Notes on Contemporary Philippine Arts from the Regions

2nd Quarter Topics

1. GAWAD SA MANLILIKHA NG BAYAN

 National Living Treasures Award

 Republic Act No. 7355
 April 1992
 National Commission for Culture and the Arts (NCCA)
 The highest policy-making and coordinating body for culture and the arts of the State

National Commission for Culture and the Arts (NCCA)

 search for the finest traditional artists of the land
 adopts a program that will ensure the transfer of their skills to others and
 undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan
 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
 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

R.A. 7355
 “Manlilikha ng Bayan”
 shall mean a citizen 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 generation 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:
a. He/she is 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.
b. How does one become a Manlilikha ng Bayan?
c. He/she must have engaged in a folk art tradition that has been in existence and documented for at least fifty (50) years.
d. He/she must have consistently performed or produced over a significant period, works of superior and distinctive quality.
e. 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.
f. 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:
a. 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.
b. He/she has been instrumental in the revitalization of his/her community’s artistic tradition.
c. He/she has passed on to the other members of the community skills in the folk art for which the community is traditionally known.
d. His/her community has recognized him/her as master and teacher of his/her craft.
 Categories:
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,

2. FOLK ARCHITECTURE
These are simple structures built of local materials and available tools to provide shelter for its inhabitants.

A. BAHAY KUBO / NIPA HUT – It is also known as Kamalig –

It serves as an icon to Filipino lowland and rural culture.
– It is made up of bamboo rods and bamboo mats or sawali,
and a thatched roof made up of anahaw or nipa.

B. BALE OR IFUGAO HOUSE – It is a one room house with

an attic for storage. – The exterior of the house looks like a
pyramid resting on four posts – The interior is enclosed by
slanting walls and ceiling that appears to be spherical that
are formed by the loft.

C. IVATAN HOUSE IN BATANES–Most of the houses are

built with limestone walls, and cogon roofs –It has narrow
doors and windows with wooden shutters and often secured
by wooden bars.

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 D. TOROGAN OR MARANAO’S HOUSE – It literally means a
“place for sleeping” – It is a stately house for the elite
members of Maranao tribe in Mindanao. – It is a symbol of
status and leadership. – It also serves as a courthouse, hall
for community meetings and its courtyard as ritual areas for
weddings.
E. BADJAO’S STILT HOUSES AND HOUSEBOATS– Strong
platforms are made on both ends of the boat – The kitchen
area usually found at the back. – Its foundation are carefully
placed in between coastal rocks and corals.

3. MARITIME TRANSPORT
These are simple marine vessels made for the transport of goods and people living by sea and other waterways in the surrounding
regions.
A. WOODEN BANCA
–The outrigger canoe is a small wooden boat used for daily transport
by people living near the coast. –It is sometimes highly decorated.
B. VINTA
– It is a traditional boat made by Sama-Bajau and Moros living in Sulu
Archipelago, Zamboaga peninsula, and southern Mindanao. – These
boats are used for inter-island transport of people and goods.

4. Weaving, Textile making, and Fabric Art

o Early Filipinos weaved using fibers from abaca, cotton, pineapple and, bark. Before the final garment or fabric is produced,
the fibers were first knotted, boiled, dyed, and dried and weaved using hands and a wooden platform.
o Weaving is the primary form of arts and crafts in Panay Island.
o It is in Panay where weaving from indigenous textiles such as jusi and pinya became popular.
o In Iloilo, weaving patadyong is an important industry.

A. PIŇA FABRIC
 Piña weaving is the oldest industry of Aklan. – It is often used to our
national costumes, the baro’t saya and barong. – Piña is considered
the queen of Philippine fabrics because of its expensive and
luxurious nature.
 Pinya weaving is also a lucrative industry in Bacolod where
materials are imported from Aklan. Sinamay
 In Valencia, Negros Oriental, sinamay weaving is a world-class
industry. Sinamay is made from abaca twine and indigenous plan
similar to banana.
B. T’NALAK WOMEN CLOTH
 Woven by the T’boli women of Lake Sebu, South Cotabato, and
Mindanao – it represents the tribe’s culture and tradition. – It is a
weaving pattern which is also known as "woven dreams".
C. TINGKEP BASKETS
 These baskets are handcrafted from fine bamboo strips in natural
colors, plain or with traditional designs of the community. – is a
special basket that serves both practical and spiritual purposes in
the Palawan community life.
 It is also used to house the powerful female spirit Linamin et Kundu
during a healing ritual called Kundu
D. HINABOL
 It is a textile from the Higaonon of Impasug-ong, Bukidnon – It is a
textile which has the purpose of being a gift, dowry, offering to the
spirits, and bring peace during tribal conflicts.
 The cloth reflects the moods and feelings of the weaver.
E. YAKAN WEAVED CLOTH
 Made by the Yakan tribe from Basilan, it features elaborate
geometric designs and patterns that are inspired by nature.

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  These are used for religious and ritual purposes, bartered for daily
necessities, given as gifts, and used for peace offerings in times of
conflict. –Tanyak Tanyak is a face painting
 Tanyak Tanyak is a face painting custom is unique to Yakan tribal custom
culture. Worn only for wedding –It is a form of cosmetic decoration.
F. THE TAPIS OF KALINGA TRIBE
 For them, weaving is a sacred tradition passed on from mother to
daughter. –The tapis is a costume indigenous to the Kalinga and
Apayao.
 For them, weaving is a sacred tradition passed on from mother to WEAVING MATERIALS
daughter. -There are other
 The tapis worn by the Cordilleran women of Northern Luzon, known materials used in woven
locally as the alampay objects in the Philippines.
G. WOVEN PRODUCTS In Bicol, abaca is used.
 Aside from cloth, there are other objects that are woven in the The bamboo and rattan are
Philippines, such as baskets, fans, mats, bilao, fisherman’s net, also used, especially for pieces of furniture that are world-class and
furnitures and the farmer’s hat or salakot are exported abroad.
 Samar is known for its beautiful and colorful hand woven banig that
are made from tikog leaves.
 Aside from mats, the Warays and Cebuanos make baskets, bags
and other containers that are both useful and functional in the daily
lives of the community.
 In Davao, women weave abaca fibers to make a design. The
weavers, in time, learned the tie-dyeing technique called ikat when
the designs are woven into fabrics.

5. CARVING
– Paete in Laguna, the woodcarving capital of the Philippines. – Wood is the common material that is widely used in the country.
A. WOOD CARVING
 The art if putting design on pieces of wood.
 From the transitional carving of anitos to the santos to Christ and down to
the saints, Filipinos find it rather not difficult as they are already familiar
with the ways of the wood
 In the North, Cordillera carves the bulol, a pagan statue of their gods or
anitos. They also carve bowls and utensils.
 Figures of man and animals are also carved.
 In the south, the Maranaos and Tausugs are known for their okir-a-datu
designs.
 The sarimanok is a colorful bird with a fish on its beak. Naga or snake.
Pako or fern. Those are decorative elements of the Torongan or datu’s
house.
 The Tagbanuas of Palawan use animals and man as a common design for
woodcarving
 Carving is one of the techniques used in sculpture.
 Bul-ul are carved Anito figures of the Ifugaos: these represent their
ancestral spirit and granary gods.
 SEATED IFUGAO "BULUL" AT THE CONCLUSION OF THE ANNUAL
IFUGAO HARVEST RITUAL "BULULS" PLACED IN RICE GRANARIES
ARE CONSIDERED GUARDIANS OF THE HARVEST

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6. Performing Arts
 These may be folk dances and music which are developed by an
individual or groups of people that reflect their traditions and
culture
 Before the Spanish period, the early forms of the Philippine drama
were the were the duplo duplo and the and the karagatan
karagatan. .
 * *Duplo– was a poetical debate held by trained men and women
in the ninth night, the last men and women in the ninth night, the
last night of the mourning period for the dead.
 Bellacos –they are the – male participants, they are the heads of
the games
 * *Karagatan – was also a poetical debate like – was also a
poetical debate like the duplo, but its participants were amateurs.
 >>Theme:: was all about a ring that fell into the sea.
 1598 1598- The first recorded drama was staged in CebuIt was a
Comedia written by written by Vicente Puche was perfomed in
honor of Cebu’s first Msgr. Pedro de Agurto,
 1609 1609- - Eleven year after, another stage play portraying The
Life of Santa Barbara was staged in Bicol
Three kinds of plays: Three kinds of plays:
1. Cenakulo–– It was a very heavy drama shown in relation to the life
sacrifices and death of Jesus Christ. It is like a passion play death
of Jesus Christ. presented and celebrated during the month of
March or April depending the exact date of the March or April
depending the exact date of the Holy week Two kinds of
presentations: Two kinds of presentations: The Ablada (oral)
Kantada (song) *Several versions of Cenakulo: The Tagalog,
Iluko, Kapampangan, Bikol and Bisayan Version.
2. Moro-moro– It is a cloak and dagger play depicting the the
Christians and the Muslims with the Christians always on the
winning side. Fr. Jeronimo Perez–– wrote the first moro moro
and was staged in Manila in 1637, to commemorate Governor
General Consuera’s victory over the Muslims of Mindanao. victory
over the Muslims of Mindanao.
>> it becomes the favorite play of the people especially during the
town fiestas.
3. Zarzuela –it is a melodrama with songs and dances that have a
three in one act play. It is intended to make the mass feeling
towards love, fear, grief, sorrow or any emotional sublime. reactions
sublime. It sometimes shows the political and social conditions of
our country.
 >the musical part of the zarzuela has given much opportunity for
creativity and appreciation of the audience until and appreciation of
the audience until the revolt in Cavite in the year 1872. It is played
by 20-25 professional zarzuela artists (actors, actresses and
extras) extras)
 the Zarzuela is a musical comedy.
 Junto Al Pasig (beside the Pasig) –– A zarzuela written by
zarzuela written by Jose Rizal and it was staged at the Ateneo de
Manila on December 8, 1880 on the occasion of the celebration of
the Feast Day of the Immaculate Conception (Patron saint of the
College)
 Zarzuelas was nationalistic in theme and plot
 1905-1930 The Golden Age of the Zarzuela iin the
Philippines.(Fernandez, D. 1978)
 Organization of the Zarzuela Foundation of the Philippines – by
Philippines – by Ms. Imelda R. Marcos and Mr. Teodoro F.
Valencia. The Rationale of this “foundation” to create a mass base
“foundation” of support for the zarzuelas all over the country.”
country.”
 The foundation successfully revived one of the pre-war zarzuela
favorites, Walang Sugat 1902 by Severino Reyes in 1977.
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7. Literature
 It refers to the traditional oral literature of various ethnic groups of
the country. It includes the story of “Malakas at Maganda” and epics
such as “Hudhud ni Aliguyon,” “Darangan,” and the likes.
8. Graphic and Plastic
 Graphic arts are mainly twodimensional (2D), like sketching,
painting, photography, and calligraphy. Plastic arts include
sculpture or ceramics which have three dimensions (3D).Arts
9. pottery
 Pottery are objects that are first shaped of wet clay, then hardened
by baking. Pottery includes both decorative and practical items
such as bowls, vases, dishes, and lamps
 Pottery in the Philippines varies in forms and functions. The forms
of the pots are directly influenced by the functions of the pots and
the tradition of the community/local area.
 Palayok,
 Manunggul Jar-- is a National Treasure of the Philippines. A
secondary burial jar, it is designated item 64-MO-74 in the National
Museum of the Philippines, Manila. The jar was found in Chamber
A of the Tabon Cave, one of the Manunggul caves in Palawan. The
jar is dated from about 2800 years before the present. It was found
by Robert Fox and Miguel Santiago.
 Leta-leta Cave, Langen Island, El Nido, Palawan was excavated
in 1965 by Dr. Robert Fox.
 Leta-leta Cave is an important burial site belonging to the Late
Neolithic Period where an assemblage of stone and shell artifacts
associated with sophisticated pottery and nephrite adzes and axes
were recovered. Other materials include stone ornaments and shell
beads
10. Physical ORNAMENTS
 Physical ornamentation can be categorized to three areas
specifically the use of traditional costumes (textile), jewelries and
tattoos. The designs vary depending on the location, users and
function of the ornaments.
 Filipino bawisak earrings-- Traditional Ifugao tribe (Northern
Luzon, Philippines) bead and shell bawisak earrings. The bottom
shell designs have been described as either representing butterflies
or a certain item of male generative anatomy.
 The B'laan are one of the indigenous peoples of Southern
Mindanao in The Philippines. They are famous for their brassworks,
beadwork and t'nalak weave. The people of these tribes wear
colorful embroidered native costumes and beadwork
accessories.
 KALINGA-- The Kalinga are called the “peacocks of the north”
because of their attention to appearance and dressing. Kalinga is a
landlocked province of northern Cordillera, Philippines. “Kalinga”
means enemy, a name that the bordering inhabitants called this
tribe because of their headhunting attacks. The name stuck and
became accepted by the natives themselves.
 T'BOLI-- The T'boli distinguish themselves from other Tribal
Groups by their colorful clothes, bracelets and earrings, this tribe
is famous for their complicated beadwork, wonderful woven
fabrics and beautiful brass ornaments.
 The Bagobo are proud people with proto Malayan features. They
have ornate traditions in weaponry and other metal arts. They
are noted for their skill in producing brass articles through the
ancient lost wax process. These people also weave abaca cloths
of earth tones and make baskets that are trimmed with beads,
fibers and horse's hair.
 How does Philippine folk (indigenous) art reflect nature and
the life of the common folk?
 Philippine folk (indigenous) art reflects nature and the life
of the common folk through various media techniques
and processes based on the factors of time, climate,
resources, ideas and historical and cultural context
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