Gawad sa manlilikha ng bayan & GAMABA Awardees

• Ginaw Bilog

  • Contribution: Surat Mangyan and Ambahan poetry

  Preserve the Hanuno 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

  • Panaytayan, Mansalay, Oriental Mindoro Region IV-B MIMAROPA
• Masino Intaray

  • Epic Chanter and Storyteller

  An outstanding master of the basal (gong music), kulial (highly lyrical poem) and bagit (instrumental music played on the kudyapi), also played the aronding (mouth harp) and babarak (ring flute) and above all, he was a prolific and pre-eminent epic chanter and storyteller.

  • Pala'wan, Palawan Island, Region IV-B MIMAROPA
• Samaon Sulaiman


  Contributions:

  • 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), palendang (lip-valley flute), and tambul.

  • Mamasapano, Maguindanao, Western Mindanao Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
• Lang Dulay


  Contribution:

  • T'nalak Weaving
  • She is credited with preserving her people's tradition T'nalak using abaca fiber as fine as her hair which traditionally has three primary colors, red, black, and the original colors of abaca leaved recretaed by her nimble hands-the crocodiles, butterflies, and flowers.
  • T'boli/Lake Sebu, South Cotabato, Midanao, Region XII SOCCKSARGEN
• Salinta Monon

  • 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.

  • Tagabawa Bagobo/Bansalan, Davao del Sur, Region XI Davao Region
• Uwang Ahadas


  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 insights 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.

  • Yakan/Lamitan, Basilian Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
• Federico Caballero

  • Chanting the Sugidanon Epic of The Panay Bukidnon

  He continiously works for the documentation of the oral literature, in particular the epics, of people. These ten epics, rendered in a language that, thought related to Kiniray-a, is no longer spoken.

  • Sulod-Bukidnon/Calinog, Iloilo, Panay Island, Region VI Western Visayas
• Alonzo Saclag

  • Playing Kalinga Musical Instruments

  His Lifestyle work is to paint a portrait of his people to record a tradition of opposites and dualities, a people's character recorded in cadences each aggressive and gentle. Play Kalinga musical instruments dance patterns and moves related to rituals.

  • Kalinga, Northern Luzon Island, Cordillera Administrative Region (CAR)
• Hajja Amina Appi

  • 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

  • Ungos Matata, Tandubas, Tawi-Tawi, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
• Eduardo Mutuc

  • 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 are in church buildings and non-public collections. A range of these works are quite large, some exceeding forty feet, whilst some are very small and feature very nice and refine craftmanship.

  • Apalit, Pampanga, Region III Central Luzon
• Darhata Sawabi

  • Pis syabit Weaving

  She remained devoted and preserved 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.

  • Tausug/Parang Sulu, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
• Magndalena Gamayo

  • Abel Weaving
  • In her personal collection are inabel that has been in use for generations, gradually getting softer from handling, but retaining their structural integrity and intricate designs. Evident is the handiwork that went into painstakingly arranging bolts of differentcolored threads on the four-pedal loom and the math that went with it to ensure that the patterns are sharp and crisp and evenly spaced.
  • Pinili, Ilocos Norte Region I, Ilocos Region
• Teofilo Garcia

  • Kattukong or Tabungaw Hat Making
  • Each time Teofilo Garcia leaves his farm in San Quintin, Abra, he makes it a point to wear a tabungaw. People in the nearby towns of the province, in neighboring Sta. Maria and Vigan in Ilocos Sur, and as far as Laoag in Ilocos Norte sit up and take notice of his unique, functional and elegant headpiece that shields him from the rain and the sun.
  • San Quitin, Abra Cordillera Administrative Region (CAR)
• Ambalang Ausalin

  • Yakan Weaving
  • 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.
  • Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
• Estelita Tumandan Bantilan

  • B'laan Mat Weaving
  • She was never want to monetize her mats. She carved out considerable time from domestic and farming responsibilities to accomplish some of the biggest, most subtly beautiful mats to be seen anywhere in Southeast Asia today. And, from the evidence of the mats she makes today, Estelitahas continued to cultivate a personal aesthetic through half a century.
  • Upper Lasang, Sapu Masla, Malapatan, Saranggani Region XII SOCCKSARGEN
• Yabing Masalon Dulo

  • 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 rhythmich dance of a weaver's dreams woven into unique soulful pieces.
  • Amugo, Landan, Polomolok, South Cotabato Region XII SOCCKSARGEN
• 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 an 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.
• The Gawad Manlilikha ng Bayan (GAMABA) Awardees


  Culture as part of our Philippine identity includes a variety of arts that enhance by our National Living Treasure artists who are recognized their special contribution 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.
• In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through Republis Act No. 1355. Tasked with the administration and implementation of the Award is the National Commission for Culture and the Arts, the highest policy-making and coordinating body for culture and the arts of the State.
• The NCCA, through the Gawad sa Manlilikha ng Bayan Executive Council,

  • conducts the search for the finest traditional artists of the land
  • adopts a program that will ensure the transfer of their skills to others, and
  • undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.
• The Gawad sa Manlilikha ng Bayan logo is a stylized representation of the human form used in traditional cloth. Below the motif is 'Manlilikha ng Bavan' written in ancient Filipino script extensively used throughout the Philippines at the time of Western contact in the sixteenth century.
• 1988


  Gawad sa Manlilikhan ng Bayan has its roots in the 1988 National Folk Artistsa Award organized by the Rotary Club of Makati-Ayala.
• 1993


  Awarded three outstanding artists in music and poetry.
• 1993


  Awarded three outstanding artists in music and poetry.
• Present


  As a group, these folk and traditional artists reflect the diverse heritage anda cultural traditions that transcend their beginnings to become part of ours national character. As Filipinos, they a bring age-old customs, crafts and waysa of living to the attention and a appreciation of Filipino life. They a provide us with a vision of ourselves a and of our nation, a vision we might ben able to realize someday, once we are given the opportunity to be true to a ourselves as these artists have remained truthful to their art.
• Criteria


  Should be a Filipino citizen or group of citizens belonging to an indigenous / traditional cultural community anywhere in the Philippines, engaged in Filipino traditional art in the following categories: folk architecture, maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic expressions of traditional culture

  2. Should have been engaged in the tradition and craft for a significant period of time with at least 50 years of existence and documentation
• Criteria


  3. Should have produced and performed of artistic, distinctive, and superior quality;

  4. Should possess mastery of the tools and materials that are needed for the art and must have a reputation for being an art master and craft maker in the community where he / she belongs;

  5. Should have passed on and/ or will pass on the traditional crafts and skills to other members of the community by virtue of teaching
• Criteria


  6. In case when a Manlilikha ng Bayan candidate is incapableof teaching further his/ her craft and skill due to age or infirmity; – He / she should have created a significant body of work and has contributed to the development of the tradition and craft– He / she should have played a role in the preservation and revitalization of the artistic tradition in the community.– He/ she has been recognized as a master of his / her craft and admired for his character and integrity in his / her community