SHS Q3 Mod4 CPAR Filipino-Artists v5

Senior High School
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Contemporary Philippine
Arts from the Regions
Filipino Artists and their
Contribution to Contemporary Arts
Quarter 3 - Module 4
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Contemporary Philippine Arts from the Regions
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Quarter 3 - Module 4: Filipino Artists and Their Contribution to Contemporary Arts
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SeniSo nioigh Sh hohool
Contemporary
Philippine Arts
from the Regions
Filipino Artists and their
Contribution to Contemporary
Arts
Quarter 3 - Module 4
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Table of Contents
What this Module is About

What I Need to Know
How to Learn from this Module
Icons of this Module
What I Know
Lesson 1: The Contemporary in Traditional Art: Gawad Sa

Manlilikha ng Bayan
What I Need to Know................................................................................... 1

What’s New: Color the words for me............................................................2
What Is It...................................................................................................... 3-7
What’s More.................................................................................................. 8
What I Have Learned: Synthesizing............................................................. 9

What I Can Do: Creating a poster................................................................. 9
Lesson 2:
National Artists of the Philippines and their Contributions
What I Need to Know................................................................................... 1
What’s New: Solving the Puzzle.................................................................. 2
What Is It: National Artists of the Philippines.............................................3-16
What’s More................................................................................................ 17
What I Have Learned..................................................................................17
What I Can Do: An Ideal Artist...................................................................18
Summary
Assessment: (Post-Test)
Key to Answers
References
What this Module is All About
Hello learners! Congratulations! You have come to this module wherein you
will encounter, explore, and deeply understand the significant roles of our National
Artists from all over the regions, and identify their contribution to contemporary arts.
This module becomes more exciting since you will also evaluate contemporary art
forms based on the elements and principles. Aside from that, you will delve deeper,
interpret, and relate the significance of art forms from the regions and promote your
own art/s to represent your own place and culture.
The activities in this module have been designed to provide you with rich and
stimulating learning practices about significant contemporary artists from the regions.
This module will discuss and introduce about our National Artists in music, dance,
theater, visual arts , literature, film and broadcast arts, architecture, design and allied
arts that will brings you the full understanding of the art of today.
Furthermore, you will make known also to the Contemporary in Traditional Art
– Gawad sa Manlilikha ng Bayan (GAMABA), our National Living Treasure who have
preserved some of the Philippines’ most important traditions and kept Filipino
creativity alive!
What I Need to Know from this module
At the end of this lesson, you should be able to:
Explain Filipino artists’ roles and identify their contribution to contemporary

arts. CAR11/12CAP-0c -e-5
a. Explain how traditions becomes contemporary and vice versa through the
practices of artist awardees of Gawad sa Manlililkha ng Bayan (GAMABA)
Awards.
b. Identify the works of National Artists and recognize their contributions to
Philippine art and culture.
c. Create a work / poster that promotes traditional art with local and GAMABA
awardees as examples.
d. Appreciate the value of the National Artists awardees through painting,
drawing or performance.
How to Learn from this Module

To achieve the objectives cited above, you are to do the following:
• Take your time reading the lessons carefully.
• Follow the directions and/or instructions in the activities and
exercises diligently.
• Answer all the given tests and exercises honestly.
Icons of this Module
What I Need to This part contains learning objectives that

Know are set for you to learn as you go along the
module.
What I know This is an assessment as to your level of

knowledge to the subject matter at hand,
meant specifically to gauge prior related
Knowledge
What’s In This part connects previous lesson with that
of the current one.
What’s New This is an introduction of the new lesson

through various activities, before it will be
presented to you
What is It These are discussions of the activities as a

way to deepen your discovery and under-
standing of the concept.
What’s More These are follow-up activities that are in-

tended for you to practice further in order to
master the competencies.
What I Have These activities are designed to

Learned process what you have learned from
the lesson
What I can do These are tasks that are designed to show-

case your skills and knowledge gained, and
applied into real-life concerns and situations.
What I Know
Pre - test
Multiple Choice. Select the letter of the best answer from among the given choices.
1. A Tinalak weaver who produced creations and who remained faithful to the T’boli
tradition as manifested in the complexity of her design, fineness of workmanship and
quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. . Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists in the Philippines
to promote a genuine appreciation of traditional craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The Boy Wonder of
Philippine Movies”
A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
B. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”
A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
B. Fernando C. Amorsolo D. F. Sionil Jose
6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully
demonstrating the creative and expressive aspects of the Bagobo abaca ikat
weaving.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Masino Intaray
7. She is known as the Queen of Kundiman.
A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana D. Haja Amina Appi
8. Asian president of the United Nations General Assembly who multifaceted career
spanned 50 years of public service as an educator, soldier, university president,
journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino filmmaker
whose life is devoted to the art and commerce of cinema spanning three generations
of filmmakers
A. Eddie Romero C. Ildefonso P. Santos
B. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Teofilo Garcia
The Contemporary in
Traditional Art: Gawad sa
Lesson
Manlilikha ng Bayan ( GAMABA)
What I Need to Know
In one form or another art, has always been around. It helps mankind in the
improvement of various activities and their products. It has a varied and multiple complex. It
is as wide as an ocean, covers a wide range of activities such as photography, painting,
sculpting, and architecture, etc. But as time rolls by newer forms of art arose, such as music,
theatre, and photography, etc., in which are nowadays considered the most beautiful types of
performing arts.
From the preceding lesson we have learned that traditional arts, like the pre - colonial
indigenous arts are also contemporary. They are living traditions and are produced up to the
present, in modified ways.
In this lesson, you will learn about our National living treasures, more formally known
as the awardees of Gawad sa Manlilikha ng Bayan (GAMABA).
Their incomparable dedication to craftsmanship and excellence show how these
Filipinos lives and work. Many cultural practices of indigenous communities were preserved
because of their passion, abilities, and tenacity in passing down their tradition to the
youngsters. It’s one thing to be recognized as a living legend of the arts in the Philippines,
and it’s a whole other thing completely to be acknowledged as an artist who has kept a
rare sort of traditional Filipino creativity and ingenuity alive.
In 1992, the National Commission on Culture and Arts (NCCA) began selecting and
honoring recipients of the National Living Treasures Award, also referredto as Gawad sa
Manlilikha ng Bayan (GAMABA), through Republic Act No. 7355. It continues to be awarded
today and is handed out in the form of a medal.
Photo Credit: https://bit.ly/37Grcwe
The picture above shows the thirteen National Living treasures who have possess
technical and creative skills, creating work with fine artistic quality, and ties to community
and folk-art traditions. More than that, they show a strong character and unfaltering integrity,
leading them to earn the respect and admiration of the people.
The awardees yield art forms that are entwined into daily life. These proves how pre -
colonial traditions continue through to the present.
How does tradition become contemporary, and the contemporary traditional?
(retrieved from Contemporary Art from the Regions textbook (2016 pp.57)
1
Traditional art is based on indigenous people’s cultures that are largely honed by oral
tradition. It finds deep affinities with nature, place, society, ritual, and spirituality and
everyday life. In traditional integrative art, forms and expressions do not normally end up as
objects distanced from everyday living. The site of dissemination and knowledge transfer is
neither in the formal spaces of a museum nor a theater. The process of creation is usually
shared among members of the community, and appeals to broader aspects of life.(extracted
from Contemporary Art from the Regions textbook , Flaudette May Datulin et.al pp. 58 )
Thus, it emphasis on the intangible and communal aspects of art production that are closely
aligned with the process based and collaborative inclination of some contemporary art
practices.
The worker of a farmer named Teofilo Garcia of San Quintin in the Province of Abra,
2012 GAMABA awardee who have discovered and popularized the durable tabungaw hat
out of enlarged upo or gourd. He hollowed out the upo / tabungaw, varnished and polished it
to make it more durable and unique yellow sheen.
He used different mediums such as varnish to strengthen organic material, strips of
rattan (uway) to line the hat, fern (nito) is placed on the mouth of the hat as decoration. He
intended to transform the harvest into durable hats to protect the people who are exposed for
long hours under the heat of the sun, especially the farmers. Until now, he shared his
knowledge and skills of making the Tabungaw hat at San Quintin National High School and
inspires the youth to value tradition and to ensure its preservation.
Based from the given example of the work of Teofilo Garcia, we reiterate that
Philippine traditional art, though based on long - standing , established practices, has always
been contemporary in a sense that it is art that is being made now, and that it persists as
part of continuing performance of tradition ((extracted from Contemporary Art from the Regions
textbook , Flaudette May Datulin et.al pp. 57 ) .
On the other hand, contemporary-traditional art refers to an art produced at the

present period that reflects the current culture by utilizing classical techniques in drawing,
painting, and sculpting. Practicing artists are mainly concerned with the preservation of time-
honored skills in creating works of figurative and representational forms of fine art as a
means to express human emotions and experiences. Subjects are based on the aesthetics
of balancing external reality with the intuitive, internal conscience driven by emotion,
philosophical thought, or the spirit. The term is used broadly to encompass all styles and
practices of representational art, such as Classicism, Impressionism, Realism, and Plein Air
(En plein air) painting. Technical skills are founded in the teachings of the Renaissance,
Academic Art, and American Impressionism (https://en.wikipedia.org/wiki/Contemporary-
Traditional_Art)
What’s New
Activity 1: Coloring the words
For you to assess your level of understanding about the traditional arts and GAMABA
awardees, you are going to hunt the word or group of words related to it by coloring it using
your crayons or colored pens .You can trace the word/s horizontal, vertical, diagonal,
backwards or another way to form a words. Write your answer in a sheet of paper.
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T R A D I T I O N A L A R T L G
P A P O S U C E A S D F K V P A
E L B T H Q O A K E N S P L O M
L A A U S L N A T U R E E A L A
T S H S N N T R R F Y J O C I B
L T A G E G E H O B A O P I T A
A C Z S H T A E L T E K L S I Y
R A A D U A Y W E A V I N G C N
L A N G D U L A Y K G R O U N D
T T R A Y R A R O P M E T N O C
T E O F I L O G A R C I A O U H
N D I S A S T E R L H A Z A E D
R T E O F I L O G A R C I A O T
1. 6.
2. 7.
3. 8.
4. 9.
5. 10.
What Is It
What is GAMABA?
The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN ( National Living
Treasures). It is an award given to recognize the outstanding work of the artists in the
Philippines. The given award was established in 1992 through Republic Act No. 7355 until
2012. There were thirteen finest folk artists of the land who have received this distinction for
their dedication in creating the craft, using skills, and indigenous methods and materials.
Artists who received the recognition for preserving the traditional art of the Philippines which
kept the art alive even in the contemporary period (Sandagan & Sayseng 2016).
Who are the GAMABA awardees? What are their qualifications?
The GAMABA awardees are the people who have adopts a program that will ensure the
transfer of their skills to others. They undertake measures to promote a genuine appreciation
of traditional craft and art and instill pride among our people about the skill of the Gawad sa
Manlilikha ng Bayan (GAMABA). Filipinos conferred as the forefront of the practice,
preservation, and promotion of the nation’s traditional folk arts.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
To become a GAMABA awardees is same as joining a contest there are mechanics
and guidelines to follow.
1. Must be an inhabitant of an indigenous/traditional cultural community
anywhere in the Philippines that has preserved indigenous customs,
beliefs, rituals and traditions and/or has syncretized whatever external
elements that have influenced it.
2. Must have engaged in a folk-art tradition that has been in existence and
documented for at least fifty (50) years.
3. Must have consistently performed or produced over a significant period,
works of superior and distinctive quality.
4. He/she/group must possess a mastery of tools and materials needed by
the art and must have an established reputation in the art as master and
maker of works of extraordinary technical quality.
5. Must have passed on and/or will pass on to other members of the
community their skills in the folk art for which the community is traditionally
known.
3
GAMABA Awardees
Uwang Ahadas, musician
A Yakan of Lamitan, Basilan was awarded for his dexterity in

playing Yakan musical instruments such as the kwintangan,
gabbang, agung, kwintangan kayu, tuntungan among others.
He has a deep knowledge of the aesthetic possibilities and
social contexts of those instruments. In spite of the dimming of
his eyesight, he has devoted his life to the teaching of Yakan
musical traditions (https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
Yakan musical instruments are not the easiest or most affordable to maintain, but Uwang
Ahadas of Lamitan, Basilan made it his life’s work to master them. From an early age, he
and his siblings were encouraged to play these instruments, and he developed a passion for
them, training himself by observing older members of the community. At age 20, he
broke tradition by reaching excellence in playing the kwintangan, an instrument
typically played by a woman. The instrument, made up of logs arranged beneath a
tree near a rice field, is used to call for abundant grains and rice growth. He is also
dedicated to sharing his knowledge to younger folk; his teaching style is hands-on
and supportive, giving his students his full attention. He was awarded in 2000. (
https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html
Magdalena Gamayo, textile weaver
Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving

when she was 16, guided by her aunt’s patterns. She received her first
loom from her father three years later, which she would end up using for 30
years. She taught herself traditional patterns, such as kusikus (whirlwind),
marurup (Milky Way), and sinan paddak ti pusa (cat’s pawprint), building
on the more common inuritan (geometric design) and sinan-sabong
(flowers)
.Gamayo’s skill and instinct are none more apparent than they are in her ability to replicate
designs she’s only seen once. Her binakol, or woven cloth, continues to draw praise and
awe for its above-average thread count and uniform weave. To keep Ilocos’ abel weaving
tradition alive, she teaches her practice to her cousin’s daughter-in-law and sister-in-law. She
was awarded in 2012.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html
Eduardo Mutuc, metalsmith, and artist
A Kapampangan from Central Luzon is recognized for reviving

the Spanish colonial-era craft of Plateria. This self-taught master
craftsman found his calling in producing religious and secular art in silver,
bronze, and wood. In doing so, and in his pursuit of perfection for himself
4
and his apprentices, he assures the continuity of this rich tradition. Having
finished
up to elementary school, Eduardo Mutuc, a farmer at the time, became an apprentice to
furniture carvers to earn additional income. He had no prior knowledge of the work he was
getting into, but this did not stop him from expanding his experience and becoming one of
the most respected creators of religious and secular art today. He uses wood, silver, and
bronze to create exquisitely detailed and lifelike pieces of varying sizes: altars, mirrors,
retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He was awarded in 2004.
4
Lang Dulay, T’nalak weaver
A T'boli of Lake Sebu, South Cotabato, was awarded for weaving

the abaca ikat cloth called t'nalak . She has produced creations which
remain faithful to the T’boli tradition as manifested in the complexity of
her design, fineness of workmanship and quality of finish. In Lang
Dulay’s family, the weaving of the t’nalak (a fine abaca cloth) took place
before or after farm work, when the weather was cool and the conditions were
better for the product. Dulay, who grew up in Lake Sebu, South Cotabato, was taught to
weave by her mother when she was 12. As demand grew for new designs, she persisted and
kept working with traditional patterns, even though they were harder to complete — she
knew around a hundred, including bulinglangit (clouds), kabangi (butterfly), crocodiles, and
flowers. She valued purity, so much so that she never washed her t’nalak with soap. She was
awarded in 1998 and died in 2015. ( https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-
national- living-treasures.html ).
Samaon Sulaiman, musician
A Maguindanaon of Mamasapano, Maguindanao. He was

awarded for his outstanding artistry and dedication to his chosen
instrument, the Magindanao kutyapi. Kutyapi is a two-stringed
plucked lute, regarded as one of the most technically demanding and
difficult to master among Filipino traditional.
Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed lute that
requires highly technical skill to play. The Maganoy, Maguindanao native learned from his
uncle, Pinagunay, at age 13, developing and learning different forms and styles of playing
the instrument.
The sound is melodic and rhythmic, its effect meditative and captivating. He was also
proficient in playing instruments such as the kulintang, agong (a suspended gong with a wide
rim), gandingan (a gong with a narrow rim), and tambul. Sulaiman’s fascination for his craft
led him to become an influential teacher. He was awarded in 1993 and died in 2011.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).
Haja Amina Appi, Pandan mat weaver
Lives in Ungos Matata, Tandubas, Tawi-Tawi,. She 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.
Weaving pandan mats is a long and difficult process that is handed down from
woman to woman across generations: Pandan leaves are harvested and made into narrow,
long strips, sun-dried, pressed, and dyed before finally becoming suitable for weaving. The
resulting mats are used for sleeping and saying prayers or given as gifts to newly-weds.
HajaAmina Appi of Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that boast
beautiful geometric designs, vibrant colors, and fine symmetry. She was awarded National
Living Treasure in 2004. She experimented with her work and developed her own tints to
create thehues she had in mind. Appi died in 2013, but her art lives on through her children
and other young women in her community.
((https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists- national-living- treasures.html ).
5
, chanter and educator
A Panay-Bukidnon of Calinog, lloilo was awarded for his

mastery of chanting the sugidanon, the epic tradition of Central
Panay. He ceaselessly worked for the documentation of the epics of
his people painstakingly piecing together the elements of this oral
tradition nearly lost. ((https://aboutphilippines.org/files/Gamaba-Awardees.pdf) He
was best known for his expertise in the Sugidanon, a Central Panay epic traditionally
chanted while lying on a hammock, and his work in the preservation of oral literature,
documenting 10 Panay-Bukidnon epics in an extinct language with close ties to Kinaray-a.
His love of folklore began when he was young, hearing tales of grand adventures as bedtime
stories, and his mother taught him to recite epics in lieu of doing household chores. In his
spare time, he also works with the Department of Education’s Bureau of Non-Formal
Education, teaching elders to read and write. He was
awarded in 2000.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).
Ginaw Bilog, poet
A Hanunuo Mangyan of Mansalay, Oriental Mindoro. Awarded

for faithfully preserving the Hanunuo Mangyan script and Ambahan
poetry. He has promoted the local script and poetry so that the art will
not be lost but preserved. The Mangyan script is one of the four
remaining syllabic scripts in the country, and Ginaw Bilog’s work has
been crucial to its preservation. Based in Mansalay, Oriental Mindoro,
the poet was known for writing Ambahan (a metaphoric poem
comprising
seven-syllable lines), first in a notebook, then on traditionally used bamboo
tubes. The poems, often recited with music at social gatherings and used to convey
messages among the Hanunuo Mangyan, had topics like advising the young, bidding a
friend goodbye, and asking for a place to stay. Bilog, who was awarded in 1993, died in
2003.
Salinta Monon, textile weaver
A GAMABA awardee of Tagabawa Bagobo of Bansalan,

Davao del Sur. She was awarded for fully demonstrating the creative
and expressive aspects of the Bagobo abaca ikat weaving called
Inabal at a time when such art is threatened with extinction. Salinta
Monon was 12 when she began learning to weave the Inabal, a
traditional Bagobo textile. In her home in Bansalan, Davao del Sur,
Monon would
isolate herself from family to be able to concentrate on creating her cloths
and skirts, which took three to four months to finish, respectively.
Her favorite pattern, despite or because of its difficulty, was the Binuwaya (crocodile),
and she continued weaving until her death in 2009. For her, not only was it a source of
income, it was a source of pride as well. She and her younger sister were the only Bagobo
weavers left in their community, and she dreamt of having a structure built for teaching new
would-be weavers. She was awarded in 1998. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-
artists-national- living-treasures.html)
6
Darhata Sawabi, textile weaver
A GAMABA awardee of barangay Parang, Jolo Island, Sulu

province. Has preserved the art of Pis Syabit weaving. It is difficult
art of tapestry weaving that creates the traditional squares used by
the Tausug for ornamentation. Despite the conflict in Jolo, Sawabi’s
dedication to her art enhanced the preservation of traditional Tausug
designs. Darhata Sawabi’s mission was to lead young women
towards
making a living out of her craft. The Parang, Sulu-based textile weaver’s
primary creation was the headpiece Pis Siyabit — pis stands for the pattern, which is said to
be derived from India’s mandala, depicting spirituality through geometric forms, and Siyabit
refers to the hook and technique. She gained recognition for the precision of her work and
her passion for preserving traditional designs, as well as teaching the youth and was
awarded in 2004. She died in 2005.
Teofilo Garcia, gourd hatmaker
A GAMABA awardee of San Quintin Abra who have

discovered and popularized the durable Tabungaw hat out of
enlarged upo or gourd. He hollowed out the upo / tabungaw,
varnished and polished it to make it more durable and unique yellow
sheen. In San Quintin, Abra, Teofilo Garcia would often walk around
town wearing his gourd casques. Through word of mouth and his participation in the annual
local harvest festival, Garcia was able to introduce the Tabungaw plant as a good and sturdy
material for functional, elegant, and protective hats. He produces everything he needs —
planting and harvesting the gourds, splitting, and refining rattan for the lining, and weaving
Nito and bamboo for accents himself — and usually takes seven days to finish a hat.
Awarded in 2012, he continues to experiment and work on new designs.
Alonzo Saclag, traditional dancer and musician
A Kalinga of Lubuagan, Kalinga was awarded for his

mastery of the Kalinga dance and the performing arts. He was also
recognized for his persistence to create and nurture a greater
consciousness and appreciation of Kalinga culture among the
Kalinga themselves and beyond their borders. It was through
observation, time, and experience — rather than education or
training or any kind — that Alonzo Saclag of Lubuagan, Kalinga
mastered local musical instruments, along with dance patterns
associated with rituals. Some of these are rarely performed, but
d one so with special purposes, whether it’s preparing for retaliation, a
vict orious vindication for the community, or forging successful peace
pacts. Saclag understands the importance of his practice and is a strong advocate of
passing on his knowledge and continuing the use of traditional dress and adornments. His
efforts have included formal education, reaching radio stations, and the formation of the
Kalinga Budong Dance Troupe. He was awarded in 2000.
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Masino Intaray, chanter and musician
A Pala'wan of Brookes Point, Palawan. He was awarded

for his exemplary skills in basal or gong music ensemble. He was
also recognized for his versatility as musician, poet, epic chanter,
and storyteller of the Kulilal and Bagit traditions of the Pala'wan. A
member of the Pala’wan tribe, musician and epic chanter Masino
Intaray was a master of the basal, a gong music ensemble played
during rice cooking (tambilaw) and sharing (tinapay) rituals, which gather the
community as they serve offerings to Pala’wan rice god Ampo’t Paray. Intaray also
performed the Kulilal, a lyrical poem expressing love, accompanied by two-stringed lute and
bamboo zither, and the bagit, an instrumental piece about nature. His memory and
determination guided him in chanting through many successive nights, reciting epics, stories,
myths of origin, and the teachings of ancestors. Intaray, who was awarded in 1993, died in
2013.
What’s More
Activity 2: Summing Up!

You have already discovered the famous GAMABA awardees and their works and expertise.
This time let us try how far your learning is. What you are going to do is to fill in the table
with the important information of all GAMABA awardees. The first one is done for you.
Gamaba Awardees Form Ethnicity Expertise Year of

Confirmation
Lang Dulay Weaving T’boli Tinalak weaving 1998
Factors Affecting the Traditional Artist’s Production Process
1. Christianization. The impact of Christianity and the discussion of the locals to a

remote religion have made individuals from the network reject their indigenous
ceremonies and customs. At more regrettable, individuals are persuaded that the last
are crude and thusly their training has no spot in contemporary culture. Now and
again
2. notwithstanding, the network figures out how to syncretize their indigenous ways with
customs of Christianity.
3. Mining and framework venture – mining and system adventures expel individuals
from their homes and seriously harm the earth. Denied the abundance of the land,
indigenous gatherings are provoked to look for short – term work from these
businesses to get by in a cash economy.
4. Tourism – plays a big role in one's nation. This is to promote the culture,
environment, and the life of a nation to others. Along these lines, land regions are
changed over into locales for traveler utilization. Environmental spaces become
increasingly vulnerable to harm with the consolidated powers of catastrophic events
8
and visitor convenience. Works of art local to the network will in general reduce in
quality. Expelled from their
9
unique setting, the works are changed into mass delivered ornaments so as to satisfy
the needs of the traveler exchange. Neon hues and structures woven from
engineered strands have been made accessible as of late to make projects of
levelheaded material plans for business purposes.
5. Militarization. The weakness and pressures realized by hostile areas capture the
individuals' capacity to make workmanship. It keeps individuals from having public
social events, were trades and passing information can happen.
What I Can Do
Activity 3: Create a story.
Create a comic strip or a story book. Choose from the above factors that affects the
traditional artist’s production process as your theme or topic. You can draw and color by
hand on a bond paper or any similar material. (The teacher will prepare rubrics as a tool for
scoring)
What I Have Learned
Congratulations because you were able to succeed the activity above. What do you
believe are a portion of the issues identified with the awards? What do you think are the
challenges faced by our living treasures before they become an awardee?
Now, let us walk around and see the sights of the challenges met by our living
treasures when it comes to the production process and the changing environment.
The conventional specialists' method of creation keeps on being influenced with the
elements of progress. Environmental debasement introduced by disasters, modernization,
and free enterprise tries uprooting the indigenous people groups from their hereditary path.
As their command post, it is considered of foremost significance - this is the place assets are
assembled and shared, and where culture is performed.
Answer the following questions briefly. 5 points each.
1. What is the essence of GAMABA? Do you think having two national credits for
human expressions emphasize the gap between independent articulations and
regular, network-based ceremonies and works of art?
2. How traditions become contemporary and contemporary becomes traditional.
3. Contemporary art is an art of today, as a senior high school student do you consider
yourself a contemporary artist or a traditional one? How and why?
What I Can Do
Activity 5: Creating a poster
(The Teacher will make rubrics as tool for scoring)
Name one traditional art form in your community. Create a poster to promote it. It can
be on long bond paper or you can digitally make the poster with computer. Explain your
concept and share to your friends or family.
9
National Artists of the
Lesson
Philippines and their
Contribution
In the past exercise, we have found out about the GAMABA as an honor given to the
customary expressions. Here we will find out about another national award for the craftsmen
who participate specifically disciplinal regions, for example, the visual expressions. We may
experience a portion of the craftsmen we have referred to already. In this lesson, we take a
gander at their works all the more intently, particularly as far as joint effort and trade, as we
see the National Artist Award in the soul of the open circle, to whom specialists and grant –
giving bodies are considered responsible.
What I Need to Know

What is the National Artists Award? Among the different honors and acknowledgment
instruments, the National Artists Award (NAA) presents the most elevated type of
acknowledgment to Filipino craftsmen for their noteworthy commitments in expressions of
the human experience and letters.
It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions; in particular, Music,
Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts, and Architecture and Allied
Arts. The request is mutually directed by the National Commission for Culture and the Arts
(NCCA) and the Cultural Center of the Philippines (CCP) and gave by the President of the
Philippines upon suggestion by the two organizations.
It has a similar glory as the GAMABA and the National Scientist Award. The honor is
presented at regular intervals through a thorough consultation and determination process
mutually encouraged by two significant social workplaces, the National Commission on
Culture and expressions of the human experience and the social focal point of the
Philippines.
NAA was built up in 1972 under Presidential Decree No. 1001 gave by then
President Ferdinand Marcos. The first was Fernando Amorsolo, who was presented the
honor after death. Much has changed since the organization of the honor. As of this
composition, the list has included 66 awardees from seven disciplinal zones, to be specific:
engineering, structure and associated expressions, film and communicate expressions,
visual expressions, writing, move, music, and theater.
1
What’s New
Activity 1: Solving the Puzzle – fill in the puzzle with the correct answer.
(Please answer in your own sheet of paper)
Across
1 The highest form of award given to Filipino artist
3 He issued PD no. 1001
5 National Commission on Culture and the Arts
7 National Scientist Award
9 a person who is skilled in a craft.
1 2 6 8 10
4 3
5
9
7
Down:
2 First Filipino artist awardee
4 Gawad sa Manlilikha ng Bayan
6 a person who is awarded something
8 merit / honor
10 skills
What Is It
Who are the awardees? Who are the National Artists in music, dance, theater,
architecture, and visual arts? What are their most important contributions to the country? Are
there criteria laid down as basis in choosing them? These are some of the few questions that
comes into mind when we talk about awardees.
The choice of the National Artist of the Philippines is based on a broad criteria set forth by
the Cultural Center of the Philippines and the National Commission on Culture and the Arts:
(https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines)
1. Living artists who have been Filipino citizens for the last ten years prior to nomination
as well as those who have died after the establishment of the award in 1972 but
were Filipino citizens at the time of their death.
2. Artists who have helped build a Filipino sense of nationhood through the content and
form of their works.
3. Artists who have distinguished themselves by pioneering in a mode of creative
expression or style, making an impact on succeeding generations of artists.
4. Artists who have created a significant body of works and/or have consistently
displayed excellence in the practice of their art form, enriching artistic expression or
style; and
5. Artists who enjoy broad acceptance through prestigious national and/or international
recognition, awards in prestigious national and/or international events, critical
acclaim and/or reviews of their works, and/or respect, and esteem from peers within
an artistic discipline.
2
Since the criteria are presented above, let us get ready! We will sail to meet and greet the
famous National Artist of the Philippines. Now let us begin!
National Artists of the Philippines

(Note: All the information of the awardees are crafted from the National Commission for Culture and the
Arts) https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/
PABLO S. ANTONIO
National Artist for Architecture
(1976)
(January 25, 1902 – June 14, 1975)
His basic design is grounded

on simplicity, no clutter. The lines
are clean and smooth, and where
there are curves, these are made integral to the structure. Antonio’s major works
include the following: Far Eastern University Administration and Science
buildings; Manila Polo Club; Ideal Theater; Lyric Theater; Galaxy Theater;
Capitan Luis Gonzaga Building; Boulevard-Alhambra (now Bel-Air)
apartments; Ramon Roces Publications Building (now Guzman Institute of
Electronics)(https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/)
LEANDRO V. LOCSIN
National Artist for Architecture, 1990
(August 15, 1928 – November 15, 1994)
He reshaped the urban landscape with a distinctive architecture reflective of

Philippine Art and Culture. He believes that the true Philippine Architecture is “the product of
two great streams of culture, the oriental and the occidental… to produce a new object of
profound harmony.” It is this synthesis that underlies all his works, with his achievements in
concrete reflecting his mastery of space and scale.
Locsin’s largest single work is the Istana Nurul Iman, the palace of the Sultan
of Brunei, which has a floor area of 2.2 million square feet. The CCP Complex itself
is a virtual Locsin Complex with all five buildings designed by him — the Cultural
Center of the Philippines, Folk Arts Theater, Philippine International
Convention Center, Philcite and The Westin Hotel (now Sofitel Philippine
Plaza).
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)
JUAN F. NAKPIL
(May 26, 1899 – May 7, 1986)
An architect, teacher, and civic leader is a pioneer and innovator in Philippine

architecture. Nakpil’s greatest contribution is his belief that there is such a thing as Philippine
Architecture, espousing architecture reflective of Philippine traditions and culture.
Among others, Nakpil’s major works are the Geronimo de los Reyes Building,Magsaysay
Building, Rizal Theater, Capitol Theater, Captain Pepe Building, Manila Jockey Club,
Rufino Building, Philippine Village Hotel, University of the PhilippinesAdministration
and University Library, and the reconstructed Rizal house in Calamba, Laguna.
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)
3
ILDEFONSO P. SANTOS, JR.
(September 5, 1929 – January 29, 2014)
Ildefonso Paez Santos, Jr., distinguished himself by pioneering the practice of

landscape architecture–an allied field of architecture–in the Philippines and then producing
four decades of exemplary and engaging work that has included hundreds of parks, plazas,
gardens, and a wide range of outdoor settings that have enhanced contemporary Filipino life.
Santos, Jr., who grew up in Malabon, made his first mark with the Makati Commercial
Center where he introduced a new concept of outdoor shopping with landscaped walks,
fountains and sculptures as accents. Santos, Jr.’s contribution to modern Filipino landscape
architecture was the seminal public landscape in Paco Park. Santos, Jr.’s most recent
projects were the Tagaytay Highland Resort, the Mt. Malarayat Golf and Country Club in
Lipa, Batangas, and the Orchard Golf and Country Club in Imus, Cavite.
https://ncca.gov.ph/about- culture-and-arts/culture-profile/national-artists-of-the-philippines/)
FRANCISCO T. MANOSA
National Artist for Architecture and Allied Arts (2018)
Birthday: 12 February 1931
For all his more than 60 years of architecture life, Arc. Bobby Mañosa designed
Filipino. From the 1960s in his landmark design of the Sulo Hotel until his retirement about
2015, he courageously and passionately created original Filipino forms, spaces with
intricateand refined details. But what is most valuable is that Mañosa was in the heart and
soul of a Philippine architectural movement. He has developed a legacy of Philippine
architecture, which is essential to our Filipino identity and at the same time, deeply
appreciated and sharedin our world today.
Major Works:
 San Miguel Building, Ortigas Center, Pasig City (designed with the Mañosa Brothers)
 Chapel of the Risen Lord, Las Piñas City
 Our Lady of Peace Shrine, EDSA, Quezon City
 World Youth Day Papal Altar, Quirino Grandstand, Manila, 1995
 Metrorail Transit System Stations for LRT 1, circa 1980s
 Quezon Memorial Circle Development Plan
 Lanao del Norte Provincial Capitol, Tubod, Lanao del Norte
 Tahanang Pilipino (Coconut Palace), CCP Complex, Manila
 Amanpulo Resort, Palawan
 Pearl Farm Resort, Samal Island, Davao, completed 1994
 La Mesa Watershed Resort and Ecological Park, La Mesa Dam, Quezon City
( Source:https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)
4
LAMBERTO V. AVELLANA
National Artist for Theater and
Film (1976)
(February 12, 1915 – April 25,
1991)
Lamberto V. Avellana,
director for theater and film, has the
distinction of being called “The Boy
Wonder of Philippine Movies” as
early as 1939. He was the first to use the motion picture camera to establish a point-of-view,
a move that revolutionized the techniques of film narration.
Sakay was declared the best picture of 1939 by critics and journalists alike and set
the tone for Avellana’s career in film that would be capped by such distinctive achievements
as the Grand Prix at the Asian Film Festival in Hong Kong for Anak Dalita (1956); Best
Director of Asia award in Tokyo for Badjao, among others. Avellana was also the first
filmmaker to have his film Kandelerong Pilak shown at the Cannes International Film
Festival. Among the films he directed for worldwide release were Sergeant Hasan (1967),
Destination Vietnam (1969), and The Evil Within (1970).
LINO BROCKA
National Artist for Film and Broadcast Arts (1997)
(April 3, 1939 – May 22, 1991)
Catalino “Lino” Ortiz Brocka, director for film and broadcast arts, espoused the
term “freedom of expression” in the Philippine Constitution. Brocka took his social activist
spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized
sectors of society — slum-dwellers, prostitutes, construction workers, etc. He also directed
for theater with equal zeal and served in organizations that offer alternative visions, like the
Philippine Educational Theater Association (PETA) and the Concerned Artists of the
Philippines (CAP). At the same time, he garnered awards and recognition from institutions
like the CCP, FAMAS, TOYM, and Cannes Film Festival.
To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted:
Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka
Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976),
“Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989),
“Makiusap Ka sa
Diyos” (1991).
ISHMAEL BERNAL
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996)
Ishmael Bernal was a filmmaker of the first order and one of the very few who can
be truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.”
Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage”
(1983), “Himala” (1982), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was
recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards;
four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the
ASEAN Cultural Award in Communication Arts in 1993.
5
FERNANDO POE, JR.
National Artist for Cinema (2006)
(August 20, 1939 – December 14, 2004)
Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a cultural icon of
tremendous audience impact and cinema artist and craftsman–as actor, director, writer and
producer. *
The image of the underdog was projected in his films such as Apollo Robles(1961),
Batang Maynila (1962), Mga Alabok sa Lupa (1967), Batang Matador and Batang
Estibador (1969), Ako ang Katarungan (1974), Tatak ng Alipin(1975), Totoy Bato (1977),
Asedillo (1981), Partida (1985), and Ang Probisyano (1996), among manyothers. The
mythical hero, on the other hand, was highlighted in Ang Alamat (1972), Ang Pagbabalik
ng Lawin (1975) including his Panday series (1980, 1981, 1982, 1984) and the action
adventure films adapted from komiks materials such as Ang Kampana sa Santa
Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat (1975), among others. Poe
was born in Manila on August 20, 1939. After the death of his father, he dropped out of the
University of the East in his sophomore year to support his family. He was the second of six
siblings. He married actress Susan Roces in a civil ceremony in December 1968. He died
onDecember 14, 2004.
KIDLAT TAHIMIK
National Artist for Film (2018)
Birthday: 3 October 1942
Kidlat Tahimik has continually invented himself through his cinema, and so his cinema is as
singular as the man. His debut film, Mababangong Bangungot (1977), was praised by critics
and filmmakers from Europe, North America, Asia, and Africa and is still considered by many
as a pioneering postcolonial essay film. Tahimik’s intense independence as an artist and, at
the same time, the film itself called for Filipinos to actively live out their independence and
not allow their culture to be imperialized by the west. Kidlat’s “imperfect” film is an exemplar
of what is worldwide known as “Third Cinema,” a cinema that is critical of neocolonial
exploitation and state oppression.
Notable Works:
 Balikbayan #1: Memories of Overdevelopment Redux (2015)

 Japanese Summers of a Filipino Fundoshi (1996)
 Why Is Yellow the Middle of the Rainbow? (1983-1994)
 Orbit 50: Letters to My 3 Sons (1990-1992)
 Turumba (1983)
 Who Invented the Yoyo? Who Invented the Moon Buggy? (1979)
 Mababangong Bangungot/Perfumed Nightmare (1977)
6
FERNANDO AMORSOLO
National Artist for Visual Arts
(May 30, 1892 – April 24, 1972)
Fernando C. Amorsolo the first

National Artist awardee. He was
titled “Grand Old Man of Philippine
Art” was bestowed on Amorsolo
when the Manila Hilton inaugurated its art center on January 23, 1969, with an exhibit of a
selection of his works.
Among others, his major works include the following: Maiden in a Stream(1921)-GSIS
collection; El Ciego (1928)-Central Bank of the Philippines collection; Dalagang Bukid
(1936) – Club Filipino collection; The Mestiza (1943) – National Museum of thePhilippines
collection; Planting Rice (1946)-UCPB collection; Sunday Morning Going to Town (1958)-
Ayala Museum Collection.
HERNANDO R. OCAMPO
National Artist for Visual Arts (1991)
(April 28, 1911 – December 28, 1978)
He is a self-taught painter and was a leading member of the pre-war Thirteen

Moderns, the group that charted the course of modern art in the Philippines. His works
provided an understanding and awareness of the harsh social realities in the country
immediately after the Second World War and contributed significantly to the rise of the
nationalist spirit in the post- war era.
Ocampo’s acknowledged masterpiece Genesis served as the basis of the curtain

design of the Cultural Center of the Philippines Main Theater. His other major works include
Ina ng Balon, Calvary, Slum Dwellers, Nude with Candle and Flower, Man and
Carabao, Angel’s Kiss, Palayok at Kalan, Ancestors,Isda at Mangga, The Resurrection,
Fifty- three “Q”, Backdrop, Fiesta.
ABDULMARI ASIA IMAO

(January 14, 1936 – December 16, 2014)
A native of Sulu, Abdulmari Asia Imao is a sculptor, painter, photographer,

ceramist, documentary filmmaker, cultural researcher, writer, and articulator of Philippine
Muslim art and culture. Through his works, the indigenous ukkil, sarimanok and naga motifs
have been popularized and instilled in the consciousness of the Filipino nation and other
peoples as original Filipino creations.
Industry Brass Mural, Philippine National Bank, San Fernando, La Union Mural
Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the Philippines, San Fernando, La Union Sulu
Warriors (statues of Panglima Unaid and Captain Abdurahim Imao), 6 ft., Sulu Provincial
Capitol.
7
GUILLERMO TOLENTINO
National Artist for Sculpture (1973)
(July 24, 1890 – July 12, 1976)
Guillermo Estrella Tolentino is a product of the Revival period in Philippine art. The
result was the UP Oblation that became the symbol of freedom at the campus.
Acknowledged as his masterpiece and completed in 1933, The Bonifacio Monument in
Caloocan stands as an enduring symbol of the Filipinos’ cry for freedom Other works
include the bronze figures of President Quezon at Quezon Memorial, life-size busts of
Jose Rizal at UP and UE, marble statue of Ramon Magsaysay in GSIS Building;
granolithics of heroic statues representing education, medicine, forestry, veterinary science,
fine arts and music at UP. He also designed the gold and bronze medals for the Ramon
Magsaysay Award and did the seal of the Republic of the Philippines.
Portrait, Night Glows,Grand Finale, Cities of the Past, Imaginary Landscapes.

His mural painting Black and White is displayed in the lobby of the CCP’s Bulwagang Carlos
V. Francisco (Little Theater). His sculpture of a stainless steel cube is located in front of the
Benguet Mining Corporation Building in Pasig.
LAURO “Larry” ALCALA

(18 August 1926-24 June 2002)
His comic strips spiced up the slices of Filipino lives with witty illustrations executed
throughout his 56 years of cartooning. He created over 500 characters and 20 comic strips in
widely circulated publications. Alcala’s most iconic work, Slice of Life, not only made for
decades long of widely circulated images of Filipino everyday life, it also symbolically
became an experiential way for his followers to find a sense of self in the midst of an often
cacophonic, raucous and at odds environment that Filipinos found themselves amidst.
Notable Works:
Slice of Life Weekend 1980-1986
Asiong Aksaya, Daily Express, Tagalog Klasiks, 1976-1984
Smolbatteribols, Darna Komiks 1972-1984
Siopawman, Daily Express, 1972-1983, 2002
Kalabogesyons, Pilipino Komiks, 1966-1972
Congressman Kalog, Aliwan Komiks, 1966-1972
Baryo Pogspak, Holiday Komiks, 1966-1972
Loverboy, Redondo Komiks, 1964-1969
Mang Ambo, Weekly Graphic, 1963-1965
Kalabog en Bosyo, Pilipino Komiks, 1949-1983
Islaw Palitaw, 1946-1948
.
FRANCISCO ARCELLANA
National Artist for Literature (1990)
(September 6, 1916 – August 1, 2002)
Francisco Arcellana, writer, poet,

essayist, critic, journalist, and teacher is
one of the most important progenitors of
the modern Filipino short story in English.
He pioneered the development of the short
story as a lyrical prose-poetic form. A brilliant craftsman, his works are now an
indispensable part of a tertiary-level-syllabi all over the country. Arcellana’s published
books are Selected Stories (1962), Poetry and Politics: The State of Original
Writing in English in the Philippines Today (1977), The Francisco Arcellana
Sampler (1990).
EDITH L. TIEMPO
(April 22, 1919 – August 21, 2011)
A poet, fictionist, teacher and literary critic, Edith L. Tiempo is one of the finest
Filipino writers in English. Her works are characterized by a remarkable fusion of style and
substance, of craftsmanship and insight. Born on April 22, 1919 in Bayombong, Nueva
Vizcaya, her poems are intricate verbal transfigurations of significant experiences as
revealed, in two of her much-anthologized pieces, “The Little Marmoset” and “Bonsai”. As
fictionist, Tiempo is as morally profound. Her language has been marked as “descriptive but
unburdened by scrupulous detailing.” She is an influential tradition in Philippine literature in
English. Together with her late husband, Edilberto K. Tiempo, she founded and directed the
Silliman National Writers Workshop in Dumaguete City, which has produced some of the
country’s best writers.
BIENVENIDO LUMBERA
Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he introduced to Tagalog

literature what is now known as Bagay poetry, a landmark aesthetic tendency that has
helped to change the vernacular poetic tradition. He is the author of the following works:
Likhang Dila, Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang
Lunot at Manibalang, 2002; Sa Sariling Bayan, Apat na Dulang May Musika, 2004;
“Agunyas sa Hacienda Luisita,” Pakikiramay, 2004.
As a librettist for the Tales of the Manuvu and Rama Hari, he pioneered the creative fusion
of fine arts and popular imagination. As a scholar his major books include the following:
Tagalog Poetry, 1570-1898: Tradition and Influences in its Development; Philippine
Literature: A History and Anthology, Revaluation: Essays on Philippine Literature,
Writing the Nation/Pag-akda ng Bansa.
9
VIRGILIO S. ALMARIO
National Artist for 2003
He is also known as Rio Alma, is a poet, literary historian, and critic, who has revived
and reinvented traditional Filipino poetic forms, even as he championed modernist poetics.
In
34 years, he has published 12 books of poetry, which include theseminal
Makinasyon and Peregrinasyon, and the landmark trilogy Doktrinang Anakpawis, Mga
Retrato at Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works,his poetic voice
soared from the lyrical to the satirical to the epic, from the dramatic to the incantatory, in his
often severe examination of the self, and the society.
RAMON L. MUZONES
(20 March 1913-17 August 1992)
Ramon Muzones was a Hiligaynon poet, essayist, short story writer, critic,
grammarian, editor, lexicographer, and novelist who authored an unprecedented 61
completed novels. A number of these represent groundbreaking “firsts’ in Hiligaynon
literature such as the feminist Ang Bag-ong Maria Clara, the roman a clef Maambong Nga
Sapat (Magnificent Brute,1940), the comic Si Tamblot (1946), the politically satirical Si
Tamblot KandidatoMan (Tamblot is Also a Candidate, 1949), the 125- installment longest
serialized novel Damade Noche (1982- 84), etc. Hailed by his peers as the longest reigning
(1938-1972) among “thethree kings of the Hiligaynon novel,” Muzones brought about its
most radical changes while ushering in modernism. With a literary career that spanned fifty-
three years (1938-1990), his evolution covers the whole history of the Hiligaynon novel from
its rise in the 1940s to its decline in the 1970s. Muzones tried his hand at a variety of types
and proved adept in all as literary fashions. In the process, he not only extended with
remarkable versatility and inventiveness the scope and style of the Hiligaynon novel, but he
also enriched Hiligaynon literature’s dramatis personae.
Notable Works:
Shri-Bishaya (1969)
Malala nga Gutom (Malignant Hunger,1965)
Babae Batuk sa Kalibutan (Woman Against the World,1959)
Ang Gugma sang Gugma Bayaran (Love with Love Be Paid, 1955)
Si Tamblot (1948)
Margosatubig (1946)
10
RAMON VALERA
National Artist for Fashion Design
(2006)
(August 31, 1912 – May 25, 1972)
The contribution of Ramon

Valera, whose family hails from Abra,
lies in the tradition of excellence of his
works, and his commitment to his
profession, performing his magical
seminal innovations on the Philippine terno. Valera is said to have given the country its
visual icon to the world via the terno. In the early 40s, Valera produced a single piece of
clothing from a four-piece ensemble consisting of a blouse, skirt, overskirt, and long scarf.
He unified the components of the baro’t saya into a single dress with exaggerated bell
sleeves, cinched at the waist, grazing the ankle, and zipped up at the back.
Using zipper in place of hooks was already a radical change for the country’s elite
then. Dropping the panuelo–the long-folded scarf hanging down the chest, thus serving as
the Filipina’s gesture of modesty–from the entire ensemble became a bigger shock for the
women then. Valera constructed the terno’s butterfly sleeves, giving them a solid, built-in but
hidden support. To the world, the butterfly sleeves became the terno’s defining feature.
SALVADOR F. BERNAL
National Artist for Theater
Design (2003)
(January 7, 1945 – October 26,
2011)
Salvador F. Bernal designed

more than 300 productions
distinguished for their
originality.
Sensitive to the budget limitations of local productions, he harnessed the design potential of
inexpensive local materials, pioneering or maximizing the use of bamboo, raw abaca, and
abaca fiber, hemp twine, rattan chain links and gauze cacha.As the acknowledged guru of
contemporary Filipino theater design, Bernal shared his skills with younger designers
through his classes at the University of the Philippines and the Ateneo de Manila University,
and through the programs he created for the CCP Production Design Center which he
himself conceptualized and organized.
CARLOS QUIRINO
National Artist for Historical
Literature (1997)
(January 14, 1910 – May 20, 1999)
Carlos Quirino, a biographer, has

the distinction of having written one
of the earliest biographies of Jose
Rizal titled The Great Malayan.
Quirino’s books and articles span
the whole gamut of Philippine history and culture–from Bonifacio’s trial to Aguinaldo’s
biography, from Philippine cartography to culinary arts, from cash crops to tycoons and
11
president’s lives,
12
among so many subjects. In 1997, Pres. Fidel Ramos created historical literature as a new
category in the National Artist Awards and Quirino was its first recipient. He made a record
earlier on when he became the very first Filipino correspondent for the United Press
Institute.His book Maps and Views of Old Manila is considered as the best book on the
subject. His other books include Quezon, Man of Destiny, Magsaysay of the Philippines,
Lives of the Philippine Presidents, Philippine Cartography, The History of Philippine
Sugar Industry, Filipino Heritage: The Making of a Nation, Filipinos at War: The Fight
for Freedom from Mactan to EDSA.
FRANCISCA REYES AQUINO

National Artist for Dance (1973)
(March 9, 1899 – November 21, 1983)
Francisca Reyes Aquino is

acknowledged as the Folk-Dance
Pioneer. This Bulakeña began her
research on folk dances in the
1920s making trips to remote
barrios in Central and Northern
Luzon. Her research on the unrecorded forms of local celebration, ritual, and sport resulted
into a 1926 thesis titled “Philippine Folk Dances and Games,” and arranged specifically for
use by teachers and playground instructors in public and private schools.
Her books include the following: Philippine National Dances (1946); Gymnastics for Girls
(1947); Fundamental Dance Steps and Music (1948); Foreign Folk Dances
(1949); Dances for all Occasion (1950); Playground Demonstration (1951); and
Philippine Folk Dances, Volumes I to VI.
RAMON OBUSAN
(June 16, 1938 – December 21, 2006)
Ramon Obusan was a dancer, choreographer, stage designer, and artistic director.
He achieved phenomenal success in Philippine dance and cultural work. He was also
acknowledged as a researcher, archivist and documentary filmmaker who broadened and
deepened the Filipino understanding of his own cultural life and expressions. Through the
Ramon Obusan Folkloric Grop (ROFG), he had affected cultural and diplomatic exchanges
using the multifarious aspects and dimensions of the art of dance. mong the full-length
productions he choreographed are the following: “Vamos a Belen! Series” (1998-2004)
Philippine Dances Tradition“Noon Po sa Amin,” tableaux of Philippine History in song,
drama and dance“Obra Maestra,” a collection of Ramon Obusan’s dance
masterpieces“Unpublished Dances of the Philippines,” Series I-IV “Water,
Fire and Life, Philippine Dances and Music–A Celebration of Life. Saludo sa
Sentenyal”“Glimpses of ASEAN, Dances and Music of the ASEAN-Member
Countries”“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in Dance”
13
ALICE REYES
She is a dancer, choreographer, teacher, and director, she has made a lasting impact
on the development and promotion of contemporary dance in the Philippines. Her dance
legacy is evident in the dance companies, teachers, choreographers, and the exciting
Filipino modern dance repertoire of our country today. Her biggest contribution to Philippine
dance is the development of a distinctly Filipino modern dance idiom. Utilizing inherently
Filipino materials and subject matters expressed through a combination of movements and
styles from Philippine indigenous dance, modern dance, and classical ballet she has
successfully created a contemporary dance language that is uniquely Filipino.
Her masterpiece Amada to the modern dance classic Itim-Asu, to her last major work
Bayanihan Remembered which she staged for Ballet Philippines Among her major works:
Amada (1969), At a Maranaw Gathering (1970) Itim-Asu (1971), Tales of the Manuvu
(1977), Rama Hari (1980), Bayanihan Remembered (1987).
LEONOR OROSA GOQUINGCO

National Artist for Dance
(July 24, 1917 – July 15, 2005)
Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and “Dean of Filipino
Performing Arts Critics”, Leonor Orosa Goquingco, pioneer Filipino choreographer in
balletic folkloric and Asian styles, produced for over 50 years highly original, first-of-a-kind
choreographies, mostly to her own storylines.
These include “TREND: Return to Native,” “In a Javanese Garden,” “Sports,”

“VINTA!,” “In a Concentration Camp,” “The Magic Garden,” “The Clowns,” “Firebird,”
“Noli Dance Suite,” “The Flagellant,” “The Creation…” Seen as her most ambitious work is
the dance epic “Filipinescas: Philippine Life, Legend and Lore.” With it, Orosa brought
native folk dance, mirroring Philippine culture from pagan to modern times, to its highest
stage of development
LUCRECIA REYES-URTULA
(June 29, 1929 – August 4, 1999)
A choreographer, dance educator and researcher, spent almost four decades in the
discovery and study of Philippine folk and ethnic dances. She applied her findings to project
a new example of an ethnic dance culture that goes beyond simple preservation and into
creative growth. Over a period of thirty years, she had choreographed suites of mountain
dances, Spanish-influenced dances, Muslim pageants and festivals, regional variations and
dances of the countryside for the Bayanihan Philippine Dance Company of which she was
the dance director. These dances have all earned critical acclaim and rave reviews from
audiences in their world tours in Americas, Europe, Asia, Australia and Africa. Among the
widely acclaimed dances she had staged were the following: Singkil, a Bayanihan signature
number based on a Maranao epic poem; Vinta, a dance honoring Filipino sailing prowess;
Tagabili, a tale of tribal conflict; Pagdiwata, a four-day harvest festival condensed into a six-
minute breath-taking spectacle; Salidsid, a mountain wedding dance ; Idaw, Banga and
Aires de Verbena.
14
ANTONINO BUENAVENTURA
National Artist for Music
(1988)
(May 4, 1904 – January 25,
1996)
In 1935, Buenaventura joined

Francisca Reyes-Aquino to
conduct research on folksongs
and dances that led to its
popularization. Buenaventura
composed songs, compositions,
for solo instruments as well as
symphonic and orchestral works based on the folksongs of various Philippine ethnic groups.
He was also a conductor and restored the Philippine Army Band to its former prestige as one
of the finest military bands in the world making it “the only band that can sound like a
symphony orchestra”. This once sickly boy who played the clarinet proficiently has written
several marches such as the “Triumphal March,” “Echoes of the Past,” “History Fantasy,”
Second Symphony in E-flat, “Echoes from the Philippines,” “Ode to Freedom.” His
orchestral music compositions include Concert Overture, Prelude and Fugue in G Minor,
Philippines Triumphant, Mindanao Sketches, Symphony in C Major, among others.
JOSE MACEDA
National Artist for Music (1997)
(January 31, 1917 – May 5, 2004)
Jose Maceda, composer, musicologist, teacher and performer, explored the

musicality of the Filipino deeply. Maceda embarked on a life-long dedication to the
understanding and popularization of Filipino traditional music. He wrote papers that
enlightened scholars, both Filipino and foreign, about the nature of Philippine traditional and
ethnic music. Maceda’s experimentation also freed Filipino musical expression from a strictly
Eurocentric mold.Usually performed as a communal ritual, his compositions like Ugma-
ugma(1963), Pagsamba (1968), and Udlot-udlot (1975), are monuments to his unflagging
commitment to Philippine music. Other major works include Agungan, Kubing, Pagsamba,
Ugnayan, Ading, Aroding, Siasid, and Suling-suling.
LUCRECIA R. KASILAG
National Artist for Music
August 31, 1918 – August,
2008
An educator, composer, performing artist, administrator, and cultural entrepreneur of

national and international caliber, had involved herself wholly in sharpening the Filipino
audience’s appreciation of music.
She dared to incorporate indigenous Filipino instruments in orchestral productions,

such as the prize-winning “Toccata for Percussions and Winds, Divertissement and
Concertante,” and the scores of the Filiasiana, Misang Pilipino, and De Profundis. “Tita
King”, as she was fondly called, worked closely as music director with colleagues Lucresia
Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr. Leticia P. de Guzman and made
Bayanihan Philippine Dance Company one of the premier artistic and cultural groups in the
country. Her orchestral music includes Love Songs, Legend of the Sarimanok, Ang
Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber music like Awit ng mga
Awit Psalms, Fantaisie on a 4-Note Theme, and East Meets Jazz Ethnika.
15
ERNANI J. CUENCO
(May 10, 1936 – June 11, 1988)
Ernani J. Cuenco is a seasoned musician born on May 10, 1936 in Malolos,

Bulacan. A composer, film scorer, musical director, and music teacher, he wrote an
outstanding and memorable body of work that resonates with the Filipino sense of musicality
and which embody an ingenious voice that raises the aesthetic dimensions of contemporary
Filipino music. Cuenco played with the Filipino Youth Symphony Orchestra and the Manila
Symphony Orchestra from 1960 to 1968, and the Manila Chamber Soloists from 1966 to
1970. He completed a music degree in piano and cello from the University of Santo Tomas
where he also taught for decades until his death in 1988. His songs and ballads include
“Nahan, Kahit na Magtiis,” and “Diligin Mo ng Hamog ang Uhaw na Lupa,” “Pilipinas,”
“Inang Bayan,” “Isang Dalangin,” “Kalesa,” “Bato sa Buhangin” and “Gaano Kita
Kamahal.” The latter song shows how Cuenco has enriched the Filipino love ballad by
adding the elements of kundiman to it.
RYAN CAYABYAB
Birthday: 4 May 1954
Mr. C is the most accomplished composer, arranger, and musical director in the
Philippine music industry since this bloomed beginning 1970s. His learned, skillful, and
versatile musical style spans a wide range of genres: from conservatory or art compositions
such as concert religious music, symphonic work, art song, opera, and concerto to
mainstream popular idioms in the music industry and in live contemporary multimedia shows
(musical theater, dance, and film).
Notable Works:
 Rama-Hari (Two-act musical ballet, 1980)

 Katy! The Musical (Two-act musical, 1988)
 Smokey Mountain (Pop CD album, 1990)
 One Christmas (Christmas Album, 1993)
 Noli Me Tangere (Tele-sine musical, 1995)
 Spoliarium (Three-act opera, 2003)
 Ignacio Of Loyola (Film Score, 2016)
 Larawan: The Musical (Full-length musical film, 2017)
 Da Coconut Nut
 Kay Ganda Ng Ating Musika
 Nais Ko
 Paraiso
 Kahit Ika’y Panaginip Lang
 Kailan
 Tuwing Umuulan at Kapiling Ka
16
DAISY H. AVELLANA
National Artist for Theater (1999)
(January 26, 1917 – May 12, 2013)
Daisy H. Avellana, is an
actor, director, and writer. Born in
Roxas City, Capiz on January 26,
1917, she elevated legitimate
theater and dramatic arts to a new
level of excellence by staging and
performing in breakthrough
productions of classic Filipino and
foreign plays and by encouraging the establishment of performing groups and the
professionalization of Filipino theater. Together with her husband, National Artist
Lamberto Avellana and other artists, she co-founded the Barangay Theatre Guild in
1939 which paved the way for the popularization of theatre and dramatic arts in the
country, utilizing radio and television.
ROLANDO S. TINIO
National Artist for Theater and Literature (1997)
(March 5, 1937 – July 7, 1997)
Rolando S. Tinio, playwright, thespian, poet, teacher, critic, and translator marked his
career with prolific artistic productions. Tinio’s chief distinction is as a stage director whose
original insights into the scripts he handled brought forth production’s notable for their visual
impact and intellectual cogency. Subsequently, after staging productions for the Ateneo
Experimental Theater (its organizer and administrator as well), he took on Teatro Pilipino. It
was to Teatro Pilipino which he left a considerable amount of work reviving traditional Filipino
drama by re-staging old theater forms like the sarsuela and opening a treasure-house of
contemporary Western drama. It was the excellence and beauty of his practice that claimed
for theater a place among the arts in the Philippines in the 1960s. Aside from his collections
of poetry (Sitsit sa Kuliglig, Dunung – Dunungan, Kristal na Uniberso, A Trick of Mirrors)
among his works were the following: film scripts for Now and Forever, Gamitin Mo Ako,
Bayad Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the komedya
Orosman at Zafira; and Larawan, the musical.
WILFRIDO MA. GUERRERO

National Artist for Theater (1997)
(January 22, 1910 – April 28, 1995)
Wilfrido Ma. Guerrero is a teacher and theater artist whose 35 years of devoted
professorship has produced the most sterling luminaries in Philippine performing arts today:
Behn Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee Gamboa, etc. In 1947, he was
appointed as UP Dramatic Club director and served for 16 years. As founder and artistic
director of the UP Mobile Theater, he pioneered the concept of theater campus tour and
delivered no less than 2,500 performances in a span of 19 committed years of service. By
bringing theatre to the countryside, Guerrero made it possible for students and audiences, in
general, to experience the basic grammar of staging and acting in familiar and friendly ways
through his plays that humorously reflect the behavior of the Filipino. His plays include Half
an Hour in a Convent, Wanted: A Chaperon, Forever, Condemned, Perhaps, In Unity,
Deep in My Heart, Three Rats, Our Strange Ways, The Forsaken House, Frustrations.
17
HONORATA “ATANG” DELA RAMA
National Artist for Theater and Music (1987)
(January 11, 1902 – July 11, 1991)
Honorata “Atang” Dela Rama was formally honored as the Queen of Kundiman in
1979, then already 74 years old singing the same song (“Nabasag na Banga”) that she sang
as a 15-year old girl in the sarsuela’s Dalagang Bukid. Atang became the very first actress
in the very first locally produced Filipino film when she essayed the same role in the
Sarsuela’sfilm version. As early as age seven, Atang was already being cast in Spanish
zarzuelas suchas Mascota, Sueño de un Vals, and Marina. She counts the role though of
an orphanin Pangarap ni Rosa as her most rewarding and satisfying role that she played
with realism,the stage sparkling with silver coins tossed by a teary-eyed audience. Atang
passionately believes that the Sarsuela and the kundiman expresses best the Filipino soul,
and even performed kundiman and other Filipino songs for the Aetas or Negritos of
Zambales and the Sierra Madre, the Bagobos of Davao and other Lumad of Mindanao.
What’s More
Activity 2: Be Influenced
Choose among the Filipino artists at least three (3) mentioned above and explain how they
influenced you as a person.
Create a sample of their work: (Teacher will make rubrics as a tool for scoring)
What I have
Learned Summary
1. Traditional art is based on indigenous people’s cultures that are largely honed by
oral tradition. It finds deep affinities with nature, place, society, ritual, and
spirituality and everyday life.
2. The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN ( National
Living Treasures). It is an award given to recognize the outstanding work of the
artists in the Philippines
3. There are mechanics and guidelines to become a GAMABA.
17
4. There are thirteen (13) GAMABA awardees recognized by the Philippine
Commission of Culture and the Arts.
5. Factors Affecting the Traditional Artist’s Production Process
a. Christianization
b. Mining and infrastructure projects
c. Christianization
d. Militarization
6. National Artists Award is the highest national acknowledgment given to Filipino
people who have made noteworthy commitments to the improvement of
Philippine expressions; in particular, Music, Dance, Theater, Visual Arts,
Literature, Film, Broadcast Arts, and Architecture and Allied Arts. The request is
mutually directed by the National Commission for Culture and the Arts (NCCA)
and the Cultural Center of the Philippines (CCP) and gave by the President of the
Philippines upon suggestion by the two organizations.
What I Can Do
Activity 4: An Ideal Artist.

(Teacher will make a rubric as a tool for scoring)
Think about how you can represent an ideal artist. You may:
1. Create a drawing / painting / soft sculpture (using commercial clay, textiles, and
cotton, paper, etc.
2. Make an avatar using a computer program or application.
3. Perform a video monologue.
18
Assessment
Post Test
Multiple Choice. Select the letter of the best answer from among the given choices.
1. A Tinalak weaver who have produced creations which remain faithful to the T’boli
tradition as manifested in the complexity of her design, fineness of workmanship and
quality of finish.
C. Magdalena Gamayo C. Haja Amina
D. Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions.
C. GAMABA award C. GAMBANA award
D. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists in the Philippines
to promote a genuine appreciation of traditional craft and art.
C. GAMABA award C. GAMBANA award
D. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The Boy Wonder of
Philippine Movies”
C. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
D. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”
C. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
D. Fernando C. Amorsolo D. F. Sionil Jose
6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully
demonstrating the creative and expressive aspects of the Bagobo abaca ikat
weaving.
C. Ginaw Bilog C. Salinta Monon
D. Samaon Sulaiman D. Masino Intaray
7. She is known as the Queen of Kundiman.
C. Honorata “Atang” Dela Rama C. Andrea Veneracion
D. Daisy H. Avellana, D. Haja Amina Appi
8. Asian president of the United Nations General Assembly who multifaceted career
spanned 50 years of public service as an educator, soldier, university president,
journalist, and diplomat.
C. Amado V. Hernandez C. Carlos P. Romulo
D. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino filmmaker
whose life is devoted to the art and commerce of cinema spanning three generations
of filmmakers
C. Eddie Romero C. Ildefonso , P. Santos
D. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
C. Ginaw Bilog C. Salinta Monon
D. Samaon Sulaiman D. Teofilo Garcia
RUBRICS
References:
Flaudette May Datulin et. al 2016. Contemporary Philippine Arts from the Regions
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/
https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-
treasures.html
https://www.tccd.edu/magazine/volume-03/issue-02/arts/
https://artist-strange-work.com/why-is-art-so-important-to-mankind/
https://www.danebank.nsw.edu.au/why-the-arts-are-so-important-in-the-21st-century/
https://www.answers.com/Q/What_is_a_definition_of_context_in_art_terms
https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines
https://www.slideshare.net/DyenkayeSaludez/physical-education-and-health-grade-11
Para sa mga katanungan o puna, sumulat o tumawag sa:
Department of Education - Bureau of Learning Resources (DepEd-BLR) Ground
Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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Department of Education ● Republic of the Philippines

First Edition, 2020

Published by the Department of Education – Division of Cagayan de Oro

Development Team of the Module

Authors: Darlene D. Daliva

Co-Chairpersons: Victor G. De Gracia Jr.,PhD, CESO V

Cherry Mae L. Limbaco, PhD, CESO V

Rowena H. Para-on, PhD, CESE

Mala Epra B. Magnaong, Chief ES, CLMD

Printed in the Philippines by

This instructional material was collaboratively developed and reviewed

We value your feedback and recommendations.

Department of Education ● Republic of the Philippines

What this Module is About

Lesson 1: The Contemporary in Traditional Art: Gawad Sa

What I Need to Know................................................................................... 1

What I Have Learned: Synthesizing............................................................. 9

What I Need to Know from this module

At the end of this lesson, you should be able to:

Explain Filipino artists’ roles and identify their contribution to contemporary

How to Learn from this Module

What I Need to This part contains learning objectives that

What I know This is an assessment as to your level of

What’s New This is an introduction of the new lesson

What is It These are discussions of the activities as a

What’s More These are follow-up activities that are in-

What I Have These activities are designed to

What I can do These are tasks that are designed to show-

What I Need to Know

Photo Credit: https://bit.ly/37Grcwe

On the other hand, contemporary-traditional art refers to an art produced at the

Uwang Ahadas, musician

A Yakan of Lamitan, Basilan was awarded for his dexterity in

Magdalena Gamayo, textile weaver

Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving

Eduardo Mutuc, metalsmith, and artist

A Kapampangan from Central Luzon is recognized for reviving

A T'boli of Lake Sebu, South Cotabato, was awarded for weaving

Samaon Sulaiman, musician

A Maguindanaon of Mamasapano, Maguindanao. He was

Haja Amina Appi, Pandan mat weaver

Lives in Ungos Matata, Tandubas, Tawi-Tawi,. She is

A Panay-Bukidnon of Calinog, lloilo was awarded for his

Ginaw Bilog, poet

A Hanunuo Mangyan of Mansalay, Oriental Mindoro. Awarded

Salinta Monon, textile weaver

A GAMABA awardee of Tagabawa Bagobo of Bansalan,

A GAMABA awardee of barangay Parang, Jolo Island, Sulu

Teofilo Garcia, gourd hatmaker

A GAMABA awardee of San Quintin Abra who have

Alonzo Saclag, traditional dancer and musician

A Kalinga of Lubuagan, Kalinga was awarded for his

A Pala'wan of Brookes Point, Palawan. He was awarded

Activity 2: Summing Up!

Gamaba Awardees Form Ethnicity Expertise Year of

Factors Affecting the Traditional Artist’s Production Process

1. Christianization. The impact of Christianity and the discussion of the locals to a