11

CONTEMPORARY
PHILIPPINE ARTS
FROM THE REGION
LEARNER'S ACTIVITY SHEET
Quarter 3 – Week 4:
Explains Filipino artists’ roles and
identify their contribution to
contemporary arts
CONTEMPORARY PHILIPPINE ARTS FROM THE REGION – Grade 11
Learner's Activity Sheet
Quarter 3 – Week 4: Explains Filipino artists’ roles and identify their contribution
to contemporary arts
First Edition, 2021

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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

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Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Catherine Guy
Editors:
Reviewers:
Illustrator:
Layout Artist:
Management Team:

Marilyn B. Siao
Roberto N. Mangaliman
Ma. Luz I. Orbe
Cecilia A. Arga
Ma. John Ray Rosales

Printed in the Philippines by ________________________

Department of Education – Schools Division of Catbalogan City

Office Address: Purok 4, Barangay Payao, Catbalogan City
Facebook Page: fb.com/CatbaloganCityDivision
E-mail Address: [email protected]
LEARNER’S ACTIVITY SHEET FOR
SHS CONTEMPORARY ARTS FROM THE REGION QUARTER 3,
WEEK 4

Name:__________________________________ Grade & Section: ______________________

School: _________________________________ Teacher: ______________________________

Competencies:
Explains Filipino artists’ roles and identify their contribution to
contemporary arts ( CAR11/12CAP-0c-e-5)

Explore

Activity: Study the pictures below and answer the following questions:

1. What are these art forms?

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2. Do you know which community those art forms originated?

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3. Do you know any traditional artists doing those art forms?
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Learn

GAWAD SA MANLILIKHANG BAYAN (GAMABA) NATIONAL LIVING TREASURES

AWARD
• The award was institutionalized in 1992 through Republic Act No 7335. Tha
National Commission for Culture and Arts (NCCA), which is the highest policy-
making and coordinating body of the Philippines for culture and the arts, was
tasked with the implementation.
• The award is conferred upon a Filipino citizen or group of Filipino citizens
engaged in any traditional art uniquely Filipino, whose distinctive skills have
reached such a high level of technical and artistic excellence and have been
passed on to and widely practiced by the present generations in his/her
community with the same degree of technical and artistic competence.

How Does One Become a Manlilikha ng Bayan?

To become a “Manlilikha ng Bayan”, the candidate must possess the following
qualifications:
1. He/She is an inhabitant of an indigenous/traditional 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. He/she must have engaged in a folk art tradition that has been in existence and
documented for at least fifty (50) years.
3. He/she must have consistently performed or produced over a significant period,
works of superior and distinctive quality.
4. He/she 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. He/she 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.
A traditional artist who possesses all the qualities of a Manlilikha ng
Bayan candidate, but due to age or infirmity has left him/her incapable of teaching
further his/her craft, may still be recognized if:

1. He/she had created a significant body of works and/or has consistently

displayed excellence in the practice of his/her art, thus achieving important
contributions for its development.
2. He/she has been instrumental in the revitalization of his/her community’s
artistic tradition.
3. He/she has passed on the other members of the community skills in the folk
art for which the community is traditionally known
4. His/her community has recognized him/her as master and teacher of his/her
craft.
The categories of traditional folk arts included in the GAMABA are folk
architecture, maritime transport, weaving, carving, performing arts,
literature, graphic and plastic arts, ornament, textile or fiber art, pottery, and
other artistic expressions of traditional culture.

What are the incentives received by the awardee?

A member of the National Living Treasures is awarded with the following privileges
and incentives:
• A plaque or medal for the awardee and a duplicate to be displayed in his/her
province’s museum or largest cultural center;
• A ₱100,000 grant and a ₱10,000 monthly lifetime emolument;
• A documentation of samples of their works to be filed, photographed, and
preserved;
• Programs, courses, and workshops on his/her craft or practice to be offered
in the nearest arts school to ensure the preservation of his/her skills
• A feasibility study to convert the awardee’s art into a business initiated by
the Department of Trade and Industry in collaboration with private
investors;
• Invitation to cultural events to commemorate the significance of traditional
Filipino Arts.

Duties and Responsibilities of Awardees

The Manlilikha ng Bayan is a link between the past, in which his/her traditional
folk art found fertile soil for growth and the future, during which he/she seeks
his/her art to be permanently sustained. It becomes his/her responsibility therefore
to undertake the following:
1. To transfer the skills of his/her traditional folk art to the younger generation
through apprenticeship and such other training methods as found to be
effective.
2. To cooperate with the implementing agency as provided for in section 7 of this
Act, in the promotion and propagation of his/her traditional folk arts and
3. To donate to the National Museum a sample or copy of his/her work.

GAMABA AWARDEES

EDUARDO MUTUC
2005 Awardee, Region 3, Province-Pampanga

An artist who has dedicated his life to creating religious and secular art
in silver, bronze and wood. His intricately detailed retablos, mirrors, altars, and
carosas are in churches and private collection. A number of these works are quite
large, some exceeding forty feet, while some are very small and feature very fine and
delicate craftsmanship.

DARHATA SAWABI
2005 Awardee Region – ARMM, Province- Sulu
A Tausug weaver of pisyabit-the traditional cloth tapestry worn as
head cover. In Barangay Parang, in the island of Jolo, Sulu province,
women weavers are hard at work weaving the pisyabit, the traditional cloth tapestry
worn as head covering by the Tausug of Jolo This is what they have grown up with
and learned from their mothers. Darhata Sawabi is one of those who took the art of
pisyabit making.
HAJA AMINA APPI
2005 Awardee Region-ARMM, Province of TAwi-tawi
She is the master mat weaver of the Sama indigenous community from
Ungos Matata, Taw-tawi. Mat weaving is one of the treasured traditions of the Sama
people. Their mat is made up of pandan leaves which undergo tedious processes
from stripping, to sun drying, to dyeing, up to weaving. It takes a lot of time, effort,
and creativity to produce a mat. Haja Amina’s mat designs are complicated and
creatively crafted with an interplay of hues. The traditional mat weaving of Sama
will never be lost because Haja Amina already taught her female descendants the
art of mat weaving.

LANG DULAY
1998 Awardee, Region 12, Province-South Cotabato ( Lake Sebu )
A tnalak weaver from the indigenous community of the Tboli in Lake
Sebu, South Cotabato. Tnalak is a kind of fabric made up of fine abaca
fibers weaved with different designs which reflect the tradition of the T’boli. This
cloth was once being bartered in exchange for horses but due to commercialization,
the tnalak become popular and became the source of income of t”boli weavers.

SALINTA MONON
1998 Awardee, Region 11, Province-Davao del Sur
A Bagobo textile weaver from Bansalan, Davao del Sur. She started
weaving at the age of 12 through the guidance of her mother. The
traditional Bagobo fabrics which are made up of abaca fibers is the product of
Salita. Due to her high-quality textiles and their intricate designs, Salita garnered
the reputation of being the best weaver in her community. She spent all her life
weaving and preserved the art of the Bagobo.

ALONZO SACLAG
2000 Awardee, Region CAR, Province-Kalinga
A master of dance and performing arts from kalinga. He did not receive
any formal education in performing arts but still he mastered the
choreography and musical instruments of kalinga just by observation and
practiced. Fueled by intense passion, he succeeded in keeping the treasured culture
of kalinga alive. Through the efforts of lobbying to the local government for about
two years, he managed to convince them to convert the abandoned provincial
capitol building into a museum that contains kalinga artifacts including traditional
musical instruments like the gangsa or the kalinga gong. He also campaigned for
the used of local costumes to school events and put up creative presentations that
helped children to learn folksongs. Furthermore, he established the Kalinga Budong
adventures, reflects the rich cultural heritage of Panay-Bukidnon. Nong Pedring did
Dance Troupe to ensure that the music and dance of his ancestors are passed on to
the younger generation.

FEDERICO CABALLERO
2000 Awardee, Region 6, Province-Iloilo
A Panay-Bukidnon epic chanter who preserved his community’s oral
tradition by tediously documenting epics of his ancestors that are in
near danger of disappearance These epics, which tell stories about mythical heroes
and their marvellous adventures, reflects the rich cultural heritage of Panay-
Bukidnon. Nong Pedring did not just document this folklore, but he chanted them
as well passed them to the younger generations.
MASINO INTARAY
1993 Awardee, Region 4B Province-Palawan
Intaray was a musician and a poet whose expertise were basal, kulilal,
and bagit. Basal is a kind of musical ensemble played during the
tambilaw, a ritual of rice sharing among the Palawan people as an offering to the
Lord of rice, and during the tinapay, a rice wine drinking ceremony Basal is
composed of the gimbal or tubular drum, sanang or pair of small gongs, and one to
agungs or gongs with wine tunes. Furthermore, kulilal is a lyric poem about love
being sung to the accompaniment of kusyapi, two-stringed lute and pagang,
bamboo zither. He also
Knows how to play the aroding, mouth harp, and the babarak, ring flute. Masino
Intaray is a notable story-teller and epic chanter. For many nights, he chanted
numerous epics, narratives, and myths of the Palawan Intaray was a true man of
art who preserved the tradition, music, and culture of his people.

SAMAON SULAIMAN
1993 Awardee, Region ARMM, Province-Maguidanao
A Maguidanaon musician from Mama sa Pano, Maguindanao. He is a
master in playing the kutyapi, a two-stringed plucke lute The kutyapi is
one of the most difficult to master indigenous Filipino instrument, but Samaon
Sulaiman was able to play it with grace and exemplary talent He influenced and
taught other community people to play the kutyapi as well which kept the playing of
kutyapi alive in Mindanao.

UWANG AHAHAS
2000 Awardee Region ARMM, Province-Basilan
An exemplary musician of the Yakan of Lamitan, Basilan whose
expertise dwell in playing the indigenous instrument called kwintangan
kayu. This instrument is composed of five wooden logs of different sizes, arranged
from shortest to longest, and hung horizontally. This is being played after the
planting of rice to serenade the palay. The music coming from the kwintangan kayu
is believed to cause bountiful harvest. Uwang Ahahas teaches his community
people the skill of playing the kwintangan kayu to preserve the indigenous music.
He started at teaching his children and later on passess on his skills to people
beyond the borders of his community.

GINAW BILOG
1993 Awardee Region 4B, Province-Oriental Mindoro
A Hanunuo Mangyan poet from Mansalay, Mindoro who is an advocate
of preserving the traditional form of his tribe called “ambahan”.
Ambahan is a kind of poem consisting of seven-syllable lines which most of the time
contains messages of love and friendship. This poem is passed on from generation
to generation using singing the lines or etching them on bamboo tubes. In the case
of Ginaw Bilog, he kept the ambahan recorded both in bamboo tubes and old
notebooks. He kept even the oldest ambahan passed on to him by his ancestors and
promoted them to other Mangyans so as to preserve the oral tradition.

MAGDALENA GAMAYO
Region 1, Province-Ilocos Norte
An Ilocano master weaver who came from Pinili, Ilocos Norte. Her
expertise dwell in weaving high quality Ilocos textile called abel. It is a
kind of blanket made up of cotton weaved in different patterns. She started weaving
at the age of 16. Her years of practice, eye for details, creatively, and innate skills
caused her to produce excellent quality abels. Her handiworks were distinguishable
to other abels since they are finer, with more thread counts, and more intricate
designs with up to 5 thread colors. Even today at her old age Magdalena
consistently produced well-crafted abels. To preserve the art of abel weaving in
Ilocos, she mentored community people including her cousin’s daughter-in-law and
her sister-in-law.

Engage

In at least 10 sentences, write about the importance of the art forms and
practices of the National Living Treasures to the country.

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Apply

Activity:
Choose a person who deserves to be recognized as a National Living Treasures
awardee and answer the following statements below. Note: Whang-Od cannot be
included in the activity as she was already nominated in 2017.

Name and category/ies: __________________________________________________________

His/her craft/practice: ___________________________________________________________
List down his/her contributions to traditional Philippine Art.
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In 4-5 sentences, explain why he/she deserves to be named as a National Living

Treasure.
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Post Test

I. Multiple Choice: Choose the letter of the best answer and write it on the blank
provided before the number.
______ 1. The Republic Act No. _______ is known as the “Manlilikha ng Bayan Act.”
A. 7353 B. 7355 C. 7354 D. 7352
______ 2. The National Living Treasures or Manlilikha ng Bayan was formalized in
the year _____.
A. 1993 C. 1991 B. 1990 D. 1992
______ 3. The following are privileges and incentives given to an awardee of the
National Living Treasures, except…
A. ₱100,000 monthly incentive C. Documentation of his/her works

II. Match column A, B, C. Write your answer on the blank provided below the table.

A (Gamaba Artist B(Traditional Folk Art) C(Contribution

1.Ginaw Bilog A. Literature a. Basal, kulilal, bagit
2.Alonzo Saclag B. Performing Arts b. Ambahan
3.Masino Intaray C. Weaving c. Epic chanting
4.Frederico Caballero D. Metalwork d. Pisyabit
5.Samaon Sulaiman E. Casque e. Abel
6. Darhata Sawabi f. Kwintangan kayu
7. Lang Dulay g. Abel
8. Magdalena Gamayo h. Mat
9. Uwang Ahahas i. kutyapi
10. Haja Amina Api j. Tnalak
11. Eduardo Mutuc k. Bagobo fabrics
12. Salita Monon l. Kalinga Budong Dance
Troupe
m. woodcarving/metal art

1. __________________________ 7. __________________________
2. __________________________ 8. __________________________
3. __________________________ 9. __________________________
4. __________________________ 10 __________________________
5. __________________________ 11.__________________________
6. __________________________ 12.__________________________