Q2 Module 2 CPARrrrrrrrrrrrrrrrrrrrrrrrrr.docx

Module 2
GAWAD SA MANLILIKHA NG BAYAN
In this lesson, you will learn about our sixteen (16) National Living
Treasures, known as the Gawad sa Manlilikha ng Bayan (GAMABA) awardees from
the National Commission for Culture and the Arts or NCCA. The awardees produce art forms that are
woven into everyday life. These show how pre-colonial traditions continue through to the present
time.
AS ENVISIONED IN REPUBLIC ACT NO. 7355
Known as Manlilikha ng Bayan Act was established in 1992 and shall mean citizen engaged in any
traditional art uniquely Filipino, whose distinct skills have reached such a high level of technical and
artistic excellence and have passed it on to in his or her community with the same degree of
technical and artistic competence.
NATIONAL COMMISSION FOR CULTURE AND THE ARTS (NCCA)
The highest policy and coordinating body for culture and the arts of the
state. It must search for the finest traditional artist of the land who adopts a
program that will ensure the transfer of their skills to others, undertakes measures to promote a
genuine appreciation of and crafts and give pride among
our people about the genius of Manlilikha ng Bayan.
THE GAWAD MANLILIKHA NG BAYAN (GAMABA) AWARDEES
As Filipino who recognize the unique identities of our fellow Filipinos, it is the right to see their
contribution to the community. The country is rich with various elements of tangible and intangible
cultural heritage which has passed on the new generation. Culture as part of our Philippine identity
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.
AWARDEE CONTRIBUTION REGION
GAMABA AWARDEES OF THE YEAR 1993
Ginaw Bilog
(d. 2003)
Surat Mangyan and
Ambahan
poetry
Preserve the Hanunuo
Mangyan
script and
Ambahan (poem
consisting of seven-syllable
lines)
and promote it on every
occasion so that the art will
not be lost but
preserved for posterity.
Panaytayan, Mansalay,
Oriental Mindoro,
Region IV-B
MIMAROPA
Masino Intaray
(d. 2013)
Epic Chanter and Storyteller
An outstanding master of
the basal
(gong music), kulilal (highly
lyrical
poem) and bagit
(instrumental
music played on the
kusyapi), also played the
aroding (mouth harp)
and babarak (ring flute)
Pala’wan, Palawan
Island,
Region IV-B
MIMAROPA

and above
all, he was a prolific and pre
eminent epic chanter and
storyteller
Samaon Sulaiman
(d. 2011)
Playing Kudyapi
He achieved the highest
level of
excellence in the art of
kutiyapi or
kudyapi (two-stringed lute)
playing and proficient in
kulintang,
agong (suspended bossed
gong
with wide rim), gandingan
(bossed
gong with narrow rim),
palendag
(lip-valley flute), and
tambul.
Mamasapano,
Maguidanao, Western
Midanao
Bangsamoro
Autonomous Region in
Muslim Mindanao
(BARMM)
GAMABA AWARDEES FOR THE YEAR 1998
Lang Dulay
(d. 2015)
T’nalak Weaving
She is credited with
preserving her people’s
traditional T’nalak using
abaca fibers as fine as hair
which traditionally has three
primary colors, red, black,
and the original
colors of abaca leave
recreated by
her nimble hands-the
crocodiles,
butterflies, and flowers.
T’boli/Lake Sebu, South
Cotabato, Mindanao,
Region XII
SOCCSKSARGEN
Salinta Monon
(d. 2009)
Inabal Weaving
She was awarded for fully
demonstrating the creative
and expressive aspects of
the Bagobo abaca ikat (to
tie or bond) weaving called
inabal (traditional textile of
Bagobo) at a time when
such art was threatened
with extinction.
Tagabawa Bagobo/
Bansalan, Davao del Sur,
Region XI
Davao Region
Uwang Ahadas Playing Yakan Instruments
He referred to for his ability
and mastery in playing
different Yakan instruments
(made of bamboo,
wood, and metal) and for
imparting his insight to the
youngsters of his
locale. He keeps on
performing and
instruct despite his
diminishing visual
Yakan/ Lamitan, Basilan
Island,
Bangsamoro
Muslim Mindanao
(BARMM)

perception, keeping the
Yakan melodic custom
alive and
thriving.
Federico Caballero Chanting the Sugidanon
Epic of
the Panay Bukidnon
He continuously works for
the
documentation of the oral
literature, in particular the
epics,
of people. These ten epics,
rendered in a language
that,
though related to Kiniray-a,
is no
longer spoken.
Sulod-Bukidnon/
Calinog, Iloilo, Panay
Island,
Region VI
Western Visayas
Alonzo Saclag Playing Kalinga Musical
Instruments
His lifestyle work is to paint a
portrait of his people to
record a
tradition of opposites and
dualities,
a peoples’ character
recorded in
cadences each aggressive
and
gentle. Play Kalinga musical
instruments dance patterns
and
moves related to rituals.
Kalinga, Northern Luzon
Island,
Cordillera Administrative
Region (CAR)
GAMABA Awardees for the year 2004
Hajja Amina Appi
(d. 2013)
Mat weaving
She was recognized as the
master
mat weaver. Her colorful
mats with
their complex geometric
patterns
showcased her precise
sense of
design, proportion, and
symmetry
and sensitivity to color.
Ungos Matata,
Tandubas, Tawi-Tawi,
Bangsamoro
Muslim Mindanao
(BARMM)
Eduardo Mutuc Metal Plating
He is an artist who has
devoted his
existence to developing
religious
and secular artwork in silver,
bronze, and wood. His
intricately
detailed retablos, mirrors,
altars,
and carosas are in church
buildings and non-public
collections. A range of
Apalit, Pampanga,
Region III
Central Luzon

these works
are quite large, some
exceeding forty feet, whilst
some are very small and
feature very nice and
refined craftsmanship.
Darhata Sawabi
(d. 2005)
Pis syabit Weaving
She remained devoted and
persevered with her mission
to teach the artwork of pis
syabit weaving. Her strokes
firm and sure, her color
sensitivity acute,
and her dedication to the
best of her products
unwavering.
Tausug/ Parang,
Sulu,
Bangsamoro
Muslim Mindanao
(BARMM)
Magdalena Gamayo Abel Weaving
She has been a master in
abel weaving from Pinili,
Ilocos Norte.
She is not only weaving
traditional Ilocano textiles
but also designs new
patters. One of her designs
employs a difficult weaving
technique called pililian
meaning partially. The
weave produces a one-of-
a-kind design that takes
after a string of flowers thus
its name, inubon a sabong.
She did not formally study
such traditional art. Instead,
she watched closely as
her aunt made and
imitated the patterns.
Pinili, Ilocos Norte
Region I
Ilocos Region
Teofilo Garcia Kattukong or Tabúngaw Hat
Making
When he finishes fieldwork
as a farmer, he focuses on
the cultivation and
development of
tabúngaw (Ilokano term for
úpo). At the age of fifteen
(15) he learned
the art of Kattukong or
tabúngaw hat making and
basket weaving from his
grandfather.
San Quintin, Abra,
Cordillera Administrative
Region (CAR)
Ambalang Ausalin Yakan Weaving
Apuh Ambalang, is
significantly respected in all
Lamitan. Her ability is
regarded unique: she can
Lamitan, Basilan Island,
Bangsamoro
Muslim Mindanao
(BARMM)

bring forth all designs and
actualize all textile
categories ordinary to the
Yakan community,
who are known to be
among the finest weavers
within the Southern
Philippines. She can perform
the suwah bekkat (cross-
stitch-like embellishment)
and suwah pendan
(embroidery-like
embellishment)
techniques of the bunga
sama category. She has the
complex knowledge of the
whole weaving process,
mindful at the same time as
the cultural significance of
each textile design or
category.
Estelita Tumandan
Bantilan
B’laan Mat Weaving
Since she was a child, she
was bright and careful in
tangle weaving. Her
perseverance took place
because of her supportive
husband. The thin strips of
the pandanus romblon
(Pandanus
copelandii merr. Bariu) rise
matrixed through deft
fingers performing an
individual rhythm, the beat
guided by her eyes. The
unwoven strips are held
tight at the other end of her
body, as toes curl and close
around, not only these strips
but, as it were, the
abstraction that other
people call design. The arc
of her torso determines the
dexterity of feet and toes.
Hand/eye coordination
happens inside a frame of
milliseconds.
Upper Lasang, Sapu
Masla, Malapatan,
Saranggani
Region XII
SOCCSKSARGEN
Yabing Masalon Dulo B’laan Ikat or Tie-dye Fabric
Weaving
Yabing Masalon Dulo,
called as “Fu Yabing”, was
only fourteen (14) years old
when she started weaving.
All her younger years were
spent in sharpening her skills
and imparting the
knowledge to
younger generations of
B’laan weavers.
She follows her mother’s
movements back and forth.
She colors the fibers, counts
Amguo, Landan,
Polomolok, South
Cotabato
Region XII
SOCCSKSARGEN

the thread, and observes
the rhythmic dance of a
weaver’s dreams woven
into unique soulful pieces.
Republic Act No. 7355 known as Manlilikha ng Bayan Act was established in 1992 to give recognition
to traditional art uniquely Filipino who preserves and promotes its traditional folk arts that contribute
to the national heritage.
National Commission for Culture and the Arts (NCCA) is the highest policy and
coordinating body for culture and arts of the state. The Philippines through the effort of NCCA
introduced the sixteen (16) Gawad sa Manlilikha ng Bayan or GAMABA Awardees namely:
Ginaw Bilog 1993 Surat Mangyan and
Ambahan poetry
Masino Intaray 1993 Epic chanter and
storyteller
Samaon Sulaiman 1993 Playing Kudyapi
Lang Dulay 1998 T’nalak Weaving
Salinta Monon 1998 Inabal Weaving
Uwang Ahadas 2000 Playing Yakan
Instruments
Federico Caballero 2000 Chanting the Sugidanon
Epic of the Panay
Bukidnon
Alonzo Saclag 2000 Playing Kalinga Musical
Instruments
Hajja Amina Appi 2004 Mat Weaving
Eduardo Mutuc 2004 Metal Plating
Darhata Sawabi 2004 Pis syabit Weaving
Magdalena Gamayo 2012 Abel Weaving
Teofilo Garcia 2012 Kattukong or Tabúngaw
Hat Making
Ambalang Ausulin 2016 Yakan Weaving
Estilita Bantilan 2016 B’laan Mat Weaving
Yabing Masalon Dul0 2016 B’laan Ikat or Tie-dye
Fabric Weaving
ACTIVITY: Knowing our Culture Bearers
Directions: Watch YouTube videos on ABS CBN Local Legends and list down Three
(3) other traditional artists that you know that contribute to the country’s intangible
cultural heritage and identify the place they came from.
Name Contributions The place they came from
E.g Wang-od Oggay Tattoo Artist Buscalan, Tinglayan,
Klainga
ASSESSMENT
Multiple Choice. Choose the letter of the best answer. Write your answer on a
separate sheet of paper.
1. Which of the following Republic Act known as the Manlilikha ng Bayan Act?
a. R.A. Act. 7355
c. R.A. Act. 7356

b. R.A. Act. 11190
d. R.A. Act. 10066
2. ______________________ is a tnalak weaver from the indigenous community of the
Tboli in Lake Sebu, South Cotabato.
a. Magdalena Gamayo
c. Darhata Sawabi
b. Haja Amina Appi
d. Lang Dulay
3. Which is among the following is the highest policy and coordinating body for
culture and arts of the state?
a. Philippine Commission on Culture and the Arts
b. National Commission for Culture and the Arts
c. Philippine Academic Arts and Culture
d. Nation Expert for Talent and Skills
4. Which of the following is NOT an idea of the Manlilikha ng Bayan Act?
a. Create hindrances for popularizing their works locally and internationally.
b. Renew a community's artistic tradition thereby protecting a valuable aspect of Philippine culture.
c. Recognize the importance of traditional folk artists as a singular channel between skills of the past
and the future.
d. Provide mechanisms for identifying and assisting qualified traditional folk artists to transfer their skills
to the community.
5. _________________________ is kind of poem consisting of seven-syllable lines
which most of the time contains of love and friendship.
a. Ambahan
c. Gangsa
b. Haiku
d. Tanaga
6. Which of the following is a two-stringed lute made of wood, one string for the
melody, one for the drone?
a. Buktot
c. Butting
b. Kudyapi
d. Pas-ing
7. __________________ is a kind of fabric made up of fine abaca fibers weaved with
different designs which reflect the tradition of the T’boli.
a. Abel
c. Pis syabit
b. Musa
d. T’nalak
8. Which of the following artist worked on the documentation of the epics of
Calinog, Iloilo, Panay Island?
a. Ginaw Bilog
c. Uwang Ahadas
b. Alonzo Saclag
d. Federico Caballero
9. ______________________ play Kalinga musical instruments dance patterns and
movements associated with rituals.
a. Alonzo Saclag
c. Masino Intaray
b. Teofilo Garcia
d. Eduardo Mutuc
10. Who teaches Teofilo Garcia to make a tabúngaw hat and basket weaving?
a. Auntie Elena
c. Grandfather Hipolito
b. Uncle Leolito
d. Grandmother Imelda
11. Which of the following is the master of abel weaving from Pinili, Ilocos Norte?
a. Darhata Sawabi
c. Ambalang Ausulin

b. Magdalena Gamayo
d. Yabing Masalon Dulo
12. ________________________ began weaving since fourteen (14) years old and
continuously impart knowledge to younger generations of B’laan weavers.
a. Lang Dulay
c. Yabing Masalon Dulo
b. Salinta Monon
d. Estelita Tumandan Bantilan
II. Essay
Instruction: Explain briefly.
13. How does this short-term encounter with GAMABA awardees make you aware of who we are?
_____________________________________________________________
14. As an artist, what is our main responsibility in our society or country?
_____________________________________________________________________________
15. Identify the values we should possess as an artist. Explain.
_____________________________________________________________________________

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