Contemporary Philippine Arts from the Regions PDF (Quarter 1 Week 6)

Contemporary Philippine Arts from the Regions Quarter 1 – Week 6 Gawad sa Manlilikha ng Bayan Contemporary Philippine Arts from the Regions Alternative Delivery Mode Quarter 1 – Module 4: Gawad sa Manlilikha ng Bayan First Edition, 2020 Republic Act 8293, section 176 states that: No...

Contemporary Philippine Arts from the Regions Quarter 1 – Week 6 Gawad sa Manlilikha ng Bayan Contemporary Philippine Arts from the Regions Alternative Delivery Mode Quarter 1 – Module 4: Gawad sa Manlilikha ng Bayan First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Development Team of the Module Writer: Rodelio A. Barroga Editor: Aileen M. Lukban Reviewers: Dr. Arlyn M. Brigola and Dr. Gregorio T. Capiral Illustrator: Ralph C. Apostol Layout Artist: Teddy C. Sarmiento Management Team: Wilfredo E. Cabral, Director IV Genia V. Santos, CLMD Chief Dennis M. Mendoza, Regional EPS In Charge of LRMS Micah S. Pacheco, Regional ADM Coordinator Evangeline P. Ladines, CESO V, Schools Division Superintendent Rodel C. Apostol, Division EPS In Charge of LRMS Printed in the Philippines by ________________________ Department of Education – National Capital Region Office Address: Misamis St. Bago Bantay, Quezon City Telefax: 02-929-0153 E-mail Address: [email protected]  Contemporary Philippine Arts from the Regions Quarter 1 – Week 6: Gawad sa Manlilikha ng Bayan Introductory Message For the facilitator: Our country, the Philippines are rich in a culture based on its different forms of arts which was been strengthen by our ancestors. Their amazing work of arts which was been passed to the new generation helps us to be recognized on our unique identities as Filipinos. They are the living treasures who was been recognized on their special contributions to their community and the national heritage. This module will help and guide our facilitators (teacher, parents, elder sibling, etc.) on the different activities and illustrations to support the continuous learning of our learners on the different Filipinos who have been our living vessels and continuously pass their knowledge and skills to the new generation. Furthermore. The learners may use separate sheets in answering the pre-test, self- check exercises, and post-test Notes to the Teacher This contains helpful tips or strategies that will help you in guiding the learners. What I Need to Know This will give you an idea of the skills or competencies you are expected to learn in the module. What I Know This part includes an activity that aims to check what you already know about the lesson to take. If you get all the answers correct (100%), you may decide to skip this module. What’s In This is a brief drill or review to help you link the current lesson with the previous one. What’s New In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a poem, a problem opener, an activity, or a situation. What is It This section provides a brief discussion of the lesson. This aims to help you discover and understand new concepts and skills. ii  What’s More This comprises activities for independent practice to solidify your understanding and skills of the topic. You may check the answers to the exercises using the Answer Key at the end of the module. What I Have Learned This includes questions or blank sentences/paragraphs to be filled in to process what you learned from the lesson. What I Can Do This section provides an activity that will help you transfer your new knowledge or skill in real-life situations or concerns. Assessment This is a task which aims to evaluate your level of mastery in achieving the learning competency. Additional Activities In this portion, another activity will be given to you to enrich your knowledge or skill of the lesson learned. This also tends to the retention of learned concepts. Answer Key This contains answers to all activities in the module. At the end of this module you will also find: References This is a list of all sources used in developing this module. The following are some reminders in using this module: 1. Use the module with care. Do not put unnecessary mark/s on any part of the module. Use a separate sheet of paper in answering the exercises. 2. Don’t forget to answer What I Know before moving on to the other activities included in the module. 3. Read the instruction carefully before doing each task. 4. Observe honesty and integrity in doing the tasks and checking your answers. 5. Finish the task at hand before proceeding to the next. 6. Return this module to your teacher/facilitator once you are through with it. iii If you encounter any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Always bear in mind that you are not alone. We hope that through this material, you will experience meaningful learning and gain a deep understanding of the relevant competencies. You can do it! iv  What I Need to Know This module was designed to understand the significant roles of traditional artists from different regions. After going through this module, you are expected to: 1. understand the Republic Act 7355 or Manlilikha ng Bayan Act; 2. identify the sixteen (16) Gawad sa Manlilikha ng Bayan (GAMABA) awardees and their contributions in the Philippines Contemporary Art; 3. appreciate the roles of the artists in the development of the Philippine Arts; 4. familiarize themselves with the different art forms, elements, and principles employed by the different artist and; 5. create a work that promotes traditional art with local practitioners. What I Know Directions: Match the artist in Column A with his/her expertise in Column B. Write the letter of your answer on a separate sheet. Column A Column B 1. Alonzo Saclag a. Mat weaving 2. Darhata Sawabi b. Epic chanter 3. Eduardo Mutuc c. Abel weaving 4. Ginaw Bilog d. Metal plating 5. Hajja Amina Appi e. Tinalak weaving 6. Magdalena Tamayo f. Playing Kudyapi 7. Masino Intaray g. Pis syabit weaving 8. Samaon Sulaiman h. Tabúngaw hat making 9. Teofilo Garcia i. Playing Kalinga musical instrument 10. Yabing Masalon Dulo j. B’laan ikat or tie-dye fabric weaving k. Surat Mangyan and Ambahan poetry 1  Lesson Gawad sa Manlilikha ng 1 Bayan What’s In This lesson will discuss the sixteen (16) Gawad sa Manlilikha ng Bayan or the National Living Treasure Awardees and their specific contribution in the Philippine Art. These artists acknowledged for developing, preserving, and promoting the traditional art of the Philippines which kept the art alive even in the present time. What’s New Activity 1. Do I Know Them? Directions: Identify the following artist and their role in the community. 1. Born on November 1, 1981, Rodel P. 2. Considered as one of the columns of Nacianceno a Filipino performing Kapampangan food, she is undoubtedly a artist, executive, and film maker, best living treasure. The famous chef and known for playing the lead parts in food historian found her desire for FPJ's Ang Probinsyano. cooking at young age of four. And to this day, she proceeds to cook conventional Kapampangan specialties at her open-air kitchen in Barangay Parian, Mexico, Pampanga. Artist (Screen Name): _______________ Artist: ______________________________ Expertise: __________________________ Expertise: __________________________ Role/s in the Community: Role/s in the Community: ____________________________________ ____________________________________ 3. Born December 17, 1978, he is 4. A tattoo artist who received the 2018 respected as one of the most Dangal ng Haraya Award for Intangible noteworthy proficient boxers of all Culture Heritage by the National time. A Filipino professional boxer Commission for Culture and the Arts. and Senator of the Philippines. Artist: ______________________________ Artist: ______________________________ Expertise: __________________________ Expertise: __________________________ Role/s in the Community: Role/s in the Community: ____________________________________ ____________________________________ 2  Analysis 1. Who are the different artists? _____________________________________________________________________ 2. What is the role of the artists in the society? _____________________________________________________________________ 3. What is the impact of their arts to the lives of the Filipinos? _____________________________________________________________________ 4. As Filipinos, how can we show our appreciation to them? _____________________________________________________________________ What is It Through media people nowadays can easily get to know the different artists in their fields and recognize these artists from their efforts through award-giving bodies. These artists are the bearers of our culture. Since the pre-Spanish era, the Philippines are rich in its culture. Ancestors are the living heritage or culture bearers of this country. They developed these native art forms which portray the significant life of the Filipinos. People know very little about the art forms that exist up to the present time. These artists are doing what they value and love to modify and keep the traditional art alive. People can learn from the vast knowledge of these indigenous people who can live longer not only the techniques to survive but also the distinct identity of being Filipino. In this lesson, you will learn about our sixteen (16) National Living Treasures, known as the Gawad sa Manlilikha ng Bayan (GAMABA) awardees from the National Commission for Culture and the Arts or NCCA. The awardees produce art forms that are woven into everyday life. These show how pre-colonial traditions continue through to the present time. As envisioned in Republic Act No. 7355 Known as Manlilikha ng Bayan Act was established in 1992 and shall mean citizen engaged in any traditional art uniquely Filipino, whose distinct skills have reached such a high level of technical and artistic excellence, and have passed it on to in his or her community with the same degree of technical and artistic competence. National Commission for Culture and the Arts (NCCA) The highest policy and coordinating body for culture and the arts of the state. It has to search for the finest traditional artist of the land who adopts a program that will ensure the transfer of their skills to others, undertakes measures to promote a genuine appreciation of and crafts and give pride among our people about the genius of Manlilikha ng Bayan. The Gawad Manlilikha ng Bayan (GAMABA) Awardees 3 As Filipino who recognize the unique identities of our fellow Filipinos, it is the right to see their contribution to the community. The country is rich with various elements of tangible and intangible cultural heritage which has passed on the new generation. 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 national heritage. These are Filipino citizen who is engaged in any traditional art forms and has contributed to the development of cultural diversity and the creativity of humanity. Awardee Contribution Region GAMABA Awardees for the year 1993 Surat Mangyan and Ambahan poetry Preserve the Hanunuo Mangyan Panaytayan, Mansalay, script and Ambahan (poem Oriental Mindoro, consisting of seven-syllable lines) Region IV-B and promote it on every occasion MIMAROPA so that the art will not be lost but Ginaw Bilog preserved for posterity. (d. 2003) Photo Courtesy of NCCA Epic Chanter and Storyteller An outstanding master of the basal (gong music), kulilal (highly lyrical poem) and bagit (instrumental Pala’wan, Palawan music played on the kusyapi), also Island, played the aroding (mouth harp) Region IV-B and babarak (ring flute) and above MIMAROPA all, he was a prolific and pre- Masino Intaray eminent epic chanter and (d. 2013) storyteller Photo Courtesy of NCCA Playing Kudyapi He achieved the highest level of Mamasapano, excellence in the art of kutiyapi or Maguidanao, Western kudyapi (two-stringed lute) playing Midanao and also proficient in kulintang, Bangsamoro agong (suspended bossed gong Autonomous Region in with wide rim), gandingan (bossed Muslim Mindanao gong with narrow rim), palendag (BARMM) Samaon Sulaiman (lip-valley flute), and tambul. (d. 2011) Photo Courtesy of NCCA 4 GAMABA Awardees for the year 1998 T’nalak Weaving She is credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair which T’boli/Lake Sebu, South traditionally has three primary Cotabato, Mindanao, colors, red, black, and the original Region XII colors of abaca leave recreated by SOCCSKSARGEN her nimble hands-the crocodiles, butterflies, and flowers. Lang Dulay (d. 2015) Photo Courtesy of NCCA Inabal Weaving She was awarded for fully demonstrating the creative and expressive aspects of the Bagobo Tagabawa Bagobo/ abaca ikat (to tie or bond) weaving Bansalan, Davao del Sur, called inabal (traditional textile of Region XI Bagobo) at a time when such art Davao Region was threatened with extinction. Salinta Monon (d. 2009) Photo Courtesy of NCCA GAMABA Awardees for the year 2000 Playing Yakan Instruments He referred to for his ability and mastery in playing different Yakan instruments (made of bamboo, wood, and metal) and for imparting Yakan/ Lamitan, Basilan his insight to the youngsters of his Island, locale. He keeps on performing and Bangsamoro instruct despite his diminishing Autonomous Region in visual perception, keeping the Muslim Mindanao Uwang Ahadas Yakan melodic custom alive and (BARMM) thriving. Photo Courtesy of NCCA Chanting the Sugidanon Epic of the Panay Bukidnon He continuously works for the documentation of the oral Sulod-Bukidnon/ literature, in particular the epics, Calinog, Iloilo, Panay of people. These ten epics, Island, rendered in a language that, Region VI though related to Kiniray-a, is no Western Visayas longer spoken. Federico Caballero Photo Courtesy of NCCA 5  Playing Kalinga Musical Instruments His lifestyle work is to paint a portrait of his people to record a tradition of opposites and dualities, Kalinga, Northern Luzon a peoples’ character recorded in Island, cadences each aggressive and Cordillera Administrative gentle. Play Kalinga musical Region (CAR) instruments dance patterns and Alonzo Saclag moves related to rituals. Photo Courtesy of NCCA GAMABA Awardees for the year 2004 Mat weaving She was recognized as the master Ungos Matata, mat weaver. Her colorful mats with Tandubas, Tawi-Tawi, their complex geometric patterns Bangsamoro showcased her precise sense of Autonomous Region in design, proportion, and symmetry Muslim Mindanao and sensitivity to color. (BARMM) Hajja Amina Appi (d. 2013) Photo Courtesy of NCCA Metal Plating He is an artist who has devoted his existence to developing religious and secular artwork in silver, bronze, and wood. His intricately detailed retablos, mirrors, altars, Apalit, Pampanga, and carosas are in church Region III buildings and non-public Central Luzon collections. A range of these works Eduardo Mutuc are quite large, some exceeding forty feet, whilst some are very Photo Courtesy of NCCA small and feature very nice and refined craftsmanship. Pis syabit Weaving She remained devoted and persevered with her mission to Tausug/ Parang, teach the artwork of pis syabit Sulu, weaving. Her strokes firm and Bangsamoro sure, her color sensitivity acute, Autonomous Region in and her dedication to the best of Muslim Mindanao her products unwavering. (BARMM) Darhata Sawabi (d. 2005) Photo Courtesy of NCCA 6 GAMABA Awardees for the year 2012 Abel Weaving She has been a master in abel weaving from Pinili, Ilocos Norte. She is not only weaving traditional Ilocano textiles but also designs new patters. One of her designs employs a difficult weaving technique called pililian meaning partially. The weave produces a Pinili, Ilocos Norte one of a kind design that takes Region I Magdalena after a string of flowers thus its Ilocos Region Gamayo name, inubon a sabong. She did not formally study such traditional Photo Courtesy of NCCA art. Instead, she watched closely as her aunt made and imitated the patterns. Kattukong or Tabúngaw Hat Making When he finishes fieldwork as a farmer, he focuses on the cultivation and development of San Quintin, Abra, tabúngaw (Ilokano term for úpo). Cordillera Administrative At the age of fifteen (15) he learned Region (CAR) the art of Kattukong or tabúngaw hat making and basket weaving Teofilo Garcia from his grandfather. Photo Courtesy of NCCA GAMABA Awardees for the year 2016 Yakan Weaving Apuh Ambalang, is significantly respected in all of Lamitan. Her ability is regarded unique: she can bring forth all designs and actualize all textile categories Lamitan, Basilan Island, ordinary to the Yakan community, Bangsamoro who are known to be among the Autonomous Region in finest weavers within the Southern Muslim Mindanao Philippines. She can perform the (BARMM) suwah bekkat (cross-stitch-like embellishment) and suwah pendan Ambalang Ausalin (embroidery-like embellishment) techniques of the bunga sama Photo Courtesy of NCCA category. She has the complex knowledge of the whole weaving process, mindful at the same time as the cultural significance of each textile design or category. 7  B’laan Mat Weaving Since she was a child, she was bright and careful in tangle weaving. Her perseverance took place because of her supportive husband. The thin strips of the Upper Lasang, Sapu pandanus romblon (Pandanus Masla, Malapatan, copelandii merr. Bariu) rise Saranggani matrixed through deft fingers Region XII performing an individual rhythm, SOCCSKSARGEN the beat guided by her eyes. The Estelita Tumandan unwoven strips are held tight at Bantilan the other end of her body, as toes curl and close around, not only Photo Courtesy of NCCA these strips but, as it were, the abstraction that other people call design. The arc of her torso determines the dexterity of feet and toes. Hand/eye coordination happens inside a frame of milliseconds. B’laan Ikat or Tie-dye Fabric Weaving Yabing Masalon Dulo, called as “Fu Yabing”, was only fourteen (14) years old when she started weaving. All her younger years were spent in sharpening her skills Amguo, Landan, and imparting the knowledge to Polomolok, South younger generations of B’laan Cotabato weavers. Region XII SOCCSKSARGEN Yabing Masalon Dulo She follows her mother’s movements back and forth. She Photo Courtesy of NCCA colors the fibers, counts the thread, and observes the rhythmic dance of a weaver’s dreams woven into unique soulful pieces. 8  What’s More Activity 2. The Past Master and Living Treasures Directions: Watch the videos on the NCCA Dayaw presentation in the link below. Using a separate sheet write an informative summary of the videos. Follow the rubrics below. Season 4 Episode1: The Past Master https://www.youtube.com/watch?v=NVpWnkOpVLI&list=PLE4Bk7RrOT- Z9HruyiFU3AFvnyPaKaRc3 Season 4 Episode 2: Living Treasures (Part 1) https://www.youtube.com/watch?v=PL4H4o568X0&t=100s Season 4 Episode 2: Living Treasures (Part 2) https://www.youtube.com/watch?v=M1nRDVTJbKg&t=27s Category 4 3 2 1 Response is clear, Content is accurate Content is not Content is well-focused, and and compelling. comprehensive. incomplete. Content & ~1 page double Response is Major points are Major points are Development spaced. adequate and addressed, but not not clear or Comprehensive, addresses well supported. compelling. accurate, assignment. Response largely Response wholly opinionated. Content and summary, rather summary, rather purpose of the than insight. than insight. writing are clear. Structure is clear Structure is mostly Structure is not Organization and and easy to follow. clear and easy to easy to follow. structure detract Organization Transitions are follow. Transitions Transitions need from the writer's logical and are present. improvement. opinion of the film. maintain the flow of Conclusion is Conclusion is Paragraphs are the paper. logical, if not missing or does not disjointed and lack creative. flow from the body transition of of the paper. thoughts. All supportive facts Supportive facts Most supportive NO facts/examples Accuracy and examples are and examples are facts/examples are are reported OR reported accurately, reported accurately, reported accurately, most are and specific scenes adequate discussion and there is some inaccurately from the video are of specific scenes discussion of reported. discussed to great that irritated the specific scene-work. effect. writer's interest. Writer approaches Writer seems to be Writer adds little to Writer has not tried Subjectivity the comparison and thinking about the the discussion of to transform the reflection in an video and module the topic, and there video's ideas in a insightful way, and how they is not enough personal or social addressing each compare, but fail to response to the commentary way. bullet point. address one of the video itself. bullet points. Writer makes no Writer makes 1-2 Writer makes 3-4 Writer makes more Grammar & grammatical errors grammatical errors grammatical or than 4 grammatical Formatting that distract the or formatting errors errors that distract reader from the formatting/Works that distract the the reader from the content. Cited may be reader from the content. No Works slightly off. content. Cited page. 9  What I Have Learned 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 GAMABA Awardees namely: Ginaw Bilog 1993 Surat Mangyan and Ambahan poetry Masino Intaray 1993 Epic chanter and storyteller Samaon Sulaiman 1993 Playing Kudyapi Lang Dulay 1998 T’nalak Weaving Salinta Monon 1998 Inabal Weaving Uwang Ahadas 2000 Playing Yakan Instruments Federico Caballero 2000 Chanting the Sugidanon Epic of the Panay Bukidnon Alonzo Saclag 2000 Playing Kalinga Musical Instruments Hajja Amina Appi 2004 Mat Weaving Eduardo Mutuc 2004 Metal Plating Darhata Sawabi 2004 Pis syabit Weaving Magdalena Gamayo 2012 Abel Weaving Teofilo Garcia 2012 Kattukong or Tabúngaw Hat Making Ambalang Ausulin 2016 Yakan Weaving Estelita Bantilan 2016 B’laan Mat Weaving Yabing Masalon Dulo 2016 B’laan Ikat or Tie-dye Fabric Weaving 10  What I Can Do Directions: Create a brochure that promotes our National Living Treasures or Gawad Manlilikha ng Bayan awardees, their artworks, and the place where they came from. Follow the rubrics below. CATEGORY 4 3 2 1 Graphics/ Graphic go Graphics go Graphics go Graphics do Pictures well with the well with the well with the not go with text and there text, but there text, but there the is a good mix are so many are too few accompanying of text and that they and the text or appear graphics distract from brochure to be the text seems “text- randomly heavy”. chosen Attractiveness The brochure The brochure The brochure The and has no has attractive has well- brochure’s Organization exceptionally formatting organized formatting attractive and well- information and formatting organized organization and well- information. of material are organized confusing to information. the reader. Content- All facts in the 99-90% of the 89-80% of the Fewer than Accuracy brochure are facts in the facts in the 80% of the accurate brochure are brochure are facts in the accurate. accurate. brochure are accurate. Sources Careful and Careful and Careful and Sources are accurate accurate accurate not records are records are records are documented kept to kept to kept to accurately or document the document the document the are not kept source of 95- source of 94- source of 84- on many facts 100% of the 85% of the 75% of the and graphics. facts and facts and facts and graphics in graphics in graphics in the brochure. the brochure. the brochure. Spelling and No spelling No more than No more than Several Proofreading errors remain 1 spelling 3 spelling spelling errors after one error remains errors remain in the person other after one after one brochure. than the person other person other typist reads than the than the and corrects typist reads typist reads the brochure. and corrects and corrects the brochure. the brochure. 11  Assessment Multiple Choice. Choose the letter of the best answer. Write your answer on a separate sheet of paper. 1. Which of the following Republic Act known as the Manlilikha ng Bayan Act? a. R.A. Act. 7355 c. R.A. Act. 7356 b. R.A. Act. 11190 d. R.A. Act. 10066 2. ______________________ is a tnalak weaver from the indigenous community of the Tboli in Lake Sebu, South Cotabato. a. Magdalena Gamayo c. Darhata Sawabi b. Haja Amina Appi d. Lang Dulay 3. Which is among the following is the highest policy and coordinating body for culture and arts of the state? a. Philippine Commission on Culture and the Arts b. National Commission for Culture and the Arts c. Philippine Academic Arts and Culture d. Nation Expert for Talent and Skills 4. Which of the following is NOT an idea of the Manlilikha ng Bayan Act? a. Create hindrances for popularizing their works locally and internationally b. Renew a community's artistic tradition thereby protecting a valuable aspect of Philippine culture c. Recognize the importance of traditional folk artists as a singular channel between skills of the past and the future d. Provide mechanisms for identifying and assisting qualified traditional folk artists to transfer their skills to the community 5. _________________________ is kind of poem consisting of seven-syllable lines which most of the time contains of love and friendship. a. Ambahan c. Gangsa b. Haiku d. Tanaga 6. Which of the following is a two-stringed lute made of wood, one string for the melody, one for the drone? a. Buktot c. Butting b. Kudyapi d. Pas-ing 7. __________________ is a kind of fabric made up of fine abaca fibers weaved with different designs which reflect the tradition of the T’boli. a. Abel c. Pis syabit b. Musa d. T’nalak 8. Which of the following artist worked on the documentation of the epics of Calinog, Iloilo, Panay Island? a. Ginaw Bilog c. Uwang Ahadas b. Alonzo Saclag d. Federico Caballero 9. ______________________ play Kalinga musical instruments dance patterns and movements associated with rituals. a. Alonzo Saclag c. Masino Intaray b. Teofilo Garcia d. Eduardo Mutuc 10. Who teaches Teofilo Garcia to make a tabúngaw hat and basket weaving? a. Auntie Elena c. Grandfather Hipolito b. Uncle Leolito d. Grandmother Imelda 12 11. Which of the following is the master of abel weaving from Pinili, Ilocos Norte? a. Darhata Sawabi c. Ambalang Ausulin b. Magdalena Gamayo d. Yabing Masalon Dulo 12. ________________________ began weaving since fourteen (14) years old and continuously impart knowledge to younger generations of B’laan weavers. a. Lang Dulay c. Yabing Masalon Dulo b. Salinta Monon d. Estelita Tumandan Bantilan II. Essay Instruction: Explain briefly. 13. How does this short-term encounter with GAMABA awardees make you aware of who we are? _____________________________________________________________ 14. As an artist, what is our main responsibility in our society or country? _____________________________________________________________________________ 15. Identify the values we should possess as an artist. Explain. _____________________________________________________________________________ Additional Activities Knowing our Culture Bearers Directions: Watch YouTube videos on ABS CBN Local Legends and list down Three (3) other traditional artists that you know that contribute to the country’s intangible cultural heritage and identify the place they came from. Name Contribution/s The place they came from e.g. Wang-od Oggay Tattoo Artist Buscalan, Tinglayan, Kalinga 13  Answer Key What I Know Assessment 1. i 1. a 2. g 2. d 3. d 3. b 4. k 4. a 5. a 5. a 6. b 6. c 7. d 7. b 8. d 8. f 9. a 9. h 10. c 10. j 11. b 12. c 13. Recognizing the GAMABA awardees, as culture bearers of our country, shows the we are proud of our identity as Filipino people. 14. As an artist, we have the responsibility to sustain the skills and talent that we have. Therefore, we should share this talent and skills to our society or simply to the community we belong. 15. As an artist, we should promote our culture by being creative, improvement our talent and skills, and share it to other fellow Filipinos. 14 References Datuin, Flaudette May et al. (2016) Contemporary Philippine Arts from the Regions K to 12. Rex Book Store Inc. Quezon City, Philippines De Leon, Jr., Felipe M. National Living Treasures: Samaon Sulaiman. Retrieve from https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national- living-treasures-samaon-sulaiman/ National Commission for Culture and the Arts. GAMABA awardees: Literature and Performing Arts. Retrieved from https://quizlet.com/259998090/gamaba-awardees- literature-and-performing-arts-flash-cards/ Ignacio, P. (2016, August 15) The freedom to express, the freedom to impress (Blog post) Retrieved from https://team7web.wordpress.com/2016/08/15/arts-in- technology/ Kutiyapi (2013, December 5) In Memory of Pala’wan Master Artist Masino Intaray (1943-2013). Retrieve from https://www.youtube.com/watch?v=haS7c8XSWvE National Commission for Culture and the Arts (2016, February 15) National Living Treasures: Federico Caballero. Retrieved from https://www.facebook.com/NCCAOfficial/posts/10154129424795283 National Commission for Culture and the Arts (2016, October 12) National Living Treasures: Eduardo Mutuc. Retrieved from https://www.facebook.com/NCCAOfficial/posts/happy-birthday-manlilikha- ng-bayan-eduardo-mutuceduardo-mutuc-is-an-artist-who- h/10154658966895283/ National Commission for Culture and the Arts (2018, April 3) LOREN LEGARDA: Dayaw Season 4 Episode 1 - “The Past Masters” (Video) Retrieved form https://www.youtube.com/watch?v=NVpWnkOpVLI&list=PLE4Bk7RrOT- Z9HruyiFU3AFvnyPaKaRc3 National Commission for Culture and the Arts ( 2018, April 3) Season 4 Episode 2: Living Treasures Part 1 (Video) Retrieved from https://www.youtube.com/watch?v=PL4H4o568X0&t=100s National Commission for Culture and the Arts ( 2018, April 3) Season 4 Episode 2: Living Treasures Part 2 (Video) Retrieved from https://www.youtube.com/watch?v=M1nRDVTJbKg&t=27s National Commission for Culture and the Arts. National Living Treasures: Ambalang Ausalin (Website) Retrieved from https://ncca.gov.ph/about-culture-and- arts/culture-profile/gamaba/ambalang-ausalin/ National Commission for Culture and the Arts. National Living Treasures: Estelita Bantilan (Website) Retrieved from http://gwhs- stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture- profile/gamaba/estelita-bantilan/ 15 National Commission for Culture and the Arts. National Living Treasures. Republic Act. No. 7355. Retrieved from http://gwhs- stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture- profile/gamaba/ Sandagan, Luzviminda D., and Sayseng. Ayesha H. (2016) Contemporary Philippine Arts from the Regions. JFS Publishing Services, Pasay City, Philippines Tobias, Maricris Jan. National Living Treasures: Darhata Sawabi. (Website) Retrieved from https://ncca.gov.ph/about-culture-and-arts/culture- profile/gamaba/national-living-treasures-darhata- sawabi/?fbclid=IwAR3jWWwoR9pF7Y_acmJ-c3- pAyQqH7HOAtOq1PHZy_9xgdPwDRXI6-Q3q90 Tobias, Maricris Jan. National Living Treasures: Magdalena Gamayo. (Website) Retrieve from http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and- arts/culture-profile/gamaba/national-living-treasures-magdalena-gamayo/ Victoria, Dennese (2013, February 15) Retrieved from https://www.facebook.com/NCCAOfficial/posts/10154129424795283 16 For inquiries or feedback, please write or call: Department of Education – (Bureau/Office) (Office Address) Telefax: Email Address: 17 For inquiries or feedback, please write or call: Department of Education - Bureau of Learning Resources (DepEd-BLR) Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600 Telefax: (632) 8634-1072; 8634-1054; 8631-4985 Email Address: [email protected] * [email protected]