1st QUARTER (CONTEMPORARY)

his/her community.
LESSON: THE CONTEMPORARY IN
TRADITIONAL ART: GAWAD SA MANLILIKHA Who are the GAMABA awardees?
NG BAYAN (GAMABA)
GAMABA awardees in the form of Weaving
WHAT IS THE GAMABA?
Lang Dulay-textile weaver
-Garcia has been named Manlilikha ng Bayan ("one
 In Lang Dulay's family, the weaving of the
who creates for the country") or National Living
t'nalak (a fine abaca cloth) took place before or
Treasure. Twelve individuals have received this
after farm work, when the weather was cool
distinction from the time of the establishment of the
and the conditions were better for the product.
award in 1992 through Republic Act No. 7355 until
 Dulay, who grew up in Lake Sebu, South
2012.
Cotabato, was taught to weave by her mother
-The National Commission for Culture and the Arts
when she was 12. As demand grew for new
(NCCA) bestows the highest awards for culture and the
designs, she persisted and kept working with
arts, including the National Artist Award, which will be
traditional patterns, even though they were
discussed in Lesson 5. The said award and the GAMABA
harder to complete - she knew around a
recognize the outstanding work of artists in the
hundred, including bulinglangit (clouds),
Philippines.
kabangi (butterfly), crocodiles, and flowers.
-Traditional art is based on indigenous peoples'cultures
that are honed by oral tradition.
 She valued purity, so much so that she never
washed her t'nalak with soap.
-The process of creation is usually shared among
members of the community, and appeals to broader
 She was awarded in 1998, and passed away in
2015
aspects of life. Things produced such as textiles, hats,
TINALAK WEAVING
baskets, or utensils are commonplace, usually found and
used in people's homes. Songs and dances are
 T'nalak is a traditional hand-woven cloth
indigenous to the T'boli people from the
performed as a group as part of ritual and as a way of
Cotabato region.
affirming one's cultural identity or sense of belonging.
CRITERIA IN GAMABA
 It is woven in order to celebrate and pay tribute
to major life events such as birth, life,
-Shoud be a Filipino citizen or group of citizens belonging
marriage, or death within the community.
to an indigenous/traditional cultural community any
where in the Philippines, engaged in Filipino traditional  The T’nalak is made from the abaca (Musa
textilis) fiber plant, native to the Philippines.
art in the following categories:
The outer layer of the plant is stripped and
FOLK ARCHITECTURE
scraped, freeing the fiber strands which are
LITERATURE
then sun dried, and knotted.
MARITIME TRANSPORT
Salinta Monon
WEAVING
GRAPHIC AND PLASTIC ARTS ORNAMENT TEXTILE  Salinta Monon was born on December 12, 1920
OR FIBER ART in Bitaug, Bansalan, Davao del Sur. At a young
POTTERY AND ETC... age, she was already exposed to weaving as
CARVING her mother was also a weaver. Practically,
PERFORMING ARTS since she was born, Salinta Monon had
-Should have produced and performed of artistic, watched her mother's nimble hands glide over
distinctive,and superior quality; the loom, weaving traditional Bagobo textiles
-Should possess mastery of tools and materials that are and ikat, a traditional abaca fabric, and at the
needed for the art and must have a reputation for age of 12 she learned how to use the weaving
being an art master and craft maker in the community loom.
where he /she belong;  The Binuwaya, or crocodile, was her favorite
-Should have passed on and or will pass on the design and is said to be one of the most
traditional crafts and skills to other members of the difficult to weave.
community by virtue of teaching.  Upon receiving the Gawad sa Manlilikha ng
MANLILIKHA NG BAYAN Bayan in 1998, she helped establish the School
-Is incapable of teaching further his/her craft and skill of Living Tradition in Bansalan, Davao del Sur,
due to age or infimity where she taught the art of weaving to the
-He /she should have created a significant body of younger generations in her community.
workand has contribute to the development of the INABAL WEAVING
traditionand craft  The Inabal are considered as symbols of
-He /she should have played a role in the preservation wealth, offerings to deities, and gifts to those
and revitalization of the artistic tradition in who officiate rituals. These finely woven fabrics
thecommunity. become ikut or sacred objects when inherited
-He /she has been recognized as a master of his /her and used as protective charms that guarantee
craft and admired for his character and integrity in completion of houses
  Inabal is a traditional textile made from abaca Magdalena Gamayo- textile weaver
with a special weave, either in patterns of  Based in Pinili, Ilocos Norte, Magdalena
kinatkat, the cloth with a central panel, worn Gamayo took up weaving when she was
only by women. These textiles woven in the
16, guided by her aunt's patterns.
ikat-style and colored by vegetable and natural
 She taught herself traditional patterns,
dyes were customarily used as the garment for
ancestral royalty.
such as kusikus (whirlwind), marurup
(Milky Way), and sinan paddak ti pusa
(cat's pawprint), building on the more
Darhata Sawabi, -textile weaver common inuritan (geometric design) and
 Darhata Sawabi's mission was to lead young sinan-sabong (flowers).
women towards making a living out of her  Gamayo's skill and instinct are none more
craft. apparent than they are in her ability to
 The Parang, Sulu- based textile weaver's replicate designs she's only seen once.
primary creation was the headpiece pis
 Her binakol, or woven cloth, continues to
siyabit -
draw praise and awe for its above-average
 pis stands for the pattern, which is said to be
derived from India's mandala, depicting thread count and uniform weave.
spirituality through geometric forms, and  She was awarded in 2012.
 siyabit -refers to the hook and technique. INABEL WEAVING
 She gained recognition for the precision of her  The inabel weaving used as material for
work and her passion for preserving traditional everyday household items such as
designs, as well as teaching the youth and was curtains, tablecloths, bath towels, table
awarded in 2004. runners, bed linen, bags, and even
 She passed away in 2005. mosquito nets.
PIS SIYABIT WEAVING
 Inabel fabric is made of cotton and may be
 The pis siyabit is a head cloth that is
traditionally worn by the Tausug people of
plain or patterned. The abel cloth is well
Mindanao, Philippines. known and much loved for its softness,
 The pis siyabit is an important part of the beautiful designs, and strength.
Tausug culture and is often used in ceremonial GAMABA awardees in the form of
dress. Literature and Performing arts
 It is made from cotton or silk, square in shape Ginaw Bilog- poet
and provided with geometric patterns. It can  The Mangyan script is one of the four
also be worn on the shoulder, knotted around remaining syllabic scripts in the country,
the hilt of the sword, or tied around the head
and Ginaw Bilog's work has been crucial to
among the Tausug men.
its preservation.
Haja Amina Appi- mat weaver
 Haja Amina Appi of Ungos Matata, Tandubas,  Based in Mansalay, Oriental Mindoro, the
Tawi-Tawi created intricate mats that boast poet was known for writing ambahan -(a
beautiful geometric designs, vibrant colors, and metaphoric poem comprising seven-
fine symmetry. syllable lines), first in a notebook, then on
 She was awarded National Living Treasure in traditionally used bamboo tubes.
2004.  The poems, often recited with music at
 She experimented with her work and social gatherings and used to convey
developed her own tints to create the hues she
messages among the Hanunuo Mangyan,
had in mind.
had topics like advising the young, bidding
 Weaving pandan mats is a long and difficult
process that is handed down from woman to
a friend goodbye, and asking for a place to
woman across generations: Pandan leaves are stay.
harvested and made into narrow, long strips,  Bilog, who was awarded in 1993, passed
sun-dried, pressed, and dyed before finally away in 2003
becoming suitable for weaving. SURAT MANGYAN AND AMBAHAN
MAT WEAVING POETRY
 The mat weaving used for sleeping and saying  Surat Mangyan is a centuries-old
prayers, or given as gifts to newlyweds. indigenous script from the Philippines that
 The mat is made of buri (palm), pandanus or
predates the Spanish colonial era.
reed leaves. The leaves are dried, usually dyed,
 Ambahan is traditionally recorded on
then cut into strips and woven into mats, which
may be plain or intricate. bamboo. It is inscribed in the material
using Surat Mangyan, an indigenous script
 predating the Spanish colonial era in the  It was through observation, time, and
Philippines. experience - rather than education or
Masino Intaray-chanter and musician training or any kind - that Alonzo Saclag of
 A member of the Pala'wan tribe, Lubuagan, Kalinga mastered local musical
musician and epic chanter Masino instruments, along with dance patterns
Intaray was a master of the basal, a associated with rituals
gong music ensemble played during  . Some of these are rarely performed, but
rice cooking (tambilaw) and sharing done so with special purposes, whether it's
(tinapay) rituals, which gather the preparing for retaliation, a victorious
community as they serve offerings to vindication for the community, or forging
Pala'wan rice god Ampo't Paray. successful peace pacts.
 His memory and determination guided  Saclag understands the importance of his
him in chanting through many practice and is a strong advocate of
successive nights, reciting epics, passing on his knowledge and continuing
stories, myths of origin, and the the use of traditional dress and
teachings of ancestors. adornments.
 Intaray, who was awarded in 1993,  His efforts have included formal education,
passed away in 2013. reaching radio stations, and the formation
LYRICAL POEMS of the Kalinga Budong Dance Troupe
 *Basal-is a kind of musical ensemble  . He was awarded in 2000.
played during the tambilaw (Offering to KALINGA MUSICAL INSTRUMENT
the Lord of Rice); a rice wine dringking  Kalinga used to communicate with spirits,
ceremony. particularly as part of healing rituals.
 *Kulila- lyric poem about love being sung  In modern times, it is also played
to the accompaniment of kusyapi, two- recreationally as part of an ensemble
stringed lute, and pagang, bamboo zither. EX. INSTRUMENTS OF THE KALINGA :
 *Bagit-an instrumental music reflecting Tongatong - Bamboo stamping tube
the sound and movement of nature. Gangsa-Flat gong
Samaon Sulaiman -musician Bungkaka - Bamboo buzzer
 Musician Samaon Sulaiman was a master Federico Caballero-chanter and educator
of the kutyapi,- a two-stringed lute that  Epic chanter Federico Caballero of Calinog,
requires highly technical skill to play. Iloilo was best known for his expertise in
 The Maganoy, Maguindanao native the Sugidanon, a Central Panay epic
learned from his uncle, Pinagunay, at age traditionally chanted while lying on a
13, developing and learning different hammock, and his work in the
forms and styles of playing the preservation of oral literature,
instrument. documenting 10 Panay-Bukidnon epics in
 The sound is melodic and rhythmic, its an extinct language with close ties to
effect meditative and captivating. Kinaray-a.
 He was also proficient in playing  His love of folklore began when he was
instruments such as the kulintang, agong- young, hearing tales of grand adventures
a suspended gong with a wide rim, as bedtime stories, and his mother taught
gandingan -a gong with a narrow rim, and him to recite epics in lieu of doing
tambul. Sulaiman's fascination for his craft household chores.
led him to become an influential teacher.  In his spare time, he also works with the
 He was awarded in 1993, and passed Department of Education's Bureau of Non-
away in 2011. Formal Education, teaching elders to read
Playing the Kudyapi and write
 Kudyapi used as a bowed instrument and  He was awarded in 2000.
is generally played to accompany SUGIDANON OR EPIC
improvised songs.  The chants speak of their early history,
 Example: Agong,kulintang,gandingan culture, origin, and beliefs, and play an
Alonzo Saclag-traditional dancer and important role in their day-to-day
musician activities.
 EX. Sugidanon or epic chanting:
  Tikum Kadlum-It is the book I which  Mutuc is based in Apalit, Pampanga.
tells about the hunting spree of Datu  He was awarded in 2004.
Paiburong, the cutting of priced Silver Plating of Religious and Secular Art
buriraw nga and the heavy payment Function of his art:
demanded by the man-eating monster, Religious Purposes
Makabagting to Datu Paiburong. Eduardo Mutuc creates art for religious purposes
 Datu Paiburong,- one of the ten to make representations of biblical characters. It
Bornean datus who came to the island is to preserve culture, to remind us of the Spanish
of Panay. He is the founder and first colonial times, to celebrate the catholic religion,
ruler of Irong Irong, now known to and to empower self-identity.
everyone as Iloilo. Teofilo Garcia-gourd hatmaker
Uwang Ahadas,-musician  In San Quintin, Abra, Teofilo Garcia would
 Yakan musical instruments aren't the often walk around town wearing his gourd
easiest or most affordable to maintain, but casques.
Uwang Ahadas of Lamitan, Basilan made it  Through word of mouth and his
his life's work to master them. participation in the annual local harvest
 From an early age, he and his siblings festival, Garcia was able to introduce the
were encouraged to play these tabungaw plant as a good and sturdy
instruments, and he developed a passion material for functional, elegant, and
for them, training himself by observing protective hats. He produces everything
older members of the community. he needs planting and harvesting the
 At age 20, he broke tradition by reaching gourds, splitting and refining rattan for the
excellence in playing the kwintangan, an lining, and weaving nito and bamboo for
instrument typically played by a woman. accents himself and usually takes seven
 The instrument, made up of logs arranged days to finish a hat.
beneath a tree near a rice field, is used to  Awarded in 2012, he continues to
call for abundant grains and rice growth. experiment and work on new designs.
 He is also dedicated to sharing his TABUNGAW HAT
knowledge to younger folk; his teaching  It is suitable for shielding one's face from
style is hands-on and supportive, giving the sun or to keep off the rain.
his students his full attention.  it is made of upo or gourd and rattan or
 He was awarded in 2000. uway in woven line of the hat.
Playing Yakan musical instrument TOURISM
Ex.Yakan instrument: Tourism helps GAMABA (Gawad sa Manlilikha
Gabbang- bamboo xylophone ng Bayan) by providing recognition and
Kwintangan kayu-An instrument made up of five exposure to the traditional artists and cultural
wooden logs that are hung horizontally, from bearers who have been recognized with the
shortest to longest, with the shortest one closest award. Tourism can help promote their crafts,
to the ground. traditions, and cultural heritage to a wider
GAMABA awardees in the form of Plastic audience, increasing their visibility and
arts opportunities for economic and cultural
Eduardo Mutuc- metalsmith and artist exchange. Additionally, tourism can create
 Having finished up to elementary school, opportunities for these artists to showcase
Eduardo Mutuc, a farmer at the time, their skills, sell their products, and engage
became an apprentice to furniture carvers with visitors who are interested in learning
to earn additional income. about and supporting indigenous cultures.
 He had no prior knowledge of the work he MINING AND INFRASTRUCTURE
was getting into, but this didn't stop him Mining and infrastructure can help the
from expanding his experience and GAMABA (Gawad sa Manlilikha ng Bayan)
becoming one of the most respected awardees by providing economic
creators of religious and secular art today. opportunities and improving their living
He uses wood, silver, and bronze to create conditions. Mining projects can create jobs for
exquisitely detailed and lifelike pieces of indigenous communities, allowing them to
varying sizes: Itars, mirrors, retablos, and earn a sustainable income and improve their
even carosas. quality of life. Infrastructure development,
such as roads, bridges, and utilities, can also
enhance access to basic services and markets
for GAMABA awardees, making their
communities more connected and resilient.
Overall, mining and infrastructure can
contribute to the socio-economic development
of indigenous communities and support the
preservation of their cultural heritage.
MILITARIZATION
Militarization can help GAMABA (Gawad sa
Manlilikha ng Bayan) by providing security
and protection to the indigenous artists and
cultural bearers who are recognized with the
award. It can also help in preserving and
promoting their traditional arts and culture by
ensuring their safety and enabling them to
continue their work without fear of threats or
violence. Additionally, militarization can help
in raising awareness about the importance of
indigenous cultures and the need to protect
and support their practitioners.
CHRISTIANIZATION
Christianization helped the Gamaba people by
introducing them to the teachings of
Christianity, which may have provided them
with a sense of community, moral guidance,
and spiritual support. It also likely influenced
their cultural practices and beliefs, leading to
a blending of traditional Gamaba customs
with Christian traditions. Additionally,
Christian missionaries may have provided
education and healthcare services to the
Gamaba people, improving their overall well-
being and quality of life.