Lesson

Gawad sa Manlilikha ng
1 Bayan

What is It

Through media people nowadays can easily get to know the different artists
in their fields and recognize these artists from their efforts through award-giving
bodies. These artists are the bearers of our culture.
Since the pre-Spanish era, the Philippines are rich in its culture. Ancestors
are the living heritage or culture bearers of this country. They developed these
native art forms which portray the significant life of the Filipinos. People know very
little about the art forms that exist up to the present time. These artists are doing
what they value and love to modify and keep the traditional art alive. People can
learn from the vast knowledge of these indigenous people who can live longer not
only the techniques to survive but also the distinct identity of being Filipino.

In this lesson, you will learn about our sixteen (16) National Living
Treasures, known as the Gawad sa Manlilikha ng Bayan (GAMABA) awardees from
the National Commission for Culture and the Arts or NCCA. The awardees produce
art forms that are woven into everyday life. These show how pre-colonial traditions
continue through to the present time.

As envisioned in Republic Act No. 7355

Known as Manlilikha ng Bayan Act was established in 1992 and shall
mean citizen engaged in any traditional art uniquely Filipino, whose distinct skills
have reached such a high level of technical and artistic excellence, and have
passed it on to in his or her community with the same degree of technical and
artistic competence.

National Commission
for Culture and the
Arts (NCCA)
The highest policy and coordinating body for culture and the arts of the
state. It has to search for the finest traditional artist of the land who adopts a
program that will ensure the transfer of their skills to others, undertakes
measures to promote a genuine appreciation of and crafts and give pride among
our people about the genius of Manlilikha ng Bayan.
The Gawad Manlilikha ng Bayan (GAMABA) Awardees

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As Filipino who recognize the unique identities of our fellow Filipinos, it is the right
to see their contribution to the community. The country is rich with various elements
of tangible and intangible cultural heritage which has passed on the new generation.
Culture as part of our Philippine identity includes a variety of arts that enhance by
our National Living Treasure artists who are recognized in their special contribution
to the national heritage. These are Filipino citizen who is engaged in any traditional
art forms and has contributed to the development of cultural diversity and the
creativity of humanity.
Awardee Contribution Region
GAMABA Awardees for the year 1993

Surat Mangyan and Ambahan

poetry
Preserve the Hanunuo Mangyan Panaytayan, Mansalay,
script and Ambahan (poem Oriental Mindoro,
consisting of seven-syllable lines) Region IV-B
and promote it on every occasion MIMAROPA
so that the art will not be lost but
Ginaw Bilog preserved for posterity.
(d. 2003)
Photo Courtesy of NCCA

Epic Chanter and Storyteller

An outstanding master of the basal
(gong music), kulilal (highly lyrical
poem) and bagit (instrumental Pala’wan, Palawan
music played on the kusyapi), also Island,
played the aroding (mouth harp) Region IV-B
and babarak (ring flute) and above MIMAROPA
all, he was a prolific and pre-
Masino Intaray eminent epic chanter and
(d. 2013) storyteller
Photo Courtesy of NCCA

Playing Kudyapi
He achieved the highest level of Mamasapano,
excellence in the art of kutiyapi or Maguidanao, Western
kudyapi (two-stringed lute) playing Midanao
and also proficient in kulintang, Bangsamoro
agong (suspended bossed gong Autonomous Region in
with wide rim), gandingan (bossed Muslim Mindanao
gong with narrow rim), palendag (BARMM)
Samaon Sulaiman (lip-valley flute), and tambul.
(d. 2011)

Photo Courtesy of NCCA

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GAMABA Awardees for the year 1998
T’nalak Weaving
She is credited with preserving her
people’s traditional T’nalak using
abaca fibers as fine as hair which T’boli/Lake Sebu, South
traditionally has three primary Cotabato, Mindanao,
colors, red, black, and the original Region XII
colors of abaca leave recreated by SOCCSKSARGEN
her nimble hands-the crocodiles,
butterflies, and flowers.
Lang Dulay
(d. 2015)
Photo Courtesy of NCCA

Inabal Weaving
She was awarded for fully
demonstrating the creative and
expressive aspects of the Bagobo Tagabawa Bagobo/
abaca ikat (to tie or bond) weaving Bansalan, Davao del Sur,
called inabal (traditional textile of Region XI
Bagobo) at a time when such art Davao Region
was threatened with extinction.
Salinta Monon
(d. 2009)
Photo Courtesy of NCCA

GAMABA Awardees for the year 2000

Playing Yakan Instruments
He referred to for his ability and
mastery in playing different Yakan
instruments (made of bamboo,
wood, and metal) and for imparting Yakan/ Lamitan, Basilan
his insight to the youngsters of his Island,
locale. He keeps on performing and Bangsamoro
instruct despite his diminishing Autonomous Region in
visual perception, keeping the Muslim Mindanao
Uwang Ahadas Yakan melodic custom alive and (BARMM)
thriving.
Photo Courtesy of NCCA

Chanting the Sugidanon Epic of

the Panay Bukidnon
He continuously works for the
documentation of the oral Sulod-Bukidnon/
literature, in particular the epics, Calinog, Iloilo, Panay
of people. These ten epics, Island,
rendered in a language that, Region VI
though related to Kiniray-a, is no Western Visayas
longer spoken.
Federico Caballero

Photo Courtesy of NCCA

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 Playing Kalinga Musical
Instruments
His lifestyle work is to paint a
portrait of his people to record a
tradition of opposites and dualities, Kalinga, Northern Luzon
a peoples’ character recorded in Island,
cadences each aggressive and Cordillera Administrative
gentle. Play Kalinga musical Region (CAR)
instruments dance patterns and
Alonzo Saclag moves related to rituals.

Photo Courtesy of NCCA

GAMABA Awardees for the year 2004

Mat weaving
She was recognized as the master Ungos Matata,
mat weaver. Her colorful mats with Tandubas, Tawi-Tawi,
their complex geometric patterns Bangsamoro
showcased her precise sense of Autonomous Region in
design, proportion, and symmetry Muslim Mindanao
and sensitivity to color. (BARMM)

Hajja Amina Appi

(d. 2013)

Photo Courtesy of NCCA

Metal Plating
He is an artist who has devoted his
existence to developing religious
and secular artwork in silver,
bronze, and wood. His intricately
detailed retablos, mirrors, altars,
and carosas are in church Apalit, Pampanga,
Region III
buildings and non-public
Central Luzon
collections. A range of these works
Eduardo Mutuc
are quite large, some exceeding
forty feet, whilst some are very
Photo Courtesy of NCCA
small and feature very nice and
refined craftsmanship.
Pis syabit Weaving
She remained devoted and
persevered with her mission to Tausug/ Parang,
teach the artwork of pis syabit Sulu,
weaving. Her strokes firm and Bangsamoro
sure, her color sensitivity acute, Autonomous Region in
and her dedication to the best of Muslim Mindanao
her products unwavering. (BARMM)

Darhata Sawabi
(d. 2005)
Photo Courtesy of NCCA

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GAMABA Awardees for the year 2012

Abel Weaving
She has been a master in abel
weaving from Pinili, Ilocos Norte.
She is not only weaving traditional
Ilocano textiles but also designs
new patters. One of her designs
employs a difficult weaving
technique called pililian meaning
partially. The weave produces a Pinili, Ilocos Norte
one of a kind design that takes Region I
Magdalena after a string of flowers thus its Ilocos Region
Gamayo name, inubon a sabong. She did
not formally study such traditional
Photo Courtesy of NCCA art. Instead, she watched closely as
her aunt made and imitated the
patterns.
Kattukong or Tabúngaw Hat
Making
When he finishes fieldwork as a
farmer, he focuses on the
cultivation and development of San Quintin, Abra,
tabúngaw (Ilokano term for úpo). Cordillera Administrative
At the age of fifteen (15) he learned Region (CAR)
the art of Kattukong or tabúngaw
hat making and basket weaving
Teofilo Garcia from his grandfather.
Photo Courtesy of NCCA

GAMABA Awardees for the year 2016

Ambalang Ausalin
Photo Courtesy of NCCA
Yakan Weaving
Apuh Ambalang, is significantly
respected in all of Lamitan. Her
ability is regarded unique: she can
bring forth all designs and
actualize all textile categories Lamitan, Basilan Island,
ordinary to the Yakan community, Bangsamoro
who are known to be among the Autonomous Region in
finest weavers within the Southern Muslim Mindanao
Philippines. She can perform the (BARMM)
suwah bekkat (cross-stitch-like
embellishment) and suwah pendan
(embroidery-like embellishment)
techniques of the bunga sama
category. She has the complex
knowledge of the whole weaving
process, mindful at the same time
as the cultural significance of each
textile design or category.

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 B’laan Mat Weaving

Since she was a child, she was

bright and careful in tangle
weaving. Her perseverance took
place because of her supportive
husband. The thin strips of the Upper Lasang, Sapu
pandanus romblon (Pandanus Masla, Malapatan,
copelandii merr. Bariu) rise Saranggani
matrixed through deft fingers Region XII
performing an individual rhythm, SOCCSKSARGEN
the beat guided by her eyes. The
Estelita Tumandan unwoven strips are held tight at
Bantilan the other end of her body, as toes
curl and close around, not only
Photo Courtesy of NCCA these strips but, as it were, the
abstraction that other people call
design. The arc of her torso
determines the dexterity of feet
and toes. Hand/eye coordination
happens inside a frame of
milliseconds.

B’laan Ikat or Tie-dye Fabric

Weaving
Yabing Masalon Dulo, called as “Fu
Yabing”, was only fourteen (14)
years old when she started
weaving. All her younger years
were spent in sharpening her skills Amguo, Landan,
and imparting the knowledge to Polomolok, South
younger generations of B’laan Cotabato
weavers. Region XII
SOCCSKSARGEN
Yabing Masalon Dulo She follows her mother’s
movements back and forth. She
Photo Courtesy of NCCA
colors the fibers, counts the
thread, and observes the rhythmic
dance of a weaver’s dreams woven
into unique soulful pieces.

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 What I Have Learned

Republic Act No. 7355 known as Manlilikha ng Bayan Act was established in 1992
to give recognition to traditional art uniquely Filipino who preserves and promotes
its traditional folk arts that contribute to the national heritage.

National Commission for Culture and the Arts (NCCA) is the highest policy and
coordinating body for culture and arts of the state.

The Philippines through the effort of NCCA introduced the sixteen (16) Gawad sa
Manlilikha ng Bayan or GAMABA Awardees namely:

Ginaw Bilog 1993 Surat Mangyan and

Ambahan poetry
Masino Intaray 1993 Epic chanter and
storyteller
Samaon Sulaiman 1993 Playing Kudyapi
Lang Dulay 1998 T’nalak Weaving
Salinta Monon 1998 Inabal Weaving
Uwang Ahadas 2000 Playing Yakan
Instruments
Federico Caballero 2000 Chanting the Sugidanon
Epic of the Panay
Bukidnon
Alonzo Saclag 2000 Playing Kalinga Musical
Instruments
Hajja Amina Appi 2004 Mat Weaving
Eduardo Mutuc 2004 Metal Plating
Darhata Sawabi 2004 Pis syabit Weaving
Magdalena Gamayo 2012 Abel Weaving
Teofilo Garcia 2012 Kattukong or Tabúngaw
Hat Making
Ambalang Ausulin 2016 Yakan Weaving
Estelita Bantilan 2016 B’laan Mat Weaving
Yabing Masalon Dulo 2016 B’laan Ikat or Tie-dye
Fabric Weaving

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 Lesson

2 Living with the Artists

As you learned in the previous lesson, the Gawad sa Manlilikha ng Bayan

(GAMABA) or the National Living Treasures Awards is given by the National
Commission for Culture and the Arts (NCCA) to recognize Filipino artists who have
practiced and preserved the customs, beliefs, rituals and traditions of the indigenous
community where they belong. This recognition means that these artists have
contributed significant art forms that are timeless amidst our fast-paced environment
and multifaceted culture. Though considered as traditional arts by origin, the works
of the awarded artists are also contemporary for they continue to be observed and
practiced in their community. However, in the middle of the discussion of the former
lesson, have you ever asked yourself what made these arts so important? This module
will help you understand and appreciate the value of these remarkable arts.
“We must recognize and fulfill our duty to stay true to who we are, remember
where we came from, and honor the timelessness of our culture and traditions.”
President Rodrigo Roa Duterte remarked in the awarding of Gawad Manlilikha ng
Bayan (GAMABA) last 2018.
As the Chief Executive, he believes that preserving the cultural heritage is
important to establish our identity as a Filipino. The preserved customs and
traditions are important not only for the people who live in the indigenous community
but also to the Philippine culture and tradition in general.

What is It

The following are some of the significant contributions of the artists through
their arts.
1. Unique Identity.
Traditional arts reflect our diverse heritage and cultural traditions. This is
evident in all arts created by the artists who receive the GAMABA award. One of these
arts is weaving. Though weaving has long been part of our traditions, the use of
different materials and the different tedious process make each art unique.
Haja Amina Appi of Ungos Matata, Tawi-Tawi shows how pandan can be
weaved into mats with vibrant colors, beautiful geometric designs and fine symmetry.
These mats are usually used by their people for prayer or as a gift to the newly-weds.
In Luzon, weaving is preserved through Magdalena Gamayo who used
traditional patterns. Her work is marked by her ability to replicate designs with
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excellence and consistency.
Another artwork of the same kind is t’nalak (a fine abaca cloth) by Lang Dulay
of Lake Sebu, South Cotabato. She worked on traditional designs like bulinglangit
(clouds), kabangi (butterfly), crocodiles, and flowers.
As you can see, though these artists worked on the same art (weaving), their
artworks in their community is still uniquely created showing the identity of their
community (Estrella, 2020).

2. Exemplary Skills.
The artwork of Eduardo Mutuc from Pampanga shows how his skills developed
from being a farmer to one of the furniture carvers. To earn an income, he really
practiced his skills and became one of the most respected creators of religious and
secular arts today. He was awarded in 2004 for his detailed and lifelike pieces of
varying sizes: altars, mirrors, retablos, and carosas made with wood, silver, and
bronze.
Uwang Ahadas, on the other hand, shows his exemplary skill in music. At a
young age, he learned to play music with his siblings. Though kwintangan was
usually played by a woman, he mastered playing it. It is made of logs used to call
abundant harvest of grains.
Another musician who has shown superb skills is musician Samaon Sulaiman
who was a master of the kutyapi, a two-stringed lute. He was also proficient in playing
other instruments such as the kulintang, agong (a suspended gong with a wide rim),
gandingan (agong with a narrow rim), and tambul.

3. Way of Life
Alonzo Saclag of Lubuagan, Kalinga mastered local musical instruments,
along with dance patterns associated with rituals. These performances are performed
during celebrations or communal agreement such as peace pacts. To pass this
tradition, Saclag took a formal education reaching radio stations and creating Kalinga
Budong Dance Troupe.
Hearing the tales as told by his mother, epic chanter Federico Caballero of
Calinog, Iloilo learned Suguidanon, a Central Panay epic. Though Central Panay is
located in the mountains, the epic tells about characters and settings that reflect that
his people might have lived once in seashores in the past. Also, this epic was usually
chanted by a binukot, a woman of high status. Regardless of education and social
status, women were not given authority. Instead, they were trained for embroidery
and memorization of epic. Caballero is known to keep the local oral traditions through
his chants (Gowey, 2016).

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4. Enduring Values
Values are usually reflected in literary arts such as poem. Thus, the Mangyan
script is one of the four remaining syllabic scripts in the country which was preserved
through Ginaw Bilog of Mansalay, Oriental Mindoro. He was most popular in writing
ambahan (a metaphoric poem comprising seven-syllable lines) on traditionally used
bamboo tubes. His poems about advising the young, bidding a friend goodbye, and
asking for a place to stay show how Filipinos express their affection to their family
and friends.
Values is not only reflected in the art product but also on the process in which
it is created. In textile weaving, we can see the artists’ dedication to their work as
they intricately put different elements of arts such as color, harmony and shape to
create a distinct and vibrant 3 design. Spirituality is also evident among Filipino
artists as they use subjects related to their faith such as the textile designs by
Darhata Sawabi of Sulu and carvings by Eduardo Mutuc.
There are countless values that are reflected on the artists’ work but one thing
that is evident to their works is their unselfish desire to share their knowledge and
skills to the next generations to enjoy and to see as part of their beings as Filipinos.
5. Vision.
The traditional art shows the artist’s vision. Moreover, it also inspires us to
make the existing art as an inspiration to enhance the art or create our own artwork.
Teofilo Garcia is a gourd hatmaker from San Quintin, Abra. Since he is a farmer, he
sees the need of gourd casques. He used the tabungaw (gourd) plant for useful
protective hats to help the farmers overcome heat during farming. Because the hat
was made creatively and finely, he joined a festival to show his artwork. Who would
have thought that a simple hat to help our farmers would soon become a recognized
art? He did.
Also, Salinta Monon, a respected textile weaver from Davao Del Sur, isolated
herself from her family for months to finish her art. She once dreamt of establishing
the art through teaching new would-be weavers.
In conclusion, the artworks of our GAMABA awardees are indeed living
treasures. Their arts do not only express an idea or feelings but they also carry
significant contributions that are imbibed through generations. and inspired the
contemporary arts that we use and see today.

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 What I Have Learned

1. The Gawad sa Manlilikha ng Bayan (GAMABA) means that these artists have
contributed significant art forms that are timeless amidst our fast-faced environment
and multifaceted culture.
2. Contemporary arts reflect our unique identity since they show the diverse heritage
and cultural traditions. This is evident in art works of Haja Amina Appi, Magdalena
Gamayo and Lang Dulay who made unique weaving patterns.
3. The artwork of shows the exemplary skills of the artists like Eduardo Mutuc,
Uwang Ahadas and Samaon Sulaiman who mastered their skills an arts.
4. Art forms show the ways of life of the Filipinos: the communal agreements in
Kalinga as shown by the musical instruments and dance patterns as mastered by
Alonzo Saclag and the ways of life of the people in Panay and the status of
women through Suguidanon by Federico Caballero.
5. Values are usually reflected in literary arts themselves and and the processes that
artists have to go through to produce such arts.
5. The traditional art shows the artist’s vision for it inspires us to make the existing
art as an inspiration to enhance the art or create our own artwork as evident in the
works of Teofilo Garcia as a gourd hatmaker and Salinta Monon as a respected
textile weaver.
6. The arts do not only express an idea or feelings, but they also carry significant
contributions that are imbibed through generations. and inspired the contemporary
arts that we use and see today.

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