Contem art in phil reg ver. 2

Contemporary Arts Part 2
CONTEMPORARY ARTS FROM THE PHILIPPINES REGIONS

Modern Art referred to as “Traditional”
compared to Contemporary Art.
Contemporary Art is the art of the present,
which is continuously in process and in flux.
The distinction of modern art and
contemporary art could also be a matter of
perception and reception depending on the
context.

FINE or
AESTHETIC
(MAJOR ARTS)
UTILITARIAN or
PRACTICAL
(MINOR ARTS)
ART

FINE or AESTHETIC
(MAJOR ARTS)

FINE or AESTHETIC (Major) Arts are
primarily for aesthetic enjoyment
through the senses, especially visual
and auditory. It is the changing
certain materials or media for
aesthetic pleasure.

PRACTICAL or
UTILITARIAN
(MINOR ARTS)

PRACTICAL or UTILITARIAN (Minor)
arts are intended for practical use or
utility. It is the changing of raw
materials for utilitarian purposes.
However, they must posses ornaments
or artistic qualities to make them
useful and beautiful.

It is the changing of raw
materials into some
significant product for
human consumption or
use.

Examples of this are shell-craft,
bamboo-craft, leather-craft, shoe-
making, pottery-making, sheet –
metalwork, and manufacture of
automobiles, home appliances and
television sets.

Applied or Household Art
This refers mostly to household
arts such as flower
arrangement, interior
decoration, dressmaking,
home-making, embroidery,
cooking and others.

This includes city or town planning,
maintenance and beautification of
parks, plazas, roads, bridges and
farms. It refers to civic planning and
beautification in order to improve the
standards of living.

Commercial Art
This involves business propaganda in the
form of advertisements in newspapers and
magazines, sign painting, billboard
announcements, leaflets, displays, poster
designing, movie illustrations and many
more.

Graphic Art
It is anything printed
from raised or sunken
reliefs and plane
surfaces.

Agricultural Art
This refers to agronomy (crop
production), horticulture
(garden or orchard cultivation),
husbandry (raising of cows,
carabaos, poultry and swine)
and farming.

Business Art
This includes merchandising,
accounting, bookkeeping,
typewriting, stenography,
salesmanship and business
administration.

Fishery Art
It includes shallow and deep
sea fishing, fish refrigeration
and culture, net weaving.

Medical or Clinical Art
It includes first aid
treatments, medicinal
manufacturing, surgery,
medical operations,
rehabilitation and others.

Pre-Colonial
Arts
(ETHNIC Arts)
In Pre-colonial
Philippines, arts are
for ritual purposes
or for everyday use.

Islamic art is
characterized by
geometric
designs and
patterns eliciting
focus from the
believers.

Art became a
handmaiden of
religion,
serving to propagate
the Catholic faith and
thus support the
colonial order at the
same time.

In the American
regime, commercial
and advertising arts
were integrated into
the fine arts
curriculum. Moreover,
Americans favored
idyllic sceneries and
secular forms of arts.

Since the Japanese
advocated for the culture
of East Asia, preference
was given to the
indigenous art and
traditions of the
Philippines. This
emphasized their
propaganda of Asia
belonging to Asians.

Modern era in Philippine
Art began after World
War 2 and the granting of
Independence. Writers
and artists posed
the question of national
identity as the main
theme of various art
forms.

Philippine Contemporary
Art was an offshoot of
social realism brought
about by Martial Law.
Arts became expression
of people’s aspiration for
a
just, free, and sovereign
society.

Ethnic Art
Islamic Art
Spanish Era
American Era
Japanese Era
Modern Era
Contemporary Era
Geometric
Designs
Integral to
life
Faith and
Catechism
Secular Forms
of Art
Orientalizing
National
Identity
Social RealismTimeline of Philippine Arts
Pre – 13th C. AD 13th C. AD 1521-1898 1898-1940 1941-1945 1946-1969 1970’s - present

Instruction:
Choose one from the major art
form (*) and present as a group.
(you may derive your
presentation from any of the
Philippine set up arts samples.

*Literature
*Music
*Combined or performing arts
*Circus
*Dance
*Opera
*pantomime
*puppet show
*Drama
*Theatre
*Singing

If you’re given the title of national artist, you can
consider yourself one of the best. By being given
the title, it means you have given significant
contributions to the development of Philippine arts
and letters. The recognition is given to those who
excel in the fields of music, dance, theatre, visual
arts, literature, film and broadcast, and architecture
or allied arts.

A person who receives
this title gets the
following honors and
privileges:

Rank and title of National Artist,
as proclaimed by the President of
the Philippines;

Insignia of a National
Artist and a citation;
Rank and title of National Artist, as
proclaimed by the President of the
Philippines;

Cash awards, monthly life pension, medical,
and hospitalization benefits, life insurance
coverage, state funeral and burial at
the Libingan ng mga Bayani (Heroes’
Cemetery), and a place of honor at national
state functions along with recognition at
cultural events.
Cash awards, monthly life pension, medical, and
hospitalization benefits, life insurance coverage, state
funeral and burial at the Libingan ng mga
Bayani (Heroes’ Cemetery), and a place of honor at
national state functions along with recognition at
cultural events.

National artists in architecture
Juan F. Nakpil Pablo S. Antonio Leandro V. Locsin

National artists in architecture
Ildefonso P. Santos
Jose Maria V.
Zaragoza

Juan f. nakpil
(1899-1986)
Architect, civil engineer,
teacher and civic leader,
is a pioneer and
innovator in Philippine
architecture.

In essence, Nakpil's greatest contribution is
his belief that there is such a thing as
Philippine Architecture, espousing architecture
reflective of Philippine traditions and culture. It
is also largely due to his zealous
representation and efforts that private Filipino
architects and engineers, by law, are now able
to participate in the design and execution of
government projects.

He has integrated strength, function, and
beauty in the buildings that are the country's
heritage today. He designed the 1937
International Eucharistic Congress altar and
rebuilt and enlarged the Quiapo Church in 1930
adding a dome and a second belfry to the
original design. In 1973, he was named one of
the National Artists for architecture, and tapped
as the Dean of Filipino Architects.

Quiapo Church as we see today after Juan Nakpil rebuilt it in 1930s, adding a
dome and 2nd belfry to the original design.

Pablo s. antonio
Born at the turn of the century, national artist
for architecture Pablo Sebero
Antonio pioneered modern Philippine
architecture. His basic design is grounded on
simplicity, no clutter. The lines are clean and
smooth, and where there are curves, these are
made integral to the structure. Pablo Jr. points
out, “For our Father, every line must have a
meaning, a purpose. For him, function comes
first before elegance or form“.

The other thing that characterizes an Antonio
structure is the maximum use of natural light
and cross ventilation. Antonio believes that
buildings “should be planned with austerity in
mind and its stability forever as the aim of true
architecture, that buildings must be progressive,
simple in design but dignified, true to a purpose
without resorting to an applied set of aesthetics
and should eternally recreate truth”.

Far Eastern University, Manila
Antonio’s major works include the
following: Far Eastern University
Administration and Science
buildings; Manila Polo
Club; Ideal Theater; Lyric
Theater; Galaxy
Theater; Capitan Luis Gonzaga
Building; Boulevard-
Alhambra (now Bel-Air)
apartments; Ramon Roces
Publications Building (now
Guzman Institute of Electronics).

Leandro V. Locsin
(Architecture, 1990)
A man who believes that true Philippine
architecture “is the product of two great
streams of culture, the oriental and the
occidental… to produce a new object of
profound harmony,” Leandro V. Locsin is the
man responsible for designing everything you
see at CCP complex – the cultural center of
the Philippines, folk arts theatre, Philippine
International Convention Center, philcite, and
the Westin hotel (now Sofitel Philippine
Plaza).

Locsin’s largest single work is
the Istana Nurul Iman, the
palace of the Sultan of Brunei,
which has a floor area of 2.2
million square feet. The CCP
Complex itself is a virtual
Locsin Complex with all five
buildings designed by him —
the Cultural Center of the
Philippines, Folk Arts Theater,
Philippine International
Convention Center,
Philcite and The Westin Hotel
(now Sofitel Philippine Plaza).

National artists in visual arts
Fernando Amorsolo
Carlos“Botong” Francisco
Cesar Legaspi
Abdulmari Asia Imao
Guillermo E. Tolentino
Arturo Luz
Federico Aguilar Alcuaz
Napoleon V. Abueva
J. Elizalde Navarro
Francisco Coching
Hernando R. Ocampo
Victorio C. Edades
Ang Kiukok
Jose T. Joya
Vicente Manansala
Benedicto Cabrera

Carlos“Botong” Francisco
National artist for painting (1973)
(November 4, 1912 – March 31, 1969)
The poet of angono,
single-handedly revived
the forgotten art of mural
and remained its most
distinguished practitioner
for nearly three decades.

In panels such as those that grace the City Hall of
Manila, Francisco turned fragments of the historic past
into vivid records of the legendary courage of the
ancestors of his race. He was invariably linked with
the “modernist” artists, forming with Victorio C. Edades
and Galo Ocampo what was then known in the local
art circles as “The Triumvirate”. Botong’s unerring eye
for composition, the lush tropical sense of color and an
abiding faith in the folk values typified by the
townspeople of Angono became the hallmark of his
art.

Guillermo Tolentino
Guillermo Estrella Tolentino is a product of the
revival period in Philippine art. Returning from Europe
(where he was enrolled at the Royal Academy of fine
arts, Rome) in 1925, he was appointed as professor
at the UP school of fine arts where the idea also of
executing a monument for national heroes struck him.
The result was the UP oblation that became the
symbol of freedom at the campus. Acknowledged as
his masterpiece and completed in 1933, the Bonifacio
Monument in Caloocan stands as an enduring
symbol of the Filipinos’ cry for freedom.

Other works include the bronze figures
of President Quezon at Quezon Memorial, life-
size busts of Jose Rizal at UP and UE, marble
statue of Ramon Magsaysay in GSIS Building;
granolithics of heroic statues representing
education, medicine, forestry, veterinary science,
fine arts and music at UP. He also designed the
gold and bronze medals for the Ramon
Magsaysay Award and did the seal of
the Republic of the Philippines.

The country had its first National Artist in Fernando C.
Amorsolo. The official title “Grand Old Man of Philippine Art”
was bestowed on Amorsolo when the Manila Hilton inaugurated
its art center on January 23, 1969 with an exhibit of a selection
of his works. Returning from his studies abroad in the 1920s,
Amorsolo developed the backlighting technique that became his
trademark where figures, a cluster of leaves, spill of hair, the
swell of breast, are seen aglow on canvas. This light, Nick
Joaquin opines, is the rapture of a sensualist utterly in love with
the earth, with the Philippine sun, and is an accurate expression
of Amorsolo’s own exuberance. His citation underscores all his
years of creative activity which have “defined and perpetuated a
distinct element of the nation’s artistic and cultural heritage”.

Among others, his major works include the
following: Maiden in a Stream(1921)-GSIS
collection; El Ciego (1928)-Central Bank of the
Philippines collection; Dalagang Bukid (1936) –
Club Filipino collection; The Mestiza (1943) –
National Museum of the Philippines
collection; Planting Rice (1946)-UCPB
collection; Sunday Morning Going to
Town (1958)-Ayala Museum Collection.

National artists in cinema
Lamberto V. Avellana Lino
Brocka
Ishmael Bernal Manuel Conde
Gerardo de Leon Eddie S.
Romero
Ronald Alan K. Poe

Ronald Allan K. Poe
(August 20, 1939 – December 14, 2004)
Popularly known as Fernando
Poe, Jr., was a cultural icon of
tremendous audience impact
and cinema artist and
craftsman– as actor, director,
writer and producer.

The image of the underdog was projected in his films such
as Apollo Robles(1961), Batang Maynila (1962), Mga
Alabok sa Lupa (1967), Batang Matador and Batang
Estibador (1969), Ako ang katarungan (1974), Tatak ng
Alipin (1975), Totoy
Bato (1977), Asedillo (1981), Partida (1985), and Ang
Probisyano (1996), among many others. The mythical hero,
on the other hand, was highlighted in Ang Alamat (1972), Ang
Pagbabalik ng Lawin (1975) including his Panday series
(1980, 1981, 1982, 1984) and the action adventure films
adapted from komiks materials such as Ang kampana sa
Santa Quiteria(1971), Santo Domingo (1972),
and Alupihang Dagat (1975), among others.

Poe was born in Manila on August 20,
1939. After the death of his father, he
dropped out of the University of the East in
his sophomore year to support his family.
He was the second of six siblings. He
married actress Susan Roces in a civil
ceremony in December 1968.
He died on December 14, 2004

Eddie Romero
(July 7, 1924 – May 28, 2013)
Is a screenwriter, film director and producer, is the
quintessential Filipino filmmaker whose life is
devoted to the art and commerce of cinema
spanning three generations of filmmakers. His film
“Ganito kami noon…paano kayo ngayon?,” Set at
the turn of the century during the revolution against
the Spaniards and, later, the American colonizers,
follows a naïve peasant through his leap of faith to
become a member of an imagined community.

“Aguila” situates a family’s story against the backdrop of the
country’s history. “Kamakalawa” explores the folkloric of
prehistoric Philippines. “Banta ng Kahapon,” his ‘small’ political
film, is set against the turmoil of the late 1960s, tracing the
connection of the underworld to the corrupt halls of politics. His
13-part series of “Noli Me Tangere” brings the national hero’s
polemic novel to a new generation of viewers. Romero, the
ambitious yet practical artist, was not satisfied with dreaming up
grand ideas. He found ways to produce these dreams into films.
His concepts, ironically, as stated in the National Artist citation
“are delivered in an utterly simple style – minimalist, but never
empty, always calculated, precise and functional, but never
predictable.”

Catalino “Lino” Ortiz Brocka, director for
film and broadcast arts, espoused the term
“freedom of expression” in the Philippine
constitution. Brocka took his social activist
spirit to the screen leaving behind 66 films
which breathed life and hope for the
marginalized sectors of society —
slumdwellers, prostitute, construction

At the same time, he garnered awards and
recognition from institutions like the CCP, FAMAS,
TOYM, and cannes film festival. Lino brocka has
left behind his masterpieces, bequeathing to our
country a heritage of cinelove, betrayal matic
harvest; a bounty of stunning images, memorable
conversations that speak volumes on and
redemption, pestilence and plenty all pointing
towards the recovery and rediscovery of our
nation.

To name a few, Brocka’s films include the
following: “Santiago” (1970), “Wanted: Perfect
Mother” (1970), “Tubog sa Ginto” (1971),
“Stardoom” (1971), “Tinimbang Ka Ngunit
Kulang” (1974), “Maynila: Sa Kuko ng
Liwanag” (1975), “Insiang” (1976), “Jaguar”
(1979), “Bona” (1980), “Macho Dancer” (1989),
“Orapronobis” (1989), “Makiusap Ka sa Diyos”
(1991).

LITERATURE
 Francisco Arcellana Edith L. Tiempo Bienvenido Lumbera
 N.V.M. Gonzalez Virgilio S. Almario Cirilo F. Bautista
 Nick Joaquin Amado V. Hernandez Lazaro Francisco
 F. Sionil Jose Carlos P. Romulo Jose Garcia Villa
 Alejandro Roces Rolando S. Tinio Levi Celerio

Nestor Vicente Madali Gonzalez
(September 8, 1915 – November 28, 1999)
Better known as N.V.M. Gonzalez, fictionist, essayist, poet, and
teacher, articulated the Filipino spirit in rural, urban landscapes.
Among the many recognitions, he won the first commonwealth
literary contest in 1940, received the republic cultural heritage
award in 1960 and the gawad CCP para sa sining in 1990. The
awards attest to his triumph in appropriating the english
language to express, reflect and shape Philippine culture and
Philippine sensibility. He became U.P.’S international-writer-in-
residence and a member of the board of advisers of the U.P.
Creative writing center. In 1987, U.P. Conferred on him the
doctor of humane letters, Honoris Causa, its highest academic
recognition.

Major works of N.V.M Gonzalez include the
following: The Winds of April, Seven Hills
Away, Children of the Ash-Covered Loam
and Other Stories, The Bamboo Dancers,
Look Stranger, on this Island Now, Mindoro
and Beyond: Twenty -One Stories, The Bread
of Salt and Other Stories, Work on the
Mountain, The Novel of Justice: Selected
Essays 1968-1994, A Grammar of Dreams
and Other Stories.

Carlos P. Romulo
(January 14, 1899 – December 15, 1985)
Carlos P. Romulo‘s multifaceted career spanned
50 years of public service as educator, soldier,
university president, journalist and diplomat. It is
common knowledge that he was the first Asian
president of the united nations general assembly,
then Philippine ambassador to Washington, D.C.,
And later minister of foreign affairs. Essentially
though, Romulo was very much into writing: he was
a reporter at 16, a newspaper editor by the age of
20, and a publisher at 32.

He was the only Asian to win America’s coveted Pulitzer Prize in
Journalism for a series of articles predicting the outbreak of World
War II. Romulo, in all, wrote and published 18 books, a range of
literary works which included The United (novel), I Walked with
Heroes (autobiography), I Saw the Fall of the
Philippines, Mother America, I See the Philippines Rise (war-
time memoirs).
His other books include his memoirs of his many years’ affiliations
with United Nations (UN), Forty Years: A Third World Soldier at
the UN, and The Philippine Presidents, his oral history of his
experiences serving all the Philippine presidents.

Sionil Jose
(Literature, 2001)
One of the few living national artists, f. Sionil
Jose is best known for creating the five-novel
masterpiece known as the Rosales
saga: poon; tree; my brother, my executioner;
the pretenders; and mass. Set in the town of
Rosales, Pangasinan, it talks about the five
generations of two families, the Samsons and
the Asperri, during the Spanish and American
occupation.

Levi Celerio
(Literature and Music, 1997)
A prolific lyricist and composer, is known for
having effortlessly translating or rewriting
lyrics of traditional Filipino melodies like “O
maliwanag na buwan” (Iloko), “ako ay may
singsing” (Pampango), and “Alibangbang”
(Visaya). He’s also been immortalized in the
Guinness book of world records as the only
person to make music using just a leaf.

FASHION DESIGN
Ramon Valera

Ramon Valera
(August 31, 1912 – May 25, 1972)
The contribution of Ramon Valera,
whose family hails from Abra, lies in
the tradition of excellence of his
works, and his commitment to his
profession, performing his magical
seminal innovations on the
Philippine terno.

Valera is said to have given the country its visual
icon to the world via the terno. In the early 40s,
Valera produced a single piece of clothing from a
four-piece ensemble consisting of a blouse, skirt,
overskirt, and long scarf. He unified the
components of the Baro’t Saya into a single dress
with exaggerated bell sleeves, cinched at the waist,
grazing the ankle, and zipped up at the back. Using
zipper in place of hooks was already a radical
change for the country’s elite then.

Dropping the panuelo–the long folded scarf
hanging down the chest, thus serving as the
Filipina’s gesture of modesty–from the entire
ensemble became a bigger shock for the
women then. Valera constructed the terno’s
butterfly sleeves, giving them a solid, built-in
but hidden support. To the world, the butterfly
sleeves became the terno’s defining feature.

Even today, Filipino fashion designers study
Valera’s ternos: its construction, beadworks,
applique, etc. *Valera helped mold
generations of artists, and helped fashion to
become no less than a nation’s sense of
aesthetics. But more important than these,
he helped form a sense of the Filipino nation
by his pursuit of excellence.

THEATER DESIGN
Salvador F. Bernal

Salvador F. Bernal
He designed more than 300 productions
distinguished for their originality since
1969. Sensitive to the budget limitations
of local productions, he harnessed the
design potential of inexpensive local
materials, pioneering or maximizing the
use of bamboo, raw abaca, and abaca
fiber, hemp twine, rattan chain links and
gauze cacha.

As the acknowledged guru of contemporary
Filipino theater design, Bernal shared his
skills with younger designers through his
classes at the University of the Philippines
and the Ateneo de Manila University, and
through the programs he created for the CCP
Production Design Center which he himself
conceptualized and organized.

To promote and professionalize theater
design, he organized the PATDAT (Philippine
Association of Theatre Designers and
Technicians) in 1995 and by way of Philippine
Center of OISTAT (Organization
Internationale des Scenographes,
Techniciens et Architectes du Theatre), he
introduced Philippine theater design to the
world.

DANCE
Francisca Reyes Aquino Ramon
Obusan
Alice Reyes Leonor Orosa
Goquingco Lucrecia Reyes-Urtula

Ramon Obusan
(June 16, 1938 – December 21, 2006)
He was a dancer,
choreographer, stage designer
and artistic director. He
achieved phenomenal success
in Philippine dance and cultural
work.

He was also acknowledged as a researcher,
archivist and documentary filmmaker who
broadened and deepened the Filipino
understanding of his own cultural life and
expressions. Through the Ramon Obusan
Folkloric Grop (ROFG), he had effected
cultural and diplomatic exchanges using the
multifarious aspects and dimensions of the art
of dance.

Source: Ramon Obusan Folkloric Group

Among the full-length productions he choreographed are the
following:
“Vamos a Belen! Series” (1998-2004) Philippine Dances Tradition
“Noon Po sa Amin,” tableaux of Philippine History in song, drama
and dance
“Obra Maestra,” a collection of Ramon Obusan’s dance masterpieces
“Unpublished Dances of the Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration
of Life Saludo sa Sentenyal”
“Glimpses of ASEAN, Dances and Music of the ASEAN-Member
Countries”
“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in
Dance”

Francisca Reyes Aquino
(March 9, 1899 – November 21, 1983)
Acknowledged as the folk dance pioneer. This
Bulakeña began her research on folk dances
in the 1920’s making trips to remote barrios in
Central and Northern Luzon. Her research on
the unrecorded forms of local celebration,
ritual and sport resulted into a 1926 thesis
titled “Philippine folk dances and games,”
and arranged specifically for use by teachers
and playground instructors in public and
private schools.

In the 1940’s, she served as supervisor of Physical
Education at the Bureau of Education that
distributed her work and adapted the teaching of
folk dancing as a medium of making young
Filipinos aware of their cultural heritage. In 1954,
she received the republic award of merit given by
the late pres. Ramon Magsaysay for “outstanding
contribution toward the advancement of Filipino
culture”, one among the many awards and
recognition given to her.

Her books include the following: Philippine
National Dances (1946); Gymnastics for
Girls (1947); Fundamental Dance Steps
and Music (1948);Foreign Folk
Dances (1949); Dances for all
Occasion (1950); Playground
Demonstration (1951); and Philippine
Folk Dances, Volumes I to VI.

Leonor Orosa Goquingco
(Dance, 1976)
A Pioneer Filipino choreographer known to
many as “the trailblazer,” “the mother of
Philippine theater dance,” and “Dean of
Filipino performing arts critics.” She has
produced stunning choreographies during her
50-year career, highlighted by “Filipinescas:
Philippine life, legend, and love,” which
elevated native folk dance to its highest stage
of development.

HISTORICAL LITERATURE
Carlos Quirino

Carlos Quirino
(January 14, 1910 – May 20, 1999)
Carlos Quirino, biographer, has the
distinction of having written one of the
earliest biographies of Jose Rizal titled the
Great Malayan. Quirino’s books and articles
span the whole gamut of Philippine history
and culture–from Bonifacio’s trial to
Aguinaldo’s biography, from Philippine
cartography to culinary arts, from cash crops
to tycoons and president’s lives, among so
many subjects.

In 1997, Pres. Fidel Ramos created
historical literature as a new category in
the national artist awards and Quirino
was its first recipient. He made a record
earlier on when he became the very first
Filipino correspondent for the united
press institute.

His book Maps and Views of Old Manila is
considered as the best book on the subject. His
other books include Quezon, Man of
Destiny, Magsaysay of the Philippines, Lives
of the Philippine Presidents, Philippine
Cartography, The History of Philippine Sugar
Industry, Filipino Heritage: The Making of a
Nation, Filipinos at War: The Fight for
Freedom from Mactan to EDSA.

MUSIC
Antonino Buenaventura Ernani J. Cuenco
Francisco Feliciano Jovita Fuentes
Honorata “Atang” dela Rama Jose Maceda
Lucio San Pedro Levi Celerio
Felipe Padilla de Leon Lucrecia R. Kasilag
Antonio J. Molina Ramon P. Santos
Andrea Veneracion

Ramon P. Santos
Ramon Pagayon Santos, composer,
conductor and musicologist, is currently the
country’s foremost exponent of
contemporary Filipino music. A prime figure
in the second generation of Filipino
composers in the modern idiom, Santos
has contributed greatly to the quest for new
directions in music, taking as basis non-
western traditions in the Philippines and
Southeast Asia.

Simultaneous with this was a reverting back to
more orthodox performance modes: chamber
works and multimedia works for dance and
theatre. Panaghoy (1984), for reader, voices,
gongs and bass drum, on the poetry of Benigno
Aquino, Jr. Was a powerful musical discourse on
the fallen leader’s assassination in 1983, which
subsequently brought on the victorious people
power uprising in 1986.

Lucrecia R. Kasilag
(Music, 1989)
If you’re a fan of Filipino artists that blend Filipino
ethnic and western music, then you should probably
get to know Lucrecia R. Kasilag. An educator,
composer, performing artist, administrator, and
cultural entrepreneur, she is seen as the pioneering
figure for fusing Filipino ethnic and western music,
helping elevate Filipino’s appreciation for music. Her
best work is the prize-winning toccata for
percussions and winds, divertissement and
concertante, which incorporates indigenous Filipino
instruments.

Antonio J. Molina
(December 26, 1894 – January 29, 1980)
Versatile musician, composer, music
educator was the last of the musical
triumvirate, two of whom were Nicanor
Abelardo and Francisco Santiago, who
elevated music beyond the realm of folk
music. At an early age, he took to playing the
violoncello and played it so well it did not
take long before he was playing as orchestra
soloist for the manila grand opera house.

Molina is credited for introducing such
innovations as the whole tone scale,
pentatonic scale, exuberance of dominant
ninths and eleventh cords, and linear
counterpoints. As a member of the faculty of
the UP conservatory, he had taught many of
the country’s leading musical personalities
and educators like Lucresia Kasilag and
Felipe de Leon.

Molina’s most familiar composition is Hatinggabi,
a serenade for solo violin and piano
accompaniment. Other works are (orchestral
music) Misa Antoniana Grand Festival
Mass, Ang Batingaw, Kundiman- Kundangan;
(chamber music) Hating Gabi, String
Quartet, Kung sa Iyong
Gunita, Pandangguhan; (vocal
music) Amihan, Awit ni Maria Clara, Larawan
Nitong Pilipinas, among others.

THEATER
Daisy Avellana Honorata “Atang” dela Rama Lamberto V. Avellana
Rolando S. Tinio
Salvador F. Bernal
Wilfrido Ma. GuerreroSeverino Montano

Daisy H. Avellana
(January 26, 1917 – May 12, 2013)
An actor, director and writer. Born in Roxas
City, Capiz on January 26, 1917, she
elevated legitimate theater and dramatic
arts to a new level of excellence by staging
and performing in breakthrough productions
of Classic Filipino and foreign plays and by
encouraging the establishment of
performing groups and the
Professionalization of Filipino theater.

Together with her husband, national
artist Lamberto Avellana and other
artists, she co-founded the barangay
theatre guild in 1939 which paved the
way for the popularization of theatre
and dramatic arts in the country,
utilizing radio and television.

She starred in plays like Othello (1953), Macbeth
in Black (1959), Casa de Bernarda
Alba (1967), Tatarin. She is best remembered for
her portrayal of Candida Marasigan in the stage
and film versions of Nick Joaquin’s Portrait of the
Artist as Filipino. Her directorial credits
include Diego Silang (1968), and Walang
Sugat (1971). Among her screenplays
were Sakay (1939) and Portrait of the Artist as
Filipino (1955).

Severino Montano
(January 3, 1915 – December 12, 1980)
Playwright, director, actor, and
theater organizer Severino
Montano is the forerunner in
institutionalizing “legitimate theater”
in the Philippines. Taking up
courses and graduate degrees
abroad, he honed and shared his
expertise with his countrymates.

As Dean of Instruction of the Philippine
Normal College, Montano organized the
Arena Theater to bring drama to the
masses. He trained and directed the new
generations of dramatists including
Rolando S. Tinio, Emmanuel Borlaza,
Joonee Gamboa, and Behn Cervantes.

He established a graduate program at the Philippine
Normal College for the training of playwrights,
directors, technicians, actors, and designers. He also
established the Arena Theater Playwriting Contest that
led to the discovery of Wilfrido Nolledo, Jesus T.
Peralta, and Estrella Alfon. Among his awards and
recognitions are the Patnubay ng Kalinangan Award
from the City of Manila (1968), Presidential Award for
Merit in Drama and Theater (1961), and the Rockefeller
Foundation Grant to travel to 98 cities abroad (1950,
1952, 1962, and 1963).

Wilfrido Ma. Guerrero
(Theater, 1997)
A teacher and theater artist who, in his 35
years of teaching, has mentored some of
the country’s best filipino performing artists,
including Joy Virata and Joonee Gamboa.
He is also the founder and artistic director
of the UP mobile theater, leading the way
for the concept of a theater campus by
bringing theater closer to students and
audiences in the countryside.

Gawad sa Manlilikha ng Bayan
National Living Treasures Award
Republic Act No. 7355
April 1992
National Commission for Culture and
the Arts (NCCA)
 The highest policy-making and coordinating body for culture and the
arts of the State

National Commission for Culture and the
Arts (NCCA)
 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 and
instil pride among our people about the genius of the Manlilikha
ng Bayan

 First awarded in 1993 to three outstanding artists in music and
poetry
 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.
 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.

R.A. 7355
o “Manlilikha ng Bayan”
o shall mean a citizen engaged in any traditional art uniquely Filipino
o whose distinctive skills have reached such a high level of technical and
artistic excellence and
o 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.

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.

ng Bayan?
b. He/she must have engaged in a folk art 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.

ng Bayan?
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.

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,

Categories:
 The Award shall be given in each, but not limited to the following
categories of traditional folk arts, viz.:
 literature,
 graphic and plastic arts,
 ornament,
 textile or fiber art,
 pottery and other artistic expressions of traditional culture.

Categories:
 Consideration shall be given to geographical distribution and
balance of artistic categories.

What are the incentives received by
the awardee?
 A Manlilikha ng Bayan awardee receives:
 specially designed gold medallion,
 an initial grant of P100,000 and
 P10,000 monthly stipend for life.

What are the incentives received by
the awardee?
 In consonance with the provision of Republic Act No. 7355, which states
that “the monetary grant may be increased whenever circumstances so
warrant,” the NCCA board approved:
 an additional monthly personal allowance of P14,000 for the awardees

GAMABA Awardees
Ginaw BilogMasino IntaraySamaon Sulaiman

GAMABA Awardees
Federico CaballeroUwang AhadasDarhata Sawabi

GAMABA Awardees
Eduardo MutucHajja Amina Appi

GAMABA Awardees
Magdalena Gamayo

GAMABA Awardees
Alonzo SaclagSalinta MononLang Dulay

Source:
 http://ncca.gov.ph/about-culture-and-arts/culture-
profile/gamaba/guidelines-on-inviting-a-gamaba-awardee/

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