CPAR

• GAWAD SA MANLILIKHA NG BAYAN (GAMABA)

  National Living Treasure

  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 Bayan' written in ancient Filipino script extensively used throughout the Philippines at the time of Western contact in the sixteenth century.
• The award was institutionalized in 1992 through Republic Act No. 7335. The National Commission For Culture and the Arts (NCCA). Which is the highest policy-making and coordinating body of the Philippines for culture and the Arts, was tasked with the implementation.

  The award is conferred upon a Filipino citizen or group of Filipino citizens engaged in any traditional art uniquely Filipino.
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

  1. He/she is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that has preserved indigenous customs, beliefs, rituals and traditions and /or has syncretized whatever external elements that have influenced it.
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

  b. He/she must engaged in a folk art traditions that has been in existence and documented for at least 50 years
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

  d. He/she must pass on and/or will pass on to other members of the community their skills in the folk art for which the community is traditionally known.
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN? (if he/she became incapable of teaching due to age or infirmity)

  1. He/she had created significant body of works and/or has consistently displayed excellence in the practice of his/her art, thus achieving important contribution for its development
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN? (if he/she became incapable of teaching due to age or infirmity)

  b. He/she has been instrumental in the revitalization of his/her community’s artistic tradition.
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN? (if he/she became incapable of teaching due to age or infirmity)

  c. He/she has passed on to the other members of the community skills in the folk art for which the community is traditionally known.
• HOW DOES ONE BECOME A MANLILIKHA NG BAYAN? (if he/she became incapable of teaching due to age or infirmity)

  d. His/her community has recognized him/her as master and teacher of his/hercraft.
• DUTIES AND RESPONSIBILITIES OF AWARDEES

  • To transfer the skills of his/her traditional folk art to the younger generation through apprenticeship and such other training methods are found to be effective.
  • To cooperate with the implementing agency, as provided for in section 7 of this act, in the promotion and propagation of his/her traditional folk arts; and
  • To donate to the national museum a sample or copy of his/her work
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture - these are simple structures usually intended to provide only basic shelter for the surrounding terrain without concern for the following architectural style; built of local materials and available tools by people who would inhabit them.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture:

  • Bahay Kubo
  • Ifugao House
  • Batanes House
  • Maranao House
  • House on stilts
  • Marine Transports
  • Wooden Banca
  • Vinta boats
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Bahay Kubo Kamalig, or Nipa House is a type of stilt house indigenous to most of the lowland cultures of the Philippines. It often serves as an icon of broader Filipino culture, more specifically, Filipino rural culture.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Ifugao House Were usually similar in architectural designs but they differ in decorative details depending on the tribes. Their houses were harmoniously located with the contour of the rice terraces. The one room house of ifugao commonly known to them as bale.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Batanes House A unique vernacular architecture developed in the province of Batanes. Most of the Ivatan houses are built with limestone walls, reed and cogon roofs, strong enough to withstand the numerous typhoons and earthquakes.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Maranao House A torogan, which literally means “a place for sleeping” is the stately house of the elite members of the Maranao tribe in the province of Lanao Del Sur in the Island of Mindanao
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • House on Stilts stilt houses or pile dwelling or raised on piles over the surface of the soil or body of water. Stilt houses are built primarily as a protection against flooding.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Marine Transports -  These are simple marine vessels made for the transport of goods (cargo) and people by sea and other waterways in the surrounding regions
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Wooden Banca Outrigger canoe is a small wooden boat. It is used for transport in daily activities such as going to the market to transport goods to other places and in going to school
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Folk Architecture: Philippine Simple Architecture

  • Vinta Boats Locally known as Lepa-lepa or sakayan is a traditional Boat found near the Philippine Island of Mindanao. Made by Sama –Bajau and Moros. Sail with assorted vertical colors that represent the colorful culture and history of the muslim community
• Weaving


  The traditional art form as practiced around the region involves many threads being measured, cut, and mounted on a wooden platform. The threads are dyed and weaved on a loom.
• Early Filipino weaving materials

  • Abaca
  • Pineapple
  • Cotton
  • Bark cloth
• Early Filipino weaving products

  • Textiles
  • Clothes
  • Rugs
  • Hats
  • Baskets
• Handwoven textile production in the Philippines

  • Slow and tedious process
  • From harvesting crops to knotting and tying each fiber, it can take months before a final fabric or garment is produced
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Visual arts: weaving

  • T’nalak of the T’boli of Lake Sebu Often described as “Woven Dreams”. As the process typically begins with the spirit of the abaca showing the weaver in her dreams a pattern laid out on the loom. Among symbols that have been woven include a butterfly, eagle and python.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Visual arts: weaving

  • 2. Tingkep baskets of the Pala’wan tribe of Palawan Tingkep baskets woven by the Pala’wan tribe in the Southern half of Palawan province are used for a variety of purposes: storage container for rice, salt and personal belongings; handcrafted from bamboo strips. Made in natural colors, plain or with traditional designs of the community.
• SOME CATEGORIES OF TRADITIONAL FOLK ARTS

  Visual arts: weaving

  • 3. Tapis of Kalinga Tribe It is a rectangular cloth women wear as a wraparound skirt. The garment is woven with backstrap body-tension looms, embroidered with nature inspired patterns and sometimes adorned with mother-of-pearl platelets and shells, which represent wealth and prestige in the area.
• GAMABA AWARDEES

  Visual Arts: Weaving

  1. Lang Dulay (1998)
  2. Salinta Monon (1998)
  3. Darhata Sawabi (2005)
  4. Haja Amina Appi (2005)
  5. Magdalena Gamayo (2012)
  6. Ambalang Ausalin (2016)
  7. Estelita Bantilan (2016)
  8. Yabing Masalon Dulo (2016)
  9. Barbara Kibed Ofong (2023)
  10. Marife Ravidas Ganahon (2023)
  11. Samporonia Pagsac Madanlo (2023)
• GAMABA AWARDEES

  Visual Arts: Weaving

  1. Lang Dulay [Region 12, South Cotabato (Lake Sebu)] 1998

  • She is a T’boli traditional weaver of “T'nalak” or T’boli cloth made of colorful abaca fabrics.

  Lang Dulay knows a hundred designs, including the bulinglangit (clouds), the bankiring (hair bangs), and the kabangi (butterfly) each one special for the stories it tells.
• GAMABA AWARDEES

  Visual Arts: Weaving

  2. Salinta Monon [Region 11, Davao del Sur] 1998

  • She is Tagabanwa-bagobo traditional weaver of distinct abaca fabrics called Inabal. 
  • When she has work to finish, Salinta isolates herself from her family to ensure privacy and concentration in her art.
  • Works: Inabal and Binuwaya
• GAMABA AWARDEES

  Visual Arts: Weaving

  3. Darhata Sawabi [ARMM, Sulu] 2005

  • A Tausug weaver of pis syabit- the traditional cloth tapestry worn as a head cover.
  • Pis syabit weaving is a difficult art. Preparing the warp alone already takes three days. It is very mechanical task, consisting of string black and red threads across a banana and bamboo frame to form the base of the tapestry.
• GAMABA AWARDEES

  Visual Arts: Weaving

  4. Haja Amina Happi [ARMM, Tawi-Tawi] 2005

  • She is recognized as a master mat weaver among the Sama indigenous community of Ungos Matata. Her colorful mats with her complex geometric patterns exhibit her precise sense of design, proportion and symmetry and sensitivity to color.
  • The process starts with the harvesting of wild pandan leaves from the forest. Sama weavers prefer thorny leaf variety because it produces stronger matting strips
• GAMABA AWARDEES

  Visual Arts: Weaving

  5. Magdalena Gamayo [Region 1, Ilocos Norte] 2012

  A Filipino master weaver who make “inabel”, an ilokano handwoven cloth.
• GAMABA AWARDEES

  Visual Arts: Weaving

  6. Ambalang Ausalin, “Apuh Ambalang” [Parangbasak, Lamitan City, Basilan] 2016

  • Her skill is deemed incomparable: she is able to bring forth all designs and actualize all textile categories typical to the Yakan.
  • Works include: bunga sama, sinalu’an, and seputangan 
  • The Tennun Yakan is an extraordinarily important manifestation of Yakan culture. Through her craft, Ambalang as a’a pandey megtetennun (an expert weaver), affirms their identity as people
• GAMABA AWARDEES

  Visual Arts: Weaving

  7. Estelita Bantilan, “Labnai Tumndan,” “Princess” [Upper Lasang, Malapatan, Saranggani] 2016

  • A Mat weaver, known as “Labnai Tumndan” in Blaan Language
  • In her old age, she began to be acalled by a new nickname, Princess. The term of endearment is spoken with the lightness of heart; also with genuine respect, especially from the other mat weavers of Upper Lasang.
• GAMABA AWARDEES

  Visual Arts: Weaving

  8. Yabing Masalon Dulo, “Fu Yabing” [Polomolok, South Cotabato] 2016

  • Blaan abaca-ikat weaving is one of the most challenging and most beautiful works found among the indigenous people of Mindanao. 
  • Their tradition is related to that of their immediate neighbors in Southwestern Mindanao, the Bagobo and the T’boli, but is also culturally distinct from them.
• GAMABA AWARDEES

  Visual Arts: Weaving

  9. Barbara Kibed Ofong [Lake Sebu, South Cotabato] 2023

  • A T’boli ikat weaver
• GAMABA AWARDEES

  Visual Arts: Weaving

  10. Marife Ravidas Ganahon [Malaybalay, Bukidnon] 2023

  • A Higaonon mat weaver 
• GAMABA AWARDEES

  Visual Arts: Weaving

  11. Samporonia Pagsac Madanlo [Caraga, Davao Oriental] 2023

  • A Mandaya ikat weaver
• GAMABA AWARDEES

  Visual Arts: Material Casting

  1. Eduardo Mutuc (2005)
  2. Teofilo Garcia (2012)
  3. Bundos Bansil Fara (2023)