Contemporary NAME: ______________________________

GR. & SEC.: __________________________

Philippine Arts from the
BARANGAY: _________________________
Regions
____________________________________
Filipino Artists and Their
Contribution to Contemporary
Arts Quarter 1 - Module 4

What This Module is All About

Welcome to this module!

Hello learners! Congratulations! You have

come to this module wherein you will encounter,
explore, and deeply understand the significant roles of
our National Artists from all over the regions, and
identify their contribution to contemporary arts. This
module becomes more exciting since you will also
evaluate contemporary art forms based on the elements and principles. Aside from that, you will delve deeper, interpret,
and relate the significance of art forms from the regions and promote your own art/s to represent your own place and culture.

The activities in this module have been designed to provide you with rich and stimulating learning practices about
significant contemporary artists from the regions. This module will discuss and introduce about our National Artists in music,
dance, theater, visual arts , literature, film and broadcast arts, architecture, design and allied arts that will brings you the
full understanding of the art of today.

Furthermore, you will make known also to the Contemporary in Traditional Art – Gawad sa Manlilikha ng Bayan
(GAMABA), our National Living Treasure who have preserved some of the Philippines’ most important traditions and kept
Filipino creativity alive!

WHAT I KNOW

PRE-TEST
Multiple Choice. Select the letter of the best answer from among the given choices.
1. A Tinalak weaver who have produced creations which remain faithful to the T’boli tradition as manifested in the
complexity of her design, fineness of workmanship and quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. . Lang Dulay D. Salinta Monon

2. It is the highest national acknowledgment given to Filipino people who have made noteworthy commitments to the
improvement of Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award

3. It is an award given to recognize the outstanding work of the artists in the Philippines to promote a genuine
appreciation of traditional craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award

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 4. A director for theater and film, has the distinction of being called “The Boy Wonder of Philippine Movies”
A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
B. José María V. Zaragoza D. Manuel Conde

5. The “Grand Old Man of Philippine Art”

A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
B. Fernando C. Amorsolo D. F. Sionil Jose

6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully demonstrating the creative and
expressive aspects of the Bagobo abaca ikat weaving.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Masino Intaray

7. She is known as the Queen of Kundiman.

A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana D. Haja Amina Appi

8. Asian president of the United Nations General Assembly who multifaceted career spanned 50 years of public
service as an educator, soldier, university president, journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo

9. A screenwriter, film director and producer, the quintessential Filipino filmmaker whose life is devoted to the art and
commerce of cinema spanning three generations of filmmakers
A. Eddie Romero C. Ildefonso P. Santos
B. Darhata Sawabi D. Pablo S. Antonio

10. A GAMABA awardee who popularized the the tabungaw hat.

A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Teofilo Garcia

LESSON 1
THE CCONTEMPORARY IN TRADITIONAL ART:
GAWAD SA MANLILIKHA NG BAYAN (GAMABA)
What I Need to Know

In one form or another art has always been around. It helps mankind in the improvement of various activities and their
products. It has a varied and multiple complex. It is as wide as an ocean, covers a wide range of activities such as
photography, painting, sculpting, and architecture, etc. But as time rolls by newer forms of art arose, such as music, theatre,
and photography, etc., in which are now a days considered the most beautiful types of performing arts.

From the preceding lesson we have learned that traditional arts, like the pre - colonial indigenous arts are also
contemporary. They are living traditions and are produced up to the present, in modified ways.

In this lesson, you will learn about our National living treasures, more formally known as the awardees of Gawad
sa Manlilikha ng Bayan (GAMABA).
Their incomparable dedication to craftsmanship and excellence show how these Filipinos lives and work. Many
cultural practices of indigenous communities were preserved because of their passion, abilities, and tenacity in passing
down their tradition to the youngsters. It’s one thing to be recognized as a living legend of the arts in the Philippines,
and it’s a whole other thing completely to be acknowledged as an artist who has kept a r are sort of traditional Filipino
creativity and ingenuity alive. In 1992, the National Commission on Culture and therefore the Arts (NCCA) began
selecting and honoring recipients of the National Living Treasures Award, also referred to as Gawad sa Manlilikha
ng Bayan (GAMABA), through Republic Act No. 7355. It continues to be awarded today and is handed out in the form
of a medal.

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 The picture shows the thirteen National Living treasures who
have possess technical and creative skills, creating work with
fine artistic quality, and ties to community and folk-art
traditions. More than that, they show a strong character and
unfaltering integrity, leading them to earn the respect and
admiration of the people.
The awardees yield art forms that are entwined into daily life.
These proves how pre - colonial traditions continue through to
the present.
How does tradition become contemporary, and the contemporary traditional?
(retrieved from Contemporary Art from the Regions textbook (2016 pp.57)
Traditional art is based on indigenous people’s cultures that are largely honed by oral tradition. It finds deep affinities
with nature, place, society, ritual, and spirituality and everyday life. In traditional integrative art, forms and expressions do
not normally end up as objects distanced from everyday living. The site of dissemination and knowledge transfer is neither
in the formal spaces of a museum nor a theater. The process of creation is usually shared among members of the
community, and appeals to broader aspects of life.(extracted from Contemporary Art from the Regions textbook , Flaudette
May Datulin et.al pp. 58 ) Thus, it emphasis on the intangible and communal aspects of art production that are closely
aligned with the process based and collaborative inclination of some contemporary art practices.
The worker of a farmer named Teofilo Garcia of San Quintin in the Province of Abra, 2012 GAMABA awardee who
have discovered and popularized the durable tabungaw hat out of enlarged upo or gourd. He hollowed out the upo /
tabungaw, varnished and polished it to make it more durable and unique yellow sheen.
He used different mediums such as varnish to strengthens organic material, strips of rattan (uway) to line the hat,
fern (nito) is placed on the mouth of the hat as decoration. He intended to transform the harvest into durable hats to protect
the people who are exposed for long hours under the heat of the sun, especially the farmers. Until now, he shared his
knowledge and skills of making the Tabungaw hat at San Quintin National High School and inspires the youth to value
tradition and to ensure its preservation.
Base from the given example of the work of Teofilo Garcia, we reiterate that Philippine traditional art, though based
on long - standing , established practices, has always been contemporary in a sense that it is art that is being made now,
and that it persists as part of continuing performance of tradition ((extracted from Contemporary Art from the Regions
textbook , Flaudette May Datulin et.al pp. 57 ) .
On the other hand, contemporary-traditional art refers to an art produced at the present period that reflects the
current culture by utilizing classical techniques in drawing, painting, and sculpting. Practicing artists are mainly concerned
with the preservation of time-honored skills in creating works of figurative and representational forms of fine art as a means
to express human emotions and experiences. Subjects are based on the aesthetics of balancing external reality with the
intuitive, internal conscience driven by emotion, philosophical thought, or the spirit. The term is used broadly to encompass
all styles and practices of representational art, such as Classicism, Impressionism, Realism, and Plein Air (En plein air)
painting. Technical skills are founded in the teachings of the Renaissance, Academic Art, and American Impressionism
(https://en.wikipedia.org/wiki/Contemporary-Traditional_Art)

What’s New
Activity 1: Coloring the words
For you to assess your level of understanding about the traditional arts and GAMABA awardees ., you are going to
hunt the word or group of words related to it by coloring it using your crayons or colored pen .You can trace the word/s
horizontal, vertical, diagonal, backwards or another way to form a words. Write your answer in a sheet of paper.

T R A D I T I O N A L A R T L G
P A P O S U C E A S D F K V P A
E L B T H Q O A K E N S P L O M
L A A U S L N A T U R E E A L A
T S H S N N T R R F Y J O C I B
L T A G E G E H O B A O P I T A
A C Z S H T A E L T E K L S I Y
R A A D U A Y W E A V I N G C N
L A N G D U L A Y K G R O U N D
T T R A Y R A R O P M E T N O C
T E O F I L O G A R C I A O U H
N D I S A S T E R L H A Z A E D
R T E O F I L O G A R C I A O T

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1. _____________________________ 6. _____________________________
2. _____________________________ 7. _____________________________
3. _____________________________ 8. _____________________________
4. _____________________________ 9. ____________________________
5. _____________________________ 10. ____________________________

WHAT IS IT
What is GAMABA?
The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN (National Living Treasures). It is an award given to
recognize the outstanding work of the artists in the Philippines. The given award was established in 1992 through Republic
Act No. 7355 until 2012. There were thirteen finest folk artists of the land who have received this distinction for their
dedication in creating the craft, using skills, and indigenous methods and materials. Artists who received the recognition for
preserving the traditional art of the Philippines which kept the art alive even in the contemporary period (Sandagan &
Sayseng 2016).

Who are the GAMABA awardees? What are their qualifications?

The GAMABA awardees are the people who have adopts a program that will ensure the transfer of their skills to others.
They undertake measures to promote a genuine appreciation of traditional craft and art and instill pride among our people
about the skill of the Gawad sa Manlilikha ng Bayan (GAMABA). Filipinos conferred as the forefront of the practice,
preservation, and promotion of the nation’s traditional folk arts. (https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
To become a GAMABA awardees is same as joining a contest there are mechanics and guidelines to follow.

1. Must be 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.
2. Must have engaged in a folk-art tradition that has been in existence and documented for at least fifty (50) years.
3. Must have consistently performed or produced over a significant period, works of superior and distinctive quality.
4. He/she/group must possess a mastery of tools and materials needed by the art and must have an established
reputation in the art as master and maker of works of extraordinary technical quality.
5. Must have passed 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.

“GAMABA Awardees”
UWANG AHADAS, MUSICIAN

A Yakan of Lamitan, Basilan was awarded for his dexterity in playing Yakan musical
instruments such as the kwintangan, gabbang, agung, kwintangan kayu, tuntungan among
others. He has a deep knowledge of the aesthetic possibilities and social contexts of those
instruments. In spite of the dimming of his eyesight, he has devoted his life to the teaching
of Yakan musical traditions (https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

Yakan musical instruments are not the easiest or most affordable to maintain, but Uwang
Ahadas of Lamitan, Basilan made it his life’s work to master them. From an early age, he and his
siblings were encouraged to play these instruments, and he developed a passion for them, training himself by observing
older members of the community. At age 20, he broke tradition by reaching excellence in playing the kwintangan, an
instrument typically played by a woman. The instrument, made up of logs arranged beneath a tree near a rice field, is
used to call for abundant grains and rice growth. He is also dedicated to sharing his knowledge to younger folk; his
teaching style is hands-on and supportive, giving his students his full attention. He was awarded in 2000.(
https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

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 MAGDALENA GAMAYO, TEXTILE WEAVER
Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving when she was 16, guided
by her aunt’s patterns. She received her first loom from her father three years later, which she would
end up using for 30 years. She taught herself traditional patterns, such as kusikus (whirlwind),
marurup (Milky Way), and sinan paddak ti pusa (cat’s pawprint), building on the more common
inuritan (geometric design) and sinan-sabong (flowers)
.Gamayo’s skill and instinct are none more apparent than they are in her ability to replicate designs
she’s only seen once. Her binakol, or woven cloth, continues to draw praise and awe for its above-
average thread count and uniform weave. To keep Ilocos’ abel weaving tradition alive, she teaches
her practice to her cousin’s daughter-in-law and sister-in-law. She was awarded in 2012.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

EDUARDO MUTUC, METALSMITH, AND ARTIST

A Kapampangan from Central Luzon is recognized for reviving the Spanish colonial-era craft of
Plateria. This self-taught master craftsman found his calling in producing religious and secular art
in silver, bronze, and wood. In doing so, and in his pursuit of perfection for himself and his
apprentices, he assures the continuity of this rich tradition. Having finished up to elementary school,
Eduardo Mutuc, a farmer at the time, became an apprentice to furniture carvers to earn additional
income. He had no prior knowledge of the work he was getting into, but this did not stop him from
expanding his experience and becoming one of the most respected creators of religious and secular
art today. He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of
varying sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He
was awarded in 2004.

LANG DULAY, T’NALAK WEAVER

A T'boli of Lake Sebu, South Cotabato, was awarded for weaving the abaca ikat cloth called
t'nalak . She has produced creations which remain faithful to the T’boli tradition as manifested in the
complexity of her design, fineness of workmanship and quality of finish. In Lang Dulay’s family, the
weaving of the t’nalak (a fine abaca cloth) took place before or after farm work, when the weather
was cool and the conditions were better for the product. Dulay, who grew up in Lake Sebu, South
Cotabato, was taught to weave by her mother when she was 12. As demand grew for new designs,
she persisted and kept working with traditional patterns, even though they were harder to complete
— she knew around a hundred, including bulinglangit (clouds), kabangi (butterfly), crocodiles, and
flowers. She valued purity, so much so that she never washed her t’nalak with soap. She was awarded in
1998 and died in 2015. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

SAMAON SULAIMAN, MUSICIAN

A Maguindanaon of Mamasapano, Maguindanao. He was awarded for his outstanding artistry and
dedication to his chosen instrument, the Magindanao kutyapi. Kutyapi is a two-stringed plucked lute,
regarded as one of the most technically demanding and difficult to master among Filipino traditional.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed lute that requires highly
technical skill to play. The Maganoy, Maguindanao native learned from his uncle, Pinagunay, at age
13, developing and learning different forms and styles of playing the instrument.
The sound is melodic and rhythmic, its effect meditative and captivating. He was also proficient in
playing instruments such as the kulintang, agong (a suspended gong with a wide rim), gandingan (a
gong with a narrow rim), and tambul. Sulaiman’s fascination for his craft led him to become an
influential teacher. He was awarded in 1993 and died in 2011.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

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 HAJA AMINA APPI, PANDAN MAT WEAVER
Lives in Ungos Matata, Tandubas, Tawi-Tawi,. She is recognized as the master mat
weaver among the Sama indigenous community of Ungos Matata. Her colorful mats with their
complex geometric patterns exhibit her precise sense of design, proportion and symmetry and
sensitivity to color. (https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
Weaving pandan mats is a long and difficult process that is handed down from woman
to woman across generations: Pandan leaves are harvested and made into narrow, long strips,
sun-dried, pressed, and dyed before finally becoming suitable for weaving. The resulting mats
are used for sleeping and saying prayers or given as gifts to newly-weds. Haja Amina Appi of
Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that boast beautiful geometric
designs, vibrant colors, and fine symmetry. She was awarded National Living Treasure in 2004.
She experimented with her work and developed her own tints to create the hues she had in mind.
Appi died in 2013, but her art lives on through her children and other young women in her
community. ((https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-
treasures.html ).

FEDERICO CABALLERO, CHANTER AND EDUCATOR

A Panay-Bukidnon of Calinog, lloilo was awarded for his mastery of chanting the sugidanon, the
epic tradition of Central Panay. He ceaselessly worked for the documentation of the epics of
his people painstakingly piecing together the elements of this oral tradition nearly lost.
((https://aboutphilippines.org/files/Gamaba-Awardees.pdf) He was best known for his expertise
in the Sugidanon, a Central Panay epic traditionally chanted while lying on a hammock, and
his work in the preservation of oral literature, documenting 10 Panay-Bukidnon epics in an
extinct language with close ties to Kinaray-a. His love of folklore began when he was young,
hearing tales of grand adventures as bedtime stories, and his mother taught him to recite epics
in lieu of doing household chores. In his spare time, he also works with the Department of
Education’s Bureau of Non-Formal Education, teaching elders to read and write. He was
awarded in 2000. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-
living-treasures.html ).

GINAW BILOG, POET

A Hanunuo Mangyan of Mansalay, Oriental Mindoro. Awarded for faithfully preserving the
Hanunuo Mangyan script and Ambahan poetry. He has promoted the local script and poetry so
that the art will not be lost but preserved. The Mangyan script is one of the four remaining syllabic
scripts in the country, and Ginaw Bilog’s work has been crucial to its preservation. Based in
Mansalay, Oriental Mindoro, the poet was known for writing Ambahan (a metaphoric poem
comprising seven-syllable lines), first in a notebook, then on traditionally used bamboo tubes. The
poems, often recited with music at social gatherings and used to convey messages among the
Hanunuo Mangyan, had topics like advising the young, bidding a friend goodbye, and asking for a
place to stay. Bilog, who was awarded in 1993, died in 2003.

SALINTA MONON, TEXTILE WEAVER

A GAMABA awrdee of Tagabawa Bagobo of Bansalan, Davao del Sur. She was
awarded for fully demonstrating the creative and expressive aspects of the Bagobo abaca ikat
weaving called Inabal at a time when such art is threatened with extinction. Salinta Monon was
12 when she began learning to weave the Inabal, a traditional Bagobo textile. In her home in
Bansalan, Davao del Sur, Monon would isolate herself from family to be able to concentrate on
creating her cloths and skirts, which took three to four months to finish, respectively.
Her favorite pattern, despite or because of its difficulty, was the Binuwaya (crocodile), and she
continued weaving until her death in 2009. For her, not only was it a source of income, it was a
source of pride as well. She and her younger sister were the only Bagobo weavers left in their
community, and she dreamt of having a structure built for teaching new would-be weavers. She
was awarded in 1998. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-
national-living-treasures.html)

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 DARHATA SAWABI, TEXTILE WEAVER
A GAMABA awardee of barangay Parang, Jolo Island, Sulu province. Has preserved
the art of Pis Syabit weaving. It is difficult art of tapestry weaving that creates the traditional
squares used by the Tausug for ornamentation. Despite the conflict in Jolo, Sawabi’s
dedication to her art enhanced the preservation of traditional Tausug designs. Darhata
Sawabi’s mission was to lead young women towards making a living out of her craft. The
Parang, Sulu-based textile weaver’s primary creation was the headpiece Pis Siyabit — pis
stands for the pattern, which is said to be derived from India’s mandala, depicting spirituality
through geometric forms, and Siyabit refers to the hook and technique. She gained recognition
for the precision of her work and her passion for preserving traditional designs, as well as
teaching the youth and was awarded in 2004. She died in 2005.

TEOFILO GARCIA, GOURD HATMAKER

A GAMABA awardee of San Quintin Abra who have discovered and popularized the
durable Tabungaw hat out of enlarged upo or gourd. He hollowed out the upo / tabungaw,
varnished and polished it to make it more durable and unique yellow sheen. In San Quintin,
Abra, Teofilo Garcia would often walk around town wearing his gourd casques. Through word
of mouth and his participation in the annual local harvest festival, Garcia was able to introduce
the Tabungaw plant as a good and sturdy material for functional, elegant, and protective hats.
He produces everything he needs — planting and harvesting the gourds, splitting, and refining
rattan for the lining, and weaving Nito and bamboo for accents himself — and usually takes
seven days to finish a hat. Awarded in 2012, he continues to experiment and work on new
designs.

ALONZO SACLAG, TRADITIONAL DANCER AND MUSICIAN

A Kalinga of Lubuagan, Kalinga was awarded for his mastery of the Kalinga dance and
the performing arts. He was also recognized for his persistence to create and nurture a greater
consciousness and appreciation of Kalinga culture among the Kalinga themselves and beyond
their borders. It was through observation, time, and experience — rather than education or
training or any kind — that Alonzo Saclag of Lubuagan, Kalinga mastered local musical
instruments, along with dance patterns associated with rituals. Some of these are rarely
performed, but done so with special purposes, whether it’s preparing for retaliation, a victorious
vindication for the community, or forging successful peace pacts. Saclag understands the
importance of his practice and is a strong advocate of passing on his knowledge and continuing
the use of traditional dress and adornments. His efforts have included formal education,
reaching radio stations, and the formation of the Kalinga Budong Dance Troupe. He was
awarded in 2000.

MASINO INTARAY, CHANTER AND MUSICIAN

A Pala'wan of Brookes Point, Palawan. He was awarded for his exemplary skills in basal
or gong music ensemble. He was also recognized for his versatility as musician, poet, epic
chanter, and storyteller of the Kulilal and Bagit traditions of the Pala'wan. A member of the
Pala’wan tribe, musician and epic chanter Masino Intaray was a master of the basal, a gong
music ensemble played during rice cooking (tambilaw) and sharing (tinapay) rituals, which
gather the community as they serve offerings to Pala’wan rice god Ampo’t Paray. Intaray also
performed the Kulilal, a lyrical poem expressing love, accompanied by two-stringed lute and
bamboo zither, and the bagit, an instrumental piece about nature. His memory and determination
guided him in chanting through many successive nights, reciting epics, stories, myths of origin,
and the teachings of ancestors. Intaray, who was awarded in 1993, died in 2013.

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WHAT’S MORE
Activity 2: Summing Up!
You have already discovered the famous GAMABA awardees and their works and expertise. This time let us try how far
your learning is. What you are going to do is to fill in the table with the important information of all GAMABA awardees. The
first one is done for you.

Gamaba Awardees Form Ethnicity Expertise Year of Confirmation

Lang Dulay Weaving T’boli Tinalak weaving 1998

FACTORS AFFECTING THE TRADITIONAL ARTIST’S PRODUCTION PROCESS

1. Christianization. The impact of Christianity and the discussion of the locals to a remote religion have made individuals
from the network reject their indigenous ceremonies and customs. At more regrettable, individuals are persuaded that
the last are crude and thusly their training has no spot in contemporary culture. Now and again
2. notwithstanding, the network figures out how to syncretize their indigenous ways with customs of Christianity.
3. Mining and framework venture – mining and system adventures expel individuals from their homes and seriously
harm the earth. Denied the abundance of the land, indigenous gatherings are provoked to look for short – term work
from these businesses to get by in a cash economy.
4. Tourism – plays a big role in one's nation. This is to promote the culture, environment, and the life of a nation to others.
Along these lines, land regions are changed over into locales for traveler utilization. Environmental spaces become
increasingly vulnerable to harm with the consolidated powers of catastrophic events and visitor convenience. Works of
art local to the network will in general reduce in quality. Expelled from their unique setting, the works are changed into
mass delivered ornaments so as to satisfy the needs of the traveler exchange. Neon hues and structures woven from
engineered strands have been made accessible as of late to make projects of levelheaded material plans for business
purposes.
5. Militarization. The weakness and pressures realized by hostile areas capture the individuals' capacity to make
workmanship. It keeps individuals from having public social events, were trades and passing information can happen.

ACTIVITY 3: CREATE A STORY.

Create a comic strip or a story book. Choose from the above factors that affects the traditional artist’s production
process as your theme or topic. You can draw and color by hand on a bond paper or any similar material. (The teacher will
prepare rubrics as a tool for scoring)

WHAT I HAVE LEARNED

Congratulations because you were able to succeed the activity above. What do you believe are a portion of the
issues identified with the awards? What do you think are the challenges faced by our living treasures before they become
an awardee?
Now, let us walk around and see the sights of the challenges met by our living treasures when it comes to the
production process and the changing environment.
The conventional specialists' method of creation keeps on being influenced with the elements of progress.
Environmental debasement introduced by disasters, modernization, and free enterprise tries uprooting the indigenous
people groups from their hereditary path. As their command post, it is considered of foremost significance - this is the place
assets are assembled and shared, and where culture is performed.

Answer the following questions briefly. 5 points each.

1. What is the essence of GAMABA? Do you think having two national credits for human expressions
emphasize the gap between independent articulations and regular, network-based ceremonies and
works of art?
2. How traditions become contemporary and contemporary becomes traditional.
3. Contemporary art is an art of today, as a senior high school student do you consider yourself a
contemporary artist or a traditional one? How and why?

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 WHAT I CAN DO
Activity 5: Creating a poster (The Teacher will make rubrics as tool for scoring)
Name one traditional art form in your community. Create a poster to promote it. It can be on long bond paper or you
can digitally make the poster with computer. Explain your concept and share to your friends or family.

LESSON 2 National Artists of the Philippines and their Contribution

In the past exercise we have found out about the GAMABA as an honor given to the customary expressions. Here
we will find out about another national award for the craftsmen who participate specifically disciplinal regions, for example,
the visual expressions. We may experience a portion of the craftsmen we have referred to already. In this lesson, we take
a gander at their works all the more intently, particularly as far as joint effort and trade, as we see the National Artist Award
in the soul of the open circle, to whom specialists and grant – giving bodies are considered responsible.

WHAT I NEED TO KNOW

What is the National Artists Award? Among the different honors and acknowledgment instruments, the National Artists
Award (NAA) presents the most elevated type of acknowledgment to Filipino craftsmen for their noteworthy commitments
in expressions of the human experience and letters.
It is the highest national acknowledgment given to Filipino people who have made noteworthy commitments to the
improvement of Philippine expressions; in particular, Music, Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts,
and Architecture and Allied Arts. The request is mutually directed by the National Commission for Culture and the Arts
(NCCA) and the Cultural Center of the Philippines (CCP) and gave by the President of the Philippines upon suggestion by
the two organizations.
It has a similar glory as the GAMABA and the National Scientist Award. The honor is presented at regular intervals
through a thorough consultation and determination process mutually encouraged by two significant social workplaces, the
National Commission on Culture and expressions of the human experience and the social focal point of the Philippines.
NAA was built up in 1972 under Presidential Decree No. 1001 gave by then President Ferdinand Marcos. The first
was Fernando Amorsolo, who was presented the honor after death. Much has changed since the organization of the honor.
As of this composition, the list has included 66 awardees from seven disciplinal zones, to be specific: engineering, structure
and associated expressions, film and communicate expressions, visual expressions, writing, move, music, and theater.

What’s New
Activity 1: Solving the Puzzle – fill in the puzzle with the correct answer.
(Please answer in your own sheet of paper)
Across
1 The highest form of award given to Filipino artist
3 He issued PD no. 1001
5 National Commission on Culture and the Arts
7 National Scientist Award
9 a person who is skilled in a craft.

1 2 6 8 10

4 3

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Down:
2 First Filipino artist awardee
4 Gawad sa Manlilikha ng Bayan
6 a person who is awarded something
8 merit / honor
10 skills

WHAT IS IT
Who are the awardees? How it was paved its way? Who are the National Artists in music, dance, theater,
architecture, and visual arts? What are their most important contributions in the country? Are their criteria set as basis in
choosing them? These questions are some of the few questions that comes into mind when we talk about awardees.
The National Artist of the Philippines are based on a broad criteria, as set forth by the Cultural Center of the
Philippines and the National Commission on Culture and the Arts:
(https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines)
1. Living artists who have been Filipino citizens for the last ten years prior to nomination as well as those who have
died after the establishment of the award in 1972 but were Filipino citizens at the time of their death.
2. Artists who have helped build a Filipino sense of nationhood through the content and form of their works.
3. Artists who have distinguished themselves by pioneering in a mode of creative expression or style, making an
impact on succeeding generations of artists.
4. Artists who have created a significant body of works and/or have consistently displayed excellence in the practice
of their art form, enriching artistic expression or style; and
5. Artists who enjoy broad acceptance through prestigious national and/or international recognition, awards in
prestigious national and/or international events, critical acclaim and/or reviews of their works, and/or respect, and
esteem from peers within an artistic discipline.

Since the criteria are presented above, let us get ready! We will sail to meet and greet the famous National Artist of
the Philippines. Now let us begin!

National Artists of the Philippines

(Note: All the information of the awardees are crafted from the National Commission for Culture and the
Arts) https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/

PABLO S. ANTONIO
National Artist for Architecture (1976)
(January 25, 1902 – June 14, 1975)
His basic design is grounded on simplicity, no clutter. The lines are
clean and smooth, and where there are curves, these are made integral
to the structure. Antonio’s major works include the following: Far Eastern
University Administration and Science buildings; Manila Polo Club; Ideal
Theater; Lyric Theater; Galaxy Theater; Capitan Luis Gonzaga
Building; Boulevard-Alhambra (now Bel-Air) apartments; Ramon Roces
Publications Building (now Guzman Institute of
Electronics)(https://ncca.gov.ph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/)

LEANDRO V. LOCSIN
National Artist for Architecture, 1990
(August 15, 1928 – November 15, 1994)
He reshaped the urban landscape with a distinctive architecture reflective of Philippine Art and Culture. He believes
that the true Philippine Architecture is “the product of two great streams of culture, the oriental and the occidental… to
produce a new object of profound harmony.” It is this synthesis that underlies all his works, with his achievements in concrete
reflecting his mastery of space and scale.
Locsin’s largest single work is the Istana Nurul Iman, the palace of the Sultan of Brunei, which has a floor area of
2.2 million square feet. The CCP Complex itself is a virtual Locsin Complex with all five buildings designed by him — the
Cultural Center of the Philippines, Folk Arts Theater, Philippine International Convention Center, Philcite and The
Westin Hotel (now Sofitel Philippine Plaza). https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-
the-philippines/)
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 JUAN F. NAKPIL
National Artist for Architecture, 1973
(May 26, 1899 – May 7, 1986)

An architect, teacher, and civic leader is a pioneer and innovator in Philippine architecture. Nakpil’s greatest
contribution is his belief that there is such a thing as Philippine Architecture, espousing architecture reflective of Philippine
traditions and culture.
Among others, Nakpil’s major works are the Geronimo de los Reyes Building,Magsaysay Building, Rizal
Theater, Capitol Theater, Captain Pepe Building, Manila Jockey Club, Rufino Building, Philippine Village
Hotel, University of the Philippines Administration and University Library, and the reconstructed Rizal house in
Calamba, Laguna. https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

ILDEFONSO P. SANTOS, JR.

National Artist for Architecture, 2006
(September 5, 1929 – January 29, 2014)

Ildefonso Paez Santos, Jr., distinguished himself by pioneering the practice of landscape architecture–an allied
field of architecture–in the Philippines and then producing four decades of exemplary and engaging work that has included
hundreds of parks, plazas, gardens, and a wide range of outdoor settings that have enhanced contemporary Filipino life.
Santos, Jr., who grew up in Malabon, made his first mark with the Makati Commercial Center where he introduced
a new concept of outdoor shopping with landscaped walks, fountains and sculptures as accents. Santos, Jr.’s contribution
to modern Filipino landscape architecture was the seminal public landscape in Paco Park. Santos, Jr.’s most recent projects
were the Tagaytay Highland Resort, the Mt. Malarayat Golf and Country Club in Lipa, Batangas, and the Orchard Golf
and Country Club in Imus, Cavite. https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/)

FRANCISCO T. MANOSA
National Artist for Architecture and Allied Arts (2018)
Birthday: 12 February 1931

For all his more than 60 years of architecture life, Arc. Bobby Mañosa designed Filipino. From the 1960s in his
landmark design of the Sulo Hotel until his retirement about 2015, he courageously and passionately created original Filipino
forms, spaces with intricate and refined details. But what is most valuable is that Mañosa was in the heart and soul of a
Philippine architectural movement. He has developed a legacy of Philippine architecture, which is essential to our Filipino
identity and at the same time, deeply appreciated and shared in our world today.
Major Works:
• San Miguel Building, Ortigas Center, Pasig City (designed with the Mañosa Brothers)
• Chapel of the Risen Lord, Las Piñas City
• Our Lady of Peace Shrine, EDSA, Quezon City
• World Youth Day Papal Altar, Quirino Grandstand, Manila, 1995
• Metrorail Transit System Stations for LRT 1, circa 1980s
• Quezon Memorial Circle Development Plan
• Lanao del Norte Provincial Capitol, Tubod, Lanao del Norte
• Tahanang Pilipino (Coconut Palace), CCP Complex, Manila
• Amanpulo Resort, Palawan
• Pearl Farm Resort, Samal Island, Davao, completed 1994
• La Mesa Watershed Resort and Ecological Park, La Mesa Dam, Quezon City
( Source:https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/)

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 LAMBERTO V. AVELLANA
National Artist for Theater and Film (1976)
(February 12, 1915 – April 25, 1991)
Lamberto V. Avellana, director for theater and film,
has the distinction of being called “The Boy Wonder of
Philippine Movies” as early as 1939. He was the first to use
the motion picture camera to establish a point-of-view, a
move that revolutionized the techniques of film narration.
Sakay was declared the best picture of 1939 by
critics and journalists alike and set the tone for Avellana’s
career in film that would be capped by such distinctive
achievements as the Grand Prix at the Asian Film Festival in
Hong Kong for Anak Dalita (1956); Best Director of Asia
award in Tokyo for Badjao, among others. Avellana was also the first filmmaker to have his film Kandelerong Pilak shown
at the Cannes International Film Festival. Among the films he directed for worldwide release were Sergeant
Hasan (1967), Destination Vietnam (1969), and The Evil Within (1970).

LINO BROCKA
National Artist for Film and Broadcast Arts (1997)
(April 3, 1939 – May 22, 1991)

Catalino “Lino” Ortiz Brocka, director for film and broadcast arts, espoused the term “freedom of expression” in
the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and
hope for the marginalized sectors of society — slum-dwellers, prostitutes, construction workers, etc. He also directed for
theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater
Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and
recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival.
To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog
sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975),
“Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa
Diyos” (1991).

ISHMAEL BERNAL
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996)

Ishmael Bernal was a filmmaker of the first order and one of the very few who can be truly called a maestro.
Critics have hailed him as “the genius of Philippine cinema.”
Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala” (1982),
“City After Dark” (1980), and “Nunal sa Tubig” (1976). He was recognized as the Director of the Decade of the 1970s by
the Catholic Mass Media Awards; four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given
the ASEAN Cultural Award in Communication Arts in 1993.

FERNANDO POE, JR.

National Artist for Cinema (2006)
(August 20, 1939 – December 14, 2004)

Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a cultural icon of tremendous audience impact
and cinema artist and craftsman–as actor, director, writer and producer. *
The image of the underdog was projected in his films such as Apollo Robles(1961), Batang Maynila (1962), Mga
Alabok sa Lupa (1967), Batang Matador and Batang Estibador (1969), Ako ang Katarungan (1974), Tatak ng
Alipin(1975), Totoy Bato (1977), Asedillo (1981), Partida (1985), and Ang Probisyano (1996), among many others. The
mythical hero, on the other hand, was highlighted in Ang Alamat (1972), Ang Pagbabalik ng Lawin (1975) including
his Panday series (1980, 1981, 1982, 1984) and the action adventure films adapted from komiks materials such as Ang
Kampana sa Santa Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat (1975), among others. Poe was born
in Manila on August 20, 1939. After the death of his father, he dropped out of the University of the East in his sophomore
year to support his family. He was the second of six siblings. He married actress Susan Roces in a civil ceremony in
December 1968. He died on December 14, 2004.

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 KIDLAT TAHIMIK
National Artist for Film (2018)
Birthday: 3 October 1942
Kidlat Tahimik has continually invented himself through his cinema, and so his cinema is as singular as the man. His debut
film, Mababangong Bangungot (1977), was praised by critics and filmmakers from Europe, North America, Asia, and Africa
and is still considered by many as a pioneering postcolonial essay film. Tahimik’s intense independence as an artist and, at
the same time, the film itself called for Filipinos to actively live out their independence and not allow their culture to be
imperialized by the west. Kidlat’s “imperfect” film is an exemplar of what is worldwide known as “Third Cinema,” a cinema
that is critical of neocolonial exploitation and state oppression.
Notable Works:
• Balikbayan #1: Memories of Overdevelopment Redux (2015)
• Japanese Summers of a Filipino Fundoshi (1996)
• Why Is Yellow the Middle of the Rainbow? (1983-1994)
• Orbit 50: Letters to My 3 Sons (1990-1992)
• Turumba (1983)
• Who Invented the Yoyo? Who Invented the Moon Buggy? (1979)
• Mababangong Bangungot/Perfumed Nightmare (1977)

FERNANDO AMORSOLO
National Artist for Visual Arts
(May 30, 1892 – April 24, 1972)

Fernando C. Amorsolo the first National Artist awardee. He was

titled “Grand Old Man of Philippine Art” was bestowed on Amorsolo
when the Manila Hilton inaugurated its art center on January 23,
1969, with an exhibit of a selection of his works.
Among others, his major works include the following: Maiden in a
Stream(1921)-GSIS collection; El Ciego (1928)-Central Bank of
the Philippines collection; Dalagang Bukid (1936) – Club Filipino
collection; The Mestiza (1943) – National Museum of the
Philippines collection; Planting Rice (1946)-UCPB collection; Sunday Morning Going to Town (1958)-Ayala Museum
Collection.

HERNANDO R. OCAMPO
National Artist for Visual Arts (1991)
(April 28, 1911 – December 28, 1978)

He is a self-taught painter and was a leading member of the pre-war Thirteen Moderns, the group that charted the
course of modern art in the Philippines. His works provided an understanding and awareness of the harsh social realities in
the country immediately after the Second World War and contributed significantly to the rise of the nationalist spirit in the
post-war era.
Ocampo’s acknowledged masterpiece Genesis served as the basis of the curtain design of the Cultural Center of
the Philippines Main Theater. His other major works include Ina ng Balon, Calvary, Slum Dwellers, Nude with Candle
and Flower, Man and Carabao, Angel’s Kiss, Palayok at Kalan, Ancestors,Isda at Mangga, The Resurrection, Fifty-
three “Q”, Backdrop, Fiesta.

ABDULMARI ASIA IMAO

National Artist for Visual Arts (2006)
(January 14, 1936 – December 16, 2014)

A native of Sulu, Abdulmari Asia Imao is a sculptor, painter, photographer, ceramist, documentary filmmaker,
cultural researcher, writer, and articulator of Philippine Muslim art and culture. Through his works, the indigenous ukkil,
sarimanok and naga motifs have been popularized and instilled in the consciousness of the Filipino nation and other peoples
as original Filipino creations.
Industry Brass Mural, Philippine National Bank, San Fernando, La Union
Mural Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the Philippines, San Fernando, La Union
Sulu Warriors (statues of Panglima Unaid and Captain Abdurahim Imao), 6 ft., Sulu Provincial Capitol.

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 GUILLERMO TOLENTINO
National Artist for Sculpture (1973)
(July 24, 1890 – July 12, 1976)
Guillermo Estrella Tolentino is a product of the Revival period in Philippine art. The result was the UP
Oblation that became the symbol of freedom at the campus. Acknowledged as his masterpiece and completed in 1933, The
Bonifacio Monument in Caloocan stands as an enduring symbol of the Filipinos’ cry for freedom Other works include the
bronze figures of President Quezon at Quezon Memorial, life-size busts of Jose Rizal at UP and UE, marble statue
of Ramon Magsaysay in GSIS Building; granolithics of heroic statues representing education, medicine, forestry, veterinary
science, fine arts and music at UP. He also designed the gold and bronze medals for the Ramon Magsaysay Award and
did the seal of the Republic of the Philippines.
Portrait, Night Glows,Grand Finale, Cities of the Past, Imaginary Landscapes. His mural painting Black and
White is displayed in the lobby of the CCP’s Bulwagang Carlos V. Francisco (Little Theater). His sculpture of a stainless
steel cube is located in front of the Benguet Mining Corporation Building in Pasig.

LAURO “Larry” ALCALA

National Artist for Visual Arts (2018)
(18 August 1926-24 June 2002)

His comic strips spiced up the slices of Filipino lives with witty illustrations executed throughout his 56 years of
cartooning. He created over 500 characters and 20 comic strips in widely circulated publications. Alcala’s most iconic
work, Slice of Life, not only made for decades long of widely circulated images of Filipino everyday life, it also symbolically
became an experiential way for his followers to find a sense of self in the midst of an often cacophonic, raucous and at odds
environment that Filipinos found themselves amidst.
Notable Works:
Slice of Life Weekend 1980-1986
Asiong Aksaya, Daily Express, Tagalog Klasiks, 1976-1984
Smolbatteribols, Darna Komiks 1972-1984
Siopawman, Daily Express, 1972-1983, 2002
Kalabogesyons, Pilipino Komiks, 1966-1972
Congressman Kalog, Aliwan Komiks, 1966-1972
Baryo Pogspak, Holiday Komiks, 1966-1972
Loverboy, Redondo Komiks, 1964-1969
Mang Ambo, Weekly Graphic, 1963-1965
Kalabog en Bosyo, Pilipino Komiks, 1949-1983
Islaw Palitaw, 1946-1948

FRANCISCO ARCELLANA
National Artist for Literature (1990)
(September 6, 1916 – August 1, 2002)

Francisco Arcellana, writer, poet, essayist, critic, journalist, and teacher is one of the most important
progenitors of the modern Filipino short story in English. He pioneered the development of the short story as a
lyrical prose-poetic formA brilliant craftsman, his works are now an indispensable part of a tertiary-level-syllabi all
over the country. Arcellana’s published books are Selected Stories (1962), Poetry and Politics: The State of
Original Writing in English in the Philippines Today (1977), The Francisco Arcellana Sampler (1990).

EDITH L. TIEMPO
National Artist for Literature (1999)
(April 22, 1919 – August 21, 2011)
A poet, fictionist, teacher and literary critic, Edith L. Tiempo is one of the finest Filipino writers in English. Her works
are characterized by a remarkable fusion of style and substance, of craftsmanship and insight. Born on April 22, 1919 in
Bayombong, Nueva Vizcaya, her poems are intricate verbal transfigurations of significant experiences as revealed, in two
of her much-anthologized pieces, “The Little Marmoset” and “Bonsai”. As fictionist, Tiempo is as morally profound. Her
language has been marked as “descriptive but unburdened by scrupulous detailing.” She is an influential tradition in
Philippine literature in English. Together with her late husband, Edilberto K. Tiempo, she founded and directed the Silliman
National Writers Workshop in Dumaguete City, which has produced some of the country’s best writers.

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 BIENVENIDO LUMBERA
National Artist for Literature (2006)

Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he introduced to Tagalog literature what is now known
as Bagay poetry, a landmark aesthetic tendency that has helped to change the vernacular poetic tradition. He is the
author of the following works: Likhang Dila, Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang
Lunot at Manibalang, 2002; Sa Sariling Bayan, Apat na Dulang May Musika, 2004; “Agunyas sa Hacienda
Luisita,” Pakikiramay, 2004.
As a librettist for the Tales of the Manuvu and Rama Hari, he pioneered the creative fusion of fine arts and popular
imagination. As a scholar his major books include the following: Tagalog Poetry, 1570-1898: Tradition and Influences
in its Development; Philippine Literature: A History and Anthology, Revaluation: Essays on Philippine Literature,
Writing the Nation/Pag-akda ng Bansa.
VIRGILIO S. ALMARIO
National Artist for 2003

He is also known as Rio Alma, is a poet, literary historian, and critic, who has revived and reinvented traditional
Filipino poetic forms, even as he championed modernist poetics. In 34 years, he has published 12 books of poetry, which
include the seminal Makinasyon and Peregrinasyon, and the landmark trilogy Doktrinang Anakpawis, Mga Retrato at
Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works, his poetic voice soared from the lyrical to the satirical to the
epic, from the dramatic to the incantatory, in his often severe examination of the self, and the society.

RAMON L. MUZONES
National Artist for Literature (2018)
(20 March 1913-17 August 1992)

Ramon Muzones was a Hiligaynon poet, essayist, short story writer, critic, grammarian, editor, lexicographer, and
novelist who authored an unprecedented 61 completed novels. A number of these represent groundbreaking “firsts’ in
Hiligaynon literature such as the feminist Ang Bag-ong Maria Clara, the roman a clef Maambong Nga Sapat (Magnificent
Brute,1940), the comic Si Tamblot (1946), the politically satirical Si Tamblot Kandidato Man (Tamblot is Also a Candidate,
1949), the 125- installment longest serialized novel Dama de Noche (1982-84), etc. Hailed by his peers as the longest
reigning (1938-1972) among “the three kings of the Hiligaynon novel,” Muzones brought about its most radical changes
while ushering in modernism. With a literary career that spanned fifty-three years (1938-1990), his evolution covers the
whole history of the Hiligaynon novel from its rise in the 1940s to its decline in the 1970s. Muzones tried his hand at a variety
of types and proved adept in all as literary fashions. In the process, he not only extended with remarkable versatility and
inventiveness the scope and style of the Hiligaynon novel, but he also enriched Hiligaynon literature’s dramatis personae.
Notable Works:
Shri-Bishaya (1969)
Malala nga Gutom (Malignant Hunger,1965)
Babae Batuk sa Kalibutan (Woman Against the World,1959)
Ang Gugma sang Gugma Bayaran (Love with Love Be Paid, 1955)
Si Tamblot (1948)
Margosatubig (1946)

VIRGILIO S. ALMARIO
National Artist for 2003

He is also known as Rio Alma, is a poet, literary

historian, and critic, who has revived and reinvented traditional
Filipino poetic forms, even as he championed modernist
poetics. In 34 years, he has published 12 books of poetry, which
include the seminal Makinasyon and Peregrinasyon, and the
landmark trilogy Doktrinang Anakpawis, Mga Retrato at
Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works,
his poetic voice soared from the lyrical to the satirical to the epic,
from the dramatic to the incantatory, in his often severe
examination of the self, and the society.

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 RAMON L. MUZONES
National Artist for Literature (2018)
(20 March 1913-17 August 1992)

Ramon Muzones was a Hiligaynon poet, essayist, short story writer, critic, grammarian, editor, lexicographer, and
novelist who authored an unprecedented 61 completed novels. A number of these represent groundbreaking “firsts’ in
Hiligaynon literature such as the feminist Ang Bag-ong Maria Clara, the roman a clef Maambong Nga Sapat (Magnificent
Brute,1940), the comic Si Tamblot (1946), the politically satirical Si Tamblot Kandidato Man (Tamblot is Also a Candidate,
1949), the 125- installment longest serialized novel Dama de Noche (1982-84), etc. Hailed by his peers as the longest
reigning (1938-1972) among “the three kings of the Hiligaynon novel,” Muzones brought about its most radical changes
while ushering in modernism. With a literary career that spanned fifty-three years (1938-1990), his evolution covers the
whole history of the Hiligaynon novel from its rise in the 1940s to its decline in the 1970s. Muzones tried his hand at a variety
of types and proved adept in all as literary fashions. In the process, he not only extended with remarkable versatility and
inventiveness the scope and style of the Hiligaynon novel, but he also enriched Hiligaynon literature’s dramatis personae.
Notable Works:
Shri-Bishaya (1969)
Malala nga Gutom (Malignant Hunger,1965)
Babae Batuk sa Kalibutan (Woman Against the World,1959)
Ang Gugma sang Gugma Bayaran (Love with Love Be Paid, 1955)
Si Tamblot (1948)
Margosatubig (1946)

RAMON VALERA
National Artist for Fashion Design (2006)
(August 31, 1912 – May 25, 1972)
The contribution of Ramon Valera, whose family hails from Abra, lies in the tradition of excellence of his works,
and his commitment to his profession, performing his magical seminal innovations on the Philippine terno. Valera is said
to have given the country its visual icon to the world via the terno. In the early 40s, Valera produced a single piece of
clothing from a four-piece ensemble consisting of a blouse, skirt, overskirt, and long scarf. He unified the components of
the baro’t saya into a single dress with exaggerated bell sleeves, cinched at the waist, grazing the ankle, and zipped up at
the back. Using zipper in place of hooks was already a radical change for the country’s elite then. Dropping the panuelo–
the long-folded scarf hanging down the chest, thus serving as the Filipina’s gesture of modesty–from the entire ensemble
became a bigger shock for the women then. Valera constructed the terno’s butterfly sleeves, giving them a solid, built-in
but hidden support. To the world, the butterfly sleeves became the terno’s defining feature.

SALVADOR F. BERNAL
National Artist for Theater Design (2003)
(January 7, 1945 – October 26, 2011)
Salvador F. Bernal designed more than 300 productions
distinguished for their originality. Sensitive to the budget
limitations of local productions, he harnessed the design potential
of inexpensive local materials, pioneering or maximizing the use
of bamboo, raw abaca, and abaca fiber, hemp twine, rattan chain
links and gauze cacha.As the acknowledged guru of
contemporary Filipino theater design, Bernal shared his skills with
younger designers through his classes at the University of the
Philippines and the Ateneo de Manila University, and through the
programs he created for the CCP Production Design Center
which he himself conceptualized and organized.

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 CARLOS QUIRINO
National Artist for Historical Literature (1997)
(January 14, 1910 – May 20, 1999)
Carlos Quirino, a biographer, has the distinction of having
written one of the earliest biographies of Jose Rizal titled The
Great Malayan. Quirino’s books and articles span the whole
gamut of Philippine history and culture–from Bonifacio’s trial
to Aguinaldo’s biography, from Philippine cartography to
culinary arts, from cash crops to tycoons and president’s
lives, among so many subjects. In 1997, Pres. Fidel Ramos
created historical literature as a new category in the National
Artist Awards and Quirino was its first recipient. He made a
record earlier on when he became the very first Filipino
correspondent for the United Press Institute.His book Maps
and Views of Old Manila is considered as the best book on the subject. His other books include Quezon, Man of
Destiny, Magsaysay of the Philippines, Lives of the Philippine Presidents, Philippine Cartography, The History of
Philippine Sugar Industry, Filipino Heritage: The Making of a Nation, Filipinos at War: The Fight for Freedom from
Mactan to EDSA.

FRANCISCA REYES AQUINO

National Artist for Dance (1973)
(March 9, 1899 – November 21, 1983)

Francisca Reyes Aquino is acknowledged as the Folk-Dance

Pioneer. This Bulakeña began her research on folk dances in the
1920s making trips to remote barrios in Central and Northern
Luzon. Her research on the unrecorded forms of local celebration,
ritual, and sport resulted into a 1926 thesis titled “Philippine Folk
Dances and Games,” and arranged specifically for use by
teachers and playground instructors in public and private schools.
Her books include the following: Philippine National
Dances (1946); Gymnastics for Girls (1947); Fundamental
Dance Steps and Music (1948); Foreign Folk
Dances (1949); Dances for all Occasion (1950); Playground
Demonstration (1951); and Philippine Folk Dances, Volumes I to VI.

RAMON OBUSAN
National Artist for Dance (2006)
(June 16, 1938 – December 21, 2006)

Ramon Obusan was a dancer, choreographer, stage designer, and artistic director. He achieved phenomenal
success in Philippine dance and cultural work. He was also acknowledged as a researcher, archivist and documentary
filmmaker who broadened and deepened the Filipino understanding of his own cultural life and expressions. Through the
Ramon Obusan Folkloric Grop (ROFG), he had affected cultural and diplomatic exchanges using the multifarious aspects
and dimensions of the art of dance. mong the full-length productions he choreographed are the following: “Vamos a
Belen! Series” (1998-2004) Philippine Dances Tradition“Noon Po sa Amin,” tableaux of Philippine History in song,
drama and dance“Obra Maestra,” a collection of Ramon Obusan’s dance masterpieces“Unpublished Dances of the
Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration of Life. Saludo sa Sentenyal”“Glimpses of ASEAN,
Dances and Music of the ASEAN-Member Countries”“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in
Dance”

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 ALICE REYES
National Artist for Dance (2014)

She is a dancer, choreographer, teacher, and director, she has made a lasting impact on the development and
promotion of contemporary dance in the Philippines. Her dance legacy is evident in the dance companies, teachers,
choreographers, and the exciting Filipino modern dance repertoire of our country today. Her biggest contribution to
Philippine dance is the development of a distinctly Filipino modern dance idiom. Utilizing inherently Filipino materials and
subject matters expressed through a combination of movements and styles from Philippine indigenous dance, modern
dance, and classical ballet she has successfully created a contemporary dance language that is uniquely Filipino.
Her masterpiece Amada to the modern dance classic Itim-Asu, to her last major work Bayanihan
Remembered which she staged for Ballet Philippines Among her major works: Amada (1969), At a Maranaw
Gathering (1970) Itim-Asu (1971), Tales of the Manuvu (1977), Rama Hari (1980), Bayanihan Remembered (1987).

LEONOR OROSA GOQUINGCO

National Artist for Dance
(July 24, 1917 – July 15, 2005)
Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and “Dean of Filipino Performing Arts
Critics”, Leonor Orosa Goquingco, pioneer Filipino choreographer in balletic folkloric and Asian styles, produced for over
50 years highly original, first-of-a-kind choreographies, mostly to her own storylines.
These include “TREND: Return to Native,” “In a Javanese Garden,” “Sports,” “VINTA!,” “In a Concentration
Camp,” “The Magic Garden,” “The Clowns,” “Firebird,” “Noli Dance Suite,” “The Flagellant,” “The Creation…” Seen as
her most ambitious work is the dance epic “Filipinescas: Philippine Life, Legend and Lore.” With it, Orosa brought native
folk dance, mirroring Philippine culture from pagan to modern times, to its highest stage of development

LUCRECIA REYES-URTULA
National Artist for Dance (1988)
(June 29, 1929 – August 4, 1999)
A choreographer, dance educator and researcher, spent almost four decades in the discovery and study of
Philippine folk and ethnic dances. She applied her findings to project a new example of an ethnic dance culture that goes
beyond simple preservation and into creative growth. Over a period of thirty years, she had choreographed suites of
mountain dances, Spanish-influenced dances, Muslim pageants and festivals, regional variations and dances of the
countryside for the Bayanihan Philippine Dance Company of which she was the dance director. These dances have all
earned critical acclaim and rave reviews from audiences in their world tours in Americas, Europe, Asia, Australia and Africa.
Among the widely acclaimed dances she had staged were the following: Singkil, a Bayanihan signature number based on
a Maranao epic poem; Vinta, a dance honoring Filipino sailing prowess; Tagabili, a tale of tribal conflict; Pagdiwata, a four-
day harvest festival condensed into a six-minute breath-taking spectacle; Salidsid, a mountain wedding dance ; Idaw,
Banga and Aires de Verbena.

ANTONINO BUENAVENTURA
National Artist for Music (1988)
(May 4, 1904 – January 25, 1996)
In 1935, Buenaventura joined Francisca Reyes-Aquino to
conduct research on folksongs and dances that led to its
popularization. Buenaventura composed songs,
compositions, for solo instruments as well as symphonic
and orchestral works based on the folksongs of various
Philippine ethnic groups. He was also a conductor and
restored the Philippine Army Band to its former prestige as
one of the finest military bands in the world making it “the
only band that can sound like a symphony orchestra”. This
once sickly boy who played the clarinet proficiently has
written several marches such as the “Triumphal March,” “Echoes of the Past,” “History Fantasy,” Second Symphony
in E-flat, “Echoes from the Philippines,” “Ode to Freedom.” His orchestral music compositions include Concert
Overture, Prelude and Fugue in G Minor, Philippines Triumphant, Mindanao Sketches, Symphony in C Major, among
others.

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 JOSE MACEDA
National Artist for Music (1997)
(January 31, 1917 – May 5, 2004)
Jose Maceda, composer, musicologist, teacher and performer, explored the musicality of the Filipino deeply.
Maceda embarked on a life-long dedication to the understanding and popularization of Filipino traditional music. He wrote
papers that enlightened scholars, both Filipino and foreign, about the nature of Philippine traditional and ethnic music.
Maceda’s experimentation also freed Filipino musical expression from a strictly Eurocentric mold.Usually performed as a
communal ritual, his compositions like Ugma-ugma(1963), Pagsamba (1968), and Udlot-udlot (1975), are monuments to
his unflagging commitment to Philippine music. Other major works include Agungan, Kubing, Pagsamba, Ugnayan,
Ading, Aroding, Siasid, Suling-suling.
LUCRECIA R. KASILAG
National Artist for Music
August 31, 1918 – August, 2008
An educator, composer, performing artist, administrator, and cultural entrepreneur of national and international
caliber, had involved herself wholly in sharpening the Filipino audience’s appreciation of music.
She dared to incorporate indigenous Filipino instruments in orchestral productions, such as the prize-winning
“Toccata for Percussions and Winds, Divertissement and Concertante,” and the scores of the Filiasiana, Misang
Pilipino, and De Profundis. “Tita King”, as she was fondly called, worked closely as music director with colleagues Lucresia
Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr. Leticia P. de Guzman and made Bayanihan Philippine Dance
Company one of the premier artistic and cultural groups in the country. Her orchestral music includes Love Songs, Legend
of the Sarimanok, Ang Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber music like Awit ng mga Awit
Psalms, Fantaisie on a 4-Note Theme, and East Meets Jazz Ethnika.

ERNANI J. CUENCO
National Artist for Music (1999)
(May 10, 1936 – June 11, 1988)
Ernani J. Cuenco is a seasoned musician born on May 10, 1936 in Malolos, Bulacan. A composer, film scorer,
musical director, and music teacher, he wrote an outstanding and memorable body of work that resonates with the Filipino
sense of musicality and which embody an ingenious voice that raises the aesthetic dimensions of contemporary Filipino
music. Cuenco played with the Filipino Youth Symphony Orchestra and the Manila Symphony Orchestra from 1960 to 1968,
and the Manila Chamber Soloists from 1966 to 1970. He completed a music degree in piano and cello from the University
of Santo Tomas where he also taught for decades until his death in 1988. His songs and ballads include “Nahan, Kahit na
Magtiis,” and “Diligin Mo ng Hamog ang Uhaw na Lupa,” “Pilipinas,” “Inang Bayan,” “Isang Dalangin,” “Kalesa,” “Bato
sa Buhangin” and “Gaano Kita Kamahal.” The latter song shows how Cuenco has enriched the Filipino love ballad by
adding the elements of kundiman to it.
RYAN CAYABYAB
National Artist for Music (2018)
Birthday: 4 May 1954
Mr. C is the most accomplished composer, arranger, and musical director in the Philippine music industry since this
bloomed beginning 1970s. His learned, skillful, and versatile musical style spans a wide range of genres: from conservatory
or art compositions such as concert religious music, symphonic work, art song, opera, and concerto to mainstream popular
idioms in the music industry and in live contemporary multimedia shows (musical theater, dance, and film).
Notable Works:
• Rama-Hari (Two-act musical ballet, 1980)
• Katy! The Musical (Two-act musical, 1988)
• Smokey Mountain (Pop CD album, 1990)
• One Christmas (Christmas Album, 1993)
• Noli Me Tangere (Tele-sine musical, 1995)
• Spoliarium (Three-act opera, 2003)
• Ignacio Of Loyola (Film Score, 2016)
• Larawan: The Musical (Full-length musical film, 2017)
• Da Coconut Nut
• Kay Ganda Ng Ating Musika
• Nais Ko
• Paraiso
• Kahit Ika’y Panaginip Lang
• Kailan
• Tuwing Umuulan at Kapiling Ka

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 DAISY H. AVELLANA
National Artist for Theater (1999)
(January 26, 1917 – May 12, 2013)
Daisy H. Avellana, is an actor, director, and writer. Born in
Roxas City, Capiz on January 26, 1917, she elevated legitimate
theater and dramatic arts to a new level of excellence by staging
and performing in breakthrough productions of classic Filipino
and foreign plays and by encouraging the establishment of
performing groups and the professionalization of Filipino
theater. Together with her husband, National Artist Lamberto
Avellana and other artists, she co-founded the Barangay
Theatre Guild in 1939 which paved the way for the
popularization of theatre and dramatic arts in the country,
utilizing radio and television.

ROLANDO S. TINIO
National Artist for Theater and Literature (1997)
(March 5, 1937 – July 7, 1997)

Rolando S. Tinio, playwright, thespian, poet, teacher, critic, and translator marked his career with prolific artistic
productions. Tinio’s chief distinction is as a stage director whose original insights into the scripts he handled brought forth
production’s notable for their visual impact and intellectual cogency. Subsequently, after staging productions for the Ateneo
Experimental Theater (its organizer and administrator as well), he took on Teatro Pilipino. It was to Teatro Pilipino which he
left a considerable amount of work reviving traditional Filipino drama by re-staging old theater forms like the sarsuela and
opening a treasure-house of contemporary Western drama. It was the excellence and beauty of his practice that claimed
for theater a place among the arts in the Philippines in the 1960s. Aside from his collections of poetry (Sitsit sa Kuliglig,
Dunung – Dunungan, Kristal na Uniberso, A Trick of Mirrors) among his works were the following: film scripts for Now and
Forever, Gamitin Mo Ako, Bayad Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the komedya
Orosman at Zafira; and Larawan, the musical.

WILFRIDO MA. GUERRERO

National Artist for Theater (1997)
(January 22, 1910 – April 28, 1995)

Wilfrido Ma. Guerrero is a teacher and theater artist whose 35 years of devoted professorship has produced the
most sterling luminaries in Philippine performing arts today: Behn Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee
Gamboa, etc. In 1947, he was appointed as UP Dramatic Club director and served for 16 years. As founder and artistic
director of the UP Mobile Theater, he pioneered the concept of theater campus tour and delivered no less than 2,500
performances in a span of 19 committed years of service. By bringing theatre to the countryside, Guerrero made it possible
for students and audiences, in general, to experience the basic grammar of staging and acting in familiar and friendly ways
through his plays that humorously reflect the behavior of the Filipino. His plays include Half an Hour in a Convent, Wanted:
A Chaperon, Forever, Condemned, Perhaps, In Unity, Deep in My Heart, Three Rats, Our Strange Ways, The
Forsaken House, Frustrations.

HONORATA “ATANG” DELA RAMA

National Artist for Theater and Music (1987)
(January 11, 1902 – July 11, 1991)

Honorata “Atang” Dela Rama was formally honored as the Queen of Kundiman in 1979, then already 74 years
old singing the same song (“Nabasag na Banga”) that she sang as a 15-year old girl in the sarsuela’s Dalagang Bukid.
Atang became the very first actress in the very first locally produced Filipino film when she essayed the same role in the
Sarsuela’s film version. As early as age seven, Atang was already being cast in Spanish zarzuelas such as Mascota, Sueño
de un Vals, and Marina. She counts the role though of an orphan in Pangarap ni Rosa as her most rewarding and
satisfying role that she played with realism, the stage sparkling with silver coins tossed by a teary-eyed audience. Atang
passionately believes that the Sarsuela and the kundiman expresses best the Filipino soul, and even performed kundiman
and other Filipino songs for the Aetas or Negritos of Zambales and the Sierra Madre, the Bagobos of Davao and other
Lumad of Mindanao.

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WHAT’S MORE
Activity 2: Be Influenced
Choose among the Filipino artists at least three (3) mentioned above and explain how they influenced you as a person.
Create a sample of their work: (Teacher will make rubrics as a tool for scoring)
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What I have Learned

Summary
1. Traditional art is based on indigenous people’s cultures that are largely honed by oral tradition. It finds deep
affinities with nature, place, society, ritual, and spirituality and everyday life.
2. The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN ( National Living Treasures). It is an
award given to recognize the outstanding work of the artists in the Philippines
3. There are mechanics and guidelines to become a GAMABA.
4. There are thirteen (13) GAMABA awardees recognized by the Philippine Commission of Culture and the Arts.
5. Factors Affecting the Traditional Artist’s Production Process
a. Christianization
b. Mining and infrastructure projects
c. Christianization
d. Militarization
6. National Artists Award is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions; in particular, Music, Dance, Theater,
Visual Arts, Literature, Film, Broadcast Arts, and Architecture and Allied Arts. The request is mutually directed
by the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP)
and gave by the President of the Philippines upon suggestion by the two organizations.

What I Can Do
Activity 4: An Ideal Artist.
(Teacher will make a rubric as a tool for scoring)
Think about how you can represent an ideal artist. You may:
1. Create a drawing / painting / soft sculpture (using commercial clay, textiles, and cotton, paper, etc.
2. Make an avatar using a computer program or application.
3. Perform a video monologue.

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Assessment

Post Test

Multiple Choice. Select the letter of the best answer from among the given choices.

1. A Tinalak weaver who have produced creations which remain faithful to the T’boli tradition as manifested in the
complexity of her design, fineness of workmanship and quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. Lang Dulay D. Salinta Monon

2. It is the highest national acknowledgment given to Filipino people who have made noteworthy commitments to the
improvement of Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award

3. It is an award given to recognize the outstanding work of the artists in the Philippines to promote a genuine
appreciation of traditional craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award

4. A director for theater and film, has the distinction of being called “The Boy Wonder of Philippine Movies”
A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
B. José María V. Zaragoza D. Manuel Conde

5. The “Grand Old Man of Philippine Art”

A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
B. Fernando C. Amorsolo D. F. Sionil Jose

6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully demonstrating the creative and
expressive aspects of the Bagobo abaca ikat weaving.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Masino Intaray

7. She is known as the Queen of Kundiman.

A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana, D. Haja Amina Appi

8. Asian president of the United Nations General Assembly who multifaceted career spanned 50 years of public
service as an educator, soldier, university president, journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo

9. A screenwriter, film director and producer, the quintessential Filipino filmmaker whose life is devoted to the art and
commerce of cinema spanning three generations of filmmakers
A. Eddie Romero C. Ildefonso , P. Santos
B. Darhata Sawabi D. Pablo S. Antonio

10. A GAMABA awardee who popularized the the tabungaw hat.

A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Teofilo Garcia

-----End of MODULE 4-----

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