Contemporary Philippine Arts from the Regions PDF

Contemporary Philippine Arts from the Regions Quarter 3 – Module 5: Gawad sa Manlilikha ng Bayan  Lesson Gawad sa Manlilikha ng 5 Bayan As envisioned in Republic Act No. 7355 Known as Manlilikha ng Bayan Act was established in 1992 and shall mean citiz...

Contemporary Philippine Arts from the Regions Quarter 3 – Module 5: Gawad sa Manlilikha ng Bayan  Lesson Gawad sa Manlilikha ng 5 Bayan 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 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.  Awar dee Contribution Region GAMABA Awardees for the year 1993 Surat Mangyan and Ambahan poetry Preserve the Hanunuo Mangyan Panaytayan, Mansalay, script (poem and Ambahan 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 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  Playing Kalinga Musical Instruments His lifestyle work is to paint a portrait of his people to record a Kalinga, Northern Luzon tradition of opposites and Island, dualities, a peoples’ character recorded in cadences each Cordillera aggressive and gentle. Play Administrative Kalinga musical instruments Region (CAR) Alonzo Saclag dance patterns and moves Photo Courtesy of NCCA related to rituals. 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 buildings Region III Central and non-public collections. A range Luzon Eduardo Mutuc of these works are quite large, some exceeding forty feet, whilst some are very small and feature very nice and refined craftsmanship. Pis syabit Weaving She remained devoted and Tausug/ Parang, persevered with her mission to Sulu, Bangsamoro teach the artwork of pis syabit Autonomous Region in weaving. Her strokes firm and Muslim Mindanao sure, her color sensitivity acute, (BARMM) and her dedication to the best of her products unwavering. Darhata Sawabi (d. 2005) Photo Courtesy of NCCA 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 after a string of flowers thus its Magdalena Ilocos Region name, inubon a sabong. She did Gamayo not formally study such traditional 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 ordinary to the Yakan community, Lamitan, Basilan Island, who are known to be among the finest weavers within the Southern Bangsamoro Philippines. She can perform the Autonomous Region in suwah bekkat (cross-stitch-like Muslim Mindanao embellishment) and suwah pendan (BARMM) Ambalang Ausalin (embroidery-like embellishment) Photo Courtesy of NCCA techniques of the bunga sama 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.  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 Upper Lasang, Sapu husband. The thin strips of the 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 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 Amguo, Landan, younger years were spent in sharpening her skills and imparting the Polomolok, South knowledge to younger generations of Cotabato B’laan weavers. Region XII SOCCSKSARGEN Yabing Masalon Dulo She follows her mother’s movements Photo Courtesy of NCCA back and forth. She colors the fibers, counts the thread, and observes the rhythmic dance of a weaver’s dreams woven into unique soulful pieces.