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Subject: Art Literature

Module 5 (Quarter2): Gawad sa Manlilikha ng Bayan

Subject Teacher: Ms. Rean

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ART LITERATURE- GRADE 12

LESSON 5 Topic: Gawad sa Manlilikha ng Bayan

Objectives

1. Discuss the national living treasures.

2. Explain and Value the importance of GAMABA or the Gawad sa Manlilikha ng Bayan.

Introduction of Lesson

National Living Treasures

It was through the 1988 National Folk Artists awards initiated by the Rotary Organization in Ayala-Makati that the
giving of recognition to outstanding Filipino artists specifically in music and poetry that paved the way This recognition
highlights the diversity in our heritage and cultural traditions which defines our being Filipinos. Traditional arts allows us
to visualize ourselves as a nation and as a people with distinct culture.

The search for the excellent traditional artists in the country was carried out by the National Commission for Culture and
the Arts (NCCA). The Gawad sa Manlilikha ng Bayan (GAMABA) was institutionalized in April 1992 through Republie
Act No. 7355. This program promotes the transfer of the unique skill of the living treasures to others to further the
appreciation and to show pride about the masters of these crafts in the person of our Manililikha ng Bayan.

The Manlilikha ng Bayan

Through R.A. 7355, the "Manlilikha ng Bayan" is defined as 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.

Criteria to be Qualified as a 'Manlilikha ng Bayan'

Becoming a 'Manlilikha ng Bayan' requires the following qualifications:

1. 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;

2. He/she must have engaged in a folk art tradition that has been in existernce 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;
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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.

The National Living Treasures

GINAW BILOG

Ginaw Bilog, born on January 3, 1953 is a Hanunoo Mangyan from Mansalay, Mindoro. He initiated the preservation
of the Ambahan which is the key to the exploration of the Mangyan soul. Ambahan is a poetic literary form comprised of
seven-syllable lines which gives messages on courtship, giving pieces of advice, saying goodbye etc. through metaphors
and images. Ginaw was considered as the master of Ambahan poetry as he recorded a number of them not only on
bamboo tubes notebooks provided to him by his peers. His greatest treasures were his collection which he inherited trom
his father and grandfather.

These became a source of inspiration and guidance in his creative endeavor. His dedication to the preservation of the same
for the understanding of indigenous people will continue as Ginaw had established the School of Living Traditions (SLT)
where a living master imparts through teaching of the art to a group of younger people the skills and techniques of doing
traditional arts and crafts. On June 3, 2003, at the age of 50. Ginaw died due to an illness.

The Ambahan

The Ambahan in baybayin is a pre-colonial script which is a poetic literary form engraved in bamboos and the llke with
the use of stylus or knives usually to guide travelers along forest trails.

MASINO INTARAY

A gifted poet, epic chanter, story-teller and musician from Makagwa Valley, Palawan. A master of traditional music
instruments such as basal, kulilal and bagit. He is also an expert in the aroding (mouth harp) and babarak or ring flute.
Aside from his creative mind, intellect he has the physical endurance to chant for several nights the countless tultul or
epics, sudsungit narratives, and tuturan myths of origin and teachings of ancestors. Masino is in the highest order
of merit as he preserves ana promotes the tradition of his people.

SAMAON SULAIMAN

Samaon Sulaiman at age 35 is the most honored kutyapi master and teacher in Maganoy, Mindanao as he is very
proficient in the kulintang, agong or Suspended bosses gong with wide rim, tambul gandingan or bossed gong with
narrow rim, and palendag or lip-valley flute. He is also an Imam who has achieved the highest degree of excellence in
kutyapi playing. His extensive repertoire of dinaladay, linapu, minuna, binalig, greatly influenced other acknowledged
experts in kutyapi in Magonoy. His exemplary artistry and dedication to his chosen instrument, and his unwavering
commitment to the music of the kutyapi is worthy of emulation and provision of highest honors.

LANG DULAY

A master textile weaver from Tboli, Lake Sebu, South Cotatbato. Lang Dulay was only 12 when she first learned how to
weave using Abaca fibers. It was her dream to teach the young people of her community her talent and skills in weaving.
She wanted her Abaca to be pure and fine as hair. Those were practices that maintained the uniqueness of her weaving
practices. She long wanted to establish a school where women in her communty can earn her art and master the skills that
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make their peoples uniquely perfect in the art of weaving as she herself has perfected a hundred designs Which include
the bulinglangit or clouds, the bankiring or hair bangs, and the kabangi or butterfly.

SALINTA MONON

A Bagobo born on December 12,1920 at Bansalan, Davao del Sur, Salinta Monon at 12 desired to be taught how to
weave. She developed a keen eye for the traditional designs, and at the age of 65 she can still identify a design at a glance.
She looks forward to teaching young wives in the Bagobo community the art of weaving as many are still interested in
learning the craft.

Weaving is an intricate and difficult process as it involves stripping of the abaca plant to get the fiber for textile; drying
the threads and tying each strand by hand and setting the strands on the Bamboo frame. Salinta had created varied designs
but her favorite was the binuwaya or crocodile which is very intricate and difficult to create and weave.

ALONZO SACLAG

From Lubuagan, Kalinga, Alonzo Saclag devoted his energy on the preservation of artifacts such as the Kalinga gong or
the gangsa to revive this dying treasures. Saclag is a master of dance and the performing arts who has mastered the use of
the Kalinga musical instruments as well as the dance patterns and movements reflecting the Kalinga people's rituals.
Saclag did not have any formal instruction in the performing arts. He was only a very keen observer and an artist who
mainly relied on his experiences. He established the Kalinga Budong Dance Troupe travelling the world to represent and
educate the peoples about the Kalinga performing arts. The group was also created to ensure that the knowledge and
practices are taught to others as well. Young men and women from their community learn about the music and the dance
to promote and preserve the genuine Kalinga traditions.

FREDERICO CABALLERO

Federico Caballero is an epic-chanter from Kalinog lloilo and from the mountains of Central Panay who ceaselessly
worked for the documentation of the epics and oral literature of his people. He preserved and promoted the encyclopedic
folklore of Panay. Relentlessly he worked together with artists, scholars, and advocates of culture to explore on the
elements of Panay's oral traditions and worked for its preservation. Caballero is considered a bantugan or a person who
has attained distinction in his community.

UWANG AHADAS

Uwang Ahadas is a Yakan from Lamitan, Basilan who values much musical instruments because he was nearly blind. He
became a teacher to young people who have interests with the kwintangan, kayu, and tuntungan. When he was young
Uwang enjoyed learning the intricacies of learning and playing with the art. He observes older people who are familiar
with the instruments. From the gabbang a bamboo xylophone, his skills progressed to the playing of the agung, the
kwtntangan kayu, and later other more complex instruments.

By the age of twenty, Uwang had mastered the kwintangan. Uwang became a teacher outside of Lamitan to young people
who also became very interested with the playing of these varied traditional musical instruments. He teaches hands-on and
his method is learning by doing which became very effective to transfer his knowledge to these younger people ot
Basilan.
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DARHATA SAWABI

Darhata is a weaver of pis syabit -which is the traditional cloth tapestry worn as a head cover by the Tausugs ot Jolo, Sulu.
She is very passionate about this art and skill which is a very mechanical task. Her dedication to this art has preserved and
promoted generations of traditional Tausug designs for contemporary appreciation and possible enriching studies. As she
weaves at home she also manages to teach other women in her community about this skill. This have consequently
become a source of livelihood for the young women of Parang specifically on how to make a living from their woven
fabrics.

EDUARDO MUTUC

From Apalit, Pampanga Eduardo Mutuc is 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
collections. His craftsmanship involves the right choice tools and medium. The proper use of chisel begins with respect
for one's tools and the medium. The proper use of chisel and hammer is very necessary to perfect the art.

He teaches his students to consider the quality of their product rather than the material rewards that they will derive from
their art. Mutuc asserted that to excel in one's art and craft is to improve on the skills and practicing the use of the right
technique.

HAJA AMINA APPI

Born on June 25, 1925 in Ungos Matata, Tandubas, Tawi-Tawi, Haja Amina is recognized as the master mat weaver
among the Sama indigenous communty of Ungos Matata. Her colortul mats with their complex geometric patterns
exhibited her precise proportion, symmetry, sense of design, and sensitivity to color. Her artistic creations are three
months in the making. in the midst of traditional techniques in weaving mats, Haja Amina developed her own modern
designs. It is with the visualization and execution of the design that makes her weaving difficult and complex. Aside from
the mixing of colors, a keen eye for detail, color instinct, and applied mathematics are necessary traits that one must
possess.

TEOFILO GARCIA

Teofilo Garcia was born on 27 March 1941, in San Quintin,Abra. He is known for making the all-weather headgear the
"tabungaw" which if properly handled can last up to three to four generations. A tabungaw is a functional headpiece
uniquely created to shield a user from any type of weather. The Tabungaw is made of the native gourd which is hollowed
out, polished, and varnished to a bright orange for weather resistance. Its lining is a finely woven rattan matting while the
brim has a bamboo weave.

Teofilo is very creative in his designs and had been innovating patterns according to what he see from other products. His
interest is on developing modern ways to create variant shades in the matting and color of the tabungaw. The procedure in
making the Tabungaw involves planting and harvesting the Upo; refining the uway or rattan which would serve as the
lining of the tabungaw and finally weaving the puser or bamboo which would serve as the accent for the work. The
tabungaw is a product of years of innovation, research and study on the elements to make it more sturdy, attractive,
functional and marketable.
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MAGDALENA GAMAYO

Magdalena is from Pinili, Ilocos Norte. She was born on August 13, 1934 and considered as a Master weaver who
creates "inabel" which is an llokano handwoven cloth. For Magdalena, knowledge in weaving is not enough, there are
several skills that has to be developed to be a master in this art.

Even at the age of 88 years old, with Magdalena's eyesight she still manages to arrange the threads on the loom. Weavers
agree that weaving is a very complex task and the slightest miscalculation can misalign the whole design. Magdalena has
taught herself the traditional patterns of binakol, inuritan or geometric design, kusikos or spiral forms similar to oranges,
and sinan-sabong or flowers which is a very challenging pattern. She is self-taught in recreating designs which is a very
unique skill in weaving Magdalena's blankets have a very high thread count and her designs are very intricate.

Activity 1:

1. Define Gawad sa manlilikha ng Bayan.

2. Give the contribution of frederico Caballero in culture of Panay.
3. Explain tabungaw.

Activity 2:

On a Clean Illustration Board or Bond Paper create a poster expressing your commitment to the ideals of promoting and
preserving Philippine Art and Culture.

Uniqueness- 5 pts.
Creativity – 8 pts.
Neatness – 7pts.
Total= 20 pts.