kalagan, B'laan, Manuvu, Bagobo
m. Tongkaling-Pellet bells or crotal bells of the B’laan

Membranophone. It refers to any musical instrument which produces

sound by way of vibrating stretched membrane. Most membranophones
are drums, such as:

Dabakan. Glass shaped drum of the Mad turned them into simple, yet
useful tools or instruments. This type of work is called Artistic
Handicrafts (sometimes called artisanry). Although this type of art
changes from time to time it is still imperative to continue and is preserve
due to the following reasons:

1. It promotes our cultural legacy through the use of indigenous

materials.
2. It shows an individual's creativity and superior ingenuity.
3. It encouraged producers to produce more raw materials.
4. It generates employment.
5. It developed values of perseverance and resiliency.

Common Handicraft Materials

Every Filipino family owns handicraft products like baskets, brooms,

feather dusters, and other furniture. Likewise, accessories like earrings,
bracelets, necklaces, and other clothing apparel made from native products
such as beads, shells, and seeds. These are clear indications that our
handicraft industry is enjoying the patronage of Filipinos.
 Filipino handicraft makers fashion them into accessories, bags, bamboo
sofa sets, baskets, cabinets, clothes, lamp shades, wall décor, and others.
The following are the typical materials needed in the making of Filipino
handicrafts:

a. Abaca (Musa Textilis) - It is a tree-like herb resembling the banana

plant. It is durableand dyed in different colors.
b. Bamboo (BambusaSpinosa) - It is for the furniture industry
because of its strength anddurability. It is also valuable material for
basket and hat making.
c. Kulintang - Metal xylophone of the Maranao
d. Kumbing – Jaw Harp of the Manobo
e. Palipal – Bamboo clapper of the Ifugao
f. Tagutok – Decorated bamboo scraper of the Maranao
g. Tanggunggu – Gong chime of the Kalagan, B'laan, Manuvu,
Bagobo
h. Tongkaling - Pellet bells or crotal bells of the B’laan

Membranophone. It refers to any musical instrument which produces

sound by way of vibrating stretched membrane. Most membranophones
are drums, such as:

a. Dabakan - Glass shaped drum of the Maranao

a. Gandang – Double headed cylindrical drum of the Maranao
b. Libbit – Conical drum of the Ifugao
c. Sulibao – Conical drum of the Ibaloy

Importance of Philippine Artistic Handicrafts

The Philippines is abundant in natural resources that scattered

throughout its islands. Filipino artist used the parts of trees, plants, and
other natural resources as the raw materials and turned them into simple,
yet useful tools or instruments. This type of work is called Artistic
Handicrafts (sometimes called artisanry). Although this type of art changes
from time to time it is still imperative to continue and is preserve due to the
following reasons:

1. It promotes our cultural legacy through the use of indigenous

materials.
2. It shows an individual's creativity and superior ingenuity.
3. It encouraged producers to produce more raw materials.
 4. It generates employment.
5. It developed values of perseverance and resiliency.

Common Handicraft Materials

Every Filipino family owns handicraft products like baskets, brooms,

feather dusters, and other furniture. Likewise, accessories like earrings,
bracelets, necklaces, and other clothing apparel made from native products
such as beads, shells, and seeds. These are clear indications that our
handicraft industry is enjoying the patronage of Filipinos.

Filipino handicraft makers fashion them into accessories, bags, bamboo

sofa sets, baskets, cabinets, clothes, lamp shades, wall décor, and others.
The following are the typical materials needed in the making of Filipino
handicrafts:

a. Abaca (Musa Textilis) - It is a tree-like herb resembling the banana

plant. It
is durableand dyed in different colors.
b. Bamboo (Bambu sa Spinosa) - It is for the furniture industry
because of its
strength anddurability. It is also valuable material for basket and
hat making.
Philippine GAMABA Awards

Gawad sa Manlilikhang Bayan Awards or GAMABA is an award that

recognizes folkand indigenous artists who remain loyal to their traditions.
This award is managed by the National Commission for Culture and the
Arts (NCCA) through Gawad ng Bayan Committee. It began as a project of
the Philippine Rotary Club Makati- Ayala but was adopted by the Philippine
government in 1992 and become an institution through a Republic Act
7335.

This award aims to support and motivate these artists to preserve their
artistic heritage for the present and future generations. These artists are
recognized as the Country’s Intangible National Living Treasure.

To become a National Living Treasure, the candidate must have the

following qualifications:
 1. Must be an occupant of an indigenous/traditional cultural community
anywhere in the Philippines that has preserved native customs,
beliefs, rituals, and traditions and has syncretized whatever external
elements that have influenced it.
2. Must have involved in a folk art tradition that has been in existence
and documented for at least 50 years.
3. Must have consistently performed or produced over a significant
period, works of superior and distinctive quality.
4. Must acquire 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 pass on and will pass on to other members of the community
their talents in the folk art for which their group is traditionally known.

GAMABA Awardees and Nominees

1. GinawBilog (1993).A native of Oriental Mindoro who faithfully helps

preserved the Hanunuo Mangyan script and their Ambahan poetry.
2. Masino Intaray (1993).A native of Palawan who exemplary shared his
skills in basal or gong music ensemble. He is a musician and epic
chanter (Kulilal and Bagit).
3. SamaonSulaiman (1993). A Maguindanao of Mama SaPano who
showed outstanding artistry and dedication to his chosen instrument,
the Magindanaokutyapi.
4. Lang Dulay (1998). A T'boli of Lake Sebu, South Cotabato, for her
skills in weaving the abaca ikat cloth known as t'nalak.
5. SalintaMonon (1998). A Tagabawa-Bagobo of Bansalan, Davao del
for fully demonstrating her creative and expressive aspects of the
Bagobo abaca ikat weaving called inabal.
6. Alonzo Saclag (2000). A Kalinga of Lubuagan for his mastery of the
Kalinga dance and the performing arts.

7. Frederico Caballero (2000). A Panay-Bukidnon of Calinog, lloilo for

his mastery of chanting the epic tradition of Central Panay, the
Sugidanon.
 8. UwangAhadas (2000). A Yakan of Lamitan, Basilan for his dexterity
in playing Yakan musical instruments such as the agung, gabbang,
tuntungan, and kwintangan.
9. DarhataSawabi, (2005). A weaver of Parang, Sulu province for
helping preserve the art of “Pissyabit weaving.”
10. Eduardo Mutuc (2005). A Kapampangan from Central Luzon for
reviving the metal or smithcraft of Plateria which is in Spanish colonial
era.
11. Haja Amina Appi (2005). A Sama of Tandubas, Tawi-Tawi, for
sharing her skills in mat weaving among the Sama indigenous
community.
12. Teofilo Garcia (2012). A casque maker of San Quintin, Abra,
Casquefor his skill making Tabungaw.
13. Magdalena Gamayo (2012). A master weaver of Pinili, Ilocos
Norte for his skill in Weaving known as Inabel.
14. YabingMasalonDulo (2016). A master weaver of Polomolok,
South Cotabato for his contribution Ikat Weaving.
15. AmbalangAusalin (2016). A Yakan master weaver of Lamitan,
Basilan for Tennun Weaving skills.
16. EstelitaTumandanBantilan (2016). A B’laan master weaver of
Malapatan, Sarangani for preserving the Igem Weaving skills.
17. Whang-od (2017). A traditional tattoo artist (mambabatok) of
Buscalan, Tinglayan, Kalinga.

Other famous Filipino Artists and their Artwork

1. Ang Kiuko (Painting: The Crucifixion)

2. Diosdado Lorenzo (Painting: Still Life Paintings)
3. Fernando Cueto Amorsolo (Painting: Portrait of Presidents-
M.Quezon; M. Roxas; and S. Ozmeña)
4. Guillermo Tolentino (Sculpture: Oblation and the Bonifacio
Monument)
5. Hernando Ocampo (Painting: The Contrast)
6. Juan Luna (Painting: Spoliarium)
7. Napoleon Abueva (Sculpture: Allegorical Harpoon)
8. Solomon Saprid( Sculpture: Tikbalang)
9. VictorioEdades (Painting: The Builders)
10. Vicente Rivera (Painting: Supplication)