Contemporary Philippine Arts from the Regions PDF

Contemporary Philippine Arts from the Regions Quarter 1 – Week 6 Gawad sa Manlilikha ng Bayan  What I Need to Know ❖ This lesson was designed to understand the significant roles of traditional artists from different regions. After going through this module, you a...

Contemporary Philippine Arts from the Regions Quarter 1 – Week 6 Gawad sa Manlilikha ng Bayan  What I Need to Know ❖ This lesson 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;  What I Need to Know 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 ‘s In Lesson Gawad sa Manlilikha ng Bayan 1 ❖ 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 artist acknowledged for developing, preserving, and promoting the traditional art of the Philippines which kept the art alive even in the present time.  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.  What is It 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.  What is It 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.  What is It 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.  What is It 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.  What is It 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. The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 1993  Ginaw Bilog Contribution: Surat Mangyan and Ambahan poetry Preserve the Hanunuo Mangyan script and Ambahan (poem consisting of seven-syllable lines) and promote it on every occasion so that the art will not be lost but preserved for posterity. Region: Panaytayan, Mansalay, Oriental Mindoro, Region IV-B MIMAROPA  Masino Intaray Contribution: Epic Chanter & Storyteller An outstanding master of the basal (gong music), kulilal (highly lyrical poem) and bagit (instrumental music played on the kusyapi), also played the aroding (mouth harp) and babarak (ring flute) and above all, he was a prolific and preeminent epic chanter and storyteller. Region: Pala’wan, Palawan Island, Region IV-B MIMAROPA  Samaon Sulaiman Contribution: 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. Region: Mamasapano, Maguidanao, Western Midanao Bangsamoro Autonomous Region in Muslim Mindanao (BARMM) The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 1998  Lang Dulay Contribution: T’nalak Weaving She is credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair which traditionally has three primary colors, red, black, and the original colors of abaca leave recreated by her nimble hands-the crocodiles, butterflies, and flowers. Region: T’boli/Lake Sebu, South Cotabato, Mindanao, Region XII SOCCSKSARGEN  Salinta Monon Contribution: Inabal Weaving She was awarded for fully demonstrating the creative and expressive aspects of the Bagobo abaca ikat (to tie or bond) weaving called inabal (traditional textile of Bagobo) at a time when such art was threatened with extinction. Region: Tagabawa Bagobo/ Bansalan, Davao del Sur, Region XI Davao Region The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 2000  Uwang Ahadas Contribution: 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 his insight to the youngsters of his locale. He keeps on performing and instruct despite his diminishing visual perception, keeping the Yakan melodic custom alive and thriving. Region: Yakan/ Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)  Federico Caballero Contribution: Chanting the Sugidanon Epic of the Panay Bukidnon He continuously works for the documentation of the oral literature, in particular the epics, of people. These ten epics, rendered in a language that, though related to Kiniray-a, is no longer spoken. Region: Sulod-Bukidnon/ Calinog, Iloilo, Panay Island, Region VI Western Visayas  Alonzo Saclag Contribution: Playing Kalinga Musical Instruments His lifestyle work is to paint a portrait of his people to record a tradition of opposites and dualities, a peoples’ character recorded in cadences each aggressive and gentle. Play Kalinga musical instruments dance patterns and moves related to rituals. Region: Kalinga, Northern Luzon Island, Cordillera Administrative Region (CAR) The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 2004  Hajja Amina Appi Contribution: Mat weaving She was recognized as the master mat weaver. Her colorful mats with their complex geometric patterns showcased her precise sense of design, proportion, and symmetry and sensitivity to color. Region: Ungos Matata, Tandubas, Tawi-Tawi, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)  Eduardo Mutuc Contribution: 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, and carosas are in church buildings and non-public collections. A range of these works are quite large, some exceeding forty feet, whilst some very small and feature very nice and refined craftmanship. Region: Apalit, Pampanga, Region III Central Luzon  Darhata Sawabi Contribution: Pis syabit Weaving She remained devoted and persevered with her mission to teach the artwork of pis syabit weaving. Her strokes firm and sure, her color sensitivity acute, and her dedication to the best of her products unwavering. Region: Tausug/ Parang, Sulu, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM) The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 2012  Magdalena Gamayo Contribution: 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 one of a kind design that takes after a string of flowers thus its name, inubon a sabong. She did not formally study such traditional art. Instead, she watched closely as her aunt made and imitated the patterns.  Region: Pinili, Ilocos Norte Region I Ilocos Region  Teofilo Garcia Contribution: Kattukong or Tabúngaw Hat Making When he finishes fieldwork as a farmer, he focuses on the cultivation and development of tabúngaw (Ilokano term for úpo). At the age of fifteen (15) he learned the art of Kattukong or tabúngaw hat making and basket weaving from his grandfather. Region San Quintin, Abra, Cordillera Administrative Region (CAR) The Gawad Manlilikha ng Bayan (GAMABA) Awardees for the year 2016  Ambalang Ausalin Contribution: 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, who are known to be among the finest weavers within the Southern Philippines. She can perform the suwah bekkat (cross-stitch-like embellishment) and suwah pendan (embroidery-like embellishment) 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.  Region: Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)  Estelita Tumandan Bantilan Contribution: 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 pandanus romblon (Pandanus copelandii merr. Bariu) rise matrixed through deft fingers performing an individual rhythm, the beat guided by her eyes. The unwoven strips are held tight at 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.  Region: Upper Lasang, Sapu Masla, Malapatan, Saranggani Region XII SOCCSKSARGEN  Yabing Masalon Dulo Contribution: 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 and imparting the knowledge to younger generations of B’laan weavers. She follows her mother’s movements 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.  Region: Amguo, Landan, Polomolok, South Cotabato Region XII SOCCSKSARGEN  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.  What ‘s More Activity 2. The Past Master and Living Treasures 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  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.