WHEN WE SAY GAMABA (GAWAD SA MANLILIKHANG
BAYAN) IT IS A NATIONAL LIVING TREASURE AWARD
() 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 republic act no. 7335 AN ACT PROVIDING FOR
THE RECOGNITION OF NATIONAL LIVING
TREASURES, OTHERWISE KNOWN AS THE
MANLILIKHA NG BAYAN, AND THE PROMOTION AND
DEVELOPMENT OF TRADITIONAL FOLK ARTS,
PROVIDING FUNDS THEREFOR, AND FOR OTHER
PURPOSES
() 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.
Ginaw Bilog January 3, 1953-june 3, 2003, A common
cultural aspect among cultural communities nationwide is
the oral tradition characterized by poetic verses which are
either sung or chanted.
Masino Intaray April 10, 1943- November 30, 2013 An
outstanding master of the basal, kulilal and bagit is
Masino, a gifted poet, bard artist, and musician who was
born near the head of the river in Makagwa valley on the
foothill of Mantalingayan mountain.
Samaon Sulaiman March 3, 1953- May 21, 2011
achieved the highest level of excellence in the art of
kutyapi playing. His extensive repertoire of dinaladay,
linapu, minuna, binalig, and other forms and styles
interpreted with refinement and sensitivity fully
demonstrate and creative and expressive possibilities of
his instrument.
Lang Dulay August 3, 1928 - April 30, 2015 Using abaca
fibers as fine as hair. She also knows a hundred designs,
including the bulinglangit (clouds), the bankiring (hair
bangs), and the kabangi (butterfly), each one special for
the stories it tells.
Salinta monon December 12, 1920- June 4, 2009
developed a keen eye for the traditional designs, and now,
at the age of 65, she can identify the design as well as the
author of a woven piece just by a glance. She used to
wear the traditional hand-woven tube skirt of the Bagobo,
of which the sinukla and the bandira were two of the most
common types until the market began to be flooded with
cheap machine-made fabrics.
Alonzo Saclag August 14, 1942 A Kalinga Master of
Dance and the performing arts, he has made it his mission
to create and nurture a greater consciousness and
appreciation of Kalinga culture, among the Kalinga
themselves and beyond their borders.
Federico Caballero December 25, 1938 In his own way,
Nong Pedring strives to dispense justice in the community
through his work as a manughusay – an arbiter of
conflicts.
Uwang Ahadas February 15, 1945 Yakan tradition sets
the kwintangan as a woman’s instrument and the agung, a
man’s.By the age of twenty, he had mastered the most
important of the Yakan musical instruments, the
kwintangan among them.
Darhata Sawabi March 12,2005 who was raised from birth
to do only household chores. She has never married.
Thus, weaving is her only possible source of income.
Eduardo Mutuc October 12, 1949 is an artist who has
dedicated his life to creating religious and secular art in
silver, bronze, and wood.
Haja Amina Appi June 25, 1925- April 2, 2013 of Ungos
Matata, Tandubas, Tawi-Tawi, is recognized as the master
mat weaver among the Sama indigenous community of
Ungos Matata.
Teofilo Garcia March 27, 1941 leaves his farm in San
Quintin, Abra, he makes it a point to wear a tabungaw. A
closer look would reveal that it is made of the native
gourd, hollowed out, polished, and varnished to a bright
orange sheen to improve its weather resistance. The
inside is lined with finely woven rattan matting, and the
brim sports a subtle bamboo weave for accent.
Magdalena Gamayo August 13, 1924 still owes a lot to
the land and the annual harvest. Despite her status as a
master weaver, weaving alone is not enough.
Apuh Ambalang March 4, 1943 as she is called by her
community of weavers, is highly esteemed in all of
Lamitan. Her skill is deemed incomparable: she is able to
bring forth all designs and actualize all textile categories
typical to the Yakan. She can execute the suwah bekkat
(cross-stitch-like embellishment) and suwah pendan
(embroidery-like embellishment) techniques of the bunga
sama category.
Estelita Bantilan October 17, 1940 - In her old age,
Estelita began to be called 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
Yabing Dulo August 8, 1914 - It may indeed be suggested
that it is Fu Yabing and her art that is unconnected to the
relevant order of things. They have been loosened free
from their old coordinates in both nature and culture.
() They provide us with a vision of ourselves and of our
nation, a vision we might be able to realize someday, once
we are given the opportunity to be true to ourselves as
these artists have remained truthful to their art.
