LESSON 4: GAWAD SA

MALILIKHAING BAYAN
(GAMABA) NATIONAL LIVING
TRESURES AWARD

BY: GROUP 4
• The Award was institutionalized in 1992 through Republic Act No. 7335.
The National Commission for Culture and the Arts (NCCA), which is the
highest policy-making and coordinating body of the Philippines for culture
and the arts, was tasked with the implementation.

• The award is conferred upon a Filipino citizen or group of Filipino citizens

engaged in any traditional art uniquely Filipino, whose distinctive skills
have reached such a high level of technical and wanwor artistic excellence
and have been passed on to and widely practiced arabol by the present
generations 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. He/she must have engaged in a folk art tradition that has been in existence and documented for at
least fifty (50) years.
• 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. He/she must have engaged in a folkart tradition that has been in existence and documented
for at least fifty (50) years.
• c. He/she must have consistently performed or produced over a significant period, works of
superior and distinctive quality.
• d. 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.
• e. 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.
• Duties and Responsibilities of Awardees

• The Manlilikha ng Bayan is a link between the past, in which his/her traditional folk art found
fertile soil for growth, and the future, during which he/she seeks his/her art to be permanently
sustained. It becomes his/her responsibility therefore to undertake the following;

• a. to transfer the skills of his/her traditional folk art to the younger generation through
apprenticeship and such other training methods as are found to be effective;

• b. to cooperate with the implementing agency, as provided for in Section 7 of this Act, in the
promotion and propagation of his/her traditional folk arts; and

• c. to donate to the National Museum a sample or copy of his/her work.

• Categories

• The Award shall be given in each, but not limited to the following
categories of traditional folk arts:

• Folk Architecture - These are simple structures usually intended to

provide only basic shelter for the surrounding terrain without concern
for following any architectural style; built of local materials and
available tools by people who would inhabit them
• Some Philippine Simple Architecture

• The Bahay Kubo

• (Kamalig, or Nipa Hut) is a type of stilt
house indigenous to most of the lowland
cultures of the Philippines. It often
serves as an icon of broader Filipino
culture more specifically, Filipino rural
culture.
• The Ifugao Houses

• Were usually similar in architectural designs but

they differ in decorative details depending on the
tribes. Their houses were harmoniously located
with the contour of the rice terraces. The one-
room house of the Ifugao commonly known to
them as bale. The exterior of the house seems to
be nothing but a pyramid resting on four posts,
while the interior space is enclosed by slanting
walls and ceiling that appears to be spherical that
are formed by the loft. The Ifugao House have
three functional levels: the ground floor, the
second level for the living quarters and the third
level which was used as the granary. The ground
level the posts have wooden discs which was
called oliang to prevent rats from entering the
house. The second level or the living area was
• The Batanes House

• The Batanes House is a unique vernacular architecture

developed in the province of Batanes. Its compact structure is
divided into four areas: the main house, the cooking house,
toilet, and bathhouse. During the cold seasons, the cooking
house also serves as sleeping quarters. The houses of Ivatan
are constructed and repaired through a cooperative system
called kayvayvanaan or kamanyiduan. Through this system,
houses are fixed with immediate action.

• Most of the Ivatan houses are built with limestone walls, reed
and cogon roofs, strong enough to withstand the numerous
typhoons and earthquakes that visit the island on an average of
eight times a year. Some houses have roof nets which allow
the roofs to last from 25 to 30 years. These nets serve as the
roofs' protection against strong winds during typhoons. Only
three walls of the house have windows; the fourth wall faces
the direction of the strongest typhoon winds. The inside is
relatively cool during summer and warm during the rainy
season.
• The Maranao House

• A torogan, which literally means "a place for

sleeping," is the stately house of elite members of
the Maranao tribe in the province of Lanao del Sur
in the island of Mindanao, Philippines. As the
house of the datu or sultan, it is a symbol of status
and leadership. Being the last standing example of
the house of the elite members of the Maranao
tribe, and the only remaining habitable torogan, it
was declared as a National Cultural Treasure by
the National Museum of the Philippines in 2008.
Torogan also serves as a courthouse and hall for
community meetings and its courtyard as ritual
areas for weddings and coronations. It also
embodies the height of the okir decorative
tradition.
• The Houses on Stilts

• Stilt houses or pile dwellings or raised on piles

over the surface of the soil or a body of water.
Stilt houses are built primarily as a protection
against flooding, but also serve to keep out
vermin or pest (nuisance animal). The shady
space under the house can be used for work or
storage.

• Maritime Transports - These are simple marine

vessels made for the

• transport of goods (cargo) and people by sea

and other waterways in the surrounding
regions.
• Wooden Banca

• Outrigger Canoe is a small wooden

boat. It is used for transport in daily
activities such as going to the market
to transport goods to other places and
in going to school. They are
sometimes highly decorated used to
move from island to another island
specially on coastal places around the
various regions.
• Vinta Boats

• Locally known as lepa-lepa or sakayan

is a traditional boat found near the
Philippine island of Mindanao. The
boats are made by Sama-Bajau and
Moros living in the Sulu Archipelago,
Zamboanga peninsula, and southern
Mindanao. It has a sail with assorted
vertical colors that represents the
colorful culture and history of the
Muslim community. These boats are
used for inter- island transport of people
and goods. Zamboanga City is known
for these vessels.
• Weaving

• This traditional art form as practiced around the

region involves many threads being measured, cut,
and mounted on a wooden platform. The threads
are dyed and weaved on a loom. Early Filipinos
weaved using fibers from abaca, pineapple, cotton,
and bark cloth. Textiles, clothes, rugs, and hats
were weaved. Baskets were also weaved and used
as vessels of transport and storage, and for hunting.
These baskets were used to transport grain, store
food, and catching fish. They also used weaving to
make just about all of the clothing that was worn. It
was during Spanish period that Filipinos used
fabric called nipis to weave white clothing. These
were weaved with decorative, flower designs.
• Weaving in the Philippines

• When it comes to handwoven textile

production in the Philippines, the
process is a slow and tedious one.
From harvesting crops from which
fiber for weaving will be stripped, to
knotting and tying each fiber, it can
take months before a final fabric or
garment is produced. It is tedious
because it's done by hand and no
gadgets are used.
• The Piña leaves of Kalibo, Aklan

• Located on the island of Panay in Visayas, is known

to be the oldest and primary manufacturer of piña.
The weaving of fibers derived from pineapple leaves
began centuries ago when Red Spanish Pineapple
which is not indigenous to the Philippines - was
introduced by Spanish colonizers. Piña peaked in the
1800s, but slowed in the later years of the century due
to the introduction of cheaper, machine-made cloths.
The tradition nearly came to a complete end during
the American colonial rule in the Philippines, which
lasted from the late 1800s through the mid-1900s, and
particularly as younger generations showed little
interest in the craft. In the late 1900s, public-private
partnerships between Philippine government agencies
and Aklan local piña weaving initiatives started
reviving piña weaving. Today, many Aklanons earn a
living from this craft.
• The T'nalak of the T'boli of Lake Sebu

• T'nalak abaca tapestries crafted by T'Boli people are often

described "woven dreams," as the process typically begins
with the spirit of the abaca showing the weaver in her
dreams a pattern laid out on a loom. Among symbols that
have been woven into these tapestries include a butterfly,
eagle and python. Each fiber is knotted and tied according
to the weaver's dreams, and then dyed. During Monday's
presentation at the Philippine Consulate, Ofong explained
that there is no pattern followed in t'nalak weaving. She
added that the traditional color of the tapestry is red, black
and white. The craft is a family and activity, so mothers
and daughters do the knotting and designing,
wtraditionhile husbands harvest and strip the fibers, and
knot when they have free time. Among purposes for
which the t'nalak has been used include bartering for
horses and carabaos. They have also been given as
dowries, for a first baby and as gifts. The fabric can then
be used as a blanket, bag, vest, blouse or table runner,
among other things.
• GROUP 4
• AWALI, SHANRADA
• SAN LUIS, WINDHIE EVANGELINE
• MARCO MENDOZA
• NICKEN, GRACEL, PANGILINAN
• CASAS, JOSHUA JAMES