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GA W A D SA M A N LILI K H A N G B A Y A N A N DTH E I R CO N TRIB U TIO N TO P H I L I P P I N EA R T S RECOGNITION AND AWARD FOR ARTIST AND ARTISAN  Gawad sa Manlilikhang Bayan (GAMABA) National Living Treasures Award Treasures Award The award is institutiona...

GA W A D SA M A N LILI K H A N G B A Y A N A N DTH E I R CO N TRIB U TIO N TO P H I L I P P I N EA R T S RECOGNITION AND AWARD FOR ARTIST AND ARTISAN  Gawad sa Manlilikhang Bayan (GAMABA) National Living Treasures Award Treasures Award The award is institutionalized in 1992 through Republic Act No. 73335. The national commission for culture and the Arts (NCCA), which is the highest policy-making and coordinating body of the Philippines for culture and the arts, was tasked implementation. The award was conferred upon a Filipino citizen, or a group of Filipino citizens engage 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.  How Does One Become a Manlilikha ng Bayan! To become a Manlilikha ng Bayan, the candidate must possess the following qualifications: a. He/she inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that has preserved indigenous custom beliefs, ritual and tradition and/or has syncretised whatever external element that have influenced it b. He/she must have engage in a folk art tradition that has been in existence and documented for at least (50) years. c. He/she must consistently performed or produce over a significant period, work of superior and distinctive quality. d. He/she must possess a mastery of tools and materials needed by the art and must have established reputation in the art as master and maker of works of extraordinary technical quality, e. He/she must passed on and/or will pass on the 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 Manlilikha ng Bayan candidate but because of age or infirmly 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 work and/or has consistently displayed excellence in the practice of his/her art, achieving important contribute for its development. b. He/she has been instrumental in the revitalization of his/her community artist tradition. c. He/she has passed on the other members of the community skills in the folk art for which the community is traditionally known. d. He/she community has recognized him/her as master and teacher of his/her craft.  Duties and Responsibilities of Awardees The Manlilikha ng Bayan is between in the past, in which his/her traditional folk art found fertile soil for growth for the future during which he/she seek his/her art to be permanently sustained. It becomes his/her responsibility, there for to undertake the following: (a) to transfer the skill of his/her traditional folk art to the younger generation through apprenticeship and such other training methods as are found to be effective: (b) to cooperate with the implementing agency, as provided for in section 7 of this act, in the promotion or propagation of his/her traditional folks art; and (c) to dominate to the National Museum a sample or copy of his/her work. A citizen engaged in anyMANLILIKHA traditional art uniquely Filipino whose distinctive NG BAYAN 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. L IT E R A T U R E G IN A W B IL O G ~ H A N U N U O PO ET FRO M M A N SA LA Y, M IN D O R O ~ A N A D VO CA TE O F P R ESER VIN G TH E TR A D ITIO N A L FO R M O F H IS TR IB E CA LLED " A M B A H A N." ~H E K E P T TH E O LD E ST A M B A H A N PA SSED O N TO H IM B Y H IS A N CESTO R S A N D P R O M O TED TH EM TO O TH ER M A N GYA N S SO A S TO P R ESER VE TH E O R A L TR A D ITIO N. THE A M BA HA N F E D E R IC O L IT E R A T U R E C A BA LLERO ~A P A N A Y - B U K I D N O N EPIC CH A N TER ~ PRESER VED H IS CO M M U N ITY'S O R A L TR A D ITIO N B Y D O CU M EN TIN G EP ICS O F H IS A N CESTO R S TH A T A R E IN N EA R D A N GER O F D ISA PPEA R A N CE. ~ H E A LSO P R O M O TED TH E CU LTU R A L H ER ITA GE O F H IS PEO PLE N O T JU ST W ITH IN TH EIR TR IB E B U T A LSO O U TSID E O F H IS CO M M U N ITY. M A JO R W O RK S : M U S IC / D A N C E A LO N Z O SA C LA G ~H E CA M P A IGN ED FO R TH E U SE O F LO C A L C O STU M E S TO SCH O O L EV EN TS A N D P U T U P CR EA TIVE P R ESEN TA TIO N S TH A T H ELP ED CH ILD R EN TO LEA R N FO LK SO N GS. ~ H E ESTA B LISH ED TH E K A LIN GA B U D O N G D A N CE TR O U P E TO EN SU R E TH A T TH E M U SIC A N D D A N CE O F H IS A N CESTO R S A R E P A SSED O N TO TH E YO U N GER GEN ER A TIO N.  K A L IN G A IN S T R U M E N T S M U S IC / D A N C E M A S IN O IN T A R A Y ~ A M U SICIA N AN D POET W H O SE EXP ER TISE W ER E B A SA L, K U LILA L, A N D B A GIT. ~H E IS A N O TA B LE STO R Y- T ELLER A N D EP IC CH A N TER. ~H E IS A TR U E M A N OF ART W H O P R ESER VED TH E TR A D ITIO N , M U SIC, A N D CU LTU R E O F H IS P EO P LE.  M US IC / D SA MA O N A NC E S U L A IM A N ~A M A S T E R I N PLA YIN G TH E K U TYA P I, A TW O - STR IN GED P LU CK ED LU TE. ~H E IN FLU E N C E D AN D TA U GH T O TH ER CO M M U N ITY P EO P LE TO P LA Y TH E K U TYA P I A S W ELL W H ICH K EP T TH E P LA YIN G O F K U TYA P I A LIVE IN M IN D A N A O. K UTY A PI UW A N G A HA DA S ~ H E PLA YS TH E IN D IGEN O U S IN STR U M EN T CA LLED KWI N TA N GAN K A YU - ~ H E TEA CH ES H IS CO M M U N ITY P EO P LE TH E SK ILL O F P LA Y I N G TH E K W IN TA N GA N K A YU TO PR ESER VE TH E IN D IGEN O U S M U SIC. M U S IC / D A N C E K W IN T A N G A N K A Y U DA RHA TA W E A V IN G S A W A BI ~ A PIS YA B IT W EA VER. ~ SH E IS A N EXPERT IN W EA VIN G D U E TO H ER W ELL- CR A FTED CLO TH W ITH R EM A R K A B LE IN TR ICA CY O F D ESIGN A N D EVEN N ESS O F W EA VE. ~ SH E CO N TIN U ED TO D O H ER A RT A N D PA SSED O N H ER SK ILLS O F W EA VIN G TO O TH ER W O M EN TH R O U GH H ER TEA CH IN GS. P IS Y A B IT W E A V IN G HA JA A M IN A A P P I ~S H E I S T H E M A S T E R M A T W EAVER. ~S H E P R O D U C E D U N IQ U E A N D M A GN IFICEN T M A TS. ~S H E A L R E A D Y T A U G H T H E R FEM A LE D ESCEN D A N TS TH E A RT O F M A T W EA VIN G. M A T W E A V IN G W E A V IN G LA N G DULA Y ~ SH E IS A TN A LA K W EA VER. ~S H E I S A N E X E M P L A R Y W EAVER W H O KN OW S A H U N D RED O F D ESIGN S. ~ SH E PRO D U CED TH E TR A D ITIO N A L TN A LA K TO P R ESER VE TH E TR A D ITIO N A N D STO R Y O F TH E TB O LI. T N A L A K W E A V IN G M A G DA LEN A GAMAYO ~ H ER EXP ER TISE D W ELL IN W EA VIN G H IGH - Q U A LITY ILO CO S' TEXTILE CA LLED A B EL. ~ SH E M EN TO R ED CO M M U N ITY PEO PLE IN CLU D IN G H ER CO U SIN 'S D A U GH TER - IN - LA W A N D H ER SISTER - IN - LA W. W E A V IN G A BEL S A L IT A W E A V IN G MONON ~ A B A GO B O TEXTILE W EA VER. ~ SH E GA TH ER ED TH E R EP U TA TIO N O F B EIN G TH E B EST W EA VER IN H ER CO M M U N ITY. ~S H E S P E N T A L L H E R L I F E W EA VIN G A N D PR ESER VED TH E A R T O F TH E B A GO B O. BA G O BO M ETA LW O RK EDU A RDO M UTUC ~ H E IS A M ETA LSM ITH FR O M A P A LIT, P A M P A N GA. ~ H E CR EA TED N U M ER O U S W O O D -CA R VIN G A N D M ETA L A R T W ITH R ELIGIO U S A N D SECU LA R TH EM ES. ~ TH R O U GH TH E YEA R S O F P R O D U CIN G M ETA LW O R K , H E PER FECTED H IS A R T A N D TR A N SFER R ED TH E SK ILLS TO H IS STU D EN TS. M ETA LW O RK T E O F IL O C A SQ UE G A R C IA ~ H E IS A N ILO CA N O CA SU E M AKER. ~ H E IS K N O W N FO R CR A FTIN G H IGH Q U A LITY A N D FU N CTIO N A L H EA D PIECE CA LLED TA B U N GA W. ~ H E N EVER STO P S IN N O VA TIN G TO PR O D U CE GO O D Q U A LITY H EA D -PIECES. TA BUN G A W  Other Recipients of the GAMABA Award * Ambalang Ausalin, master weaver, Lamitan, Basilan, Weaving (Yakan tennun), 2016 * Estelita Tumandan Bantilan, master weaver, Malapatan, Sarangani, Weaving (B’laanigem), 2016 * Yabing Masalon Dulo, mater weaver, Polomok, South Cotabato, Weaving (ikat), 2016