Republic of the Philippines

Department Of Education
Region V (Bicol)
Schools Division Office of Albay
RAWIS HIGH SCHOOL
Malunggay St., Rawis, Libon, Albay

LEARNING ACTIVITY SHEET IN CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS

Worksheet No. 8

Learner’s Name : ___________________________________________________

Grade and Section : ___________________________________________________
Date : ___________________________________________________

I. LEARNING SKILLS
Most Essential Learning Competency
Explains Filipino artists’ roles and identify their contribution to contemporary arts (CAR11/12CAP-0c-e-5)

II. INTRODUCTORY CONCEPT

GAWAD SA MANLILIKHA NG BAYAN (GAMABA)

 Also known as the National Living Treasures Award
 An award given to the best traditional artists of the Philippines
 Was institutionalized through Republic Act No. 7355 in 1992
 Administered and implemented by the National Commission for Culture and the Arts (NCCA)
 First awarded in 1993 to three outstanding artists in music and poetry
 Has its roots in the 1988 National Folk Artists Award organized by the Rotary Club of Makati-Ayala

NATIONAL COMMISSION FOR CULTURE AND THE ARTS (NCCA)

 the highest policy-making and coordinating body for culture and the arts of the State
The NCCA, through the Gawad sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts,
 conducts the search for the finest traditional artists of the land
 adopts a program that will ensure the transfer of their skills to others
 undertakes measures to promote a genuine appreciation of and instill pride among our people about
the genius of the Manlilikha ng Bayan

According to REPUBLIC ACT 7355, “Manlilikha ng Bayan”

 shall mean a citizen engaged in any traditional art uniquely Filipino
 has distinctive skills that have reached such a high level of technical and artistic excellence and have
been passed on to and widely practiced by the present generation in his/her community with the same
degree of technical and artistic competence.

QUALITIES OF THE GAMABA AWARDEES

 As a group, these folk and traditional artists reflect the diverse heritage and cultural traditions that
transcend their beginnings to become part of our national character.
 As Filipinos, they bring age-old customs, crafts and ways of living to the attention and appreciation of
Filipino life.
 They provide us with a vision of ourselves and of our nation, a vision we might be able to realize
someday, once we are given the opportunity to be true to ourselves as these artists have remained
truthful to their art.

HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

To become a “Manlilikha ng Bayan”, the candidate must possess the following qualifications:

a. Should be a Filipino citizen or group of citizens belonging to an indigenous or traditional cultural

community anywhere in the Philippine, engaged in Filipino traditional art in the following categories: 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
b. Should have been engaged in the tradition and craft for a significant period of time with at least fifty (50)
years of existence and documentation.
c. Should have produced and performed of artistic, distinctive, and superior quality

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d. Should possess mastery of the tools and materials needed for the art and must have a
reputation for being an art master and craft maker in the community where he/she belongs
e. Should have passed on and/or will pass on the traditional crafts and skills to other members of
the community by virtue of teaching

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:

a. He/she should have created a significant body of work and has contributed to the development of the
tradition and craft
b. He/she should have played a role in the preservation and revitalization of the artistic tradition in the
community.
c. He/she has been recognized as a master of his/her craft and admired for his/her character and integrity in
his/her community.

PROCESS

1. THE PANEL
The Gawad sa Manlilikha ng Bayan is administered by a committee, which is assisted by an ad hoc
panel of experts. The panel is composed of a representative from each of the committees of the
Subcommission on Cultural communities and Traditional Arts, such as the Office of the Muslim Affairs (OMA),
the National Commission on Indigenous Peoples (NCIP), and other appropriate institutions. The ad hoc panel
of reviewers is composed of five members of the Gawad sa Manlilikha ng Bayan Committee and four
individuals identified by the Committee among scholars, practitioners, and experts in the traditional art.

2. THE NOMINATIONS
Nominations can come from the members of the ad hoc panel of experts, the subcomissions on
cultural communities and traditional arts, government and private institutions, universities, and other persons
knowledgeable of any of the categories; folk architecture, maritime transport, weaving, carving, performing
arts, literature, graphic and plastic arts, ornament, textile and fiber art, pottery, and other artistic expressions
of traditional culture.

3. THE SCREENING
The ad hoc search committees are deployed to various priority areas in the country to conduct searches and
document the candidates’ art or craft. The ad hoc panel of reviewers reevaluates the qualifications of the
candidates and submit their recommendations to the NCCA Board of Commissioners. Once selected, the
President of the Philippines confers the awardees in a public ceremony in Malacañang Palace.

CATEGORIES OF TRADITIONAL FOLK ARTS

The Award shall be given in each, but not limited to the following categories of traditional folk
arts, viz.:
 folk architecture
 maritime transport
 Weaving
 Carving
 performing arts
 Literature
 Graphic and plastic arts
 Ornament
 Textile or fiber art
 Pottery
 Other artistic expressions of traditional culture

INCENTIVES RECEIVED BY AN AWARDEE

A Manlilikha ng Bayan awardee receives:
 specially designed gold medallion or plaque, with a duplicate set that should be donated to and
displayed in a provincial museum or the largest cultural center in the awardee’s community  an initial
grant of P100,000
 ₱10,000 monthly stipend for life

In consonance with the provision of Republic Act No. 7355, which states that “the monetary grant
may be increased whenever circumstances so warrant,” the NCCA board approved:  an additional
monthly personal allowance of ₱ 14,000 for the awardees
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 The awardee is granted a maximum cumulative amount of Php 750, 000 medical and hospitalization
benefits as well as funeral assistance similar as those received by the National Artists.

EMBLEM

The award logo is a representation of the human form used in traditional cloth. Below the logo is the phrase
“Manlilikha ng Bayan” written in Baybayin, an ancient script used in the Philippines in the 16th century.

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
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pursuit of perfection for himself 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.

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.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

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/indigenousartists-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.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

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. Haja Amina 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 the
hues 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-
livingtreasures.html ).

Federico Caballero, 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

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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-livingtreasures.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 awrdee 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)
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
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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 done so with special purposes, whether
it’s preparing for retaliation, a victorious 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.

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.

III. ACTIVITIES

Practice Task 1
Direction: Read the statements carefully. Identify what is being described in the statement. Write your
answers on the space provided before the number.
1. The National Living Treasure Award is also known as:
A. Gawad sa Buhay na Kayamanan ng Bayan C. Gawad sa Manggagawa ng Bayan
B. Gawad sa Kayamanang Manlilikha ng Bayan D. Gawad sa Manlilikha ng Bayan
2. The National Living Treasure Award was created through which Republic Act?
A. R.A. No. 5753 B. R.A. No. 7355 C. R.A. No. 3577 D. R.A. No.7553
3. Which of the following is NOT a qualification to become a nominee for the National Living Treasure
award?
A. He/she should be a Filipino citizen.
B. He/she should be documented to be practicing the craft for at least 30 years.
C. He/she should be recognized as a master of the craft.
D. His/her outputs should be artistic and excellent quality
4. Which of the following is NOT a National Living Treasure awardee?
A. Abdulmari Asia Imao B. Darhata Sawabi C. Eduardo Mutuc D. Ginaw Bilog
5. Which of the following GAMABA artist is considered as master of T’nalak weaving?
A. Lang Dulay B. Uwang Ahadas C. Salinta Monon D. Darhata Sawabi
6. She is one of the stalwarts of abel (blanket) weaving tradition in Ilocos Norte.
A. Magdalena Gamayo B. Darhata Sawabi C. Haja Amina Appi D. Salinta Monon
7. He was a promoter of the ambahan which was an oral tradition of poetic verses of the Mangyan.
A. Ginaw Bilog B. Masino Intaray C. Samaon Sulaiman D. Lang Dulay

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8. What law states that a Manlilikha ng Bayan shall mean a citizen engaged in any traditional art
uniquely Filipino?
A. R.A. No. 5753 B. R.A. No. 7355 C. R.A. No. 3577 D. R.A. No.7553
9. The following are the incentives and awards given to GAMABA awardees EXCEPT:
A. specially designed gold medallion C. ₱ 10,000 monthly stipend for life
B. B. an initial grant of ₱ 100,000 D. an initial grant of ₱ 1, 000 000.00
10. What is the highest policy-making and coordinating body for culture and the arts of the State?
A. National Commission for Culture and the Arts C. Office of the President
B. Cultural Center of the Philippines D. Commission on Indigenous Peoples
Practice Task 2
Make a research on the other GAMABA awardees who were not mentioned in this learning activity sheet.
Make a list of their names, year awarded/conferred, ethnicity, form and expertise. Put the data in a
tabular form as shown below.
Gamaba Awardees Form Ethnicity Expertise Year of Confirmation

Practice Task 3
Direction:
Step 1: Choose a specific GAMABA awardee.
Step 2: Analyze his/her craft and artworks.
Step 3: Respond to the questions below in 3 sentences.

In long bond paper, answer the following questions. It could be handwritten or computer generated.

Questions that you need to answer:

1. What is the expertise of your chosen GAMABA awardee?
2. Describe the art works of such GAMABA awardee.
3. Why do you find his/her art works / craft interesting?

IV. REFLECTION
Who among the GAMABA awardees do you admire most and why?

V. RUBRIC FOR SCORING

Practice Task 3
4 3 2 1
All directions were 2 directions were 1 direction was None of the directions is
followed followed followed followed
You answer all the You answer most of You answer some of You did not answer the
questions correctly the questions correctly the questions correctly questions correctly

You took your time You used your time You worked hard for You showed less
and worked hard on and worked hard in most of the time. effort into the activity
the activity task. preparing the activity

Reflection
Criteria 10 points 6 points 4pts
Content Show concise but correct Some ideas are not Few ideas about the
idea about the topic being related with the topic topic are being shown in the
discuss paragraph.
Organization Can express own ideas Own Ideas are clearly Own ideas are not clearly
clearly using correct grammar stated but with few stated and use more errors
(Own ideas are clearly errors in grammar in grammar
stated using correct grammar)

Mechanics Follows proper format in Follows proper format Not following proper
writing a paragraph using in writing a paragraph format in writing a
correct punctuation marks but with few errors in paragraph and did not use
using punctuations correct punctuations

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marks marks

VI. References

Daliva, D.D. & Daug, A. (2020). Contemporary Philippine Arts from the Regions: Gawad sa Manlilikha ng
Bayan. Department of Education-Division of Cagayan De Oro.
Ganzon, C. L. (2017). JOURNEY: Contemporary Arts of the Philippines. Quezon City: Phoenix
Publishing House Inc.