 Windows with wooden
shutters and often secured Southeast Asia.
by wooden bars.
 House of Dakay – the oldest
surviving Ivatan House which
was built in 1887.
Torogan or Maranao House
 Means “a place for sleeping”.
 A stately house for the elite
members of the Maranao
tribe in Mindanao.
 A symbol of status and
leadership.
 Serves as a courthouse, hall
for community meetings, and
its courtyard as ritual areas
for weddings.
 Materials: Plywood sticks,
dried coconut leaves, and a
cloth.
Badjao’s Stilt Houses and
Houseboats
 Their unique ecological
setting and fishing economy
compel the Badjao to adjust
to the limited space of their
lepa or floating homes.
 The boat is 10.7 meters long;
1.8 m width and 1.6 meters
in height.
 Houses- built out of
driftwood and debris from
the coastal cities around
 Its foundations are carefully
placed in between coastal
rocks and corals.
B. MARITIME TRANSPORTS –
these are simple marine vessels
made for the transport of goods
and people by sea and other
waterways in the surrounding
regions.
Wooden Banca
 Known as outrigger
canoes.
 Initially developed by the
Austronesian-speaking
people in Southeast Asia.
 A small wooden boat
used for transport in
daily activities by people
near the coast. It is
sometimes highly
decorated.
 PhP25,000 (or $570)
 The outriggers are made
of bamboo.
Vinta
 A traditional boat
made by Sama-Bajau
(Badjao) and Moros
 living in the Sulu  Often used to our national
Archipelago, costumes, the baro’t saya
Zamboanga and barong.
peninsula, and
 Piña weaving- the oldest
southern Mindanao.
industry of Aklan.
 The assorted vertical
colors in its sail  Piña cloth is soft and looks
represent the delicate but it is durable and
colorful culture of long-lasting.
the Muslim
 Piña silk- if the piña fiber is
community.
blended with silk.
 The prow- the most
distinctive feature of  Piña jusi- when mixed with
the vinta hull abaca.
 The hull is covered
by a removable deck
made of planks or T’nalak woven cloth
split bamboo.
 Woven by the T’boli women
 Usually paddled or
of Lake Sebu, South
poled in shallow and
Cotabato, Mindanao.
calm coastal waters.
 Represents the tribe’s
culture and tradition.
C. WEANING, TEXTILE MAKING AND
FABRIC ART - Early Filipinos weaved  The unique designs and
using fibers from abaca, cotton, patterns on the cloth are
pineapple and, bark. Before the final bestowed upon them
garment or fabric is produced, the through dreams.
fibers were first knotted, boiled,
dyed, and dried and weaved using
hands and a wooden platform. This Tingkep Baskets
tedious process spans from a week
up to months.  It serves both practical and
spiritual purposes in the
Pala’wan community life.
Piña fabric  Used as a storage container
for rice, salt, and personal
belongings.
  Handcrafted by the women
from fine bamboo strips and
made in natural colors.
Hinabol
 Weaving is a happy activity
for the Higaonon hinabol
weavers of Bukidnon.
 Abaca as a raw material for
their clothing, footwear,
blankets, and for their fishing
gear.
 The production of textile was
considered to be sacred to
the tribe.
 The cloth reflects the moods
and feelings of the weaver.
 Offering to the spirits and
also given as a gift, as a
dowry, and is used to bring
peace during tribal conflicts.
Yakan weaved cloth
 Made by the Yakan tribe
from Basilan.
 It features elaborate
geometric designs and
patterns that are inspired by
nature.
 The fabrics produced by the
weavers are used for
religious and ritual purposes,
bartered for daily necessities,
given as gifts, and used for
peace
The Tapis of the Kalinga Tripe
 The tapis is a
costume indigenous
to the Kalinga and
Apayao. It is a
rectangular cloth
woman wear as a
wraparound skirt.
The garment was
woven using a
backstrap loom.
Carving
 From the northern part of
the country down to the
south, there is always a
wood carving province that
will amaze us. Wood is the
common material that is
widely used in the country.
Performing Art
 These may be folk dances
and music which are
developed by an individual or
groups of people that reflect
their traditions and culture.
Literature

 It refers to the traditional Manunggul Jar

oral literature of various
• It is a secondary burial jar
ethnic groups of the country.
found in the early 1960’s in
It includes the story of
Manunggul Cave, Lippun
“Malakas at Maganda” and
Point, Palawan.
epics such as “Hudhud ni
Aliguyon,” “Darangan,”. Maitum Anthropomorphic Potteries

• Earthenware pots resembling

human figures were found in
Ayub Cave in Pinol, Maitum,
Graphic and Plastic Art Saranggani Province. The
pots were dated to the Metal
 Graphic arts are mainly two-
Age (5 BC – 225 AD) and
dimensional (2D), like
were used for secondary
sketching, painting,
burial.
photography, and
calligraphy. Plastic arts
include sculpture or ceramics
II. NATIONAL LIVING TREASURES
which have three dimensions
AWARDS - Institutionalized through
(3D).
R.A. No. 7355, GAMABA is awarded
Ornament to a citizen engaged in any traditional
art uniquely Filipino whose
 It is used to embellish parts
distinctive skills reached such a high
of a building or object. The
level of technical and artistic
Ifugaos have carved Anito
excellence and have been passed on
figures or Bulul which
to and widely practiced by the
represent their ancestral
present generation in his/her
spirit and granary gods.
community with the same degree of
technical and artistic competence.

I. POTTERY - Native Filipinos created

pottery since 3500 years ago. These
potteries serve as a secondary burial
jars to hold the deceased. Some of
these were decorated with
anthropomorphic designs.
A. CATEGORIES
The Award shall be given in each, but
not limited to the following
categories of traditional folk arts,
namely: folk architecture, maritime 4. He/she must possess a
transport, weaving, carving, mastery of tools and
performing arts, literature, graphic materials needed by the art,
and plastic arts, ornament, textile or and must have an
fiber art, pottery and other artistic established reputation in the
expressions of traditional culture. art as master and maker of
Consideration shall be given to works of extraordinary
geographical distribution and balance technical quality.
of artistic categories.
5. He/she must have passed on
and/or will pass on to other
members of the community
B. Criteria for Selection (Source:
their skills in the folk art for
ncca.gov.ph, 2015)
which the community is
To become a “Manlilikha ng traditionally known.
Bayan,” the candidate must possess
the following qualifications:
A traditional artist who possesses all
1. He/she is an inhabitant of an
the qualities of a Manlilikha ng Bayan
indigenous/traditional
candidate, but due to age or infirmity
cultural community
has left him/her incapable of
anywhere in the Philippines
teaching further his/her craft, may
that has preserved
still be recognized if:
indigenous customs, beliefs,
rituals and, traditions and/or 1. He/she had created a
has syncretized whatever significant body of works
external elements that have and/or has consistently
influenced it. displayed excellence in the
practice of his/her art, thus
2. He/she must have engaged
achieving important
in a folk art tradition that has
contributions for its
been in existence and
development.
documented for at least 50
2. He/she has been
years.
instrumental in the
3. He/she must have
revitalization of his/her
consistently performed or
community’s artistic
produced over a significant
tradition.
period, works of superior and
distinctive quality.
 3. He/she has passed on to 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.
C. HONORS AND PRIVILEDGES
D. Manlilikha ng Bayan Awardees
(Source: ncca.gov.ph, 2015)
1. Ginaw Bilog (1993) 
• Poet, Hanunuo Mangyan
Panaytayan, Oriental
Mindoro 
• Ginaw Bilog contributed in
the preservation and
promotion of
ambahan(Mangyan script)

1. An awardee receives a
specially designed gold 2. Masino Intaray (1993) Musician
medallion, an initial grant of and Storyteller, Pala’wan Brookes
P100,000 and a P10,000 Point, Palawan
monthly stipend for live but
• Musician and Storyteller,
according to R.A. No. 7355
Pala’wan 
“the monetary grant may be
increased whenever • Brookes Point, Palawan
circumstances so warrant.”
• Masino Intaray is a
2. The NCCA has also
productive and leading epic
formulated “Guidelines on
chanter and storyteller
Inviting a GAMABA Awardee”
recognized for his
which states the honorarium
outstanding mastery of the
and other benefits that an
musical instruments basal,
awardee should receive
kulilal, and bagit.
whenever he/she is invited
to a private event
3. Medical and hospitalization
3. Samaon Sulaiman
benefits of P750,000 a year;
a state funeral, and room in • From Mamasapano,
Libingan ng Mga Bayani Mindanao
(should they choose), and a
place of honor in state • Learned from his uncle, how
functions. to play the Kutyapi
at 13 yrs old.
• Became the most acclaimed
Kutyapi master and teacher
5. Salinta Monon
at 35yo
• From Bansalan, Davao del
• He was also proficient in
Sur 
other instruments such as
Kulintang, agong, • Asked her mother to teach
gandingan, palendag, and her how to weave at 12y/o 
tambul
• Her desire to master the art
• Was also a barber, and helped her learn quickly 
served as an Imam in the
• At 65yo, she can now identify
Libutan Mosque
the design as well as
the author of a woven piece
just by a glance
4. Lang Dulay
• She is credited • She was known for
with preserving her her Bagobo-Tagabawa
people's tradition of textiles and was known as
weaving T'nalak, a the "last Bagobo weaver".
dyed fabric made
from refined abaca
fibre.
• From Lake Sebu, South
Cotabato 
• Knows various 6. Alonzo Saclag
designs which tells • preserving Kalinga culture
stories that reflect the through dances, music and
wisdom and visions of customs
her people  • From Lubugan (Lubuagan),
• Lang adheres to the Kalinga 
traditional way of • Kalinga master of
creating her textiles dance and performing arts 
because she values and • Received no instruction,
preserves the tradition formal or otherwise, in the
and the message it holds, performing arts 
that were passed down • Has urged the members of
to her by her elders. his community to preserve
 their artifacts and • Instrumental music is
archaeological sites.   significant to
• Ex. Kalinga the Yakan because it is
Gong (Gangsa)  & Peace-pact  connected both to their
(Budong)  agricultural and social realm 
• Teamed up with the • From Lamitan, Basilan 
provincial government to • A hands-on teacher to
grant funds to convert the individuals who are
abandoned Capitol Building interested in
in to a museum  learning kwintanga,  kayu,  an
• Supported by the provincial d tuntungan 
government and other
patrons,
the Lubuagan Branch of the 9. Daharta Sawabi
National Museum was • From Parang, Sulu 
established • Weaver of Pis  Syabit - the
traditional cloth tapestry
7. Federico Caballero worn as a head cover 
• From Calinog, Iloilo  • Had already been teaching
• Ceaselessly works for the the young women of Parang
documentation of the oral how to make a living from
literature, particularly the their woven fabrics 
epics
Labaw  Dunggon and Humad
apnon  10. Eduardo Mutuc
• Works with the Bureau of • From Apalit, Pampanga 
Nonformal Education, • Has dedicated his life to
travelling from barangay to creating religious and secular
barangay, trying to convince art in silver, bronze, and
the older folk of the wood 
necessity and benefits of • His intricately detailed
learning to read and write  retablos, mirrors, altars,
o Considered as and carosas are in churches
a Bantugan. and private collections 
• “Craftsmanship begins with
respect for one’s tools and
8. Uwang Ahadas the medium” 
• The first thing he teaches his are the most intricate and
students is how to hold the can sometimes take up to 5
chisel and hammer properly  colors 
• Cautions against working
with an eye for easy money 
• “Immerse oneself, learn the
technique, and practice” 

11. Haja Amina Appi

• From Tandbas, Tawi-Tawi
• Recognized as a master
Mat Weaver
• The whole process, from
harvesting to stripping
down the pandan leaves,
to the actual execution
of the design, is exclusive
to women.

12. Teofilo Garcia

• From San Quintin, Abra 
• A master artisan of gourd
casques or kattukong - an all-
weather traditional headgear
made of tabungaw or gourd 
• Takes pride on his work by
wearing it always 

13. Magdalena Gamayo

• From Pinili, Ilocos Norte 
• A weaver of inabel - an
Ilocano woven cloth 
• Produces abel which is finer
than others 
• Her blankets have a very high
thread count and her designs