Module 1Q1

CONTEMPORARY PHILIPPINE ARTS FROM THE

REGIONS
Philippine Artist and their Contributions to Contemporary Arts
Part 2

TOPIC LESSON 4: Gawad sa Manlilikha ng Bayan

The search for the excellent traditional artists in the country was carried out by the
National Commission for Culture and the Arts (NCCA). This Lesson discuss the
OVERVIEW transfer of the unique skill of living treasures to further the appreciation and to show
pride about the masters of these crafts in the person of our Manlilikha ng Bayan.

MELC Week 4- Explains Filipino Artist’s roles and identify their contribution to
contemporary arts.
After the lesson, the students should be Able to :
LESSON LEARINGS  Identify and understand the expertise of each GAMABA awardee
OBJECTIVES  Determine the characteristics of these National Living Treasure
 Explain the significance and impact of their artistry to the young Filipinos;
and
 Research on the lives and greatness of these treasures.

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LESSON 4: GAWAD SA MANLILIKHA NG BAYAN
Pre-test (Formative assessment)
Reminder: This is to test your knowledge about the topic GAWAD SA MANLILIKHA NG
BAYAN. If you are enrolled in the online modality you can submit it online by sending the
copy of your activity in my Gmail account riveraneric@mseuf.edu.ph and I’ll be sending you
the link of where are you going to submit it in our goggle classroom, but if your enrolled in
the Modular Learning Modality you can print the activity you have and your parents wll be
submitting it here in school, but if you are enrolled in flexible learning you can choose
between the two options.

Focus Questions
1. Do you know any of the Filipino Indegenous Artist?
2. Are you familiar with their artworks?
3. If given a chance that you will be receiving National Living Treasure Award, what would
you feel? And what type of art you think you are doing/creating?

DISCOVERING AND EXPLORING

NATIONAL LIVING TREASURES

It was a through the 1988 National Folk Artists awards initiated by the Rotary Organization in
Ayala-Makati that the giving of recognition to outstanding Filipino artists specifically in
music and poetry that paved way to the conceptualization of the Gawad sa Manlilikha ng
Bayan. This recognition highlights the diversity in our heritage and cultural traditions which
defines our being Filipinos. Traditional arts allows us to visualize ourselves as a nation and as
people with distinct culture. (Ethel Magalona, 2017).

Generalization
THE MANLILIKHA NG BAYAN
CRITERIA TO BE QUALIFIED AS “MANLILIKHA NG BAYAN”
To become a “Manlilikha ng Bayan”, the candidate must possess the following qualifications:
1. He/she 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. He/she must have engaged in a folk art tradition that has been in existence and documented
for at least fifty (50) years.
3. He/she must have consistently performed or produced over a significant period, works of
superior and distinctive quality.

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4. He/she 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. He/she 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.
CATEGORIES
The ‘Manlilikha ng Bayan’ Award is provided for the following categories but with
consideration to geographical base and the balance of other artistic categories:
1. Folk architecture;
2. Maritime transport;
3. Weaving carving;
4. Performing arts;
5. Literature;
6. Graphic and plastic arts;
7. Ornament

8. Textile or fiber art;

9. Pottery;
10. Other artistic expressions of traditional culture.
THE REWARDS OF BEING A “MANLILIKHA NG BAYAN”
1. The awardee receives a specially designed gold medallion,
2. An initial grant of P100,000
3. P10,000 monthly stipend for life.
4. Additional personal allowance at P14,000 if there is a need,
5. P750,000 medical and hospitalization annual benefits
6. Funeral assistance and tribute fit for a National Living Treasure.
THE PROCESS OF SELECTING “THE MANLILIKHA NG BAYAN” AWARDEE
1. An Ad Hoc Panel of Experts shall deployed in the different regions to conduct a thorough
search and selection of candidates in the varied traditional folk arts category
2. Documentation of candidate –nominees for GAMABA
3. Guided by the criteria and qualifications for becoming a Manlilikha ng Bayan set by the
rules and regulations in the law the final list of nominees will be submitted to the Ad Hoc
Panel of Experts.
4. The Ad Hoc Screening Committee shall recommend nominees for the award to an Ad
Hoc Panel of Reviewers.

5. The Ad Hoc panel of reviewers shall evaluate qualifications of the nominees. The
documentation submitted by the Ad Hoc Search Committees shall be considered in the
evaluation process.

6. The Gawad sa Manlilikha ng Bayan Committee shall then submit to the NCCA the
recommendations of the Ad Hoc Panel of Reviewers for appropriate action;

7. The names of the GAMABA awardees approved by the NCCA Board shall submitted to
the President of the Philippines for proclamation.

THE NATIONAL LIVING TREASURE

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 GINAW BILOG (+ 2003)
Poet
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
1993

A common cultural aspect among cultural communities nationwide is the oral tradition
characterized by poetic verses which are either sung or chanted. However, what distinguishes the
rich Mangyan literary tradition from others is the ambahan, a poetic literary form composed of
seven-syllable lines used to convey messages through metaphors and images. The ambahan is
sung and its messages range from courtship, giving advice to the young, asking for a place to
stay, saying goodbye to a dear friend and so on. Such an oral tradition is commonplace among
indigenous cultural groups but the ambahan has remained in existence today chiefly because it is
etched on bamboo tubes using ancient Southeast Asian, pre-colonial script called surat Mangyan.
Ginaw Bilog, Hanunoo Mangyan from Mansalay, Mindoro, grew up in such a cultural
environment. Already steeped in the wisdom that the ambahan is a key to the understanding of
the Mangyan soul, Ginaw took it upon himself to continually keep scores of ambahan poetry
recorded, not only on bamboo tubes but on old, dog-eared notebooks passed on to him by
friends.
Ginaw Bilog (n.d.)

Most treasured of his collection are those inherited from his father and grandfather, sources of
inspiration and guidance for his creative endeavors. To this day, Ginaw shares old and new
ambahans with his fellow Mangyans and promotes this poetic form in every occasion.
Through the dedication of individuals like Ginaw, the ambahan poetry and other traditional art
forms from our indigenous peoples will continue to live.
The Filipinos are grateful to the Hanunoo Mangyan for having preserved a distinctive heritage
form our ancient civilization that colonial rule had nearly succeeded in destroying. The nation is
justifiably proud of Ginaw Bilog for vigorously promoting the elegantly poetic art of the surat
Mangyan and the ambahan. (Prof. Felipe M. de Leon, Jr.)

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 MASINO INTARAY (+ 2013)
Musician and Storyteller
Pala’wan
Brookes Point, Palawan
1993
A gifted pet, epic chanter, story-teller and musician from Makagwa Valley, Palawan. A master of
traditional music instruments such as basal, kulila and bagit. He is also expert in aroding (mouth
harp) and barabak or ring flute. Aside from his creative mind, intellect he has the physical
endurance to chant for several nights and countless tultul or epics, sudsungit narratives, and
tuturan myths of origin and teachings of ancestors. Masino is the highest order of merit as he
preserve and promotes the tradition of his people. (Magalona, Zoleta,&Arlos, 2017)

SAMAON SULAIMAN (+ 2011)

Musician
Magindanao
Mama sa Pano, Maguindanao
1993

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Samaon Sulaiman at age of 35 is the most bhonored kutyapi master and teacher in Magonoy,
Mindanao as he is very proficient in the kulintang, agaong or suspended bosses gong with wide
rim, tambul gandingan or bossed gong with narrow rim, and palendag or lip-valley flute. He is
an Imam who has achieved the highest degree of excellence in kutyapi playing. Hois extensive
repertoire of dinaladay, linapu, minuna, binalig, greatly influenced other acknowledged experts
in kutyapi in Magonoy. His exemplary artistry and dedication to his chosen instrument, and his
unwavering commitment to the music of the kutyapi is worthy of emulation and provision of
highest honors. (Magalona, Zoleta,&Arlos, 2017)

LANG DULAY (+2015)

Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998

A master textile from T’boli, Lake Sebu, South Cotabato. Lang Dulay was only 12 when she first
learned how to weave using Abaca fibers. It was her dream to teach the young people of her
community her talent and skills in weaving. She wanted her Abaca to be pure and fine as hair.
Those were practices that maintained the uniqueness of her weaving practices. She long wanted
to establish a school where women in her community can learn her art and master the skillsthat
make their peoples uniquely perfect in the art of weaving as she herself has perfected a hundred
designs which include the bulinglangit, or clouds, the bankiring or hair bangs, and the kabangi,
or butterfly. (Magalona, Zoleta,&Arlos, 2017)

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Practically, since she was born, Salinta Monon had watched her mother’s nimble hands glide
over the loom, weaving traditional Bagobo textiles. At 12 she presented herself to her mother, to
be taught how to weave herself. Her ardent desire to excel in the art of her ancestors enabled her
to learn quickly. She developed a keen eye for the traditional designs, and now, at the age of 65,
she can identify the design as well as the author of a woven piece just by a glance.

Weaving is an intricate and difficult process as it involves stripping of the abaca plant to get the
fiber for textile; drying threads and tying each strands on the bamboo frame. Salinta had created
varied designs but her favourite was the binuwaya or crocodile which is very intricate and
difficult to create and weave. (Magalona, Zoleta,&Arlos, 2017)

From Lubuagan,
kalinga, Alonzo Saclag devoted his energy on the preservation of artifacts such as the kalinga
gong or the gangsa to revive this dying treasures. Saclag is a master of dance and the performing
arts who was mastered the use of the kalinga musical instruments as well as the dance patterns
and movements reflecting the Kalinga people’s rituals. Saclag did not have any formal
instruction in the performing arts. He was only a very keen observer and an artist who mainly
relied on his experiences. He established the Kalinga Budong Dance Troupe travelling the world
to represent and educate the peoples about the Kalinga performing arts. The group was also
created to ensure that the knowledge and practice s are taught to others as well. Young men and
women from their community learn about the music and the dance to promote and preserve the
genuine Kalinga Traditions. (Magalona, Zoleta,&Arlos, 2017)

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Federico Caballero is an epic-chanter from Kalinog, ilo-ilo and from the mountains of Central
Panay who ceaselessly worked for the documentation of the epics and oral literature of his
people. He preserved and promoted the encyclopedic folklore of Panay. Relentlessly he worked
together with artists, scholars and advocates of culture to explore on the elements of Panay’s oral
traditions and worked for its preservation. Caballero is considered a bantugan or a person who
has a distinction in his community. (Magalona, Zoleta,&Arlos, 2017)

Uwang Ahadas is a Yakan from Lamitan, Basilan who values much musical instruments because
he was nearly blind. He became a teacher to a young people who have interests with the
kwintanfan, kayu, and tuntungan. When he was young Uwang enjoyed learning the intricacies
of learning and playing with the art. He observes older people, who are familiar with the
instruments. From the gabbang, a bamboo xylophone, his skills progressed to the playing of the
agung, the kwintangan kayu, and later other more complex instruments.
By the age of twenty, uwang had mastered the kwintangan. Uwang became a teacher outside of
Lamitan to young people who also became very interested with the playing of these varied
traditional musical instruments. He teaches hands-on and his method is learning by doing which
became very effective to transfer his knowledge to these younger people of Basilan. (Magalona,
Zoleta,&Arlos, 2017)

Darhata is a weaver of pis syabit- which is the traditional cloth tapestry worn as a head cover by
the Tausugs of Jolo, Sulu. She is a very passionate about this art and skill which is very
mechanical task. Her dedication to this art has preserved and promoted generations of traditional
Tausug designs for contemporary appreciation and possible enriching studies. As she weaves at
home she also manages to teach other women in her community about this skill. This have
consequently become a source of livelihood for the young women of Parang specifically on how
to make a living from their woven fabrics. (Magalona, Zoleta,&Arlos, 2017)

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From Apalit, Pampanga Eduardo Mutuc is an artist who has dedicated his life to creating
religious and secular art in silver, bronze and wood. His intricately detailed retablos, mirrors,
altars, and carosas are in churches and private collections. His craftsmanship involves the right
choice tools and medium. The proper use of chisel begins with respect for one’s tools and the
medium. The proper use of chisel and hammer is very necessary to perfect the art.
He teaches his students to consider the quality of their product rather than the material rewards
that they will derive from their art. Mutuc asserted that to excel in one’s art and craft is to
improve on the skills and practicing the use of the right technique. (Magalona, Zoleta,&Arlos,
2017)

Haja Amina Appi was born On June 25, 1925 in Ungos Matata Tandubas, Tawi-tawi, she was
recognized as the master mat weaver among the sama indigenous community of Ungos Matata.
Her colourful mats with their complex geometric patterns exhibited her precise proportion,
symmetry, sense of design, and sensitivity to color. Her artistic creations are three months in the
making. In the midst of traditional techniques in weaving mats, Haja Amina developed her own
modern designs. It is with the visualization and execution of the design that makes her weaving
difficult and complex. Aside from the mixing of colors, a keen eye for detail, color instinct, and
applied mathematics are necessary traits that one must possess. (Magalona, Zoleta,&Arlos, 2017)

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Teofilo Garcia
was born on March 27, 1941, in San Quintin, Abra. He is known for making the all-weather
headgear the “tabungaw” which if properly handled can last up to three to four generations. A
tabungaw is functional headpiece uniquely created to shield a user from any type of weather. The
Tabungaw is made of the native gourd which is hollowed out, polished, and varnished to a bright
orange for weather resistance. Its lining is a finely woven rattan matting while the brim has a
bamboo weave.
Teofilo is very creative in his designs and had been innovating patterns according to what he see
from other products. His interest is on developing modern ways to create variant shades in the
matting and color of the tabungaw. The procedure in making the tabungaw involves planting and
harvesting Upo; refining the uway or rattan which would serve as the lining of the tabungaw and
finally weaving the puser or bamboo which would serve as the accent for the work. The
tabungaw is a product of years of innovation, research and study on the elements to make it more
sturdy, attractive, functional and marketable. (Magalona, Zoleta,&Arlos, 2017)

Magdalena is from Pinili, Ilocos Norte. She was born on August 13, 1934 and considered as a
master weaver who creates “inabel” which is an ilokano handwoven cloth. For Magdalena,
knowledge in weaving is not enough, there are several skills that has to be developed to be a
master in this artist.
Even at the age of 88 years old, with Magdalena’s eyesight she still manages to arrange the
threads on the loom. Weavers agree that weaving is a very complex task and the slightest

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miscalculation inuritan or geometric design, kusikos or spiral forms similar to oranges and
sinan-sabong or very

unique skill in weaving Magdalena’s blankets have a very high thread count and her designs are
very intricate. (Magalona, Zoleta,&Arlos, 2017)
Here are documentaries about our Gawad sa Manlilikha ng Bayan created by Rep. Loren
Legarda
Let us all watch the magnificent, rich history and amazing living treasures of the
Philippines, click the link below (if you are enrolled in modular learning modality I
have prepared you a soft copy)

https://www.youtube.com/watch?v=NVpWnkOpVLI (Episode 1)

Appreciating the Arts

Remi
n, If you are enrolled in the online modality you can submit it online by sending the copy of
your activity in my Gmail account riveraneric@mseuf.edu.ph but if your enrolled in the
Modular Learning Modality you can print the activity you have and your parents wll be
submitting it here in school, but if you are enrolled in flexible learning you can choose
between the two options.
Good job! We are halfway through the entire lesson now. You did well! Looking back you
have seen how there came the rise of the National Living Treasures. They came as a proof that
Filipinos are people of a very rich culture. So good luck on your next task.
Exercise 1 (Summative)
DIRECTION: Discuss the value of having this search for the National Living Treasures. Write
a 100-300 character essay here with the given title below.
TITLE: “The importance of searching for those who Preserve and Promote Genuine Filipino
Tradition”

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Well done! Now let us see how you appreciate and express the lesson.
Exercise 2 (Summative Assessment)
DIRECTION: follow the procedure below
 STEP 1 choose a certain GAMABA
 STEP 2 research about his/her life and struggles
 STEP 3 on a clean white 1/8 cartolina create a poster expressing your commitment to
the ideals of promoting and preserving Philippine art and Culture.

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