ART: ARTISTS AND ARTISANS structured with rules, customs, rights and responsibilities.

With a lifetime of commitment to a particular

trade, an artisan develops immense skills and expertise in his craft.
ART: ARTISTS AND ARTISANS  A master artisan or craftsman would then be open to hiring apprentices who would be under his tutelage .
 One type of knowledge that fuels the twenty-first century is creativity.  This brought to light various ways of thinking about transferring knowledge and skills by visualizing and
 This is evident in the recognition that professionals in the creative sector are integral drivers and movers in society articulating the principles, processes, and tricks of the trade both in words and in print through manuals
and an integral segment of this sector are artists. and publications.
 But who are they?
 IN THE PHILIPPINES
 ARTIST  The culture of artisans became prevalent in the Philippines as well, particularly during the Spanish
 In much of the world today, an artist is considered to be a person with the talent and the skills to colonial period.
conceptualize and make creative works. Such persons are singled out and prized for their artistic and  Formerly done with the spirit of the communal and the everyday, patronship changed the way art was
original ideas. perceived.
 Their artworks can take many forms and fit into numerous categories, digital art, drawings, mixed media,  This was both the case for religious and secular art, wherein the existence of artisans proved to be of
paintings, photographs, prints, sculpture, and textiles. immense use. It was through mimesis or copying that artisans first learned to depict religious images and
 Of greater importance, artists are the individuals who have the desire and ability to envision, design, and scenes. Friars, being non-artists themselves, provided the references that artists could use.
fabricate the images, objects, and structures we all encounter, use, occupy, and enjoy every day of our  During the propagation of faith, Spanish friars commissioned a lot of artisans to carve, paint, and engrave
lives. images for churches and public sites.
 From the church, the next patrons of the arts were the then new elite, the ilustrados or the middle class,
 ARTISAN along with foreign guests who wanted souvenirs to take along with them.
 Today, as has been the case throughout history and across cultures, there are different titles for those who  Two important genres for painting at that time were the tipos del pais and letras y figuras.
make and build. An artisan or craftsperson, for example, may produce decorative or utilitarian arts, such  The former was watercolor paintings that showcased the different local inhabitants of the country in
as quilts or baskets. different garbs, and clues to their occupation and status; while the latter combined the principle of tipos
 Often, an artisan or craftsperson is a skilled worker, but not the inventor of the original idea or form. del pais and incorporated it as a means to illustrate the letters of one’s name or surname.
 An artisan or craftsperson can also be someone who creates their own designs, but does not work in art  One key example that illustrated the systematization of art instruction– a combination of sorts of the guild
forms or with materials traditionally associated with the so called fine arts, such as painting and sculpture. and the art school was the establishment of Damian Domingo of the Academia de
 A craftsperson might instead fashion jewelry, forge iron, or blow glass into patterns and objects of their  Dibujo.
own devising. Such inventive and skilled pieces are often categorized today as Fine Craft or Craft Art.  Known as the best tipos del pais painter, this school specialized in teaching the miniaturismo style of
painting along with the tenets of classical European painting. Eventually, other schools emerged teaching
GLIMPSE OF THE PAST other genres such as bodegones (still life) and paisajes (landscape).
 In many cultures throughout much of history, those who produced, embellished, painted, and built were not
considered to be artists as we think of them now. They were artisans and craftspeople, and their role was to make  THE ARTISAN AND HIS STUDIO
the objects and build the structures for which they were hired, according to the design (their own or another’s)  Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the artist in the arts
agreed upon with those for whom they were working. That is not to say they were untrained. started during the Middle Ages up to the Renaissance period.
 In Medieval Europe, or the Middle Ages (fifth-fifteenth centuries), for example, an artisan generally began around  Most pivotal developments included the transformation of the craftsman to an artist or an independent
the age of twelve as an apprentice, that is, a student who learned all aspects of a profession from a master who had artist; the widespread patronization of secular art (alongside the continuous production of works with
their own workshop. religious subjects); and the assertion of cognition, the will, and individuality.
 Apprenticeships lasted five to nine years or more, and included learning trades ranging from painting to baking, and  Before the Renaissance Period, artworks were left unsigned. Artists claiming authorship for their works by
masonry to candle making. At the end of that period, an apprentice became a journeyman and was allowed to affixing their mark onto the surfaces of their paintings were a big milestone in the history of the artist.
become a member of the craft guild that supervised training and standards for those working in that trade.  These resulted in a wider variety of artworks, not just in form, but more so in style and technique. The site
 To achieve full status in the guild, a journeyman had to complete their “masterpiece,” demonstrating sufficient skill that saw this shift was a very personal space for the artist himself, which is the studio.
and craftsmanship to be named a master.  Today, artist studios have been a place of interest for the public. It is interesting to see and learn where
creativity manifests itself, especially since an artist’s studio is an extension of the artist himself.
 THE ARTISAN AND THE GUILDS  The studio model dates back from the Renaissance. Therein, artists flexed their relationship with their
 In Germany, Cologne Cathedral is but one of the many examples of early Gothic architecture. The patron as a site where negotiations and works were made.
account was that master mason Gerhard of Ryle started the project in 1248 but was only completed  There were those whose work stations were segmented into two, the studiolo and the bottega; the latter is
roughly 600 years later, claiming the record as one of the longest construction projects to date. where the work usually happened.
 What is meant here is a kind of formalization of craft education in which regulation was set in place. Here,  The beginning of the Industrial Revolution had an interesting ramification for artists.
skills qualification was needed for an apprentice to register under a particular craft guild.  A compendium of events released the artists from the limitations that affected the way in which they
 These guilds were prevalent during the Middle Ages particularly during the thirteenth to fifteenth century, produced their works.
where towns had formalized groups of artisans or craftsmen who took on a particular specialization or  These included the availability and portability of materials (i.e foldable easels and paint in tubes) and the
trade: shoemakers, textile and glass workers, carpenters, carvers, masons, armorers, and weapon- reliance on the wealthy patrons to place a commission.
makers, among others.  More painters enjoyed painting on their own behalf, creating works they wanted to create.
 Here, the practice of artists was not grounded on the idea of individual capacities or success; rather, in the  It was during this time that a host of styles developed side-by-side, allowing artists to fully grasp the
commitment to work together as a collective. Guilds were a type of social fellowship, an association potential artistic license, with minimal (to no) consideration for the prevailing taste and stylistic
preferences.
  During the latter part of the 1800s, artists began to question the merits of stringent artistic training and  It is also common practice for museums, art institutions or non-profit organizations to seek advice from art
education, but it was during the 1900s that art was truly liberated from the traditions of the past. dealers when looking to borrow certain artworks to include in their exhibition.
 Perhaps, it was then that artists found freedom to articulate their distinct aesthetic way of creative
production.  ART ADVISORS
 Art advisors or art consultants are there to find the exact art their client is looking for, while making sure
STAKEHOLDERS OF THE ART WORLD it’s within their budget. They often receive a discount on works from galleries and artists. It is common
 The art world as we know it today is like a complex human organism that only functions if all of its organs function practice for advisors to purchase the artwork at full price and collect the discount as their pay. This means
as well. These “organs” organize the sales and purchases, collections and exhibitions of artworks, and they are the the client receives free consulting advise and the consultant makes a profit through maintaining
tastemakers of today’s art generation. So who are these organs, these stakeholders of the art world, and what relationship with galleries and artist
exactly do they do?  Advisors are not tied to specific artists or galleries- they manage relationships with experts to bring in the
best pieces. Art advisors dont push their personal style or preferences, but rather mirror their client's taste
 GALLERISTS to find the best pieces for their art collection. That’s their job. They always stay up-to-date with the art
 Gallerists own or run an art gallery. They exhibit and promote artists’ works in these galleries, and world, participating in gallery tours and keeping tabs on openings in order to know what’s new, important
participants in art fairs in order to promote the artists whom they represent. and interesting in today’s art world.
 Experienced gallerists have their own clear aesthetic, interests, and focus. They choose the artworks for
their gallery based on an aesthetic and a story that they can connect with and sell. Whenever an artwork  ART CRITICS
is sold, the gallery takes a commission on the sale.  Art critics form the link between critical academic thought and the art world. They study and interpret
 Gallerists typically display works straight out of an artist’s studio. Aside from the obvious role of putting on artworks and artists, and create art theory. Historically, art critics have been responsible for the coining of
exhibitions and creating publications, there are countless other important tasks that gallerists carry out important art movements and they can be held at least partially responsible for having propelled artist to
beyond the scenes. These include doing research for exhibitions, helping artists with their archival work stardom
and researching artworks that come through the gallery. Ultimately, the main goal of galleries is to  Art critics give artwork, art movements, and artists a place in art history. The first surviving work that can
facilitate the production of excellent work by their artists. be considered art criticism
 or art history is Pliny the Elder’s section on the history and development of Greek sculpture and painting in
 COLLECTORS his Natural History (c. AD 77-79)
 Collectors, of course, are key! They are the people who love art so much they go through great lengths to  However, the Italian Renaissance painter, sculptor, writer and architect Giorgio Vasari is considered to be
collect it. Collectors come in all different shapes and forms, from the rich and famous to ordinary people the first author of a true history art. The book in question is The Lives of the Most Excellent Painters,
with ordinary bank accounts. But each and every one of them is partially responsible for helping artists, Sculptures and Architects, published in 1550.
and art itself, survive.
 Back in the day, particularly during the Renaissance, most avid collectors were known as patrons of arts.  MUSEUM INSTITUTIONS
These patrons were wealthy and often influential members of society who would financially support the  Museum Institutions, of course, are important parts of the organism. They are home to some of the most
best artists, purchase many of their artworks, and commission them to create specific works. The patrons important artworks in the world, and are the first-go-to place for the public to experience art in the flesh.
would frequently model for their artists and feature as characters in paintings – a way for the artists to Within museum institution, there is a vast range of job descriptions to epp the engine running smoothly
thank their patrons for their support. Today, it seems that the patronage model is slowly returning to the art  Museum directors supervise all aspects of the museum’s collection and the museum staff, and are
world. Rose Lee Goldberg, the founder of the performance art nonprofit Performa, explains contemporary responsible for overseeing administrative tasks and fundraising. The museum director is also effectively
patrons as people who are similar to the “angel investors” of the tech world. They see potential for growth the chief curator and has the final say on the exhibitions and display. Then there are the curators, who
and want to support the incubation period. usually have a certain area of exercise and are in charge of certain parts of the museum collection and
the main people in charge of curating exhibitions. Besides these roles. Museum institutions have many
 CURATORS other important figures dedicated to making the institution run smoothly and keeping the artwork in top
 Curators are employed by museums or galleries in order to acquire, care for and develop a collection. condition
They arrange collection displays and loaned works, and interpret the collection in order to inform, educate  Among these are conservators, who are in charge of the restoration or artwork, archievest, art handlers,
and inspire the public. They are in charge of organizing and realizing exhibitions. technicians, educational department staff, marketing department staff, development department staff and
 The role of the curator has greatly evolved over the past decades. These days, there are many highly many more.
influential freelance and independent curators who are not attached to any particular institutions and have
their own personal style and philosophy behind creating an exhibition.  AUCTIONEERS
 Curators are often seen as the new superstars of the art world, active in many different fields ranging from  Auctioneers work in auction houses, which are part of the secondary art market. In the secondary art
being guest-curators for important museum exhibitions or being the curators of large art world biennales market, art which has already been owned by someone other than the artist is traded.
and fairs, to writing influential essays and books in the more academic fields of art criticism and art  When the decision has been made by a collector/dealer/foundation/business to sell an artwork, it enters
studies. the secondary art market.
 Buyers and sellers come together in an auction house and announce the prices at which they are willing
 ART DEALERS to buy and sell artworks. The gal is for mutually agreeable prices to merge. The sales are facilitated by
 Art dealers are usually educated professionals who are specialists in the field of art business. They have auctioneers, who are the ones leading the auction and the sale of the artworks. They are in charge of the
to be on the cusp of what is exciting, new or collectible bidding process and sell the artwork to the highest bidder. Auction houses make their money by taking a
 They’re always up-to-date with the changing trends and taste of the art world. They buy from auction commission on each sale, which can go up to 25%
houses and artists, then sell the works that they have acquired in their galleries or find collectors who are  Conversely, the primary market is defined by the fact art is purchased directly from the artist. The only
interested. times that work at auction have come directly from the artist’s studio have been at charity auction, and of
 course in the case of the anomaly known as Damien Hirt’s 2008 “Beautiful Inside My Head Forever”  Now, it’s a matter of figuring out how to make it happen.
Sotheby’s sale. On the cusp of the financial crash, hist sold 223 brand-new pieces directly at auction and  Preparation time includes the time spent obtaining and organizing your supplies, plus creating a blueprint
walked away with $172 million for what your piece will be.
 Maybe that means making roughs or creating a dummy outline for a book project.
 ARTISTS
 Last but not the least, there are the artists. The entire art world organism wouldn't even exist if it weren't  CREATION
for the artist, the heart and soul of the organism. Artists are the core creators, the very reason we are all  Finally, it’s time to make it happen!
doing what we are doing. They are the one who keep bravely and passionately reinterpreting and  Creation is the time during which you are solidly on your path.
recreating the world around us, artist do many things: they shine light on the cracks in the society, they  You have your pen to paper, your brush to canvas – you are creating.
challenge the status quo, they ask questions, they express things that are hard to express, they create  The process of creation can vary depending on your personal temperament, your artistic style, and your
and appreciate beauty, they criticize with humor and with gravitas, and they do so much more. medium.
 As far back as the Paleolithic era in 25.000 BCE, humans were creating art in the shape of cave paintings,  For some, the process of creation is actually quite short and much of the work has been done
carving in bone and tone, and small statues of female figures such as the Venus of Willendorf, which were in the previous phases
likely meant to symbolize fertility. And although the times will keep on rapidly changing, there will always  For instance, a simple line drawing. While it might take minutes to complete the
be artists to reflect on life and delve deep into its essence. Perhaps The methods, material, media and drawing, the thought and time developing that idea was the most time-consuming
styles will change, but the goal of the artist to create beauty, to seek truth, to uncover lates if reality and to part of that project.
enrich lives will remain the same  For a detailed painting, it might be just the opposite – you might spend hours,
days, or weeks refining the perfect light on a realistically painted flower petal in oil
THE CREATIVE PROCESS
 ACCORDING TO JESSIE OLESON MOORE  REFLECTION
 Art doesn’t just happen. Whether it’s a simple line drawing or an involved, realistic painting, there is a  After you create a piece of art, there might be a slight tizzy of activity: Sharing it with family and friends,
definite trajectory to the creative process. Beginning with the spark of inspiration and finishing with the delivering it to a client or hanging it on the wall.
completion of a work, this illustrated guide portrays the five stages of creating art.  But regardless of the end point of the art, its completion often leads to a period of reflection.
 Like the famous “five stages of grief,” these steps don’t always progress in exactly this order. It’s possible  This reflection will be different for everyone.
to cycle back through different steps throughout the creative process, which may explain why it feels like  For some artists, there’s a sort of low-grade post-creative depression that occurs, making
such a roller coaster at times! them feel a little empty and “spent.”
 For others, there’s relief: “It’s done! I can move on to the next thing!”
 INSPIRATION  For others, there are regrets: “I wish I had made this line longer, I wish I had made that part of
 This is one of the most exciting moments in the process of creating art: That beautiful moment when the composition blue.”
inspiration strikes  Regardless of how it feels to create a piece, though, its completion is a milestone.
 Where does inspiration come from?  But your creative work isn’t done forever: It won’t be too long before the entire cycle begins
 Well, that’s a subject that has baffled and mystified people for centuries. again!
 Perhaps it’s a film or a piece of fine art that inspires you;
 Perhaps it’s something from nature or an event that has occurred in your life
 Sometimes, an idea seems to come out of nowhere.
 Wherever ideas come from, they have an uncanny way of striking at the oddest moments: AWARDS AND CITATIONS
 While waiting for the bus  As with any organized endeavor, the arts and culture have entered into a phase in which another aspect of its
 In the middle of rush hour practice can be realized.
 While you’re in the bath  After an artist has spent considerable time honing his skills, establishing the relevance of the body of his works, and
 PERCOLATION even gaining respect from his colleagues in the art world, he may be considered or nominated for awards and
 While it’s not the most glamorous part of the creative process, the “percolation” period is vital to creating citations.
art.
 Basically, this is the time that elapses after you’ve had your idea, but before you start making THE TWO MAJOR AWARDS IN THE PHILIPPINES
art.  ORDEN NG PAMBANSAG ALAGAD NG SINING (ORDER OF NATIONAL ARTISTS)
 It can transpire in many different ways.  The conferment of the Order of National Artist is the "highest national recognition" given to Filipino
 Sometimes this involves refining your idea by making sketches (and tossing out just as many) or playing individuals who have made significant contributions to the development of Philippine arts; namely, music,
around with ideas visually. dance, theater, visual arts, literature, film, broadcast arts, and architecture and allied arts.
 Other times, it’s just a matter of giving an idea space to germinate.  The order is jointly administered by the National Commission for Culture and Arts (NCCA) and the Cultural
 Sometimes, you may have an idea years before you create the piece of artwork it inspired Center of the Philippines (CCP) and conferred by the President of the Philippines upon recommendation
 It doesn’t mean you’ve been resting on your laurels that entire time, though. by both institutions. (NCCA, 2015)
 There’s a part of you that is always processing and refining your ideas.  The very first recipient of this award was painter Fernando Amorsolo, who was touted as the "Grand Old
Man of Philippine Art.” He was the sole awardee in the year 1972, a National Artist for
 PREPARATION  Visual Arts.
 Preparation can be confused with the “percolation” period, but it is a more active and focused time.  At present, there are 73 awardees of this prestigious honor across different forms. Some of them were
 You’ve settled on your inspiration and how you’d like to proceed. given posthumously, while others were fortunate enough to receive the award themselves.
  A State Funeral, the arrangements for and the expenses of which shall be borne
 WHAT IS THE ORDER OF THE NATIONAL ARTIST by the Government, upon death of the National Artist
 The Order of National Artist (ONA/Orden ng Pambansang Alagad ng Sining) is the highest national  Posthumous Awardees
recognition given to Filipino individuals who have made significant contributions to the development of  One-time minimum cash award of One Hundred Fifty Thousand Pesos
Philippine arts. (Php150,000.00), net of taxes, payable to the legal heir/s.
 The Order of National Artist aims to recognize:
 Filipino artists who have made significant contributions to the cultural heritage of the country:  CRITERIA FOR SELECTION
 Filipino artistic accomplishment at is highest level and to promote creative expression as  Living artists who are Filipino citizen at the time of nomination and at the awarding, as well as those who
significant to the development of a national cultural identity; and died after the establishment of the award in 1972 but were Filipino citizens at the time of their death
 Filipino artists who have dedicated their lies to their works to forge new paths and directions  Artist who through the content and form of their works have contributed in building a Filipino sense of
for future generations of Filipino artists. nationhood
 The order is jointly administered by the National Commission for  Artist who has pioneered in a mode of creative expression or style, thus, earning distinction and making
 Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) and conferred by the an impact on succeeding generations of artists
President of the Philippines upon recommendation by both institutions.  Artist who has created a substantial and significant body of works and/or consistently displayed
 The ONA is one of the Honors conferred by the Republic of the Philippines that embodies the nation's excellence in the practice of their art form thus, enriching artistic expression or style ● Artist who enjoy
highest ideals in the humanities and aesthetic expression through the distinct achievements of individual broad acceptance through:
citizens. While the Republic bestows due recognition to these singular achievements, it, in turn, honors its  Prestigious national and/or international recognition, such as the Gawad CCP para sa Sining,
own cultural heritage, whose enrichment these achievements have significantly affected, enhanced, and CCP Thirteen Artist Award, and NCCA Haraya Awards (Alab and Dangal)
given direction.  critical acclaim and/or reviews of their works
 Respect and esteem from peers
 BACKGROUND
 The Order of National Artist (Orden ng Pambansang Alagad ng Sining) was established under
proclamation No. 1001 dated April 27, 1972 to give appropriate recognition and prestige to FIlipinos who
have distinguished themselves and made outstanding contributions to Philippine arts and letters. The first
award was conferred posthumously later that year to Fernardo Amorsolo.
 Proclamation No. 1144 dated May 15, 1973 named the CCP Board of Trustees as the National Artist
Awards Committee and Presidential Decree No. 208 issued on June 7, 1973 reiterated the mandate of
CCP to administer the National Artist Awards as well as the privileges and honors to NAtional Artists.
 The NCCA was organized under Republic Act No. 7356 dated April 2, 1992 and given broad  PRESENTATION OF THE AWARDS
responsibilities over the development and promotion of the Filipino national culture and arts, including  The selection and conferment of the National Artists shall take place every three (3) years
awards to persons who have significantly contributed to the development and promotion of Philippine  The Order of National Artist shall be conferred by the President of the Philippines on June 11 or any
culture and the arts. appropriate date in fitting ceremonies to be organized by the ONA Secretariat
 Executive Order No. 236 dated September 19, 2003, otherwise known as the Honors Code of the  The medallion of the Order of National Artist and citation shall be given to the awardee during the
Philippines, conferred additional prestige on the National Artist Award by raising it to the level of a Cultural conferment ceremony. The cash award of Php 200,000.00 in cheque shall be given immediately after the
Order, fourth in precedence among the orders and decorations that comprise the Honors of the ceremony or at another time and place as requested by the awardee
Philippines, and equal in rank to the Order of National Scientist and the Gawad sa Manlilikha ng Bayan  A posthumous consisting of the medallion and citation shall be given to the family or legal heir/s of the
(GAMABA). The National Artist Award was thereby renamed the Order of National Artist (Orden ng awardee. The cash award of Php150,000.00 in cheque shall be given to the awardees’ legal heirs/s or a
Pambansang Alagad ng Sining) representative designated by the family immediately after the ceremony after the ceremony or another
time and place as requested by the family.
 HONORS AND PRIVILEGES
 The rank and title of National Artist, as proclaimed by the President of the Philippines GAWAD SA MANLILIKHA NG BAYAN (NATIONAL LIVING TREASURES AWARD)
 The National Artist gold-plated medallion minted by the Bangko Sentral ng Pilipinas (BSP) and citation  It was created in 1992 under the Republic Act No. 7355. Also under jurisdiction of the National
 A lifetime emolument and material and physical benefits comparable in value to those received by the Commission for culture and the Arts (NCCA), the NCCA (2015)
highest officers of the land such as:  “Through the Gawad sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts, conducts the
 Living Awardees: search for the finest traditional artist of the land, adopts a program, that will ensue the transfer of their
 A minimum cash award of two hundred thousand pesos (Php 200,000.00) net of skills to others and undertakes measures to promote a genuine appreciation of and instill pride among our
taxes people about the genius of Manliliha ng Bayan.”
 A minimum lifetime personal monthly stipend of Fifty Thousand Pesos (Php  Was first conferred to three outstanding artists in music and poetry back in 1993
50,000.00)  Ginaw Bilog
 Medical and hospitalization benefits not exceeding Php750,000.00 per year  Master of the Ambahan Poetry
 Coverage by a life insurance policy by the Government Service Insurance System  Masino Intaray
(GSIS) and/or private insurance companies from date of conferment the award, in  Master of various traditional musical instruments of the Palawan People
the event that the National Artist is insurable, the premiums for which shall be paid  Samaon Sulaiman
by the National Government or by donation from any governmental or private  Master of kutyapi and other instruments
entities
  Recipients of GAMABA are sought under the qualification of a “Manlilikha ng Bayan” who is a citizen  The group shall designate its leader who will represent and attend events and functions on behalf of the
engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high level of group. The said representative will also have a place of honor, in line with protocol precedence, in state
technical and artistic excellence and have been passed on to and widely practiced by the present functions, national commemoration ceremonies and all other cultural presentations
generation in their community with the same degree of technical and artistic competence

 HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

 An individual must:
 Possess a mastery of tools and materials needed for the traditional, folk art and be a master
of works of extraordinary technical quality
 Have consistently produced works of superior quality over significant period
 Have engaged in a traditional and folk art which has been in existence and documented for at
least 50 years
 Command respect and inspire admiration of the country with character and integrity
 Must have transferred and/or willing to transfer to other members of the community the skills
in the traditional and folk arts for which the community has become nationally known
 However, a candidate who, due to age or infirmity, has left them incapable of teaching further
their craft, may still be recognized provided that they must possess the qualifications
enumerated above.

 CATEGORIES
 The award may cover traditional and folk arts in the areas of performing arts and craft.
 Consideration shall be made for adequate representation in geographic distribution and different artistic
categories.

 AD HOC PANEL OF EXPERTS

 To ensure a fair selection of potential awardees, the Gawad sa Manlilikha ng Bayan Executive Council
shall be assisted by an Ad Hoc Panel of Expert consisting of experts in the traditional and folk arts
categories.
 The names of those selected to become members of the Ad Hoc Panel of Expert shall be submitted to the
NCCA Board of Commissioners for proper designation.
 The team of the members shall expire upon completion of the search and selection program.

 FOR INDIVIDUAL AWARDEE

 The rank and the title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in
accordance with E.O. No. 236 or
 Honors Code of the Philippines
 The GAMABA gold-plated medallion minted by the BSP and citation
 A lifetime emolument and materials and physical benefits comparable in value to those received by the
highest officers of the land such as:
 A minimum cash award of Two Hundred Thousand Pesos, net of taxes
 A minimum lifetime personal monthly stipend of Fifty Thousand Pesos
 Medical and hospitalization benefits not exceeding Php 750,000 per year
 A state funeral, the arrangements for and the expenses of which shall be borne by the Government, upon
the death of the Manlilikha ng Bayan
 A place of honor, in line with protocol precedence, in state functions, national commemoration ceremonies
and all other cultural presentations

 FOR GROUP AWARDEE

 The rank and the title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in
accordance with E.O. No. 236 or
 Honors Code of the Philippines
 The GAMABA plaque for the group
 A one-time award of Two Hundred Pesos, net of taxes