GAMABA

 The National Living Treasures Award, alternatively known as the Gawad sa Manlilikha ng Bayan
(GAMABA; lit. Award for the Creators of the Country) is conferred to a person or group of artists
recognized by the Government of the Philippines for their contributions to the country's
intangible cultural heritage.
 A recipient of the award, known as a National Living Treasures or Manlilikha ng Bayan is defined
as "a Filipino citizen or group of Filipino citizens engaged in any traditional art uniquely Filipino,
whose distinctive skills have reached such a high level of technical and artistic excellence and
have been passed on to and widely practiced by the present generations in their community
with the same degree of technical and artistic competence
 The National Living Treasures Award (Gawad sa Manlilikha ng Bayan) was institutionalized in
1992 through Republic Act No. 7355. The National Commission for Culture and the Arts, which is
the highest policy-making and coordinating body of the Philippines for culture and the arts, was
tasked with the implementation. This is in line with UNESCO's criteria of Living National
Treasures.

To become a National Living Treasure, the candidate must possess the following
qualifications:
1. is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that
has preserved indigenous customs, beliefs, rituals and traditions and/or has syncretized whatever
external elements that have influenced it.
2. must have engaged in a folk art tradition that has been in existence and documented for at least
50 years.
3. must have consistently performed or produced over a significant period, works of superior and
distinctive quality.
4. must possess a mastery of tools and materials needed by the art, and must have an established
reputation in the art as master and maker of works of extraordinary technical quality.
5. must have passed on and/or will pass on to other members of the community their skills in the folk
art for which the community is traditionally known.

The categories are, but not limited to, the following categories of traditional folk arts:

 folk architecture
 maritime transport
 weaving
 carving
 performing arts
 literature
 graphic and plastic arts
 ornament
  textile or fiber art
 pottery

 As defined by UNESCO, the bearers of intangible cultural heritage are to be known

internationally as Living Human Treasures. The Filipino counterparts of this title are the Gawad
sa Manlilikha ng Bayan (GAMABA) awardees.
 There are currently sixteen declared GAMABA awardees, all of which have exemplified the
highest standard in their respective field of expertise. The award is only given to individuals or
groups that have exhibited the highest possible standard in intangible cultural heritage.
 A master of the heritage does not automatically qualify an individual or group for the award as
the craft of the master should exude a higher meaning to the highest standard set by the highly
critical council of the GAMABA board. Due to this lengthy and critical process, only sixteen of the
thousands of traditional masters have been conferred with the award.

Recipients
Ginaw Bilog -artist and poet, Mansalay, Oriental Mindoro Poetry (Ambahan), 1993

Masino Intaray -musician and epic chanter, Brooke's Point, Palawan, Poetry (Kulilal and Bagit)Music
(Basal / Gong), 1993

Samaon Sulaiman -musician, Mamasapano, Maguindanao Music (Kutyapi), 1993

Lang Dulay- textile weaver, Lake Sebu, South Cotabato, Weaving (T’nalak), 1998

Salinta Monon -weaver, Bansalan, Davao del Sur, Weaving (Abaca – ikat / Inabal), 1998

Alonzo Saclag-, musician and dancer, Lubuagan, Kalinga, Music and Dance (Kalinga), 2000

Frederico Caballero-, epic chanter, Sulod- Bukidnon, Iloilo, Poetry and Epic Chant (Sugidanon), 2000

Uwang Ahadas-, musician, Lamitan, Basilan, Music (Yakan specifically Kulintang, kwitangan kayu,
gabbang, agung, and tuntungan), 2000

Darhata Sawabi,-weaver, Parang, Sulu, Weaving (Pis Syabit), 2004

Eduardo Mutuc,- metalsmith / metal sculptor, Apalit, Pampanga, Metalwork (Bronze and Silver), 2004

Haja Amina Appi - weaver, Tandubas, Tawi-Tawi, Weaving (Mat), 2004

Teofilo Garcia-, casque maker, San Quintin, Abra, Casque Making (Tabungaw), 2012

Magdalena Gamayo, -master weaver, Pinili, Ilocos Norte, Weaving (Inabel), 2012
Ambalang Ausalin,- master weaver, Lamitan, Basilan, Weaving (Yakan tennun), 2016

Estelita Tumandan Bantilan, -master weaver, Malapatan, Sarangani, Weaving (B'laan igem), 2016

Yabing Masalon Dulo, -master weaver, Polomolok, South Cotabato, Weaving (Ikat), 2016

Current nominees
Whang-od,- tattoo artist, Tinglayan, Kalinga, Tattooing (Batek/Batok), nominated October 21, 2017

VISUAL DESIGN:

Luzon- Mindoro

 In Mindoro, there are Mangyans who live in the mountain of Mindoro which is the Mt.
Halcon.
 Mangyans live in groups and are documented into several major tribes. They are categorized
according to their geographical locations.

Mangyan’s Pakudos
◦ Pakudos is a Mangyan design that is characterized by simple symmetrical
organization with equal stress on vertical and horizontal composition and an
orderly use of lines and spaces that are pleasing to the eyes.
◦ The Mangyans believe that incorporating pakudos on their clothes can ward off
evil

Visual Design of the Philippines –Visayas (SAMAR’S BANIG)

◦ Banig- Handwoven mat used for sleeping and sitting. Technically, it is not a
textile. Depending on the region, the mat is made of different leaves such as sea
grass, pandanus or buri.

◦ A place in the Philippines widely known for its complex designs formats is Basey,
Samar. In this part of the country, their woven mats are made of “tikog” leaves,
reed grasses that are found in swampy areas which were dyed with various
colors and woven into designs you never thought would be possible. The colorful
ones are more expensive than the simple ones, yet the most satisfying. And
because of the increase in demand of this native Philippine product, it has now
been made into bags, clutches, decors, carpets, placemats, and ceiling
decorations. The people in Basey had been weaving mats long before the
Spaniards came, it was said. The tradition went on with almost all, if not all, of the
womenfolk here learning the art of weaving at an early age. The weavers are
locally known as “paraglara
◦ Uses

◦ These mats are common source of income in the family, usually used for
sleeping, sitting and eating but are now being made into another new and
creative materials that could also be useful to people like bags, wallet, sandals,
mats, pillow, and furniture matting.

◦ Designs

◦ Geometric patterns

◦ Plain

◦ Chekered

◦ Embroidered

◦ Process

◦ Pagsasa

◦ Paghapnig (bundling) and Pagriras (striping off)

◦ Pagbulad

◦ Pagpalpag

◦ Paglikid

◦ Pagkulhad

◦ Taytay

◦ Gutab

◦ Visual Design of the Philippines –Mindanao (SARIMANOK)

◦ Name: Sarimanok

◦ Origin: Maranao

◦ Use

◦ It is said to be a totemic medium that gave mortals the ability to

commune with the dead. It was said to have done this by communicating with
its twin “brother”, Inikadowa who was in the spirit realm.

◦
 ◦ History

◦ On the birthday the beautiful daughter of a sultan, a chicken with bright

glowing feathers. Without a word he transformed into a handsome prince to
take the princess away. He again transformed back to his previous form and flew
away along with the princess never to be seen again. The sultan filled with grief
asked to for his craftsmen to carve an image of the magical chicken that his
daughter away.

Musical Instrument of the Philippines

 Bunkaka- This musical instrument is an aerophone type of instrument, it is also

known as “bilbil”. This is a bamboo that is open on both sides and produces
buzzing sound when struck against palm. It is used by the Tingians (a group of
indigenous peoples based in Northwestern Luzon; they reside in the provinces of
Ilocos Sur, Iloilo and greater concentration in Abra) and Benguet Igorots.
 Gangsa- A handmade instrument made by the Kalinga tribe (both a tribal
community and a landlocked province in the heart of the Cordillera region in
northern Luzon, the Philippines) in the Cordillera mountain range. They are used
in traditional dances and to summon the Gods for good fortune.
 Sulibaw- is the drum of the Ibaloi Igorots. The Stretched membrane of an animal
skin is used as sound source.
 Ibaloi Igorots:
 Are an indigenous ethnic group found in Benguet Province of the northern
Philippines. The native language is Ibaloi, also known as Inibaloi or Nabaloi. The
Ibaloi are one of the indigenous peoples collectively known as Igorot (igudut,
"hill-dwellers"), who live in the cordillera central of Luzón.
 Diwdiw-as- A native bamboo wind instrument in the Philippines which is a
variation of well-known panflutes and panpipes, used by Tingians of Abra. Rarely
used today is the bamboo pinepipes caled Diwas, diwdiwas or diw-diw. These
consist of a number of a bamboo pipes (5-8) strung together.
 Kalutang- Classification: Percussion
 Description: A pair of percussion bars which are struck against each other at
specific angle to produce a pitch. These are played as solo instrument.
 Place: Mindoro Oriental (played by Hanunuo)
 Tambuli- It is an indigeneous Philippines musical instrument, somewhat like
trumpet, made from Carabao Horn. It is played a major role in communicating
messages to early Philippine villagers. When the meeting is held for example,
someone blow a Tambuli to summon the meeting participants.
 Pas-ing-- is a guitar made from bamboo. A segment of bamboo is cut to include
its two node. Its two cords are slit from the bamboo itself and raised by a bridge
to produce tension. it is played by picking the cords with the fingers or striking
with a stick.
 A tongatong is a percussion instrument made of various lengths of bamboo,
which is found in the Kalinga province of the Phillipines in the region of Luzon. It is
played by hitting it against the earth. Traditionally, tongatongs are used by the
people of Kalinga to communicate with spirits, particularly as part of healing
rituals. In modern times, they are also played recreationally as part of an
ensemble.
 Sagaypu or Saggeypo—is a panpipe from Kalinga. It is made of bamboo its
length varies in 6 sizes. A saggeypo can be played individual player or each of
the six instrument can be played individually by a player in an ensemble of six
players. The six saggeypos can be also be strung together to form a single
instrument called Diwas which can be played by a single player.
 BAMBOO INSTRUMENT
 Patteteg- bamboo of different sizes for varied timber that is split in half and is
struck by a wooden stick while rested on lap
 Patatag- derived its name from "pateteg", an Ilocano term for one of the
indigenous musical instruments in the Philippines, the bamboo xylophone, which
is popular among the Kalinga of Mt. Province. The instrument is made of five
bamboo segments mounted individually and can be played by just one person
or by a group of five, each to every segment. Patatag is, according to one of its
founders, "an organization that promotes national and scientific mass culture in
the field of music."
 “Kinaban”
 Group: Hanunoo
 Classification
 Idiophone, jaw harp
 Remarks
 Ethnic group: Hanunoo
 Location: Mindoro
 Description:
 Made of bamboo; the instrument is held horizontally with the bamboo tongue in
front of the opened mouth. The left end is hit by the thumb of the right hand. This
makes the bamboo tongue vibrate which causes a sound. The mouth serves as
a resonator and by changing the shape and size of the mouth opening, the
overtones can be changed, thus creating a melody. By strongly breathing in or
out the volume can be changed as well. For a picture of the instrument in use:
see the Kubing from the Atta.
 Name: Kalutang
 Classification: Percussion bars
 Description:
 A pair of percussion bars which are struck against each other at specific angles
to produce a pitch. These sticks are a part of an entire ensemble of kalutang
which when playing together produce melodies. The instrument is cut from the
kwatingan tree which grows in Marinduque. This specimen was taken from the
kalutang band of Tirso who is a well-known kalutang player.
 Name: Pagang
 Classification: Polychordal zither
 Description:
 The skin of a single node of bamboo is raised. The strings are raised with frets
underneath. A ring of woven bamboo strips is placed at the end of the bamboo
node to keep the strings from further stripping. There is a crack on one side of
the bamboo to allow the sound to vibrate along the length of the instrument. It
is played by plucking the strings.

Musical Instrument of Visayas

 Korlong (fiddle)- Bowed string musical instrument
 Zither-like instrument
 Made with bamboo
 Played with both hands like a harp
 Strings are made with abaca fibers or horsehair
 Guimbal- ·Used to boost their warrior’s esteem and get them ready for battle
 ·Made with hollowed out tree trunks and deer skin for drumheads
 ·Accompanied with other instrument especially gongs
 Togo (drums)- ·Musical percussion instrument
 ·Large and shaped like a guitar
 ·Made completely of wood
 ·Lower part of tugo is hollow
 ·Tugo has no hole for the sound to come out unlike guitar
 ·Tugo can adjust the strings on the instrument to produce different pitched
sounds as they hit the tugo based with their hands or a beater
 Buktot (lutes)- ·Small, 4-stringed guitar like
 ·Made of coconut husk
 ·It makes sounds similar to a ukulele
 ·Mostly played alone
 ·Resembles hunchback
 Litguit (violins)- ·Jazz or pop music
 ·Used to make percussion sounds and resemble those of maracas
 ·Long thin wooden handle
 ·It is struck with another long slim piece of wood to produce the distinctive
sound.
 ·Evoke the spirit of their “home” countries, adding the beauty and
 uniqueness to traditional folk music
 Rondalla- ·Stringed instrument played with plectrum
 -means serenade
 Bandurriaa- ·12-stringed instrument
 ·Used in folkloric songs
 ·16-frets shorter neck than the 12

Musical Instrument of Mindanao

 Karaga- - is a guitar made up of bamboo where the strings are slit from the
bamboo itself. The bamboo is split and tied back in both ends, leaving a slit as
resonator. The guitar has strings all around it. This is popular in Eastern Mindanao
 Kudyapi- - is a two-stringed lute by the Maranaos and Maguindanaos of
Southern Philippines. The instrument has a boat-shaped body made of
lightwood. Its strings are made of metal that may be plucked by the finger or
with a plectrum. It is played during courtship, marriage festivities and for self-
entertainment. It is also played to accompany dance.
 Sahunay- - Tube with six fingerholes; mouth piece of bamboo with cut out reed;
mouth shield made of coconut shell; bell made of leaf (probably bamboo) and
blue plastic ribbon. Sulu archipelago (muslim south)
 Kulintang- - is a series of eight gongs of graduated sizes arranged in a row and
placed in a frame. It is played with two light sticks by the player who plays the
melody and improvises on a particular rhythmic mode. Central-west Mindanao
(muslim south)
 Gabbang- - is a bamboo xylophone played by the Tausugs of Sulu. The
instrument is made of bamboo keys of graduated sizes placed over a trapezoid-
shaped soundbox. The instrument is struck with two wooden mallets with a strip of
rubber fastened to it. The gabbang is played for entertainment purposes.
 Agung- - is a large suspended bossed gong with thick rims played with a beater
with strips of rubber wound around its playing end. It gives short, cut off sounds
and serves as a drone in playing a steady, repeated rhythmic pattern. West
Central Mindanao (muslim south)
 Gandingan- is a set of four bossed gongs with narrow, slightly turned-in rims
suspended from a wooden frame. The instrument is played with two sticks with
strips of rubber wound around its playing end. It serves as a drone and plays a
steady, unchanging rhythm on its gongs that are allowed to vibrate freely. When
played solo, the gandingan allows fellow Maguindanao to communicate with
 each other, allowing them to send messages or warnings via long distances. This
ability to imitate tones of the Maguindanao language using this instrument has
given the gandingan connotation: the “talking gongs.’’
 Dabakan- - is a conical drum that accompanies the kulintang ensemble. It
serves as drone and plays a steady, unchanging rhythmic pattern with two light,
thin sticks. The rhythm of the dabakan starts the music, it is the only non-gong
element of the Maguindanao ensemble.