GAMABA

Gawad sa Manlilikha ng Bayan

(National LivingTreasures Award)

 Itis unfortunate to say that many of
our traditional arts and crafts are
disappearing. Even in this fast-paced
world we live in, we still need to know
and preserve our heritage. By
knowing the arts and culture of our
forefathers, we in turn learn more
about ourselves and each other. Some
artists are recognized for being
vessels of cultural knowledge. They
are credited for keeping alive the rich
cultural traditions of the Philippines.
One such way of keeping
our traditions ablaze is by
honoring those artists who
keep the tradition alive by
practicing and teaching the
younger generation about
indigenous arts.
 NATIONAL LIVING TREASURES
 InApril 1992, the Gawad sa Manlilikha
ng Bayan or the National Living
Treasures Award was institutionaized
through Republic Act No. 7355.
Tasked with the adminstration and
implementation of the award is the
National Commission for Culture and
Arts (NCCA), the highest policy-
making and coordinating body for
culture and arts of the State.
 NATIONAL LIVING TREASURES
 The NCCA, through the Gawad sa
Manlilikha ng Bayan Committee and an
Ad Hoc Panel of Experts, conducts the
search for the finest traditional artists of
the land, adopts a program that will
ensure the transfer of their skills to
others and undertakes measures to
promote a genuine appreciation of the
arts and instill pride among our people
about the genius of the Manlilikha ng
Bayan.
 NATIONAL LIVING TREASURES
 The Gawad sa Manlilikha ng Bayan or the
National Living Treasures Award is conferred
on Filipinos who are at the forefront of the
practice, preservation and promotion of the
nation’s traditional folk arts.
 The State’s recognition of such sociocultural

contributions was formalized in 1992

through Republic Act No. 7355, the
Manlilikha ng Bayan Act. The National
Commission for the Culture and Arts
oversee its implementation.
 NATIONAL LIVING TREASURES
 The main objective of the award is to honor
and support traditional folk artists and to
see to it that their skills and crafts are
preserved. The award is tied with a
program to ensure the transfer of their skills
to the next generation and the promotion of
the craft both locally and internationally. In
2014, the Senate of the Philippines adopted
Senate Resolution No. (SRN) 765 aimed at
recognizing the accomplishments of the
country’s living treasures.
EMBLEM
 The award logo is a
representation of the human form
used in traditional cloth. Below
the logo is the phrase “Manlilikha
nga Bayan” written in Baybayin, an
ancient Filipino script used in the
Philippines in the sixteenth
century.
CRITERIA
1. Should be a Filipino citizen or group of
citizens belonging to an indigenous or
traditional cultural community anywhere
in the Philippines, engaged in Filipino
traditional art.
2. Should have been engaged in the
tradition and craft for a significant
period of time with at least forty years
of existence and documentation.
3. Should have produced and performed of
artistic, distinctive, and superior quality.
CRITERIA
4. Should possess mastery of the tools and
materials that are needed for the art and
must have a reputation for being an art
master and craft maker in the
community where he/she belongs.
5. Should have passed on and/or will pass
on the traditional crafts and skills to
other members of the community by
virtue of teaching.
CRITERIA
 In case when a Manlilikha ng Bayan candidate
is incapable of teaching further his/her craft
and skill due to age or infirmity:
 a. He/she should have created a significant

body of work and has contributed to the

development of the tradition and craft.
 b. He/she should have played a role in the

preservation and revitalization of the artistic

tradition in the community.
 c. He/she has been recognized as a master of

his/her craft and admired for his/her character

and integrity in his/her community.
PROCESS
The Panel
The Nominations
The Screening
 The Panel
 The Gawad sa Manlilikha ng Bayan is administered
by a committee, which is assisted by an ad hoc
panel of experts. The panel is composed of a
representative from each of the committees of the
Subcommission on Cultural Communities and
Traditional Arts, such as the Office of the Muslim
Affairs ( OMA ), the National Commission on
Indigenous Peoples(NCIP), and other appropriate
institutions. The ad hoc panel of reviewers is
composed of five members of the Gawad sa
Manlilikha ng Bayan Committee and four individuals
identified by the Committee among scholars,
practitioners, and experts in the traditional art.
The Nominations
 Nominations can come from the members of
the ad hoc panel of experts, the
subcommissions on cultural communities and
traditional arts, government and private
institutions, universities, and other persons
knowledgeable of any categories: folk
architecture, maritime transport, weaving,
carving, performing arts, literature, graphic
and plastic arts, ornament, textile and fiber
art, pottery and other artistic expressions of
traditional culture.
The Screening
 The ad hoc search committees are
deployed to various priority areas in the
country to conduct searches and
document the candidates’ art or craft. The
ad hoc panel of reviewers reevaluates the
qualifications of the candidates and
submit their recommendations to the
NCCA Board of Commissioners. Once
selected, the President of the Philippines
confers the awardees in a public ceremony
in Malacanang Palace.
Awards and Incentives
 The awardee receives a specially designed
medallion or plaque, with a duplicate set that
should be donated to and displayed in a
provincial museum or the largest cultural
center in the awardee’s community.
 The awardee is given an initial grant of
Php100,000 and Php14,000 lifetime stipend
per month.
 The awardee is granted a maximum cumulative
amount of Php750,000 medical and
hospitalization benefits as well as funeral
assistance similar as those received by the
National Artists.
Awardees
 First awarded in 1993 to three outstanding
artists in music and poetry, the Gawad sa
Manlilikha ng Bayan has its roots in the 1988
National Folk Artists Award organized by the
Rotary Club of Makati-Ayala.
 As a group, these folk and traditional artists

reflect the diverse heritage and cultural

traditions that transcend their beginnings to
become part of our national character.
 As Filipinos, they bring age-old customs,

crafts and ways of living to the attention and

appreciation of Filipino life.
Awardees
 They provide us with a vision of ourselves and
of our nation; a vision we might be able to
realize someday, once we are given the
opportunity to be true to ourselves as these
artists have remained truthful to their art.
 As envisioned under R.A. 7355, “Manlilikha ng
Bayan” shall mean a citizen engaged in any
traditional art uniquely Filipino whose distinctive
skills have reached such a high level of technical
and artistic excellence and have been passed on
to and widely practiced by the present
generation in his/her community with the same
degree of technical and artistic competence.
Categories
 The award shall be given in each, but
not limited to the following categories
of traditional folk arts, viz.: 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. Consideration shall
be given to geographical distribution
and balance of artistic categories.
Ad Hoc Panel of Experts
 To ensure a fair selection of the
potential awardees, the Gawad sa
Manlilikha ng Bayan Committee shall be
assisted by an ad hoc panel of experts
consisting of experts in traditional folk
arts categories previously mentioned.
 The names of those selected to become

members of the ad hoc panel of experts

shall be submitted to the NCAA Board of
Commissioners for proper designation.
Ad Hoc Panel of Experts
 The ad hoc panel of experts may be composed
of the members of the Gawad sa Manlilikha ng
Bayan Committee, one representative from
each of the committees of the Subcommission
on Cultural Communities and Traditional Arts,
representatives from the Office of Muslim
Affairs (OMA), National Commission of
Indeginous Peoples (NCIP) and representatives
from other government and nongovernment
instrumentalities or other appropriate
institutions whose representation shall be
instituted by the NCAA Board from time to
time.
Ad Hoc Panel of Experts
 The term of the members shall expire upon
completion of the search and selection
process.
 The ad hoc panel of experts shall constitute

from among themselves ad hoc search

committees that shall be deployed to the
various parts of the country after determining
the priority areas to conduct a thorough
search and documentation of candidates for
the awards in the traditional folk arts
category respectively assigned to them.
Ad Hoc Panel of Experts
 In the process of their search, the ad hoc search
committees may identify additional nominees.
 In conducting the search, the ad hoc search
committees shall be guided by and shall
faithfully adhere to the criteria and
qualifications for becoming a Manlilikha ng
Bayan as set forth in the law and these rules
and regulations.
 The duration of the nomination process ends
upon submission of the final list of nominees of
the ad hoc search committees to the ad hoc
panel of experts.
Ad Hoc Panel of Reviewers
 The ad hoc panel of experts shall then
constitute an ad hoc screening committee who
shall recommend nominees for the award to
an ad hoc panel of reviewers.
 The Gawad sa Manlilikha ng Bayan Committee

and ad hoc panel of experts shall constitute

from among scholars, practitioners and
experts in the field of traditional arts an ad
hoc panel of reviewers that shall review the
recommendations of the ad hoc screening
committee and evaluate the qualifications of
the nominees.
Ad Hoc Panel of Reviewers
 The documentation previously undertaken
by the ad hoc search committees shall be a
key factor in the evaluation process.
 The Gawad sa Manlilikha ng Bayan
Committee shall submit to the NCCA the
recommendations of the ad hoc panel of
reviewers for appropriate action.
 The names of the awardees approved by

the NCAA Board shall be submitted to the

President of the Philippines for
proclamation.
ACTIVITY 1-Infographic
 Create an infographic poster
or presentation on the process
and criteria of becoming a
National Living Treasure.
Upload your infographic
poster or presentation on one
of your social networking
sites.
AWARDEES OF THE
GAWAD SA
MANLILIKHA
NG BAYAN
Ginaw Bilog
Birthand Death: January 3,
1953 – June 3, 2003
Year Awarded: Dec. 17,1993
Category: Artist and Poet

(Ambahan)
Place of Birth: Panaytayan,

Oriental Mindoro
Ginaw Bilog
 Ginaw Bilog was a promoter of the
ambahan which was an oral tradition of
poetic verses of the Mangyan.
 The ambahan is composed of seven-

syllable lines that use metaphors to send

a point or message.
 The ambahan covers a variety of topics

such as giving advice, courtship,

farewells, etc.
Ginaw Bilog
 The existence and preservation of the
ambahan are mainly due to Ginaw Bilog who
recorded the poetry in bamboo tubes and
notebooks. His collections include those he
received from his father and grandfather.
Until his death, he continued to promote and
share with his community their poetic
traditions.
 This endeavor offered an unmistakable yet

intangible perspective of the Mangyan beliefs

and culture. Through his work, the traditional
art form continues to inspire others.
Masino Intaray
Birth and Death: April 10,
1943– Novemver 30, 2013
Category: Musician (basal

or gong) and Epic Chanter

(kulilal and bagit)
Place of Birth: Brooke’s

Point, Palawan
Masino Intaray
 Masino Intaray was a storyteller, epic chanter
and a master musician. He was skilled with
the traditional Palawan instrumentation and
accompaniments like the kulilal (lyrical love
poem), aroding (mouth harp), babarak (ring
flute), bagit (instrumental music mimicking
the movements of nature) and most especially
the basal (ensemble of gongs).
 As a storyteller, his creative narrative skills as

well as chanting skills were evident in tultul

(epics), sudsungit (narratives) and tuturan
(myths) that he performed for successive
nights.
Masino Intaray
 His musical talent was heard when he used
the basal as accompaniment to the
Palawan tibe’s various rituals such as the
tambilaw which was a ritual offering to
their rice god and tinapay which is a rice
wine drinking ritual. His masterful use of
the basal gongs entertained the audience
and invigorated the festivities with music.
 The basal ensemble is a perfect metaphor

of the unity and cooperation of the

indigenous Palawan tribe.
Samaon Sulaiman
Birthand Death: March 3,
1953 – May 21, 2011
Year Awarded: 1993
Category: Musician (kudyapi)
Place of Birth: Mamasapano,

Maguindanao
Samaon Sulaiman
 Samaon Sulaiman was the acclaimed master and
teacher of the kudyapi. Kudyapi is a popular
solo instrument of the Maguindanaon, one of
the largest Islamic groups in the Philippines.
 The Maguindanaon kudyapi is said to be one of

the most difficult traditional Filipino

instruments to master.
 Samaon Sulaiman is considered a master of this

technically difficult instrument. He was a

teacher among teachers, serving as an
influential factor to the other kudyapi masters in
the region.
Lang Dulay
Birth and Death: August 3,
1924 – April 30, 2015
Category: Textile Weaver
(T’nalak)
Place of Birth: Lake Sebu,

South Cotabato
Lang Dulay
 Lang Dulay was a traditional weaver from
T’boli tribe. She is considered a master of
the art for her quality craftsmanship because
of the “fine even quality of the yarn, the close
interweaving of the warp and weft, the
traditional forms and patterns, the chromatic
integrity of the dye and the consistency of the
finish,” as described by NCCA.
Lang Dulay
 She is said to have single-handedly
saved the t’nalak tradition from
extinction. T’nalak weaving is a
complicated process.
 Lang Dulay had mastered hundreds of

designs and each one is relevant to the

meaning and story it reveals. Her
t’nalak is not just a cloth but a
reflection of the knowledge and
aspirations of the T’boli.
Salinta Monon
Birth and Death: December
12, 1920 – June 4, 2009
Category: Weaver (abaca,
ikat or inabel)
Place of Birth: Bansalan,
Davao del Sur
Salinta Monon
 Salinta Monon had started weaving since she
was 12 years old, under the tutelage of her
mother. At a young age, she had already
exhibited skill and talent in inabel weaving
which is form of ikat weaving.
 Her dedication to her craft may be attributed

to her aspiration to learn the art of her

forefathers.
 She had continuously woven throughout her

life, and her skills were so well-refined that

she can recognize a design and its weaver
with just one look.
 Salinta Monon
 Her work is known for their intricate designs and
quality. Her works are priced high not only for
their quality but also the time it takes to create a
piece of garment. A typical Bogobo tubular skirt
that measures 3.5 meters by 0.42 meters takes
about three to four months finish.
 At the time of her award, she and her sister were
the only Bogobo weavers left in their community.
 She hoped that regardless of the distractions and
pressures of the modern world, other women
would take up this traditional craft to preserve
and continue their ethnic community’s cultural
heritage.
Alonzo Saclag
 Birth: August 4, 1942
 Category: Musician, dancer
and preservationist
 Place of Birth: Lubugan,
Kalinga Province
Alonzo Saclag
 Alonzo Saclag was the genius of Kalinga dance
and performing arts. He dedicated himself to
the promotion and preservation of the Kalinga
culture for the benefit of his tribe and others.
 He campaigns in school to teach children the

folk songs their grandparents used to sing.

 He lobbies at local radio stations to also

promote and play the traditional songs of

Kalinga.
 He has also established the Kalinga Budong

Dance Troupe which showcases the rich

performing arts of the region.
Alonzo Saclag
 He dreams that someday he would be
able to create a showcase Kalinga village
where the rich culture and artistry of his
people can be shown. This village will
also serve as an ecological safe haven
where visitors can walk around and hear
and feel nature. He believes this village
would create and sow a deep sense of
pride among his people and in turn help
preserve their Kalingan heritage.
Federico Caballero
Birth:December 25, 1938
Category: Epic chanter

(sugidanon)
Place of Birth: Calinog, Iloilo
Federico Caballero
 Stories and traditional folklore are
important and powerful. They can
change lives and mold beliefs. It is
because of this that Federico Caballero, a
Panay-Bukidnon, was awarded the
GAMABA. Using the lessons he has
learned from these stories, Federico
Caballero, or more fondly known as
Nong Pedring, is a respected arbiter in
his community, dispensing advice to
those who seek it.
Federico Caballero
 Federico has dedicated himself in the
documentation and preservation of his ethnic
community’s oral traditions that include his
people’s epics which without him would have
surely been lost.
 Federico’s love for his people’s epics began

when he was a child. His mother would chant

these tales while swaying the crib, and
sometimes his great grandmother would chant
these epics with his other siblings.
 The heroes of these tales would strike his

imagination and with it his interest in his

community’s rich and colorful folktales grew.
Federico Caballero
 His interest in the tales soon drove him
to learn these chants for himself, often
asking him to be taught a chant in
exchange for his chores. He quickly
learned the ten epics of his community
along with other oral literature.
 He has since then collaborated with

researchers and scholars in documenting

the epics known as the Humadapon and
Labaw Donggon.
Federico Caballero
 His passion and pride for his Panay-
Bukidnon heritage has brought him to
many barangays, trying to convince the
elderly to learn to read and write, which in
turn they can use to write down their
communities’ indigenous beliefs, traditions
and stories.
 His influence has gone far beyond just his

community. He has opened the eyes of

many academics and artists to the beauty
of the Panay-Bukidnon oral traditions.
Uwang Ahadas
Birth:February 15, 1945
Category: Musician (Yakan

specifically kulintang,
kwitangan kayu, gabbang,
agung and tuntungan)
Place of Birth: Lamitan,

Basilan
Uwang Ahadas
 Uwang Ahadas became blind when he was
about 5 years old. With the sense of hearing
becoming a primary sense, music became an
integral part of his life.
 Ahadas is a Yakan, an ethnic community that

has a rich musical heritage. Music for Yakans

is part and parcel of their community life.
 Coming from a community whose life is

ingrained in music, it was not a surprise that

Uwang Ahadas grew up with an affinity for
music.
Uwang Ahadas
 He was especially lucky than most, having a
family that has strong musical background. He
first learned through observation, eventually
trying and learning the different Yakan musical
instruments.
 Through his determination and skill, he was able
to master a number of musical instruments such
gabbang (a bamboo xylophone) and agung (a
traditionally male musical instrument).
 He was also able to break tradition by learning a
traditionally female instrument, the kwintangan.
Uwang Ahadas
 He was not satisfied with just learning how to play
these instruments; he dreams that others will also
learn to play these traditional musical instruments
too.
 He has travelled all over Basilan to teach other
people his art, and he is proud to say that some of
his students have become masters as well and are
respected by the Yakan community.
 His brother, has shared his passion, documenting
Uwang’s method on instruction and creating a
notation system to make instruction easier.
Although his age has advanced and his health has
deteriorated, he has continued his vocation to
spread the music of the Yakan.
Darhata Sawabi
Death: March 12, 2005
Category: Weaver (pis
syabit)
Place of Birth: Parang, Sulu
Darhata Sawabi
 Pis syabit is a woven traditional headgear of
the Tausug in Jolo. It is traditionally made by
the women of the community which is passed
on from generation to generation.
 One of the most renowned pis syabit weavers

is Darhata Sawabi.
 Weaving offers addtional income to the Yakan

women. Her skill in making these handwoven

garments has made her self-sufficient, often
making her product sell more than normal
market price.
Darhata Sawabi
 Her dedication to the quality of her
work is recognized by her community.
Her works have been preserved so
that others who would take up the
craft could have works for study and
reference. Through the years, she has
taken on several apprentices who
could continue her work after she has
passed.
Eduardo Mutuc
Birth: October 12, 1949
Category: Metalsmith or

metal sculptor (bronze and

silver)
Place of Birth: Apalit,

Pampanga
Eduardo Mutuc
 Eduardo Mutuc is recognized for his religious
and secular art that uses silver, bronze and
wood. His works are often seen in intricately
carved retablos, altars and carrosas or parade
floats. Many of his works are in the
collections of churches and other private
collectors.
 He learned quite the art of metal plating in his

early thirties while he was a furniture maker.

A colleague of his taught him silver plating, a
technique that copied gold and silver leaf
decorations fund in many religious artworks.
Eduardo Mutuc
 One of his early works was a tabernacle
commisssioned by Monsignor Fidelis
Limcauco. The quality of his work caught the
eye of other patrons, and his business has
grown from there on.
 His religious and secular pieces often
incorporate Spanish colonial designs. Careful
planning is needed with each piece since any
mistake can be quite costly.
 He teaches his students to learn the basics

including the proper handling of tools to

master one’s craft.
Haja Amina Appi
Birth and Death: June 25,
1925 – April 2, 2013
Category: Weaver (Mat)
Place of Birth: Tandubas,

Tawi-Tawi
Haja Amina Appi
 In the ethnic community of Sama of Ungos
Matata, Tandubas, Tawi-Tawi, the mat weaving
tradition is passed from mother to daughter.
 One of the master of this craft is Haja Amina

Appi. Her creations are noted for their

complex and precise geometric motifs that
showcase her inherent eye of color, design,
proportion and symmetry.
 Each of her creations require patience and

stamina since a single mat can take a long as

three months to make.
Haja Amina Appi
 The weaving process starts with the
harvest and selection of pandan leaves.
These leaves are stripped of their sharp
and thorny exterior and then sun-dried
and pressed. The leaves are then dyed and
woven. As an uncompromising artist, Haja
is not content with the dull commercial
dyes available but has instead developed
her own tint to create her bright and
vibrant mats. Her designs can contain up
to eight colors.
Haja Amina Appi
 Haja Amina has earned great eteem
from her community due to her
unique and amazing work. She is not
selfish with her work but instead feels
great pride when people learn and
copy her designs. She is eager to
share and teach her knowledge with
other practitioners of the craft.
Teofilo Garcia
Birth:March 27, 1941
Category: Casque Maker
(Tabungaw)
Place of Birth: San Quintin,

Abra
Teofilo Garcia
 The tabungaw is a traditional casque or
headpiece used to shield one from the
elements. It is traditionally found in the
Northern Region of the Philippines. One of the
most notable and respected makers of the
tabungaw is Teofilo Garcia of San Quintin,
Abra
 His casque are made up of a hallowed and

polished native gourd (upo). The inside is

lined with fine woven rattan while the exterior
is varnished with an orange sheen and the
brim decorated with a bamboo weave.
Teofilo Garcia
 His works are both artistic and functional
and has resulted in Teofilo receiving
hundreds of orders for his tabungaw. His
works are so well-made that a tabungaw
can last for generations.
 Unfortunately, he is the only one who has

mastered this craft as there has been little

interest from other artisans to create the
headgear, and as of writing, none of his
students have mastered the crafts with the
same level skill as him.
Teofilo Garcia
 Even with these setbacks, he has not
stopped experimenting and improving
his craft. He admits that to this day
he is still perfecting his craft,
continuously experimenting with
different types of gourds and
materials. Every year he showcases
his new designs in trade fairs.
Magdalena Gamayo
Birth:August 13, 1924
Category: Master Weaver
(Inabel)
Place of Birth: Pinili, Ilocos

Norte
Magdalena Gamayo
 Magdalena Gamayo is the master weaver
of Ilocos Norte. She is one of the
stalwarts of abel (blanket) weaving
tradition in Ilocos Norte.
 As a master weaver, her experience has

taught her how to procure quality

materials for her abels. Her blankets are
a cut above others, exhibiting high
thread count and intricate and colorful
designs.
Magdalena Gamayo
 Magdalena is a self-taught in the creation
of the traditional patterns of her designs
which include the inuritan (geometric
designs), kusikos (spiral patterns like that
of oranges) and the most difficult one
which is sinan-sabong (flowers). Since she
does not have samples, she recreates her
designs from memory. These designs she
has taught and passed on to her many
students throughout the years.
Magdalena Gamayo
 Her years of weaving experience has given
her an instinctive feel of not just the quality
of threads but as well as the correct
tension to use to ensure a sturdy and
smooth finished product. Her skill and
experience are evident with the clear and
evenly spaced patterns and durability of
her cloth. Her work is described a intricate
and precise while delicate characteristics
that can never be replicated by machine-
woven fabrics.
Activity 2: National Treasure
Choose one of the National
Living Treasures and create a
Power Point presentation about
them. Research and provide
additional information that are
not included in the profile of our
discussion. Present your work in
class.
Activity 3: Cultural Heritage
There are a lot of artists that
keep our cultural heritage
alive. Conduct a research in
your community on living folk
artists who are known for
keeping traditional arts and
crafts alive.
REVIEW
 Gawad sa Manlilika ng Bayan (GAMABA)
is an award given to the best traditional
artists of the Philippines.
 Republic Act No. 7355 is the law that

created the National Living Treasures

Award in 1992.
 Manlilikha ng Bayan is the term used to

refer to a person who has received the

GAMABA
REVIEW
 National Commission on Muslim Filipinos
(NCMF) is the government agency in charge
of the preservation and development of the
culture, traditions institutions and well-
being of Muslim Filipinos in conformity with
the country’s laws and in consonance with
national unity and development.
 National Commission on Indigenous People

(NCIP) is the government agency given

charge of protecting the rights of the
indigenous people of the Philippines