.

Ginaw Bilog (d. 2003) Lang Dulay (d. 2015)

T’boli/Lake Sebu,
Panaytayan, Mansalay, South Cotabato, Mindanao,
Oriental Mindoro, Region XII SOCCSKSARGEN
Region IV-B MIMAROPA
T’nalak Weaving
Surat Mangyan and Ambahan poetry She is credited with preserving her people’s traditional
Preserve the Hanunuo Mangyan script and T’nalak using abaca fibers as fine as hair which traditionally
Ambahan(poem consisting of seven-syllable lines) and has three primary colors, red, black, and the original colors of
promote it on every occasion so that the art will not be lost abaca leaves recreated by her nimble hands-the crocodiles,
but preserved for posterity. butterflies, and flowers.

Masino Intaray (d. 2013) Salinta Monon (d. 2009)

Pala’wan, Palawan Island, Tagabawa Bagobo/ Bansalan,

Region IV-B MIMAROPA Davao del Sur,
Region XI Davao Region
Epic Chanter and Storyteller Inabal Weaving
An outstanding master of the basal (gong music), She was awarded for fully demonstrating the creative and
kulilal (highly lyrical poem) and bagit(instrumental music expressive aspects of the Bagobo abaca ikat (to tie or bond)
played on the kudyapi), also played the aroding (mouth harp) weaving called inabal (traditional textile of Bagobo) at a time
and babarak(ring flute) and above all, he was a prolific and when such art was threatened with extinction.
preeminent epic chanter and storyteller.

Samaon Sulaiman (d. 2011) Uwang Ahadas

Mamasapano, Maguidanao, Yakan/ Lamitan, Basilan

Island, Bangsamoro
Western Mindanao Bangsamoro
Autonomous Region in
Autonomous Region in Muslim Mindanao Muslim Mindanao (BARMM)
(BARMM)
Playing Yakan Instruments
Playing Kudyapi He was referred to for his ability and mastery in playing
He achieved the highest level of excellence in the art of different Yakan instruments (made of bamboo, wood, and
kutiyapi or kudyapi (two-stringed lute) playing and also metal) and for imparting his insight to the youngsters of his
locale. He keeps on performing and instructing despite his
proficient in kulintang, agong (suspended bossed gong with
diminishing visual perception, keeping the Yakan melodic
wide rim), gandingan (bossed gong with narrow rim), custom alive and thriving.
palendag (lip-valley flute), and tambul.
Federico Caballero Eduardo Mutuc

Sulod-Bukidnon/ Calinog, Apalit, Pampanga,

Iloilo, Panay Island, Region III Central Luzon
Region VI Western Visayas
Metal Plating
He is an artist who has devoted his existence to developing
Chanting the Sugidanon Epic of the Panay Bukidnon religious and secular artwork in silver, bronze, and wood. His
He continuously works for the documentation of the oral intricately detailed retablos, mirrors, altars, and carosas are in
literature, in particular the epics, of people. These ten epics, church buildings and non-public collections. A range of these
rendered in a language that, though related to Kiniray-a, is no works are quite large, some exceeding forty feet, whilst some
longer spoken. are very small and feature very nice and refined craftsmanship.

Alonzo Saclag Darhata Sawabi (d. 2005)

Kalinga, Northern Luzon, Tausug/ Parang, Sulu,

Island, Cordillera Bangsamoro Autonomous
Administrative Region (CAR) Region in Muslim Mindanao (BARMM)

Playing Kalinga Musical Instruments

Pis syabit Weaving
His lifestyle work is to paint a portrait of his people to
She remained devoted and persevered with her mission to
record a tradition of opposites and dualities, a peoples’
teach the artwork of pis syabit weaving. Her strokes firm and
character recorded in cadences each aggressive and gentle.
sure, her color sensitivity acute, and her dedication to the best
Play Kalinga musical instruments, dance patterns and moves
of her products unwavering.
related to rituals.

Hajja Amina Appi (d. 2013) Magdalena Gamayo

Ungos Matata, Tandubas, Pinili, Ilocos Norte

Tawi-Tawi, Bangsamoro Region I Ilocos Region
Autonomous Region in Muslim
Mindanao (BARMM)
Abel Weaving
She has been a master in abel weaving from Pinili, Ilocos
Mat weaving
Norte. She is not only weaving traditional Ilocano textiles but
She was recognized as the master mat weaver. Her colorful
also designs new patterns. One of her designs employs a
mats with their complex geometric patterns showcased her
difficult weaving technique called pililian meaning partially.
precise sense of design, proportion, and symmetry and
The weave produces a one of a kind design that takes after a
sensitivity to color.
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.
Teofilo Garcia Estelita Tumandan Bantilan

San Quintin, Abra, Upper Lasang, Sapu Masla,

Cordillera Administrative Malapatan, Saranggani
Region (CAR) Region XII SOCCSKSARGEN

Kattukong or Tabúngaw Hat Making B’laan Mat Weaving

When he finishes fieldwork as a farmer, he focuses on the Since she was a child, she was bright and careful in
cultivation and development of tabúngaw (Ilokano term for tangle weaving. Her perseverance took place because of her
úpo). At the age of fifteen (15) he learned the art of supportive husband. The thin strips of the pandanus romblon
Kattukong or tabúngaw hat making and basket weaving from (Pandanus copelandii merr. Bariu) rise matrixed through deft
his grandfather. 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.

Ambalang Ausalin Yabing Masalon Dulo

Lamitan, Basilan Island, Amguo, Landan,

Bangsamoro Autonomous Polomolok, South Cotabato
Region in Muslim Mindanao Region XII SOCCSKSARGEN
(BARMM)

B’laan Ikat or Tie-dye Fabric Weaving

Yakan Weaving Yabing Masalon Dulo, called “Fu Yabing”, was only
Apuh Ambalang, is significantly respected in all of fourteen (14) years old when she started weaving. All her
Lamitan. Her ability is regarded as unique: she can bring younger years were spent in sharpening her skills and
forth all designs and actualize all textile categories ordinary imparting the knowledge to younger generations of B’laan
to the Yakan community, who are known to be among the weavers.
finest weavers within the Southern Philippines. She can She follows her mother’s movements back and forth. She
perform the suwah bekkat (cross-stitch-like embellishment) colors the fibers, counts the thread, and observes the rhythmic
and suwah pendan (embroidery-like embellishment) dance of a weaver’s dreams woven into unique soulful pieces.
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.
Contemporary

Philippine

Arts

from the

Regions

Marian Joy A. Amacio

G12 ABM B
WEEK #6

Gawad
Manlilikha
Ng
Bayan