GAWAD SA

MANLILIKH
A NG
BAYAN
GROUP ACTIVITY

GIBBERISH
 GAWAD SA MANLILIKHA NG BAYAN
SINCE THE PRE-SPANISH ERA, THE PHILIPPINES ARE RICH IN ITS
CULTURE. ANCESTORS ARE THE LIVING HERITAGE OR
CULTURE BEARERS OF THIS COUNTRY. THEY DEVELOPED
THESE NATIVE ART FORMS WHICH PORTRAY THE SIGNIFICANT
LIFE OF THE FILIPINOS. PEOPLE KNOW VERY LITTLE ABOUT
THE ART FORMS THAT EXIST UP TO THE PRESENT TIME. THESE
ARTISTS ARE DOING WHAT THEY VALUE AND LOVE TO MODIFY
AND KEEP THE TRADITIONAL ART ALIVE. PEOPLE CAN LEARN
FROM THE VAST KNOWLEDGE OF THESE INDIGENOUS PEOPLE
WHO CAN LIVE LONGER NOT ONLY THE TECHNIQUES TO
SURVIVE BUT ALSO THE DISTINCT IDENTITY OF BEING FILIPINO
In this lesson, you will learn about our sixteen (16)
National Living Treasures, known as the Gawad sa
Manlilikha ng Bayan (GAMABA) awardees from the
National Commission for Culture and the Arts or NCCA.
The awardees produce art forms that are woven into
everyday life. These show how pre-colonial traditions
continue through to the present time.
 As envisioned in Republic Act No. 7355
Known as Manlilikha ng Bayan Act was
established in 1992 and shall mean citizen
engaged in any traditional art uniquely Filipino,
whose distinct skills have reached such a high
level of technical and artistic excellence, and
have passed it on to in his or her community with
the same degree of technical and artistic
competence
National Commission for Culture and the Arts (NCCA)

The highest policy and coordinating body for

culture and the arts of the state. It has to search for
the finest traditional artist of the land who adopts
a program that will ensure the transfer of their
skills to others, undertakes measures to promote
a genuine appreciation of and crafts and give pride
among our people about the genius of Manlilikha
ng Bayan.
 The Gawad Manlilikha ng Bayan (GAMABA) Awardees
As Filipino who recognize the unique identities of our fellow
Filipinos, it is the right to see their contribution to the
community. The country is rich with various elements of tangible
and intangible cultural heritage which has passed on the new
generation. Culture as part of our Philippine identity includes a
variety of arts that enhance by our National Living Treasure
artists who are recognized in their special contribution to the
national heritage. These are Filipino citizen who is engaged in any
traditional art forms and has contributed to the development
of cultural diversity and the creativity of humanity.
 Awardee Contribution Region
GAMABA Awardees for the Surat Mangyan and Ambahan
year 1993
poetry
Preserve the Hanunuo
Mangyan
script and Ambahan (poem Panaytayan, Mansalay,
consisting of seven-syllable Oriental Mindoro,
lines) Region IV-B
and promote it on every MIMAROPA
occasion
Ginaw Bilog so that the art will not be lost
but
Epic Chanter and Storyteller An
preserved
outstandingfor posterity
master of the basal
(gong music), kulilal (highly lyrical
poem) and bagit (instrumental
music played on the kusyapi), also Pala’wan, Palawan Island,
played the aroding (mouth harp) Region IV-B MIMAROPA
and babarak (ring flute) and above
all, he was a prolific and pre-
eminent epic chanter and
Masino Intaray storyteller
 Awardee Contribution Region
GAMABA Awardees for the year 1993
Playing Kudyapi He achieved
the highest level of excellence in
the art of kutiyapi or kudyapi
(two-stringed lute) playing and Mamasapano, Maguidanao,
also proficient in kulintang, Western Midanao Bangsamoro
agong (suspended bossed gong Autonomous Region in Muslim
with wide rim), gandingan (bossed Mindanao (BARMM)
gong with narrow rim),
palendag (lip-valley flute), and
Samaon Sulaiman tambul.
 Awardee Contribution Region
5 GAMABA Awardees for the year 1998
T’nalak Weaving She is credited
with preserving her people’s
traditional T’nalak using abaca
fibers as fine as hair which
T’boli/Lake Sebu, South
traditionally has three primary
colors, red, black, and the original
Cotabato, Mindanao, Region
colors of abaca leave recreated XII SOCCSKSARGEN
by her nimble hands-the
crocodiles, butterflies, and
Lang Dulay flowers.

Inabal Weaving She was awarded

for fully demonstrating the
creative and expressive aspects
Tagabawa Bagobo/ Bansalan,
of the Bagobo abaca ikat (to tie
or bond) weaving called inabal
Davao del Sur, Region XI
(traditional textile of Bagobo) at Davao Region
a time when such art was
threatened with extinction.
Salinta Monon
 Awardee Contribution Region
GAMABA Awardees for the year 2000
Playing Yakan Instruments He
referred to for his ability and
mastery in playing different Yakan
instruments (made of bamboo, Yakan/ Lamitan, Basilan
wood, and metal) and for imparting
Island, Bangsamoro
his insight to the youngsters of his
locale. He keeps on performing and Autonomous Region in
instruct despite his diminishing Muslim Mindanao (BARMM)
visual perception, keeping the
Uwang Ahadas Yakan melodic custom alive and
thriving.
Chanting the Sugidanon Epic of
the Panay Bukidnon He
continuously works for the
documentation of the oral Sulod-Bukidnon/ Calinog,
literature, in particular the epics, Iloilo, Panay Island, Region
of people. These ten epics, VI Western Visayas
rendered in a language that,
though related to Kiniray-a, is
Federico no longer spoken.
Caballero
 Awardee Contribution Region
GAMABA Awardees for the year 2000
Playing Kalinga Musical
Instruments His lifestyle work is
to paint a portrait of his people
to record a tradition of opposites
Kalinga, Northern Luzon
and dualities, a peoples’ character
recorded in cadences each
Island, Cordillera
aggressive and gentle. Play Administrative Region (CAR)
Kalinga musical instruments
dance patterns and moves related
Alonzo Saclag to rituals.
 Awardee Contribution Region
GAMABA Awardees for the year 2004
Mat weaving She was
recognized as the master mat
weaver. Her colorful mats with Ungos Matata, Tandubas,
their complex geometric Tawi-Tawi, Bangsamoro
patterns showcased her Autonomous Region in
precise sense of design, Muslim Mindanao (BARMM)
proportion, and symmetry and
Haja Amina Appi sensitivity to color.
Metal Plating He is an artist who has
devoted his existence to developing
religious and secular artwork in
silver, bronze, and wood. His
intricately detailed retablos, mirrors,
altars, and carosas are in church Apalit, Pampanga, Region
buildings and non-public collections.
A range of these works are quite
III Central Luzon
large, some exceeding forty feet,
whilst some are very small and
Eduardo Mutoc feature very nice and refined
craftsmanship.
 Awardee Contribution Region
GAMABA Awardees for the year 2004
Pis syabit Weaving She
remained devoted and
persevered with her mission to Tausug/ Parang, Sulu,
teach the artwork of pis syabit
Bangsamoro Autonomous
weaving. Her strokes firm and
sure, her color sensitivity Region in Muslim
acute, and her dedication to Mindanao (BARMM)
the best of her products
Darhata Sawabi unwavering.
 Awardee Contribution Region
GAMABA Awardees for the year 2012
Abel Weaving She has been a master in
abel weaving from Pinili, Ilocos Norte.
She is not only weaving traditional Ilocano
textiles but also designs new patters. One
of her designs employs a difficult
weaving technique called pililian meaning Pinili, Ilocos Norte Region I
partially. The weave produces a one of a Ilocos Region
kind design that takes after a string of
flowers thus its name, inubon a sabong.
She did not formally study such traditional
art. Instead, she watched closely as her aunt
Magdalena Gamayo made and imitated the patterns.
Kattukong or Tabúngaw Hat
Making When he finishes
fieldwork as a farmer, he
focuses on the cultivation and San Quintin, Abra,
development of tabúngaw
(Ilokano term for úpo). At the Cordillera Administrative
age of fifteen (15) he learned the Region (CAR)
art of Kattukong or tabúngaw
hat making and basket weaving
Teofilo Garcia from his grandfather.
 Awardee Contribution Region
GAMABA Awardees for the year 2016
Yakan Weaving Apuh Ambalang,
is significantly respected in all
of Lamitan. Her ability is
regarded unique: she can bring
forth all designs and actualize
all textile categories ordinary to
the Yakan community, who are
known to be among the finest
weavers within the Southern Lamitan, Basilan Island,
Philippines. She can perform Bangsamoro Autonomous
the suwah bekkat (cross-stitch- Region in Muslim
like embellishment) and suwah
Mindanao (BARMM)
Ambalang Ausalin pendan (embroidery-like
embellishment) techniques of the
bunga sama category. She has
the complex knowledge of the
whole weaving process, mindful
at the same time as the cultural
significance of each textile design
or category.
 Awardee Contribution Region
GAMABA Awardees for the year 2016
B’laan Mat Weaving Since she
was a child, she was bright and
careful in tangle weaving. Her
perseverance took place because
of her supportive husband. The
thin strips of the pandanus
romblon (Pandanus copelandii
merr. Bariu) rise matrixed through
deft fingers performing an Upper Lasang, Sapu
individual rhythm, the beat guided Masla, Malapatan,
by her eyes. The unwoven strips Saranggani Region XII
are held tight at the other end of
her body, as toes curl and close SOCCSKSARGEN
around, not only these strips but,
as it were, the abstraction that
other people call design. The arc
Estelita Tumandan of her torso determines the
Bantilan dexterity of feet and toes.
Hand/eye coordination happens
inside a frame of milliseconds.
 Awardee Contribution Region
GAMABA Awardees for the year 2016
B’laan Ikat or Tie-dye
Fabric Weaving Yabing
Masalon Dulo, called as “Fu
Yabing”, was only fourteen
(14) years old when she
started weaving. All her
younger years were spent in Amguo, Landan,
sharpening her skills and
Polomolok, South
imparting the knowledge to
Yabing Masalon younger generations of Cotabato Region XII
B’laan weavers. She follows SOCCSKSARGEN
Dulo her mother’s movements back
and forth. She colors the
fibers, counts the thread, and
observes the rhythmic dance of
a weaver’s dreams woven into
unique soulful pieces.
 ART TIME
PAPER MOSAIC

MY HAPPINESS
 PENCILS, COLORED PAPER, GLUE
SKETCH PAD PAIR OF SCISSORS,

CUT INTO STRIP ABOUT 1/8

INCH THICK