C O N T E M

P O R A R Y
PHILIPPINE Arts FROM THE REGIONS
 Direction: Match the artists in Column A with their descriptions in Column B. Write the letter that corresponds to the correct answer on the space

____1. Abdulmari Asia Imao ­

____2. Benedicto Cabrera
____3. Carlos Francisco
____ 4. Daisy Avellana
____5. Ernani Cuenco
____6. Francisca Reyes Aquino
____7. Fernando Amorsolo
____ 8. Francisco Coching
____9. Guillermo Tolentino
____10. Atang dela Rama
____ 11. Leonor Orosa Goquingco
_____12. Lucrecia Kasilag
_____13. Napoleon Abueva
_____14. Salvador Bernal
_____15. Wilfrido Ma. Guerrero
A. Review: (DAY 1)
A. A musician who incorporated Kundiman
elements ­ in his ballad love songs.
K. Father of Modern Philippine Sculpture
B. Folk Dance Pioneer of the country
L. Dean of Filipino Illustrators
C. Queen of Kundiman
M. Master sculptor who is known for creating
D. Grand Old Man of Philippine Art
monuments and bust figures of Philippine
E. Exceptional theater designer who used local
heroes and Philippine presidents
materials in producing creative and unique sets
N. Award-winning painter and printmaker who was
and costumes
tagged as a Master of the Philippine
F. Visual artist from Sulu who articulated the
Contemporary Art
Muslim culture and art in the country
O. Filipino playwright, director, teacher and theater
G. Mural painter who show historical past of
artist wrote well over 100 plays 41 of which
the Philippines in his paintings
have been published
H. Mother of Philippine Theater Dance
P. Filipino artist best known for his abstract
I. First Lady of the Philippine Theater
Paintings
J. Filipino artist who reinforces appreciation to
music by fusing Western influences to
Philippine ethnic music
 Manlilikha ng Bayan Act or Republic Act
No. 7355 was established in 1992.
GAMABA awardees are those Filipinos
who engaged in any traditional art
uniquely Filipino, whose district skills have
reached such a high level of technical and
artistic excellence, and have passed it on
to in his as her community with the rate
degree of technical and artistic
competence.
.
GAMABA Awardees for the year 1993
CONTRIBUTION
REGION
Surat Mangyan and
Ambahan poetry Panaytayan,
Preserve the Hanunuo Mansalay, Oriental
Mangyan script and Ambahan Mindoro, Region IV-
(poem consisting of seven- B MIMAROPA
syllable lines) and promote it
Ginaw Bilog on every occasion so that the
(d. 2003) art will not be lost but
preserved for posterity.
 Epic Chanter and
Storyteller
Pala’wan,
An outstanding master of the
Palawan
basal (gong music), kulilal
Island, Region IV-B
(highly lyrical poem) and bagit
MIMAROPA
(instrumental music played on
the kusyapi), also played the
Masino aroding (mouth harp) and
Intaray babarak (ring flute) and above
(d. 2013) all, he was a prolific and pre-
eminent epic chanter and
storyteller
 Playing Kudyapi
He achieved the highest level of Mamasapano,
excellence in the art of kutiyapi or Maguidanao,
kudyapi (two-stringed lute) Western
playing and also proficient in Midanao
kulintang, agong (suspended Bangsamoro
bossed gong with wide rim), Autonomous
Samaon gandingan (bossed gong with Region in Muslim
Sulaiman narrow rim), palendag (lip-valley Mindanao
(d. 2011) flute), and tambul (BARMM)
 GAMABA Awardees for the year 1998

T’nalak Weaving
She is credited with T’boli/Lake Sebu, South
preserving her people’s Cotabato, Mindanao, Region
traditional T’nalak using XII SOCCSKSARGEN
abaca fibers as fine as hair
which traditionally has
three primary colors, red,
black, and the original
colors of abaca leave
Lang
Dulay (d. recreated by her nimble
2015) hands-the crocodiles,
butterflies, and flowers
 Inabal Weaving
She was awarded for Tagabawa Bagobo/
fully demonstrating Bansalan, Davao del
the creative and Sur, Region XI
expressive aspects of Davao Region
the Bagobo abaca ikat
(to tie or bond)
weaving called inabal
(traditional textile of
Salinta
Bagobo) at a time
Monon (d.
when such art was
2009)
threatened with
extinction.
 GAMABA Awardees for the year 2000

Playing Yakan Instruments

He referred to for his ability and
mastery in playing different Yakan Yakan/ Lamitan,
instruments (made of bamboo, Basilan Island,
wood, and metal) and for imparting Bangsamoro
his insight to the youngsters of his Autonomous Region in
locale. He keeps on performing and Muslim Mindanao
instruct despite his diminishing (BARMM)
Uwang visual perception, keeping the
Ahadas Yakan melodic custom alive and
thriving.
 Chanting the
Sugidanon Epic of the Sulod-
Panay Bukidnon Bukidnon/
He continuously works for the Calinog,
documentation of the oral Iloilo, Panay
literature, in particular the Island,
epics, of people. These ten Region VI
Federico Caballero
epics, rendered in a language Western Visayas
that, though related to
Kiniray-a, is no longer spoken.
 Playing Kalinga
Musical
Instruments
His lifestyle work is to
paint a portrait of his Kalinga,
people to record a Northern Luzon
tradition of opposites and Island,
dualities, a peoples’ Cordillera
character recorded in Administrative
Alonzo Region (CAR)
Saclag cadences each aggressive
and gentle. Play Kalinga
musical instruments
dance patterns and
moves related to rituals.
 GAMABA Awardees for the year 2004

Mat weaving
She was recognized as the
master mat weaver. Her Apalit, Pampanga,
colorful mats with their Region III
complex geometric patterns Central Luzon
showcased her precise
sense of design, proportion,
and symmetry and
Hajja Amina sensitivity to color.
Appi (d.
2013)
 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, Apalit, Pampanga, Region
mirrors, altars, and carosas III
are in church buildings and Central Luzon
non-public collections. A
Eduardo range of these works are
quite large, some exceeding
Mutuc forty feet, whilst some are
very small and feature very
nice and refined
craftsmanship.
 Pis syabit Weaving
She remained devoted
and persevered with her Tausug/ Parang,
mission to teach the Sulu, Bangsamoro
artwork of pis syabit Autonomous Region in
weaving. Her strokes firm Muslim Mindanao
and sure, her color (BARMM)
sensitivity acute, and her
dedication to the best of
Darhata
her products unwavering.
Sawabi
(d. 2005)
 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 Pinili, Ilocos
called pililian meaning partially. Norte Region I
The weave produces a one of a
Ilocos Region
kind design that takes after a
string of flowers thus its name,
inubon a sabong. She did not
Magdalena Gamayo formally study such traditional
art. Instead, she watched closely
as her aunt made and imitated
the
patterns.
 Kattukong or
Tabúngaw Hat
Making San
When he finishes fieldwork Quintin,
as a farmer, he focuses on Abra,
the cultivation and Cordillera
development of tabúngaw Administr
(Ilokano term for úpo). At ative
Teofilo Garcia the age of fifteen (15) he Region
learned the art of (CAR)
Kattukong or tabúngaw hat
making and basket
weaving from his
grandfather
 GAMABA Awardees for the year 2016
Yakan Weaving
Apuh Ambalang, is significantly
respected in all of Lamitan. Her ability
is regarded unique: she can bring
Lamitan,
forth all designs and actualize all
Basilan
textile categories ordinary to the
Island,
Yakan community, who are known to
Bangsamoro
be among the finest weavers within
Autonomous
the Southern Philippines. She can
Region in
perform the suwah bekkat (cross-
Muslim
stitch-like embellishment) and suwah
Mindanao
pendan (embroidery-like
Ambalang embellishment) techniques of the
(BARMM)
Ausalin 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
 B’laan Mat Weaving

Since she was a child, she was bright

and careful in tangle weaving. Her Upper
perseverance took place because of Lasang
her supportive husband. The thin
strips of the pandanus romblon , Sapu
(Pandanus copelandii merr. Bariu) rise Masla,
matrixed through deft fingers Malapa
performing an individual rhythm, the
beat guided by her eyes. The
tan,
unwoven strips are held tight at the Sarang
other end of her body, as toes curl gani
Estelita and close around, not only these
Tumandan
Region
strips but, as it were, the abstraction
Bantilan that other people call design. The arc XII
of her torso determines the dexterity SOCCSKS
of feet and toes. Hand/eye ARGEN
coordination happens inside a frame
of milliseconds.
 B’laan Ikat or Tie-dye Fabric
Weaving
Yabing Masalon Dulo, called Amgu
as “Fu Yabing”, was only
o,
fourteen (14) years old when
she started weaving. All her Landa
younger years were spent in n,
sharpening her skills and Polom
imparting the knowledge to olok,
younger generations of B’laan South
weavers. Cotab
ato
Yabing Masalon She follows her mother’s
movements back and forth. Region XII
Dulo She colors the fibers, counts SOCCSKS
the thread, and observes the ARGEN
rhythmic dance of a weaver’s
dreams woven
into unique soulful pieces.
 Answer the following questions based on
your own opinion:

1.What are the significance of artforms of the

different artist?
2. As a student, what is the best thing to do to
preserve
? our local traditions?
3. In your own opinion, do we need to promote our
traditional arts? Why? Why not?
DIRECTIONS: Read each question and choose the letter of your answer.

1. Artists receive GAMABA awards because they have the following except…
A. He/she has an artwork.
B. He/she is engaged in an art tradition.
C. He/she is a member of an indigenous community.
D. He/she has a significant contribution to the community

2. A GAMABA awardee must also have an artwork that is timeless. What is a

timeless art?
A. The artist is still alive.
B. It has an influence in the community.
C. It has a contribution to the community.
D. It’s relevance to our way of life continues until today.
3. What is the significant work that is popular in Sulu by Darhata Sawabi?
A. weaving C. embroidery
B. wood carvings D. plastic arts

4. What is the Panay epic that is passed on through oral communications?

A. poem C. Suguidanon
B. t’nalak D. Biag ni Lam-ang

5. Who among the artists below is highly regarded because of his excellence in playing kwintangan
which is usually played by a woman?
A. Ginaw Bilog C. Alonzo Saclag
B. Teofilo Garcia D. Uwang Ahadas

6. Based on the given examples in the discussion, which two Filipino values are evident in the
contemporary artforms?
A. physical and spiritual C. social and spiritual
B. emotional and spiritual D. personal and spiritual

7. To acknowledge our GAMABA Award recipients, we must __________ the Contemporary

Philippines Arts from the Regions.
A. limit C. promote
B. share D. appreciate
8. “She once dreamt of establishing the art through teaching new would-be weavers.” How
would
you characterize the artist in this line?
A. optimistic C. dreamer
B. generous D. visionary

9. Visiting the province of Mindoro, particularly the community of Mangyans, Ana looks for a
particular art form they are famous for. What kind of artforms would you possibly
recommend to
her?
I. epic II. Carvings III. Poetry IV. weavings
A. I & II C. III & IV
B. I & III D. I & IV

10. To promote tourism in Tawi-Tawi, you are tasked to make an advertisement. Which of the
following information can help you in making an advertisement?

I. Magdalena Gamayo II. mat weavings III. Haja Amina Appi IV. embroidery

A. I & II C. II & III

B. II & III D. III & IV