CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS

TITLE
WEEK 8: The National Living Treasures

MELCS + CODE
Research on techniques and performance practices applied to contemporary arts (CAR11/12CAP-0c -e-9)
 Discuss the National Living Treasures Award’s history, categories, and recipients;
 Identify and recognize the first 4 awardees of the National Living Treasures; and
 Relate the significance of their art forms and practices.
INTRODUCTION
The Order of National Artists for Music, Dance, Film and Broadcast Arts, and Theater
were discussed in the previous module along with the year they were honored as National Artists,
their roles and contributions to Philippine Arts, as well as their works. The National Artists discussed
were:

 For music: Antonio Molina, Jovita Fuentes, Honorata “Atang” Dela Rama, Lucio San Pedro,
Levi Celerio, Andrea Veneracion, and Ryan Cayabyab

 For dance: Francisca Aquino, Leonor Goquingco, Lucrecia Urtula, and Alice Reyes

 For film and broadcast arts: Lamberto Avellana, Gerardo de Leon, Ishmael Bernal, Ronald
Allan Poe, and Kidlat Tahimik

 For theater: Daisy Avellana, Salvador Bernal, and Amelia Lapeña-Bonifacio

LITERACY & NUMERACY
The National Living Treasures, also known as the Gawad sa Manlilikha ng Bayan or
GaMaBa, is an award to honor Filipino artists’ contributions to indigenous art in support of traditional
folk arts that is uniquely Filipino and preserve their crafts and skills. It also recognizes the mastery of
their medium and technique, craftsmanship, contribution to the community, excellence in artistic
quality, and character and integrity.

The categories of traditional folk arts included in the GaMaBa are folk architecture,
maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament,
textile or fiber art, pottery, and other artistic expressions of traditional culture.

The GaMaBa was formalized through the Republic Act No. 7355 in 1992 implemented by
the National Commission for Culture and the Arts (NCCA). The award is administered to individuals
through the Gawad sa Manlilikha ng Bayan Committee of the NCCA and an Ad Hoc Panel of
Experts, which consists of traditional folk arts experts in the categories included above. Additionally,
the GaMaBa includes local and international programs that guarantee the preservation, transfer, and
promotion of the art forms and practices of the awardees.

The National Living Treasures logo “represents the human form used in traditional cloth”.
The Baybayin script written below the logo translates to “Manlilikha ng Bayan”.
PRE-ASSESSMENT
Directions: Choose the letter of the best answer and write it on the blank provided before the
number.
______ 1. The ______ oversees the implementation of the National Living Treasures.
A. NCCA B. CCP C. NCAA D. President of the Philippines
______ 2. The Republic Act No. _______ is known as the “Manlilikha ng Bayan Act.”
A. 7353 B. 7354 C. 7355 D. 7352
______ 3. The Baybayin script written below the logo of means...
A. Manlilikha ng Bayan C. Manlilikha sa Bayan
B. Manlilikha ng Bansa D. Manlilikha ng Bayan Act
______ 4. An awardee of the National Living Treasures are granted the following, except for...
A. Lifetime emolument B. A trophy C. A plaque D. Programs on his/her craft
______ 5. The National Living Treasures or Manlilikha ng Bayan was formalized in the year _____.
A. 1993 B. 1990 C. 1991 D. 1992
 According to Republic Act No. 7355, to be a Manlililkha ng Bayan, the following criteria
TOPIC must be met:

 Technical and creative skill – The candidate must possess a mastery of the 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;
 Artistic quality – The work of the candidate must be outstanding aesthetically, and he/she must
have consistently produced over a significant period, works of superior quality;
 Community tradition – The candidate must have transferred and/or willing to transfer to other
members of the community, skills in the folk art for which the community has become nationally
known.
 Folk art tradition – The candidate must have engaged in a folk art tradition that has been in
existence and documented for at least fifty (50) years; and
 Character and integrity – As a precious treasure of the country, the candidate must command
the respect and admiration of the country for his character and integrity.

A member of the National Living Treasures is awarded with the following privileges and incentives:

 A plaque or medal for the awardee and a duplicate to be displayed in his/her province’s museum
or largest cultural center;
 A ₱100,000 grant and a ₱10,000 monthly lifetime emolument;
 A documentation of samples of their works to be filed, photographed, and preserved;
 Programs, courses, and workshops on his/her craft or practice to be offered in the nearest arts
school to ensure the preservation of his/her skills
 A feasibility study to convert the awardee’s art into a business initiated by the Department of
Trade and Industry in collaboration with private investors;
 Invitation to cultural events to commemorate the significance of traditional Filipino Arts.

The National Living Treasures, as of 2016, has 16 awardees. Listed below are some awardees with
the year they were awarded, location, category, and contributions.

1. Ginaw Bilog (1993) was a Manlilikha ng Bayan for Folk Literature known to have preserved
the art of Ambahan. He is a Hanunuo Mangyan who hails from Mansalay, Mindoro. To
preserve the art among his people, he taught young Mangyans the script of Baybayin, then
opened his School of Living Traditions in his hometown.
2. Masino Intaray (1993), who hails from Brookes Point, Palawan, was a revered musician and
storyteller through Kulilal and Bagit, thus earned him the award for performing arts. Kulilal is
a lyrical poem practice in Palawan, and Bagit is an instrumental music played with the
Kusyapi (Kudyapi). Additionally, Intaray was an epic chanter known to have performed
chants for several consecutive nights.
3. Samaon Sulaiman (1993) was a performing artist from Mamasapano, Maguindanao who is
renowned for his mastery of the Kudyapi, which is a technically demanding instrument. He
was also honored for his dedication in playing the Kudyapi, as it was almost non-existent in
Mindanao.
4. Lang Dulay (1998) was a T’boli textile weaver from Lake Sebu, South Cotabato revered for
her proficiency in T’nalak. Even though modern T’nalak designs cost more than traditional
ones, she insisted on making the traditional ones, with over hundreds of designs made by
Lang Dulay alone. After being named as a Manlilikha ng Bayan, she promoted the art of
T’nalak weaving by establishing the Manlilikha ng Bayan center in Lake Sebu.
5. Salinta Monon (1998) was one of the last practitioners of the Bagobo Inabal weave in their
community in Bansalan, Davao del Sur before she was honored with the award, thus
credited for keeping the practice alive to this day. Her weave designs trace back to as far as
100 years.
6. Alonzo Saclag (2000) is Manlilikha ng Bayan for Performing Arts recognized for his talent in
playing different musical instruments from Kalinga. He is credited to have revived and
preserved the use of the Kalinga gong or gangsa. After he was honored with the award, he
promoted Kalinga culture by buying lands in his hometown, Lubuagan, and creating a
village called, Awichon.
7. Federico Caballero (2000) is an epic chanter known to have preserved the oral literature of
the Panay-Bukidnon people from the Central Panay mountains in Panay Island. Through his
efforts and collaboration with scholars, artists, and advocates, as well as working with the
Bureau of Nonformal Education, the beliefs, traditions, and literature of his people, that were
almost obsolete, were revived. Caballero travelled from barangay to barangay to document
various cultures and practices, which he will then use to teach the younger generation who
were eager to learn.
8. Uwang Ahadas (2000) is a Yakan musician from Lamitan, Basilan who is proficient in
several Yakan musical instruments, especially the kwintangan, which is considered to be
the most important instrument among the Yakan people and traditionally reserved for the
 use of women. He uses his knowledge of their culture and mastery of techniques to educate
and promote his fellowmen in Lamitan, and people outside his town, despite being near-
blind.

Listed below are the remaining awardees that were not discussed in the previous module, along with
the year they were awarded, location, category, and contributions.

1. Darhata Sawabi (2004) was an expert in Pis Syabit textile weaving from the island of Jolo,
Sulu. She was revered by her people and fellow weavers for her commitment in weaving
traditional designs with bold and contrasting colors. Those traditional designs spanning
many generations are now preserved because of her. Sawabi brought in numerous
apprentices and taught her fellow Tausugs until the end of her life.
2. Eduardo Mutuc (2004) is a Manlilikha ng Bayan from Apalit, Pampanga known for his
commitment to the art of pinukpuk or metalcrafts. His works can mostly be found in
churches and cathedrals, as he devoted his life in creating ecclesiastical art made of metal
and wood.
3. Haja Amina Appi (2004) was a master mat weaver from Tandubas, Tawi-Tawi. She was
recognized for her geometric designs that were both traditional and modern. In weaving,
numerous calculations were required in achieving symmetrical and precise designs, Appi,
however, does not use any mathematical formula, instead uses her experience and memory
to achieve the complicated designs she is known for. Her art was passed down to her
descendants before she passed in 2013.
4. Teofilo Garcia (2012) is an awardee from San Quintin, Abra renowned for his Tabungaw
(“upo” in Tagalog, “bottle gourd” or “white pumpkin” in English) hats, as well as one of the
last practitioners of the art. He has preserved the art of making Tabungaw hats through
seminars and workshops, as well as teaching children in school, and even opening his
home to see his creations. Moreover, Garcia travels abroad to conduct talks and
demonstrations.
5. Magdalena Gamayo (2012), who hails from Pinili, Ilocos Norte, is a Manlilikha ng Bayan for
Weaving, specifically her mastery in inabel. Despite her age (96), she still produces
complex designs and assures that she arranges the threads on the loom, every thread is
evenly spaced, and no mistakes are made, as even small ones will ruin the pattern.
Gamayo opened the “House of Inabel” in the town of Pinili to preserve the art of inabel.
6. Ambalang Ausalin (2016) is a Yakan master weaver known to have upheld the art of
tennun, a colorful tapestry weave unique to the Yakan people, seputangan and bunga
sama. She is also regarded one of the most respected weavers in Lamitan City, Basilan
because of her extensive knowledge in textile weaving, craftsmanship, and intricate designs
that are significant and unique to the Yakan culture. Her crafts are especially significant to
the culture of the Yakan people because they represent their identity as a tribe.
7. Estelita Bantilan (2016) is a master weaver from Malapatan, Sarangani known for protecting
and promoting the art of igem, a type of mat weaving made from pandan practiced by the
B’laan people. In 2016, along with the National Commission for Culture and the Arts, she
opened the Manlilikha ng Bayan Center in Malapatan to teach, preserve, and showcase the
B’laan art of weaving.
8. Yabing Masalon Dulo (2016) is a master tabih weaver and ikat dyer from Polomok, South
Cotabato. She started her work as a mentor in the nearby village of Lamlifew, Malungon,
Sarangan, then began traveling in several regions of the country, including NCR, to conduct
seminars and workshops about her craft.

COLLABORATIVE ACTIVITY
Direction: Choose a person who deserves to be recognized as a National Living Treasures awardee
and create an infographic. Note: Whang-Od cannot be included in the activity as she was already
nominated in 2017.

Name and category/ies: __________________________________________________________

His/her craft/practice: ___________________________________________________________
List down his/her contributions to traditional Philippine Art.
 RUBRIC
EARNED
CRITERIA POINTS
POINTS
All the content is correct and informative.
The message is clearly conveyed to the
Content
viewer. 30

The craftsmanship is outstanding which is

a result of great effort and attention to
Craftsmanship 30
detail. It is neat and organized.

The artwork contains several design

elements that are unique, and the content
Originality 20
is original.

All requirements are met and pass it on

Requirements time 20

VALUING
Now that the National Living Treasures are done, how will you meaningfully use the learnings in real
life?

RUBRIC POINTS
Content 20%
Grammar 15%
Organization 15%
TOTAL 50%
ENRICHMENT ACTIVITY
Direction: Choose the letter of the best answer and write it on the blank provided before the number.
______ 1. The Republic Act No. _______ is known as the “Manlilikha ng Bayan Act.”
A. 7353 B. 7354 C. 7355 D. 7352
______ 2. The National Living Treasures or Manlilikha ng Bayan was formalized in the year _____.
A. 1993 B. 1990 C. 1991 D. 1992
______ 3. The following are the categories included in the National Living Treasures, except for…
A. Independent film B. Performing arts C. Maritime transport D. Graphic arts
______ 4. The following are the criteria in considering a Manlilikha ng Bayan nominee, except...
A. Character and Integrity C. Community tradition
B. International awards D. Technical and creative skill
______ 5. The following are privileges and incentives given to an awardee of the National Living
Treasures, except…
A. ₱100,000 monthly incentive C. Documentation of his/her works
B. A medal or plaque D. Invitation to cultural events
______ 6. He was a performing artist from Mamasapano, Maguindanao who is renowned for his
mastery of the Kudyapi.
A. Alonzo Saclag B. Samaon Sulaiman C. Uwang Ahadas D.Federico Caballero
______ 7. She was a T’boli textile weaver from Lake Sebu, South Cotabato revered for her
proficiency in T’nalak.
A. Salinta Monon B. Samaon Sulaiman C. Lang Dulay D. Uwang Ahadas
______ 8. Salinta Monon was known to have preserved ______________ and as one of the last
practitioners of the art.
A. Gangsa B. Bagit C. Bagobo Inabal D. Kulilal
______ 9. ______________ is an epic chanter known to have preserved the oral literature of the
Panay-Bukidnon people.
A. Ginaw Bilog B. Masino Intaray C. Uwang Ahadas D. Federico Caballero
______ 10. ______________ is a Yakan musician from Lamitan, Basilan who is proficient in several
Yakan musical instruments.
A. Salinta Monon B. Uwang Ahadas C. Lang Dulay D. Alonzo Saclag
______ 11. What is Teofilo Garcia’s craft?
A. Inabel B. Igem C. Tabungaw D. Tabih
______ 12. He is known for the art of pinukpuk.
A. Darhata Sawabi C. Ambalang Ausalin
B. Magdalena Gamayo D. Eduardo Mutuc
______ 13. She was an expert in Pis Syabit textile weaving from the island of Jolo, Sulu.
A. Ambalang Ausalin C. Estelita Bantilan
B. Darhata Sawabi D. Yabing Masalon Dulo
______ 14. Magdalena Gamayo is a master in the _________ weave.
 A. Pis Syabit B. Ikat C. Inabel D. Seputangan
______ 15. _________ is a Yakan master weaver known to have upheld the art of tennun.
A. Ambalang Ausalin C. Magdalena Gamayo
B. Estelita Bantilan D. Haja Amina Appi

STUDENTS
SELF-ASSESSMENT Direction: In at least 10 sentences, write about the importance of the art forms and practices of the
National Living Treasures to the country.

RUBRIC POINTS EARNED

POINTS
Completeness of everything that should be known based on the 10
topic discussed.
Completeness of all that is to be learned based on the topic 10
discussed.
Excellent presentation appreciated based on lesson learned. 10
TOTAL 30

ADDITIONAL ACTIVITY FOR

APPLICATION / Direction: In 4-5 sentences, explain why a person deserves to be named as a National Living
REMEDIATION Treasure.

RUBRIC POINTS
Content 10%
What Grammar 5%
Organization 5%
TOTAL 20%
contemporary art form classification is the most prevalent art form in our
country and why?
s an artistic young Filipino, make a slogan that express your appreciation
towards Philippine Contemporary Arts. The slogan should be composed of 8-10 words
with rhyme.

REFERENCES
Sampang, M C J. (2020). Contemporary Philippine Arts from the Regions. Published by the
Department of Education - Schools Division of Pasig City.

Prepared: Noted:

Ivy V. Valderama Marvin N. Catacutan

SHST-I MT-I/Subject Group Head