Download to read offline
More Related Content
Similar to GAWAD SA MANLILIKHANG BAYAN GAWAD SA MAN
GAWAD SA MANLILIKHANG BAYAN GAWAD SA MAN
- 1. GAWAD SA MANLILIKHANG BAYAN Their Contributionto Philippine Arts
- 2. Presentation title 2 INTENTIONS Arts 1.Understand the National Living Treasure Award 2. Cite Gawad sa Manlilikhang Bayan or the National Living Treasure Artists and their contributions to Philippine Arts 3. Appreciate the roles of the artists in the development, preservation, and promotion of the Philippine Arts 4. Familiarize the different art forms, elements, and principles employed by the different artists.
- 3. GAWAD SA MANLILIKHANG BAYAN GAMABA
- 4. Presentation title 4 WHATIS GAMABA? In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through Republic Act No. 7355. Tasked with the administration and implementation of the Award is the National Commission for Culture and the Arts, the highest policy-making and coordinating body for culture and the arts of the State. The NCCA, through the Gawad sa Manlilikha ng Bayan Executive Council, conducts the search for the finest traditional artists of the land, adopts a program that will ensure the transfer of their skills to others, and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.
- 5. 5 The Gawad saManlilikha ng Bayan logo is a stylized representation of the human form used in traditional cloth. Below the motif is ‘Manlilikha ng Bayan’ written in ancient Filipino script extensively used throughout the Philippines at the time of Western contact in the sixteenth century. LOGO
- 6. Presentation title 6 Gawadsa Manlilikha ng Bayan (National Living Treasures)
- 7. Presentation title 7 Firstawarded in 1993 to three outstanding artists in music and poetry, the Gawad sa Manlilikha ng Bayan has its roots in the 1988 National Folk Artists Award organized by the Rotary Club of Makati-Ayala. As a group, these folk and traditional artists reflect the diverse heritage and cultural traditions that transcend their beginnings to become part of our national character. As Filipinos, they bring age-old customs, crafts and ways of living to the attention and appreciation of Filipino life. They provide us with a vision of ourselves and of our nation, a vision we might be able to realize someday, once we are given the opportunity to be true to ourselves as these artists have remained truthful to their art. As envisioned under R.A. 7355, “Manlilikha ng Bayan” shall mean a citizen 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 generation in his/her community with the same degree of technical and artistic competence.
- 8. HOW DOES ONEBECOME A MANLILIKHA NG BAYAN?
- 9. Presentation title 9 Tobecome a Manlilikha ng Bayan, an individual or group candidate must: 1. Possess a mastery of tools and materials needed for the traditional, folk art and be a maker of works of extraordinary technical quality; 2. Have consistently produced works of superior quality over significant period; 3. Have engaged in a traditional and folk art which has been in existence and documented for at least fifty (50) years; 4. Command respect and inspire admiration of the country with his character and integrity; 5. 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. 6. However, a candidate who, due to age or infirmity, has left him/her/them incapable of teaching further his/her/their craft, may still be recognized provided that he/she/they must possess the qualifications as enumerated above.
- 10. Presentation title 10 Tobecome a Manlilikha ng Bayan, an individual or group candidate must: 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 term of the members shall expire upon completion of the search and selection process.
- 11. Presentation title 11 WHATARE THE BENEFITS AND PRIVILEGES OF AN AWARDEE? For the individual awardee: 1. The rank and title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in accordance with Executive Order No. 236 or Honors Code of the Philippines; 2. The GAMABA gold-plated medallion minted by the Bangko Sentral ng Pilipinas (BSP) and citation; 3. A lifetime emolument and materials and physical benefits comparable in value to those received by the highest officers of the land such as: 1. A minimum cash award of Two Hundred Thousand Pesos (Php 200,000.00), net of taxes. 2. A minimum lifetime personal monthly stipend of Fifty Thousand Pesos (Php 50,000.00). 3. Medical and hospitalization benefits not exceeding Php 750,000.00 per year. 4. 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; and 5. A place of honor, in line with protocol precedence, in state functions, national commemoration ceremonies and all other cultural presentations. For the group awardee: 6. The rank and title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in accordance with Executive Order No. 236 or Honors Code of the Philippines; 7. The GAMABA plaque for the group; 8. A one-time award of Two Hundred Thousand Pesos (Php 200,000.00), net of taxes; 9. The group shall designate its leader who will represent and attend events and functions on behalf of the group. The said representative will also have a place of honor, in line with protocol precedence, in state functions, national commemoration ceremonies and all other cultural presentations.
- 12. Presentation title 12 Meetour GAMABA AWARDEES Ginaw Bilog Poet Hanunuo Mangyan Panaytayan, Oriental Mindoro Federico Caballero Epic Chanter Sulod-Bukidnon Calinog, Iloilo LITERATURE
- 13. Presentation title 13 GINAWBILOG Contribution to Literature • An advocate of preserving the traditional form of his tribe called “ambahan”. • He kept the ambahan recorded both in bamboo tubes and old notebooks. • He kept even the oldest ambahan passed on to him by his ancestors and promoted them to other Mangyans so as to preserve the oral tradition. Ambahan • A kind of poem consisting of seven-syllable lines which most of the time contains messages of love and friendship • This poem is passed on from generations using singing the lines or etching them on bamboo tubes.
- 14.
- 15. Presentation title 15 FEDERICOCABALLERO Contribution to Literature • He preserved his community’s oral tradition by tediously documenting epics of his ancestors that are in near danger of disappearance. • These epics, which tell stories about mythical heroes and their marvelous adventures, reflects the rich cultural heritage of Panay- Bukidnon. • Mang Pedring did not just document this folklores, but he chanted them as well and passed them to younger generations. • And his influence extends far beyond the bounds of his community. He is considered bantugan, a person who has attained distinction. Dr. Alicia Magos a respected folklorist from the University of the Philippines in the Visayas who has worked with him on the documentation project, says Nong Pedring has the heart of a scholar. He understood her vision for the culture of the Panay-Bukidnon. Perhaps even to say that he shares her vision is not an overstatement..
- 16. Presentation title 16 Meetour GAMABA AWARDEES Alonzo Saclag Musician and Dancer, Kalinga Lubuagan, Kalinga Masino Intaray Musician and Storyteller Pala’wan Brookes Point, Palawan Samaon Sulaiman Musician Magindanao Mama sa Pano, Maguindanao Uwang Ahadas Musician Yakan Lamitan, Basilan MUSIC AND DANCE
- 17. Presentation title 17 AlonzoSaclag a master of dance and performing arts from Kalinga, fueled by his passion, he succeeded in keeping the treasured culture of Kalinga alive He did not receive any formal education in performing arts but still he mastered the choreography and musical instruments of Kalinga just by observation and practice. Through his efforts of lobbying the government, he managed to convince them to convert an abandoned provincial capitol building into a museum that contains Kalinga artifacts (inc. Gangsa and Kalinga gong) He campaigned for the use of local costumes to school events and put up creative presentations that helped children to learn folk songs. He even proposed the broadcast of Kalinga folk songs in local radios. He established the BUDONG Dance Troupe to ensure that the music and dance of his ancestors are passed on to younger generations.
- 18. Presentation title 18 GANGSAOR KALINGA GONG
- 19. Presentation title 19 MasinoIntaray • A musician and a poet whose expertise were the basal, kulilal,and bagit. • Basal is a kind of musical ensemble played during the tambilaw, a ritual of rice sharing among the Palawan people as an offering to the Lord of rice. • kulilal is a lyric poem about love being sung to the accompaniment of kusyapi, two- stringed lute, and paging, bamboo zither. • He is a notable story teller and epic chanter. For many nights, he chanted numerous epics, narratives, and myths of the Palawan. • He was a true man of art who preserved the tradition, music, and culture of his people.
- 20. Presentation title 20 SamaonSulaiman • A musician from Mama sa Pano, Maguindanao. He is a master in playing the kutyapi, a two-stringed plucked lute. • The kutyapi is one of the most difficult to master indigenous Filipino instrument, but Samaon was able to play it with grace and exemplary talent. • He influenced and taught other community people to play the kutyapi as well which kept the playing of kutyapi alive in Mindanao
- 21.
- 22. Presentation title 22 UwangAhadas • He is an exemplary musician of the Yakan of Lamitan, Basilan whose expertise dwell in playing the indigenous instrument called Kwintangan Kayu. • Kwintangan Kayu is a five wooden logs of different sizes, arranged from shortest to longest, and hung horizontally. This is played after the planting of rice to serenade the palay. Which its music is believed to cause bountiful harvest. • He started teaching his children and later passes his skills to people beyond the borders of his community. • Despite having a defect in his eyesight and dimming vision, he managed to preserve and promote the music of the Yakan even if it means traveling from palces to places.
- 23. Presentation title 23 Meetour GAMABA AWARDEES Darhata Sawabi Textile Weaver Tausug Parang, Sulu Haja Amina Appi Mat Weaver Sama Tandubas, Tawi- Tawi Lang Dulay Textile Weaver T’boli Lake Sebu, South Cotabato Magdalena Gamayo Textile Weaver Ilocano Pinili, Ilocos Norte WEAVING Salita Monon Textile Weaver Tagabawa Bagobo Bansalan, Davao del Sur
- 24. Presentation title 24 DarhataSawabi • She is a pis yabit(head cover) weaver from Jolo, Sulu • Pis yabit is a clothing ornament or headdress of the Tausug men that symbolizes the wearer’s rank in the society. However in contemporary, women wear the cloth as accessories in traditional functions. • Considered as an expert in weaving due to her well-crafted cloth with the remarkable intricacy of design and evenness of weave.
- 25.
- 26. Presentation title 26 HajaAmina Appi • Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi, is recognized as the master mat weaver among the Sama indigenous community of Ungos Matata. Her colorful mats with their complex geometric patterns exhibit her precise sense of design, proportion and symmetry and sensitivity to color. • The art of mat weaving is handed down the matrilateral line, as men in the Sama culture do not take up the craft. The whole process, from harvesting and stripping down the pandan leaves to the actual execution of the design, is exclusive to women. It is a long and tedious process, and requires much patience and stamina. It also requires an eye for detail, an unerring color instinct, and a genius for applied mathematics. • Haja Amina is respected throughout her community for her unique designs, the straightness of her edging (tabig) and the fineness of her sasa and kima- kima. Her hands are thick and callused from years of harvesting, stained by dye. But her hands are still steady, and her eye for color still unerring. She feels pride in the fact that people often borrow her mats to learn from her and copy her designs. • Happily, mat weaving does not seem to be a lost art as all of Haja Amina’s female children and grandchildren from her female descendants have taken it up. Although they characterize her as a patient and gentle teacher, Haja Amina’s passion for perfection shows itself as she runs a finger alongside the uneven stitching and obvious patchwork on her apprentices’ work. She is eager to teach, and looks forward to sharing the art with other weavers.
- 27.
- 28. Presentation title 28 LangDulay • Using abaca fibers as fine as hair, Lang Dulay speaks more eloquently than words can. Images from the distant past of her people, the Tbolis, are recreated by her nimble hands – the crocodiles, butterflies, and flowers, along with mountains and streams, of Lake Sebu, South Cotabato, where she and her ancestors were born – fill the fabric with their longing to be remembered. Through her weaving, Lang Dulay does what she can to keep her people’s traditions alive. • There are a few of them left, the traditional weavers of the tnalak or Tboli cloth. It is not hard to see why: weaving tnalak is a tedious process that begins with stripping the stem of the abaca plant to get the fibers, to coaxing even finer fibers for the textile, then drying the threads and tying each strand by hand. Afterward, there is the delicate task of setting the strands on the “bed-tying” frame made of bamboo, with an eye towards deciding which strands should be tied to resist the dye. It is the bud or tying of the abaca fibers that define the design.
- 29.
- 30. Presentation title 30 MagdalenaGamayo • Her expertise dwell in weaving high-quality Ilocos’ textile called abel. It is a kind of blanket made up of cotton weaved in different patterns. • Her handiworks were distinguishable to other abels since they are finer, with more thread counts, and more intricate designs with up to 5 thread colors.
- 31. Presentation title 31 SalintaMonon • She is a Bagobo textile weaver from Bansalan, Davao del Sur. She started weaving at the age of 12 through the guidance of her mother. • The traditional Bagobo fabrics which are made up of abaca fibers is the product of Salinta. Due to her high- quality textiles and their intricate designs, Salinta garnered the reputation of being the best weaver in her community.
- 32. Presentation title 32 Meetour GAMABA AWARDEES Eduardo Mutuc Metalsmith Kapampangan Apalit Pampanga METALWORK
- 33. Presentation title 33 EDUARDOMUTUC • He created numerous wood- carving and metal art with religious and secular themes. • He started woodcarving house furniture when he was 29. • Several years later he learned the art of silver plating because of a friend. He did intricate decorations for churches.
- 34.
- 35. Presentation title 35 Meetour GAMABA AWARDEES Teofilo Garcia Casque Ilocano San Quintin, Abra CASQUE
- 36. Presentation title 36 TeofiloGarcia • He is known for crafting high quality and functional headpiece called tabungaw. • The Tabungaw that Teofilo makes is made up of native gourd called upo, rattan, and bamboo. • He combines and experiments with these materials to come up with decay resistant, elegant, and remarkable tabungaws.
- 37.
- 38. Presentation title 38 Howwe get there 1. How important is the GAMABA to the Philippine Arts? 2. Cite one GAMABA Awardee and how did this particular artist inspired and moved you as a Filipino Citizen and an aspiring artists?
- 39. Presentation title 39 Summary Gawadsa Manlilikhang Bayan Award (GAMABA) or the National Living Treasures Award is the Highest recognition for the artists who excel in creating and preserving traditional arts. Currently, there are 13 artists who are recipients as Gawad sa Manlilikhang Bayan Award. These artists have their notable share in keeping the traditional arts of their respective communities in the fields of music, weaving, dance, sculpture, metal works, and casque.
- 40.