The Gawad Manlilikha ng Bayan (GAMABA) PDF

**The** ***Gawad*** ***Manlilikha*** ***ng*** ***Bayan*** **(GAMABA)** 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-...

**The** ***Gawad*** ***Manlilikha*** ***ng*** ***Bayan*** **(GAMABA)** 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** 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. +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | Photo Courtesy of | | Pala'wan, Palawan | | NCCA | | | | | | Island, Region IV-B | | | | MIMAROPA | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | A person with his | | Kalinga, Northern | | hand on his chin | | Luzon Island, | | Description | | | | automatically | | Cordillera | | generated | | Administrative Region | | | | (CAR) | | Alonzo Saclag | | | | | | | | Photo Courtesy of | | | | NCCA | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | Photo Courtesy of | | | | NCCA | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ | | | | +-----------------------+-----------------------+-----------------------+ |  | | Masla, Malapatan, | | | Since she was a | Saranggani | | Estelita Tumandan | child, she was bright | | | Bantilan | and careful in tangle | Region XII | | | weaving. Her | SOCCSKSARGEN | | Photo Courtesy of | perseverance took | | | NCCA | 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. | | +-----------------------+-----------------------+-----------------------+ | Yabing Masalon Dulo | B'laan Ikat or | Amguo, Landan, | | | Tie-dye Fabric | Polomolok, South | | Courtesy of NCCA | Weaving | Cotabato | | | | | | | Yabing Masalon Dulo, | Region XII | | | called as "Fu | | | | Yabing", was only | SOCCSKSARGEN | | | 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. | | +-----------------------+-----------------------+-----------------------+