GAWAD MANLILIKHA

NG BAYAN
Group 5
In this lesson,
you will learn about our 16 National Living Treasures, known as the Gawad sa Manlilikha
ng Bayan (GAMABA) awardee from the National Commission for Culture and the Arts or
NCAA . The awardees produce art forms that are woven into everyday life this 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 distit skills have reached such a
high level of technical and artistic excellence, and have passed it on to in gis or her
community with the same degree of technical and artistic competence.

National Commission for Culture and the Arts (NCAA)

The highest policy and coordinating body for culture and the arts of the state. It has to
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 ouye people about the genius of
Manlilikha ng Bayan.
 GAMABA
AWARDEES
These are the Filipino citizen who is engaged in any
traditional art forms and has contributed to the
development of cultural diversity and the creativity of
humanity .
 GAMABA
AWARDEES FOR
THE YEAR
1993
 Ginaw Bilog
Panaytayan, Mansalay , Oriental Mindoro
Region IV-B
MIMAROPA

Surat Mangyan and Ambahan poetry

He 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 posterity.
January 3, 1953 - June 3,2003
 Masino Intaray
Pala’wan , Palawan Island
Region IV- B
MIMAROPA
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) and
above all , he was a prolific and preminent epic April 10, 1943- November 30, 2013
chanter and storyteller.
 Samaon Sulaiman
Mamasapano, Maguindanao, Western Mindanao Bangsamoro
Autonomous Region in Muslin Mindanao (BARMM)

Playing Kudyapi
He achieved the highest level of excellence in the art
of kutiyapi core kudyapi (two stringed lute ) ,
playing and also proficient in kulintang, agong (
suspended bossed gong with wide rim ), gandingan
(bossed gong with narrow rim), palendag (lip valley-
flute ) and tambul.

For his exemplary artistry and dedication to his

chosen instrument, for his unwavering commitment
to the music of the kutyapi at a time when this
instrument no longer exists in many parts of
March 3 , 1953- May 21 , 2011 Mindanao, Samaon Sulaiman is worthy of emulation
and the highest honors
 GAMABA
AWARDEES FOR
THE YEAR
1998
 Lang Dulay
T’boli/Lake Sebu, SouthCotabato, Mindanao
Region XII
Socksargen

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 her nimble
hands- the crocodile, butterflies and
flowers.

August 3, 1928 - April 30 ,2015

 Salinta Monon
Tagbawa Bagobo/ Bansalan, Davao del Sur
Region XII
Socksargen

Inabal Weaving
She was awarded for fully
demonstrating the creative and
expressive aspects of the Bagobo
abava ikat (to tie or bond) weaving
called inabal (traditional textile of
Bagobo ) at a time when such art was
threatened with extinction.

December 12, 1920 - June 4, 2009

Manlilikha ng Bayan Act GAMABA AWARDEES FOR THE YEAR
was established in 1992 and shall mean 1993
citizen engaged in any traditional art
uniquely Filipino, whose distinctive skills Ginaw Bilog - preserve the Hanunuo
have reached such a high level of technical Mangyan script and Ambahan
and artistic excellence.
Masino Intaray - he was a prolific and
preminent epic chanter and storyteller.
National Commission for Culture and the
Samaon Sulaiman- achieved the highest
Arts (NCAA)
level of excellence in the art of kutiyapi or
The highest policy and coordinating body kudyapi
for culture and the arts of the state
GAMABA AWARDEES FOR THE YEAR 1995
Gamaba Awardees Lang Dulay - tnalak weaver credited with preserving her
the Filipino citizen who has contributed to people’s traditional T’nalak using abaca fibers.
the development of cultural diversity and
the creativity of humanity Salinta Monon - Inabal Weaver who was awarded for
fully demonstrating the creative and expressive aspects
of the Bagobo abaca ikat weaving called inabal.
 GAMABA
AWARDEES FOR
THE YEAR
2000
 Uwang Ahadas
Yakan/ Lamitan, Basilan Island ,
Bangsamoro Autonomous Region in Muslim
Mindanano
(BARMM)

Playing Yakan Instruments

He referred to for feasibility 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 perception, keeping the
Yakan melodic custom alive and thriving.

February 15, 1945

 Federico Caballero
Sulod- Bukidnon / Calinog, Iloilo, panay Island
Region VI
Western Visayas

Chanting the Sugidanon Epic of

the Panay Bukidnon
He continues value works for the
documentation of the oral literature, in
the epics, of people. These ten epics
rendered in a language that, though
related to Kiniray- a , is no longer spoken .

December 25 , 1938
 Alonzo Saclag
Kalinga, Northern, Luzon Island
Cordillera Administrative Region (CAR)

Playing Kalinga Musical

Instruments
His lifestyle work is to paint a portrait of
his people to record a tradition of
opposites and dualities, a people's
character recorded in cadences each
aggressive and gentle. Play kalinga
musical instruments dance patterns and
moves related to rituals.

August 14, 1942

 GAMABA
AWARDEES FOR
THE YEAR
2004
 Haja Amina Appi
Ungos Matata, Tandubas, Tawi Tawi .
Bangsamoro Autonomous Region in Muslim Mindanano
(BARMM)

Mat Weaving
She was recognized as the master mat weaver. Her
weaver colorful mats with more complex geometric
patterns showcase her precise sense of design,
proportion and symmetry and sensitivity to color. 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
June 25, 1925 - April 2 , 2013
patchwork on her apprentices’ work. She is eager to
teach, and looks forward to sharing the art with other
weavers.
 Eduardo Mutuc
Apalit, Pampanga
Region III
Central Luzon

Metal Plating
He is an artist who has devoted his existence to
developing religious and secular artwork in silver,
bronze and wood . he's intricately detailed retablos,
mirrors, altars And carosas are in church buildings
and non public collections. A which of these works are
quiet large, some exceeding forty feet whilst some are
very small and feature very nice and refined
craftsmanship .

October 12, 1949

 DARHATA SAWABI
Tausug/Parang, Sulu
Bangsamoro Autonomous Region in
Muslim Mindanano
(BARMM)

Pis Syabit Weaving

She remained devoted and preserved with her
mission to teach the artwork of pis syabit weaving.
Her strokes firm and sure, haircolor sensitivity
acute, and her dedication to the best of her
products and unwavering.

d. March 12,2005
 GAMABA
AWARDEES FOR
THE YEAR
2012
 Magdalena Gamayo
Pinili, Ilocos Norte
Region 1
Ilocos Region

Abel Weaving
She has been a master in abel weaving from Pinili
Ilocos Norte. She is not only waving traditional
Ilocano textiles but also designs new patterns.
One of her designs employs a difficulty weaving
technique called Pililian meaning partially. The
We've produces a one-of-a-kind design that takes
after a string of flowers thus it's name, inubon a
sabong . She did not formally study such
traditional art. Instead, she watched closely as
her aunt made and imitated the patterns.

August 19, 1924

 Teofilo Garcia
San Quintin, Abra,
Cordillera Administrative Region (Car)

Kattukong or Tabungaw Hat Making

When he finishes field work as a farmer, if
focuses on the cultivation and development of
tabungaw ( Ilokano ter m fot upo ). At The age
of 15 he learned the art of Kattukong or
tabungaw hat making a basket weaving from
his grandfather.

March 27 , 1941
 GAMABA
AWARDEES FOR
THE YEAR
2016
 Ambalang Ausalin
Lamitan, Basilan ISland, Bangsamoro
Autonmous Redion In Muslim Mindanao (BARMM)

Yakan Weaving
March 4 , 1943
Apuh Ambalang , is signifacantly respected in all of
lamitan. Her ability Is regarded unique : she can
bring forth all designs and actualize all textile
categories ordinary to the Yakan community, who
are known to be among the finest weaver's 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 living process, mindful at the same time as
the cultural significance of each textile design or
category.
 Estelita Bantilan
Upper Lasang, Sapu Masla , Malapatan , Saranggani
Region XII
October 17, 1940
Socksargen
B’laan Mat Weaving
Since she was a child, she was bright and careful
entangle 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 and woman 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
.
 Yabing Masalon Dulo
Amguo, Landan, palomolok, South Cotabato
Region XII
August 8, 1914 - Socksargen
January 26 -2021

B’laan Ikat or Tie dye fabric Weaving

Yabing Masalon Dulo, called as “Fu Yabing”, was only

fourteen years old when she started. 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 the thread , and
observes the rhythmic dance of a weavers dreams
woven into unique soulful pieces .
Thank you!