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benefits not exceeding Php 750,000.00 per Categories- The Gawad sa Manlilikha ng Bayan
year. recognizes excellence in both traditional performing arts
• A state funeral, the arrangements for and the and crafts, ensuring awardees come from diverse
regions and represent a variety of art forms. These
expenses of which shall be borne by the
categories include but are not limited to:
Government, upon the death of the Manlilikha
ng Bayan; and
1. Maritime transport
• A place of honor, in line with protocol 2. Weaving
precedence, in state functions, national 3. Carving
commemoration ceremonies and all other 4. Performing arts
cultural presentations. 5. Literature
6. Graphic and Plastic Arts
7. Ornament
Group awardee: The rank and title of Manlilikha ng 8. Pottery
Bayan, as proclaimed by the President of the Philippines
in accordance with Executive Order No. 236 or Honors
Code of the Philippines; LIST OF THE DECLARED GAMABA AWARDEE
FOLK LITERATURE;
• A one-time award of Two Hundred Thousand
Pesos (Php 200,000.00), net of taxes; Ginaw Bilog (+2003) – Poet
• The group shall designate its leader who will Hanunuo Mangyan Panaytaan, Oriental Mindoro (1993)
represent and attend events and functions on The poem “Hanunuo Mangyan Script and Ambahan”, a
behalf of the group. poem consisting of 7-syllable lines, was preserved and
promoted on every occasion in order to preserve the art
• The said representative will also have a place
for its posterity.
of honor, in line with protocol precedence, in
state functions, national commemoration
ceremonies and all other cultural presentations. Federico Caballero
Epic Chanter Sulod-Bukidnon Calinog, Iloilo (2000)
Federico was known as the outsanding master of the
Group 2;
‘basal’, ‘kulilal’, and ‘bagit’. He also played the ‘aroding’
and ‘barakak’.
GAWAD NG MANLILIKHA NG BAYAN
PERFORMANCE
Alonzo Saclag -
• The Philippine government established the Musician and Dancer Lubuagan, Kalinga (2000)
National Living Treasure Award in 1992 to He is the founder of Kalinga Budong Dance Troupe,
honor traditional artists and preserve cultural ensuring that the music and dance of his ancestors are
heritage. The National Commission for Cultural passed down to younger generations. Alonzo was
and Arts manages the award, recognizing the known as the master of dance and performing arts. He
mastery. These masters not only preserve age- mastered the dance patterns and movements related
old practices but also inspire a sense of with his people’s rituals.
national identity. The law (R.A 7355) defines a
“Manlilikha ng Bayan” as someone who excels
in a traditional Filipino art form, passing down Masino Intaray (+2013) -
their expertise to future generations Musician and Storyteller Brookes Point, Palawan (1993)
• The Gawad sa Manlilikha ng Bayan logo Masino Intaray, a Filipino poet, a bard artist, and
features a stylized human figure from traditional musician from Palawan is known for his performance of
cloth, with “Manlilikha ng Bayan” written the local traditions of basal, kulilal, and baguit.
beneath it in an old Filipino script.
Samaon Sulaiman (+2011)
WHAT ARE THE QUALIFICATIONS FOR BEING A Musician Mama sa pano, Maguindanao (1993)
CANDIDATE FOR MANLILIKHA NG BAYAN? He is known for his mastery of the indigenous ‘kutyapi’
To become a Manlilikha ng Bayan, Filipino artists must instrument. Samaon first learned playing kutyapi at
meet these criteria: around 13 years old from his uncle.
CRAFTS; with grace. Her textiles reflect the wisdom and the
visions of her people. Before the 1960s, the Tboli
Lang Dulay (+2015) - Textile Weaver bartered tnalak for horses, which played an important
T’boli, Lake Sebu, South Cotabato (1998) role in their work. Upon the establishment of the St. Cruz
Lang Dulay is known for her extraordinary weaving. Mission, which encouraged the community to weave and
Using the image of the T’boli people along with the provided them with a means to market their produce, the
crocodiles, butterflies, flowers, mountains, and streams, tnalak designs gained widespread popularity and enable
of Lake Sebu, South Cotabato are put on to her craft. weavers like Lang to earn a steady income from their
Other than that, Land Dulay knew a lot of designs, art. However, the demand also resulted in the
ranging from bulinglangit (clouds), the bankiring (hair commercialization of the tnalak industry, with outsiders
bangs), and the kabangi (butterfly), where each design coming in to impose their own designs on the Tboli
holds a story. weavers.
Salinta Monon (+2009) - Textile Weaver Ironically modern designs get a better price than the
Tagabawa Bagobo, Bansalan Davao Del Sur ( 1998) traditional ones. Despite this, and the fact that those
Ever since she was young, Salinta Monon watched her modern designs are easier to weave, Lang persists in
mother weave traditional Bagobo textiles. When she doing things the old, if harder, way, to give voice, in
turned 12, she asked her mother to teach her how to effect, to the songs that were her elders’ before her. Her
weave. Her favorite one, which was the hardest and textiles are judged excellent because of the “fine even
most time demanding design, was the binuwaya quality of the yarn, the close interweaving of the warp
(crocodile). Throughout the years, she along with her and weft, the precision in the forms and patterns, the
younger sister were the last Bagobo textile weavers. chromatic integrity of the dye, and the consistency of the
finish.” She was only 12 when she first learned how to
weave. Through the years, she has dreamed that,
Darhata Sawabi (+2005) - Textile Weaver someday she could pass on her talent and skills to the
Tausug, Parang, Sulu (2004) young in her community. Four of her grandchildren have
Darhata Sawabi is one of the women weavers in themselves picked up the shuttle and are learning to
Barangay Parang to weave Pis Syabit, a traditional cloth weave.
tapestry worn as a head covering by the Tausug of Jolo.
Darhata faced many challenges in life, including in her
creations. Still she remained faithful to the art of Pis With the art comes certain taboos that Tboli weavers are
Syabit weaving, as she recognized the need for her to careful to observe, such as passing a single abaca
remain in the community to pass Pis Syabit weaving to thread all over the body before weaving so as not to get
many more generations. sick. Lang Dulay never washes the tnalak with soap,
and avoids using soap when she is dyeing the threads in
order to maintain the pureness of the abaca. Upon
Benefits and privileges of an awardee: learning that she was being considered to be one of the
The rank and title of Manlilikha ng Bayan, proclaimed by Gawad sa Manlilikha ng Bayan awardees, tears of joy
the President of the Philippines via Executive Order No. fell from her eyes. She thought of the school that she
236 or the Honors Code of the Philippines, entails wanted to build, a school where the women of her
several privileges, including the prestigious GAMABA community could go to perfect their art.
gold-plated medallion minted by the Bangko Sentral ng
Pilipinas (BSP) along with a citation. Recipients also
receive a lifetime emolument and material benefits Year of Conferment: In 1998, Lang Dulay received the
equivalent to high-ranking officials, including a minimum National Living Treasure (Manlilikha ng Bayan) award
cash award of Two Hundred Thousand Pesos (Php from the National Commission for the Culture and the
200,000.00), a monthly stipend of Fifty Thousand Pesos Arts (NCCA) for her contribution in the preservation of
(Php 50,000.00), and medical coverage up to Php their culture and for her fine craftsmanship of the
750,000.00 per year. Furthermore, they are entitled to a delicate abaca fibers.
state funeral, with the government covering all
associated expenses, and hold a place of honor at state Expertise; T'nalak, a dyed fabric made from refined
functions, national ceremonies, and cultural abaca fibre.
presentations in accordance with protocol precedence.
Group 3;
SALINTA MONON
husband's death. She and her sister were the last of pis syabit weaving took three days for the warp alone,
remaining Bagobo weavers in their community. Salinta prompting her to enlist the help of apprentice weavers
gained a solid reputation for the quality and intricacy of and children. Despite facing displacement twice during
her woven fabrics, with a continuing demand for her the Moro conflict in the 1970s, Sawabi's commitment to
work. her craft remained unwavering.
Her favorite design to weave was the binuwaya Weaving colorful fabric squares, Sawabi earned around
(crocodile), known for its complexity. Salinta faced P2,000 for each hand-woven square, contributing to her
challenges with the changing market, as machine-made self-sufficiency. The challenges of the craft, including the
fabrics flooded it, affecting the traditional handmade physical toll and the impact of conflict, did not deter her.
textiles. Despite the challenges, Salinta Monon Sawabi's dedication to pis syabit weaving persisted,
expressed a desire to pass on her weaving skills to the showcasing her firm strokes, acute color sensitivity, and
younger generation and looked forward to building a an unwavering commitment to quality, along with a
dedicated space for weavers. Her story reflects not only mission to teach and preserve this traditional art form
her personal dedication to the art but also the within her community.
challenges faced by traditional weavers in adapting to
modern times while preserving their cultural heritage. Year of Conferment: In 2004, Darhata Sawabi was
honored with the National Living Treasures Award.
Year of Conferment: Salinta Monon was honored with
the GAMABA Award, also known as the National Living Expertise: Pis syabit weaving is a difficult art. Preparing
Treasure Award, in 1998. The Philippine National the warp alone already takes three days. It is a very
Government provides this award on individuals for their mechanical task, consisting of stringing black and red
contributions to the nation's cultural heritage. This threads across a banana and bamboo frame to form the
cultural award was established in 1992 under Republic base of the tapestry.
Act 7355, also known as the Manlilikha ng Bayan Act.
At 48, and burdened by years of hard work, Sawabi no
In addition to the national distinction, her town mayor longer has the strength or the stamina for this. Instead,
conferred individual honors on her in 2007. In 2009, she hires one of the neighboring children or apprentice
Salinta Monon delicately met her creator. The weavers to do it at the cost of P300. It is a substantial
announcement of her passing prompted many tributes amount, considering the fact that she still has to spend
from the town's executive, Bansalan residents, and for thread. Sawabi’s typical creations feature several
others from all over the world who had met and learnt colors, including the basic black and red that form the
what she did. warp, and a particular color can require up to eight
cones, depending on the role it plays in the design. All in
Expertise: At the age of twelve, Salinta Monon learnt all, it comes up to considerable capital which she can
how to operate a weaving loom after witnessing her only recover after much time and effort.
mother's skillful hands weave ikat, a traditional abaca
fabric, and other traditional Bagobo fabrics. Her favorite
design was the crocodile, or binuwaya, which is known HAJA AMINA APPI
to be one of the hardest to weave.
The inabal, which are intricately woven abaca cloths Haja Amina Appi is regarded as the Filipino master mat
dyed using the ikat technique, hold significant cultural weaver and teacher among the Sama indigenous
meanings. They are regarded not only as symbols of community of Ungos Matata, residing in the town of
wealth but also as offerings to deities and tokens of Tandubas, Tawi-Tawi. She was born on June 25, 1925,
appreciation for those who oversee rituals. These finely and was noted to have been nurtured in a community
crafted textiles take on a sacred essence, known as ikut, famous for the weaving of pandanus mats which implied
when passed down through generations, serving as that was where she developed her skills in mat weaving
protective talismans believed to ensure the successful since then.
completion of new homes.
As time goes by, Haja Amina Appi was then credited for
her mastery of such a craft as her colorful pandan mats
DARHATA SAWABI displayed complex geometric patterns which is a
testament to her precise sense of design, proportion,
symmetry, and sensitivity to color. It was noted that her
Darhata Sawabi, a Tausug textile weaver from Sulu, hands were observed to be thick, calloused and dye-
played a crucial role in preserving the art of pis syabit, a stained from a lifetime of harvesting pandanus and
traditional cloth tapestry worn by the Tausug of Jolo. creating fascinating designs upon weaving them.
Raised in Barangay Parang, she dedicated her life to
weaving and imparting this skill to younger generations. Creating such works is no doubt a challenge. For her,
the most difficult part was visualising her ethnic
Unmarried and facing challenges with subsistence experiences and memories, and using them as her
farming in her community, Sawabi relied on weaving as inspiration for her design. It is also said that it took her
her sole source of income. The labor-intensive process up to three months to make her such functional and
CONTEMPORARY PHIL ARTS FROM THE REGION
Second Semester | Asistin, Julie | Arber
beautiful creations. Haja Amina Appi soon passed away or National Living Treasures Award that was held in
in April 2, 2013 and her art of mat weaving continues to Malacañang Palace.
live on through her children and other women in her
community. Expertise: Magdalena Gamayo is known for being a
master weaver of the inabel cloth - the historical cotton
Year of Conferment: Due to her high precision, fabric bartered for gold in the Galleon Trade and
instinctive sense of proportion and symmetry, even mentioned in the classic Ilocano epic Biag ni Lam-ang.
asymmetry and overall mastery of the art of mat One of the patterns that was created by her is Inubong a
weaving, Haja Amina Appi was rewarded with the sabong which means “string of flowers” a unique and
National Living Treasures Award in 2004 by the National difficult weaving technique called “pinilian”. This is the
Commission for Culture and the Arts in the Philippine, design that made her to be nominated and be one of the
earning the respect and recognition of her artistry. Gawad Manlilikha ng Bayan awardees.
Expertise: A symbolic poem featuring seven-syllable Date and place of birth: Born: March 3, 1953 in
lines inscribed on bamboo tubes, serves as a means of Mamasapano, Maguindanao. He passed away on May
communication among the Hanunuo Mangyan 21, 2011 at the age of 58.
community in southern Mindoro. This metaphoric poetry,
recited during social gatherings, is complemented by Year of Conferment: He was conferred with the Gawad
musical accompaniment, including guitars, fiddles, sa Manlilikha ng Bayan or National Living Treasures
flutes, and jew’s harps. The surat Mangyan, one of the Award (1993)
last four syllabic scripts in the Philippines, plays a crucial
role in sustaining the tradition of ambahan. Overall,
ambahan is a kind of poem that is consists of seven Expertise:
syllable lines which most of the time contains messages
of love and friendship. Brassworks: Sulaiman is known for crafting intricate
brass items, such as kulintang, gongs, and agung or
Mangyan script, also known as surat Mangyan, and the agong.
ambahan
Woodcarving: He excels in carving wooden items, such
Group 4; as ukkil or okir (decorative posts) and panolong (roof
finials).
Year of Conferment: He was conferred with the Gawad Date and place of birth: Alonzo Saclag was born on
sa Manlilikha ng Bayan or National Living Treasures August 4, 1942. A member of the Kalinga people and a
Award (1993). native of Lubuagan, Kalinga province. He then passed
away due to diabetes on November 30, 2013 at the age
of 70.
Expertise:
Year of Conferment: He was conferred with the Gawad
"Takder," a traditional woven mat used for various sa Manlilikha ng Bayan or National Living Treasures
purposes in Filipino culture. Award (2000)
Year of Conferment: He was conferred with the Gawad Date and place of birth: March 27, 1941 in San
Manlilikha ng Bayan (GAMABA) in 2000 Quintin, Abra in the Cordillera Region