GAMABA

Gawad sa Manlilikha ng Bayan

Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through
Republic Act no. 7355, in April 1992. It is tasked to conduct the 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 . It is done by National Commission for Culture and the Arts (NCCA), through
the Gawad sa Manlilikha ng Bayan Executive council.

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 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.

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 LOGO

The Gawad sa Manlilikha ng

Bayan logo is representation
of the human form used in
traditional cloth. Below the
motif is ‘Manlilikha ng
Bayan’ written in ancient
Filipino script called
Baybayin.

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 HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

To become a Manlilikha ng Bayan, an individual or group candidate must:

1.Possess a mastery of tools and materials needed for the traditional, folk art and be a maker of works of
extraordinary technical quality;

2.Have consistently produced works of superior quality over significant period;

3.Have engaged in a traditional and folk art which has been in existence and documented for at least fifty
(50) years;

4.Command respect and inspire admiration of the country with his character and integrity;

5.Must have transferred and/or willing to transfer to other members of the community the skills in the
traditional and folk arts for which the community has become nationally known.

6.However, a candidate who, due to age or infirmity, has left him/her/them incapable of teaching further
his/her/their craft, may still be recognized provided that he/she/they must possess the qualifications as
enumerated above.

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 WHAT ARE THE BENEFITS AND PRIVILEGES OF AN AWARDEE?

For individual awardee:

1.The rank and title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in
accordance with Executive Order No. 236 or Honors Code of the Philippines ;
2.The GAMABA gold-plated medallion minted by the Bangko Sentral ng Pilipinas (BSP) and
citation;
3.A lifetime emolument and materials and physical benefits comparable in value to those
received by the highest officers of the land such as:
1. A minimum cash award of Two Hundred Thousand Pesos (Php 200,000.00), net of taxes.
2. A minimum lifetime personal monthly stipend of Fifty Thousand Pesos (Php 50,000.00).
3. Medical and hospitalization benefits not exceeding Php 750,000.00 per year.

4.A state funeral, the arrangements for and the expenses of which shall be borne by the
Government, upon the death of the Manlilikha ng Bayan; and
5.A place of honor, in line with protocol precedence, in state functions, national commemoration
ceremonies and all other cultural presentations. 6
 WHAT ARE THE BENEFITS AND PRIVILEGES OF AN AWARDEE?

For group awardee:

1.The rank and title of Manlilikha ng Bayan, as proclaimed by the President of the Philippines in
accordance with Executive Order No. 236 or Honors Code of the Philippines;

2.The GAMABA plaque for the group;

3.A one-time award of Two Hundred Thousand Pesos (Php 200,000.00), net of taxes;

4.The group shall designate its leader who will represent and attend events and functions on
behalf of the group. The said representative will also have a place of honor, in line with protocol
precedence, in state functions, national commemoration ceremonies and all other cultural
presentations.

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 LIST OF
AWARDEES
GINAW BILOG
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
1993

• Ginaw Bilog was awarded for faithfully

preserving the Hanunuo Mangyan script
and ambahan poetry and promoting it on
every occasion so that the art will not be
l o s t b u t p r e s e r v e d f o r p o s t e r i t y.

• Ambahan, a poetic literary form

composed of seven-syllable lines used to
convey messages through metaphors and
images.

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GINAW BILOG
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
1993

• Ginaw keep record of his Ambahan

poetry on bamboo tubes and also on old,
dog-eared notebooks passed on to him
by friends.

• His father and grandfather is his sources

of inspiration and guidance for in making
creative endeavors.

• To t h i s d a y, G i n a w s h a r e s o l d a n d n e w
Ambahans with his fellow Mangyans and
promotes this poetic form on every
occasion.

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 MASINO INTARAY
Musician and Storyteller
Pala’wan
Brookes Point, Palawan
1993

• He was a Filipino poet, bard artist, and

musician known for his performance of
the local traditions of the basal (gong),
aroding (mouth harp), and babarak (ring
flute.

• H e h a s t h e c r e a t i v e m e m o r y, e n d u r a n c e ,
clarity of intellect and spiritual purpose
that enable him to chant all through the
night, for successive nights, countless
Tu l t u l ( e p i c s ) , S u d s u n g i t ( n a r r a t i v e s ) ,
and Tu t u r a n (myths of origin and
teachings of ancestors).

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 MASINO INTARAY
Musician and Storyteller
Pala’wan
Brookes Point, Palawan
1993

• He was also well-versed in kulilal

(songs) and bagit (vocal music).

• Preserved indigenous customs, beliefs,

rituals, and traditions in existence that is
also documented for at least 50 years.

• Passed on his skills to other members of

t h e c o m m u n i t y t o c o n t i n u e t h e i r l e g a c y.

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SAMAON SULAIMAN
Musician
Mama sa Pano, Maguindanao
1993

• Samaon Sulaiman was a Filipino

musician who is known for his mastery of
the indigenous Kutyapi instrument.

• Sulaiman first learned playing kutyapi at

around 13 years old from his uncle. By
the time he was 35 years old, he become
a teacher to aspiring Kutyapi
practitioners.

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SAMAON SULAIMAN
Musician
Mama sa Pano, Maguindanao
1993

• He is credited for influencing other local

experts in his area such as Esmael
Ahmad, Bitul Sulaiman, Nguda Latip, Ali
A h m a d a n d Tu k a l N a n a l o n .

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 LANG DULAY
Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998

• K n o w n a s “ T h e D r e a m w e a v e r, ” D u l a y
developed and mastered the now famous
and beautiful T’nalak cloth of South
Cotabato’s T’boli tribe.

• She knows a hundred designs, including

the ‘bulinglangit’ (clouds), the ‘bankiring’
(hair bangs), and the ‘kabangi’
(butterfly), each one special for the
stories it tells.

• Her textiles reflect the wisdom and the

visions of her people

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 LANG DULAY
Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998

• The legacy left by Dulay will continue in

South Cotabato as she already
transferred her T’nalak weaving
expertise to her children, her
grandchildren and even to neighbors and
the T’boli tribe.

• In recognition of her contribution to the

preservation of Philippine culture, then
P r e s i d e n t F i d e l V. R a m o s b e s t o w e d o n
her in 1998 the “Gawad Manlilikha Award
ng Bayan.

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SALINTA MONON
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998

• A local from Bansalan, is also known as

the “last Bagobo Weaver” and the
weaver of the world-renowned traditional
B a g o b o – Ta g a b a w a t e x t i l e s c a l l e d
Inabal.

• At a young age, she was already

exposed to weaving as her mother was
a l s o a w e a v e r.

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SALINTA MONON
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998

• With the effort to preserve the living

form of the cultural heritage, Salinta
Monon passed her legacy and indigenous
skills and techniques in abaca weaving
to the younger generation through the
S c h o o l o f L i v i n g Tr a d i t i o n i n B r g y.
B i t a u g , B a n s a l a n , D a v a o d e l S u r.

Traditional Bagobo – Tagabaw a textiles called Inabal.

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 ALONZO SACLAG
Musician and Dancer, Kalinga
Lubuagan, Kalinga
2000

• As a young boy in Lubuagan, Kalinga,

Alonzo Saclag found endless fascination
in the sights and sounds of day-to-day
village life and ritual.

• According to his son, Robinson, he

received no instruction, formal or
o t h e r w i s e , i n t h e p e r f o r m i n g a r t s . Ye t h e
has mastered not only the Kalinga
musical instruments but also the dance
patterns and movements associated with
his people’s rituals.

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 ALONZO SACLAG
Musician and Dancer, Kalinga
Lubuagan, Kalinga
2000

• He actively advocates the documentation of

their philosophies before they become
completely eroded by foreign influences.

• To g u a r a n t e e t h a t h i s k n o w l e d g e i n t h e
performing arts is passed on to others, he
formed the Kalinga Budong dance troupe. He
takes the young men and women who come
to him under his charge and they learn about
the music and dance of their ancestors.

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FEDERICO CABALLERO
Epic Chanter
Sulod-Bukidnon
Calinog, Iloilo
2000

• Caballero is of the Panay-Bukidnon

people from the Central Panay
mountains. He is known for his work on
the documentation of the oral literature,
particularly the ten epics. These epics
are rendered in an extinct language
related to Kinaray-a.

• His hard work begun when both his

a n g g o y a n d m o t h e r p a s s e d a w a y, h e
continued the tradition by ceaselessly
documentation of oral literature those
a r e Ti k u m k a d l u m , A m b u r u k a y,
Drikaryong pada,
B a l a n a k o n , k a l a m p a y, P a h a g u n o n g , s i n a g n
aya,humadapnon, nagbuhis and alayaw
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 About Datu Paiburong
& Makabagtig
FEDERICO CABALLERO
Epic Chanter
Sulod-Bukidnon
Calinog, Iloilo
2000

• These stories contain traditions,

lessons, showcase how people live in
those area, teaches life application and
shows how we interact in the
environment.

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 UWANG AHADAS
Musician
Yakan
Lamitan, Basilan
2000

• I s a Ya k a n , a p e o p l e t o w h o m i n s t r u m e n t a l
music is closely connected to the spiritual
realm.

• Kwintangan kayu – consisting of five wooden

l o g s H u n g h o r i z o n t a l l y, f r o m t h e s h o r t e s t t o
the longest.

• Played to serenade the palay , as lover woos

his beloved. Its resonance is believed to
gently caress the plants, rousing them from
their deep sleep, encouraging them to grow
and yield more fruit.

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 UWANG AHADAS
Musician
Yakan
Lamitan, Basilan
2000

• By age 20, he had already mastered the

'kwintangan kayu.

• H e t a u g h t h i s c h i l d r e n h o w t o p l a y Ya k a n
t r a d i t i o n a l i n s t r u m e n t s , i n c l u d i n g h i s d a u g h e r,
Darna, who would later become a teacher of
these traditions herself.

• Ahadas went on to promote these traditions

outside his native town of Lamitan, Basilan.

'KWINTANGAN KAYU
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DARHATA SAWABI
Textile Weaver
Tausug
Parang, Sulu
2004

• A Ta u s u g t e x t i l e w e a v e r f r o m S u l u . S h e
was hailed as an expert in weaving
colorful squares of cloth used for the pis
syabit and for adornment of the native
attire, bags and accessories as well as
in teaching the art to the younger
generation.

• Her art was distinguished for its bold,

contrasting colors, the evenness of the
weave and faithfulness to traditional
designs.

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DARHATA SAWABI
Textile Weaver
Tausug
Parang, Sulu
2004

• She is knowned for weaving the Pis

Syabit, the traditional cloth tapestry
w o r n a s a h e a d c o v e r i n g b y t h e Ta u s u g
of Jolo.

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 EDUARDO MUTUC
Metalsmith
Kapampangan
Apalit Pampanga
2004

• Eduardo is one of Pampanga’s renowned

artisans.

• He was recognized for his practice in a

traditional metalcraft called pukpuk.

• The process entails carving a design on

a piece of wood, over which Eduardo
adds a metal sheet. He then proceeds to
emboss the design by pounding the
metal gently using a mallet and an old
r u b b e r s l i p p e r.

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 EDUARDO MUTUC
Metalsmith
Kapampangan
Apalit Pampanga
2004

• Eduardo has devoted his life to the

creation of both ecclesiastical objects -
such as retablos or altar pieces,
c a n d e l a b r a s - a s w e l l a s h o m e d e c o r.

• A t M a n i l a FA M E O c t o b e r 2 0 1 8 , E d u a r d o
and Siargao’s Indigenous Weavers collab
in making necklaces through Agsam Fern
Fashion Accessories.

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HAJA AMINA APPI
Mat Weaver
Sama
Tandubas, Tawi-Tawi
2004

• 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
s e n s i t i v i t y t o c o l o r. H e r f u n c t i o n a l a n d
artistic creations take up to three
months to make.

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HAJA AMINA APPI
Mat Weaver
Sama
Tandubas, Tawi-Tawi
2004

• Their mat is made up of Pandan Leaves

which undergo tedious processes from
Stripping, to sun dying, to dyeing up to
weaving.

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 TEOFILO GARCIA
Casque Maker
Ilocano
San Quintin, Abra
2012

• He is a maker of gourd casque or

Ta b u n g a w. H e i s a c o m p l e t e c r a f t s m a n
who executes all the phases of his craft
production from the planting of his raw
materials to the finishing of the
manufactured form.
• His Kattukong exhibits the finest
workmanship. The outer Nito weave on
the edges as well as the inner lining of
the casque are highly refined and
excellently crafted. The designs he uses
show mastery of traditional form and his
ability to creatively innovate from within
the tradition.

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MAGDALENA GAMAYO
Textile Weaver
Ilocano
Pinili, Ilocos Norte
2012

• She is a master weaver of the Inabel

cloth - the historical cotton fabric
b a r t e r e d f o r g o l d i n t h e G a l l e o n Tr a d e
and mentioned in the classic Ilocano
epic Biag ni Lam-ang.

• She has been a mag-aabel for over 80

years, learning the craft at age 15 by
watching her aunts work at the height of
t h e S e c o n d W o r l d Wa r.

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MAGDALENA GAMAYO
Textile Weaver
Ilocano INABEL CLOTH
Pinili, Ilocos Norte
2012

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 AMABALANG AUSALIN
Textile Weaver

• Ya k a n m a s t e r t e x t i l e w e a v e r.

• Coming from a family of weavers, Apuh

Ambalang, as she was called in the
c o m m u n i t y, l e a r n e d t h e c r a f t a t a y o u n g
age and was able to execute the most
intricate designs.
• She was respected for her commitment
t o s a f e g u a r d i n g a n d p r o m o t i n g t h e Ya k a n
textile weaving tradition, especially the
colorful “tennun” or tapestry weave.

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 AMABALANG AUSALIN
Textile Weaver

“tennun” or tapestry weave.

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ESTELITA BANTILAN
Mat Weaver, 2016

• K n o w n f o r b e i n g t h e “ m a s t e r w e a v e r. ” , i n
the province of Sarangani and South
Cotabato. They are also called as B’laan
just like their native language.

• She learned how to weave since she was

j u s t a c h i l d . A n d u n t i l n o w, s h e ’ s s t i l l
doing what she loves because she
believes that if she stopped weaving
then the next generation won’t be able to
inherit the tradition that they have.

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ESTELITA BANTILAN
Mat Weaver, 2016

• What makes her mat weaving different

from the others is the interesting mix of
color and patterns.

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 YABING MASALON DULO
Ikat Weaver

• A renowned folk artist known for her

mastery of colorful ikat weaving and a
revered teacher and elder in her B’laan
tribe.

• Ikat is a decorative technique used to

pattern textiles, in which warp or weft
threads, or both, are tie-dyed before
weaving.

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 YABING MASALON DULO
Ikat Weaver

• F o r m a n y y e a r s , Ya b i n g M a s a l o n D u l o
has been a teacher and cultural elder
among her kith and kin,” the National
Commission for Culture and the Arts
(NCCA) said in a statement.

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CHOOSE ONE (1) NATIONAL
LIVING TREASURE AWARDEE

AS A GRADE 7
STUDENT, IN WHAT
WAY YOU ARE GOING
TO PROMOTE THE
NATIONAL LIVING
AWARDEE?

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 THANK YOU

Prepared by Sir Art & Ma’am Jessa

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