GAMABA

• 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 havepassed it on to in his or her community with the same degree of technical and artistic competence.
• 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 havepassed 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.
• 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 havepassed it on to in his or her community with the same degree of technical and

  artistic competence.
• GINAW BILOG

  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.
• MASINO INTARAY

  EPIC CHANTER AND STORYTELLER

  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 PRE- EMINENT EPIC CHANTER AND STORYTELLER

  REGION
• SAMAON SULAIMAN

  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.
• LANG DULAY

  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.
• SALINTA MONON

  T’NALAK 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.
• SALINTA MONON

  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.
• SALINTA MONON

  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.
• 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 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.
• 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 PEOPLES’ CHARACTER RECORDED IN CADENCES EACH AGGRESSIVE AND GENTLE. PLAY KALINGA MUSICAL INSTRUMENTS DANCE PATTERNS AND MOVES RELATED TO RITUALS.
• FEDERICO CABALLERO

  CHANTING THE SUGIDANON EPIC OF THE PANAY BUKIDNONHE

  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.
• FEDERICO CABALLERO

  CHANTING THE SUGIDANON EPIC OF THE PANAY BUKIDNONHE 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.
• 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
• EDUARDO  MUTUC

  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 ARE VERY SMALL AND FEATURE VERY NICE AND REFINED CRAFTSMANSHIP.
• DARHATA SAWABI

  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.
• magdalena gamayo

  -MASTER OF ABEL WEAVING FROM PINILI, ILOCOS NORTE-NOT ONLY WEAVING TRADITIONALILOCANO TEXTILES BUT ALSO DESIGNS

  NEW PATTERS-ONE OF HER DESIGNSEMPLOYS A DIFFICULT WEAVING TECHNIQUE CALLED PILILIAN MEANING PARTIALLY.
• teofilo garcia

  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.
• ambalang ausalin

  YAKAN WEAVING

  -APUH AMBALANG, IS SIGNIFICANTLY RESPECTED IN ALL OF LAMITAN.-HERABILITY 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
• Estelita Tumandan Bantilan

  B’LAAN MAT WEAVING

  -SINCE SHE WAS A CHILD, SHE WAS BRIGHT AND CAREFUL IN TANGLE WEAVING.

  -THE THIN STRIPS OF THEPANDANUS ROMBLON (PANDANUS COPELANDII MERR. BARIU) RISE MATRIXED THROUGH DEFT FINGERS PERFORMING AN INDIVIDUAL RHYTHM, THE BEAT GUIDED BY HER EYES