4. asenvisionedinrepublic act no.7355
it wasestablished in1992
shall meancitizen engagedinanytraditional
art uniquely Filipino,whosedistinct skills have
reached such a high level of technical and
artistic excellence, andhave passedit onto in
hisor her community with the samedegreeof
technical andartistic competence.
Manlilikha ng BayanAct
5. Thehighest policy andcoordinatingbodyfor
culture andthe artsof the state.
It has to search for the finest traditional artist of
the landwhoadoptsaprogramthat willensure the
transfer of their skillsto others,undertakes
measures to promote agenuine appreciationof and
crafts and give pride among our people about the
geniusof ManlilikhangBayan.
National Commission for Culture and
the Arts (NCCA)
6. AsFilipinowhorecognize the uniqueidentitiesof
ourfellow Filipinos,it istheright to see their
contribution to the community.
The country is rich with various elements of
tangibleandintangible cultural heritage whichhas
passedonthe newgeneration.
The Gawad Manlilikha ng Bayan
(GAMABA) Awardees
7. Culture as part of our Philippine identity includes a
variety of arts that enhance by our National Living
Treasure artists who are recognized in their special
contribution to the nationalheritage.
Theseare Filipinocitizenwhoisengagedinany
traditional art forms and has contributed to the
development of culturaldiversity andthe creativity
of humanity.
T
heG
aw
ad Manlilikha ng Bayan(GAMABA)
Awardees
10. SURAT MANGYANAND
AMBAHAN POETRY
► Preserve the HanunuoMangyan
script andAmbahan(poem
consistingof seven-syllablelines)
andpromote it onevery occasionso
that the art will not belost but
preservedfor posterity.
► Panaytayan,Mansalay,Oriental
Mindoro,RegionIV-B MIMAROPA
GINAWBILOG (d. 2003)
11. EPIC CHANTERAND STORYTELLER
► Anoutstandingmaster of the basal
(gongmusic),kulilal(highlylyrical
poem)andbagit(instrumentalmusic
playedonthe kusyapi),alsoplayed
the aroding(mouthharp)and
babarak(ringflute) andaboveall,he
wasaprolific andpre-eminentepic
chanterandstoryteller
► Pala’wan,PalawanIsland,RegionIV-B,
MIMAROPA
MASINO INTARAY (d. 2013)
12. PLAYING KUDYAPI
► He achieved the highest level of
excellence in the art of kutiyapi or
kudyapi (two-stringed lute) playing
and also proficient in kulintang,
agong (suspended bossed gong
with wide rim), gandingan (bossed
gong with narrow rim), palendag
(lip-valley flute), and tambul.
► Mamasapano, Maguidanao, Western
Midanao, Bangsamoro Autonomous
Region in Muslim Mindanao
SAMAON SULAIMAN (d. 2011
)
13.
14. T’NALAK WEAVING
► She iscredited with preservingher
people’straditional T’nalakusing abaca
fibers asfine ashair which traditionally
hasthree primary colors,red,black,and
the original colors of abacaleave
recreated by her nimblehands-the
crocodiles, butterflies,andflowers.
► Tagabawa Bagobo/Bansalan,Davao
del Sur,RegionXI, Davao Region
LANG DULAY (d. 2015)
15. INABAL WEAVING
► She wasawardedfor fully
demonstratingthe creative and
expressive aspects of the Bagobo
abaca ikat (totie or bond)weaving
called inabal(traditional textile of
Bagobo) at a timewhensuchart was
threatened with extinction.
► Tagabawa Bagobo/Bansalan,Davao
del Sur,RegionXI,Davao Region
SALINTA MONON (d. 2009)
16.
17. PLAYING YAKAN INSTRUMENTS
► Hereferred to for hisability and mastery in
playingdifferent Yakan instruments(made of
bamboo,wood,andmetal) andfor imparting
his insightto the youngsters of hislocale. He
keepsonperformingandinstruct despite his
diminishingvisual perception,keeping the
Yakanmelodic custom alive andthriving.
► Yakan/Lamitan,BasilanIsland, Bangsamoro
AutonomousRegionin MuslimMindanao
(BARMM)
UWANG AHADAS
18. CHANTING THE SUGIDANON
EPIC OFTHE PANAY BUKIDNON
► Hecontinuously worksfor the
documentationof the oral
literature,inparticular the
epics,of people.
► Yakan/Lamitan,Basilan Island,
Bangsamoro Autonomous
RegioninMuslimMindanao
(BARMM)
FEDERICO CABALLERO
19. PLAYING KALINGAMUSICAL
INSTRUMENTS
► Hislifestyle workisto paint a portrait of
hispeopleto recorda traditionof
opposites anddualities, apeoples’
character recordedin cadenceseach
aggressiveand gentle.Play Kalinga
musical instruments dancepatternsand
movesrelatedtorituals.
► Kalinga,NorthernLuzonIsland,
CordilleraAdministrative Region
ALONZO SACLAG
20.
21. MAT WEAVING
► She was recognized as the master mat
weaver.Her colorfulmatswith their
complexgeometricpatterns
showcasedher precise senseof design,
proportion, and symmetry and
sensitivity to color.
► UngosMatata,Tandubas,Tawi- Tawi,
Bangsamoro Autonomous Regionin
MuslimMindanao (BARMM)
HAJA AMINA APPI (d. 2013)
22. METALPLATING
► Heisanartist whohasdevoted his
existence to developing religious
andsecular artwork insilver,
bronze,andwood.Hisintricately
detailedretablos,mirrors,altars,
andcarosas are inchurch buildings
andnon-public collections.
► Apalit,Pampanga,Region III,
Central Luzon
EDUARDO MUTUC
23. PIS SYABITWEAVING
► Sheremaineddevoted and
perseveredwith her missionto teach
the artwork of pissyabit weaving.
► Herstrokesfirm andsure,hercolor
sensitivity acute,andherdedication
to thebest of herproducts
unwavering.
► Tausug/Parang,Sulu,Bangsamoro
AutonomousRegioninMuslim
Mindanao(BARMM)
DARHATA SAWABI (d. 2005)
24.
25. ABELWEAVING
► She hasbeenamaster inabel weaving
fromPinili,IlocosNorte.
► Sheisnot onlyweaving traditional
Ilocanotextiles but alsodesignsnew
patters.
► One of herdesignsemploys adifficult
weaving technique calledpililian meaning
partially.Theweave produces a one of a
kinddesignthat takes after a stringof
flowers thusits name,inubon a sabong.
► Pinili,IlocosNorte,RegionI,IlocosRegion
MAGDALENA GAMAYO
26. KATTUKONG OR
TABÚNGAW HAT MAKING
► Whenhefinishesfieldwork asa farmer,
hefocusesonthe cultivation and
developmentof tabúngaw (Ilokanoterm
for úpo).Atthe ageof fifteen(15)he
learnedthe art of Kattukongor
tabúngaw hatmaking andbasket
weavingfromhis grandfather.
► SanQuintin,Abra,Cordillera
Administrative Region(CAR)
TEOFILO GARCIA
27.
28. YAKAN WEAVING
► ApuhAmbalang,is significantly respected inall of
Lamitan.Her ability is regardedunique:shecan bring
forthall designsandactualizeall textile categories
ordinary to the Yakancommunity,who are knowntobe
amongthefinest weaverswithin theSouthern
Philippines.
► Shecanperform thesuwahbekkat(cross-stitch-like
embellishment)andsuwahpendan(embroidery-like
embellishment)techniquesof thebungasama category.
► Shehasthe complexknowledgeof thewhole weaving
process,mindful at thesametimeasthe cultural
significanceof eachtextile designor category.
► Lamitan,Basilan Island,Bangsamoro Autonomous Region
inMuslimMindanao
AMBALANG AUSALIN
29. B’LAAN MATWEAVING
► Since shewas achild,shewas bright and careful in
tangle weaving.Her perseverance tookplace
because of her supportive husband.
► The thin strips of the pandanus romblon (Pandanus
copelandii merr.Bariu) rise matrixed through deft
fingers performing an individual rhythm,thebeat
guided byher eyes.The unwoven strips are held
tight at the other end of her body,as toes curland
close around,not onlythese strips but,as it were, the
abstraction that other people call design.
► Upper Lasang,SapuMasla,Malapatan,
Saranggani ,RegionXII SOCCSKSARGEN
ESTELITA TUMANDAN BANTILAN
30. B’LAAN IKATOR TIE-DYE
FABRIC WEAVING
► YabingMasalon Dulo,called as “FuYabing”,was only
fourteen (14)years old when she started weaving.
All her younger years were spent in sharpening her
skills andimpartingthe knowledge to younger
generations of B’laan weavers.
► She follows her mother’smovements back and forth.
She colors the fibers, counts the thread, and
observes the rhythmic dance of a weaver’s dreams
woven into uniquesoulfulpieces.
► Amguo, Landan, Polomolok, South Cotabato,
Region XII SOCCSKSARGEN
YABING MASALON DULO
31. SUMMARY:
Republic Act No. 7355 known as
Manlilikha ng Bayan Act was
established in 1992 to give
recognition to traditional art
uniquely Filipino who preserves and
promotes its traditional folk arts that
contribute to the national heritage.
National Commission for Culture
and the Arts (NCCA) is the highest
policy and coordinating body for
culture and arts of the state.
The Philippines through the
effort of NCCA introduced the
sixteen (16) Gawad sa
Manlilikha ng Bayan or
GAMABAAwardees namely:
