CONTEMPORARY PHILIPPINE
ARTS FROM THE REGION
First Semester-Second Quarter
GAWAD SA MANLILIKHA NG BAYAN
GAWAD SA MANLILIKHA NG BAYAN 2. The artist must have engaged in a folk-art tradition
(GAMABA) that has been existence and documented for at
The Philippines also honors artists who are engaged in folk least fifty years.
or traditional arts and who have reached a high level of 3. The artist must have consistently performed or
technical skill and artistic excellence. The award is called the produced works of superior and distinctive quality
Gawad sa Manlilikha ng Bayan (GAMABA) Or National over a significant period.
Living Treasures Award. The categories for GAMABA are 4. The artist must possess a mastery of tools and
folk architecture, maritime transport, weaving, carving, materials needed by the art and must have an
performing arts, literature, graphic and plastic arts ornament, established reputation in the art as master and
textile or fiber art, pottery, and other artistic expressions of maker of works of extraordinary technical quality.
traditional culture. 5. The artist must have passed on and or will pass on
This award was institutionalized by 1992 Republic Act No. to other members of the community his/her skills in
7355, with the NCCA in charge of its implementation. The the folk art for which the community is traditionally
process of awarding a Manlilikha ng Bayan is like that of the known.
Order of the National Artists. However, only NCCA's ad hoc
panel of experts and reviewers will screen and review the A traditional artist who possesses all the qualities of a
nominations. They will then, submit the list to the President Manlilikha ng Bayan candidate but is now incapable of
of the Philippines for proclamation. teaching further his/her craft, may still recognized given the
following.
AN ENVISIONED IN REPUBLIC ACT NO. 7355
1. The artist has created a significant body of work
Known as Manlilikha ng Bayan Act was established in
and or/has consistently displayed excellence in the
1992 and shall mean citizen engaged in any traditional art
uniquely Filipino, whose distinct skills have reached such a practice of his/her art, thus achieving important
high level of technical and artistic excellence, and have contributions for its development.
passed it on to in his or her community with the same degree 2. The artist has been instrumental in the revitalization
of technical and artistic competence. of his/her community artistic tradition.
NATIONAL COMMISSION FOR CULTURE AND THE ARTS 3. The artist has passed on to the other members of
The highest policy and coordinating body for culture and the the community the skills in the folk art for which the
arts of the state. It has to search for the finest traditional community is traditional known.
artist of the land who adopts a program that will ensure the 4. The community of the artist has recognized him/her
transfer of their skills to others, undertakes measures to as master and teacher of his/her craft.
promote a genuine appreciation of and crafts and give pride
among our people about the genius of Manlilikha ng Bayan. The first group of recognized Manlilikha ng Bayan was
As Filipino who recognize the unique identities of our fellow composed of Ginaw Bilog of Oriental Mindoro, A Hanunuo
Filipinos, it is the right to see their contribution to the Mangyan poet; Masino Intaray of Brookes Point, Palawan,
community. The country is rich with various elements of an epic chanter, and a master of various traditional
tangible and intangible cultural heritage which has passed on instruments, Samaon, Sulaiman of Mamasapano,
the new generation. Culture as part of our Philippine identity Maguindanao, a kutyapi master.
includes a variety of arts that enhance by our National Living
Treasure artists who are recognized in their special
contribution to the national heritage. These are Filipino
citizen who is engaged in any traditional art forms and has
contributed to the development of cultural diversity and the
creativity of humanity.
Like the National Artists, an artist must have special
qualities to become a Manlilikha ng Bayan. Below
are the Criteria.
1. The artist should be an inhabitant of an
indigenous/traditional, cultural community anywhere
in the Philippines that has preserved indigenous
customs, beliefs, rituals, and tradition and or has
syncretized whatever external elements that have
influenced it.
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CONTEMPORARY PHILIPPINE
ARTS FROM THE REGION
First Semester-Second Quarter
GAWAD SA MANLILIKHA NG BAYAN
Awardee Date Indigenous Cultural Contribution
Group Lang 1998 Tboli/Lake T'nalak Weaving
Dulay Sebu, She is credited with
Ginaw 1993 Panaytayan Surat Mangyan and South preserving her people's
Bilog , Mansalay, Ambahan poetry Cotabato, traditional T'nalak using
Oriental Preserve the Hanunuo Mindanao, abaca fibers as fine as
Mindoro, Mangyan Region XII hair which traditionally
Region IV-B script and Ambahan SOCCSKS has three primary
, MIMAROPA (poem consisting of ARGEN colors, red, black, and
seven-syllable lines) the original colors of
Hanunuo and promote it on T'boli Lake abaca leave recreated
Mangyan every occasion so that Sebu, by her nimble hands-the
Panytayan the art will not be lost South crocodiles, butterflies,
Oriental but preserved for Cotabato and flowers.
Mindoro posterity.
Lang Dulay was a
Bilog preserved the master weaver of the
ambahan, a Mangyan traditional T'nalak of
tradition of singing or Tboli cloth, an av-baca
chanting poetry. textile that can only be
woven through tedious
Masino 1993 Pala'wan, Epic Chanter and process.
Intaray Palawan Storyteller
Island, An outstanding master Salinta 1998 Tagabawa Inabal Weaving
Region IV-B of the basal (gong Monon Bagobo/ She was awarded for
MIMAROPA music), kulilal (highly Bansalan, fully demonstrating the
lyrical poem) and bagit Davao del creative and expressive
Palawan (instrumental music Sur, aspects of the Bagobo
Brookes played on the kusyapi), Region XI abaca ikat (to tie or
Point, also played the Davao bond) weaving called
Palawa, aroding (mouth harp) Region inabal (traditional textile
and babarak (ring of Bagobo) at a time
flute) and above all, he Bagobo, when such art was
was a prolific and pre- Bansalan, threatened with
eminent epic chanter Davao del extinction.
and storyteller Sur
A traditional weaver
Samaon 1993 Mamasapa Playing Kudyapi since age twelve,
Sulaiman no, He achieved the Monon preserved the
Maguidana highest level of dying art of Bagogo
o, Western excellence in the art of weaving.
Midanao kutiyapi or kudyapi
Bangsamor (two-stringed lute) Uwang 2000 Yakan/ Playing Yakan
o playing and also Ahadas Lamitan, Instruments
Autonomou proficient in kulintang, Basilan Uwang Ahadas
s Region in agong (suspended Island, He referred to for his
Muslim bossed gong with wide Bangsamo ability and mastery in
Mindanao rim), gandingan ro playing different Yakan
(BARMM) (bossed gong with Autonomo instruments (made of
narrow rim), palendag us Region bamboo. wood, and
Maguindan (lip-valley flute), and in Muslim metal) and for imparting
aon tambul. Mindanao his insight to the
Mamasapa (BARMM) youngsters of his locale.
no Sulaiman perfected the He keeps on performing
Maguindan art of Mamasapano, Yakan and instruct despite his
ao playing kutiyapi (two Lamitan, diminishing visual
stringed Maguindanao Basilan perception, keeping the
plucked lute) and Yakan melodic custom
served as the master, alive and thriving.
teacher of the art in his
hometown and other Uwang Ahadas is a
towns in their area. partially blind musical
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CONTEMPORARY PHILIPPINE
ARTS FROM THE REGION
First Semester-Second Quarter
GAWAD SA MANLILIKHA NG BAYAN
genius who has rituals. He also
mastered and taught advocated the kalinga
several Yakan philosophies, and the
instruments including promotion of their
the kwintangankayu culture to the rest of the
(instrument with five country.
wooden logs hung
horizontally), Gabbhang Hajja 2004 Ungos Mat weaving
(bamboo xylophone), Amina Matata, She was recognized
and Agung Appi Tandubas, as the master mat
Tawi-Tawi, weaver. Her colorful
Bangsamo mats with their complex
Federico 2000 Sulod- Chanting the ro geometric patterns
Caballero Bukidnon Sugidanon Epic of the Autonomo showcased her precise
Calinog, Panay Bukidnon us Region sense of design,
Iloilo, He continuously works in Muslim proportion, and
Panay for the documentation of Mindanao symmetry and
Island, the oral literature, in (BARMM) sensitivity to color.
Region VI particular the epics, of
Western people. These ten Sama Haja Amina upheld the
Visayas epics, rendered in a Tandubas, Sama women tradition
language that, though Tawi-tawi of mat weaving
related to Kiniray-a, is revolutionizing the
no longer spoken. traditional white mats
with her own designs.
Caballero mastered ten
epics of their region
including the Labaw
Dunggon and Eduardo 2004 Apalit, Metal Plating
Humadapnon. In Mutuc Pampan He is an artist who has
addition to this, he also ga, devoted his existence to
advocated the Region developing religious
preservation of III and secular artwork in
traditions in his region Central silver, bronze, and
by travelling from Luzon wood. His intricately
barangay to barangay to detailed retablos,
encourage other Kapamp mirrors, altars, and
indigenous Groups to angan carosas are in church
learn how to read and Apalit, buildings and non-public
write. Pampan collections. A range of
ga these works are quite
Alonzo 2000 Kalinga, Playing Kalinga large, some exceeding
Saclag Northern Musical Instruments forty feet, whilst some
Luzon His lifestyle work is to are very small and
Island, paint a portrait of his feature very nice and
Cordillera people to record a refined craftsmanship.
Administra tradition of opposites
tive and dualities, a peoples' Mutuc is a dedicated
Region character recorded in sculpto of religious
(CAR cadences each and secular art in
aggressive and gentle. silver, bronze and
Kalinga Play Kalinga musical wood.
Lubugan, instruments dance
Kalinga patterns and moves Darhata 2004 Tausug/ Pis syabit Weaving
related to rituals. Sawabi Parang, She remained devoted
Sulu, and persevered with her
Saclag gained Bangsa mission to teach the
perfection in playing moro artwork of pis syabit
Kalinga instruments Autonom weaving. Her strokes
and dancing patterns ous firm and sure, her
and movements Region color sensitivity acute,
associated with in and her dedication to
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CONTEMPORARY PHILIPPINE
ARTS FROM THE REGION
First Semester-Second Quarter
GAWAD SA MANLILIKHA NG BAYAN
Muslim the best of her was due to his work and
Mindana products unwavering. the demand for casques
o in his era. To promote
(BARMM Darhata Sawabi was a the art, he continuously
) master of the traditional made himself visible in
pis syabit of the the industry and thought
Tausug Tausug, preserving of better materials to
Parang, generations of Tausug improve the quality of
Sulu designs. Tabungaw
Ambalang 2016 Lamitan, Yakan Weaving
Magdalena 2012 Pinili, Abel Weaving Ausalin Basilan Apuh Ambalang, is
Gamayo Ilocos She has been a master Island, significantly respected in
Norte in abel weaving from Bangsa all of Lamitan. Her ability
Region 1 Pinili, Ilocos Norte: She moro is regarded unique: she
Ilocos is not only weaving Autonom can bring forth all
Region traditional llocano ous designs and actualize
textiles but also designs Region all textile categories
Ilocano new patters. One of her in ordinary to the Yakan
Pinili, designs employs difficult Muslim community, who are
Ilocos weaving technique Mindana known to be among the
Norte called pililian meaning o finest weavers within the
partially. The weave (BARMM Southern Philippines.
produces a one of a kind She can perform the
design that takes after a suwah bekkat
string of flowers thus its (cross-stitch-like
name, inubon a embellishment) and
sabong. She did not suwah pendan
formally study such (embroidery-like
traditional art. Instead, embellishment)
she watched closely as techniques of the bunga
her aunt made and sama category. She has
imitated the patterns. the complex knowledge
of the whole weaving
Gamayo in dubbed as process, mindful at the
the best artist who has same time as the cultural
exemplified the art of significance of each
Ilocos abel-weaving, textile design or
threading the most category.
intricate traditional
designs that most Estelita 2016 Upper B'laan Mat Weaving
weavers fail to master. Tumandan Lasang, Since she was a child,
Bantilan Sapu she was bright and
Teofilo 2012 San Kattukong or Masia, careful in tangle
Garcia Quintin, Tabúngaw Hat Making Malapata weaving. Her
Abra, When he finishes n, perseverance took place
Cordiller fieldwork as a Sarangg because of her
a farmer, he focuses on ani supportive husband. The
Administ the cultivation and Region thin strips of the
rative development of XII pandanus romblon
Region tabüngaw (Ilokano SOCCS (Pandanus copelandii
(CAR term for úpo). KSARG merr. Bariu) rise
At the age of fifteen EN matrixed through deft
Ilocano (15) he learned the art of fingers performing an
San Kattukong or tabúngaw individual rhythm, the
Quintin hat making and basket beat guided by her
Abra weaving from his eyes. The unwoven
grandfather. strips are held tight at
A farmer by principle, the other end of her
Garcia became a master body, as toes curl and
artisan of making close around, not only
tabungaw (casque) that these strips but, as it
6
CONTEMPORARY PHILIPPINE
ARTS FROM THE REGION
First Semester-Second Quarter
GAWAD SA MANLILIKHA NG BAYAN
World-class Artists
were, the abstraction The Philippine contemporary arts have so developed and
that other people call matured that our artists can now stand proudly on the world
design. The arc of her stage.
torso determines the
dexterity of feet and El Gamma Penumbra
toes. Hand/eye - a shadow play group of young locals from
coordination happens Tanauan, Batangas. The group won first place in
inside a frame of the first television production of Asia's Got talent in
milliseconds. Singapore in May 2015. They have conquered the
hearts not only of the Filipinos but of Asians as well.
In visual arts, the Filipinos have also made a big
Yabing 2016 Amguo, B'laan Ikat or Tie-dye scene.
Masalon Landan, Fabric Weaving - Once again, the Philippines is participating in the
Dulo Polomol Yabing Masalon Dulo, Venice Biennale after fifty-one years of absence.
ok, called as "Fu Yabing”, The Venice Biennale is a prestigious international
South was only fourteen (14) art exhibition that started in 1895. One of its aims is
Cotabato years old when she to showcase the latest work of art from different
Region started weaving. All her nations.
XII younger years were Patrick Flores
spent in sharpening her - professor of Art Studies and curator of the Vargas
skills and imparting the Museum of the University of the Philippines,
knowledge to younger was chosen to curate the Philippine Pavilion. He
generations of Blaan named the exhibit "Tie a String around the
weavers. She follows her World".
mother's movements - Representing the Philippines are artists Jose Tence
back and forth. She Ruiz, Manny Montellano, Gus Albor, Lito
colors the fibers, counts Carating and Jing Turalba. It is wonderful to know
the thread, and observes that Philippine Pavilion has been named in the
the rhythmic dance of a best list and a "must see" among the international
weaver's dreams woven pavilions.
into unique soulful
pieces.
