Gawad sa

Manlilikha
ng Bayan
(GAMABA)
 LIST OF
AWARDEES
GINAW BILOG (+ 2003)
Poet
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
1993

Ginaw Bilog, Hanunoo Mangyan from

Mansalay, Mindoro, grew up in such a
cultural environment. Already steeped in the
wisdom that the ambahan is a key to the
understanding of the Mangyan soul, Ginaw
took it upon himself to continually keep
scores of ambahan poetry recorded, not only
on bamboo tubes but on old, dog-eared
notebooks passed on to him by friends.
 MASINO INTARAY (+ 2013)
Musician and Storyteller
Pala’wan
Brookes Point, Palawan
1993
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. Masino is not only well-versed in the
instruments and traditions of the basal, kulilal and bagit but also
plays the aroding (mouth harp) and babarak (ring flute) and
above all is a prolific and pre-eminent epic chanter and story
teller.
Further highlighting the intensely poetic and subtle harmony of human beings with
each other and with nature among the palawan are the kulilal and bagit traditions. The
kulilal is a highly lyrical poem expressing passionate love sang with the
accompaniment of the kusyapi (two-stringed lute), played by a man, and pagang
(bamboo zither), played by a woman. The bagit, also played on the kusyapi, is strictly
instrumental music depicting the rhythms, movements and sounds of nature, birds,
monkeys, snakes, chirping of insects, rustling of leaves, the elements and the like.
SAMAON SULAIMAN (+ 2011)
Musician
Magindanao
Mama sa Pano, Maguindanao
1993
Samaon Sulaiman 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.
Learning to play the kutyapi from his uncle when he was about 13
years old, he has since, at 35 become the most acclaimed kutyapi
master and teacher of his instrument in Libutan and other
barangays of Maganoy town, deeply influencing the other
acknowledged experts in kutyapi in the area, such as Esmael
Ahmad, Bitul Sulaiman, Nguda Latip, Ali Ahmad and Tukal
Nanalon.
 LANG DULAY (+2015)
Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998
Using abaca fibers as fine as hair, Lang Dulay speaks more eloquently than
words can. Images from the distant past of her people, the Tbolis, are
recreated by her nimble hands – the crocodiles, butterflies, and flowers, along
with mountains and streams, of Lake Sebu, South Cotabato, where she and
her ancestors were born – fill the fabric with their longing to be remembered.
Through her weaving, Lang Dulay does what she can to keep her people’s
traditions alive.

There are a few of them left, the traditional weavers of the tnalak or Tboli cloth. It
is not hard to see why: weaving tnalak is a tedious process that begins with
stripping the stem of the abaca plant to get the fibers, to coaxing even finer fibers
for the textile, then drying the threads and tying each strand by hand. Afterward,
there is the delicate task of setting the strands on the “bed-tying” frame made of
bamboo, with an eye towards deciding which strands should be tied to resist the
dye. It is the bud or tying of the abaca fibers that define the design.
SALINTA MONON (+ 2009)
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998
Salinta has built a solid reputation for the quality of her work
and the intricacies of her designs. There is a continuing demand
for her fabrics. She has reached the stage where she is able to
set her own price, but she admits to a nagging sense of being
underpaid nevertheless, considering the time she puts into her
work. It takes her three to four months to finish a fabric 3.5 m x
42 cm in length, or one abaca tube skirt per month.
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. Now, she wears her traditional
clothes only on special occasions. Of the many designs she
weaves, her favorite is the binuwaya (crocodile), which is one
of the hardest to make.
 ALONZO SACLAG
Musician and Dancer, Kalinga
Lubuagan, Kalinga
2000
Alonzo Saclag is 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. As a young boy in Lubugan, Alonzo Saclag found
endless fascination in the sights and sounds of day-to-day
village life and ritual. According to his son, he received no
instructions, formal or otherwise, in the performing arts. Yet
he mastered not only the Kalinga musical instruments but
also the dance patterns and movements associated with his
people’s rituals.
He is the founder of Kalinga Budong Dance Troupe.
 FEDERICO CABALLERO/ NONG PEDRING
Epic Chanter
Sulod-Bukidnon
Calinog, Iloilo
2000
was a Filipino chanter of Philippine epic poetry. Caballero was a recipient of the
National Living Treasures Award.

As a culture bearer, he painstakingly persevered in the

documentation of the 10 Panay Bukidnon epics which were
rendered in a language that, though no longer spoken, is
related to Kinaray-a. He worked with researchers to piece
together the epics of Humadapnon and Labaw Donggon. He
also encouraged the elders in the community to learn how to
read and write so that they can document and preserve their
indigenous traditions and beliefs. He sought help from the
Bureau of Non-formal Education as he traveled to different
barangays in this endeavor.
 UWANG AHADAS
Musician
Yakan
Lamitan, Basilan
2000
Music was to become his constant companion. Uwang Ahadas is a Yakan, a
people to whom instrumental music is of much significance, connected as it is
with both the agricultural cycle and the social realm. One old agricultural
tradition involves the kwintangan kayu, an instrument consisting of five
wooden logs hung horizontally, from the shortest to the longest, with the
shortest being nearest the ground. After the planting of the rice, an unroofed
platform is built high in the branches of a tree. Then the kwintangan kayu is
played to serenade the palay, as a lover woos his beloved. Its resonance is
believed to gently caress the plants, rousing them from their deep sleep,
encouraging them to grow and yield more fruit.
From the gabbang, a bamboo xylophone, his skills gradually allowed him to progress to the agung,
the kwintangan kayu, and later the other instruments. Even musical tradition failed to be a deterrent to
his will. Or perhaps it only served to fuel his determination to demonstrate his gift. Yakan tradition sets
the kwintangan as a woman’s instrument and the agung, a man’s. His genius and his resolve,
however, broke through this tradition. By the age of twenty, he had mastered the most important of the
Yakan musical instruments, the kwintangan among them.
 DARHATA SAWABI (+ 2005)
Textile Weaver
Tausug
Parang, Sulu
2004

In Barangay Parang, in the island of Jolo, Sulu province, women

weavers are hard at work weaving the pis syabit, the traditional
cloth tapestry worn as a head covering by the Tausug of Jolo.
“This is what we’ve grown up with,” say the weavers. “It is
something we’ve learned from our mothers.” Darhata Sawabi is
one of those who took the art of pis syabit making to heart.

Pis syabit weaving is a difficult art. Preparing the warp alone already takes three
days. It is a very mechanical task, consisting of stringing black and red threads
across a banana and bamboo frame to form the base of the tapestry.
 EDUARDO MUTUC
Metalsmith
Kapampangan
Apalit Pampanga
2004
Eduardo Mutuc is an artist who has dedicated his life to creating
religious and secular art in silver, bronze, and wood. His
intricately detailed retablos, mirrors, altars, and carosas are in
churches and private collections. A number of these works are
quite large, some exceeding forty feet, while some are very small
and feature very fine and delicate craftsmanship.
He discovered his talents in sculpture and metalwork quite late.
He was 29 when he decided to supplement his income from
farming for the relatively more secure job of woodcarving. He
spent his first year as an apprentice to carvers of household
furniture.
Things began to change after his fifth or sixth year as a furniture maker when a
colleague taught him the art of silver plating. This technique is often used to emulate
gold and silver leaf in the decoration of saints and religious screens found in colonial
churches.
 HAJA AMINA APPI (+ 2013)
Mat Weaver
Sama
Tandubas, Tawi-Tawi
2004
Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi, 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. Her
unique multi-colored mats are protected by a plain white outer
mat that serves as the mat’s backing. Her functional and artistic
creations take up to three months to make.
Haja Amina is respected throughout her community for her unique designs, the
straightness of her edging (tabig) and the fineness of her sasa and kima-kima. Her
hands are thick and callused from years of harvesting, stained by dye. But her hands
are still steady, and her eye for color still unerring. She feels pride in the fact that
people often borrow her mats to learn from her and copy her designs.
TEOFILO GARCIA
Casque Maker
Ilocano
San Quintin, Abra
2012

Teofilo Garcia leaves his farm in San Quintin, Abra, he

makes it a point to wear a tabungaw. People in the
nearby towns of the province, in neighboring Sta. Maria
and Vigan in Ilocos Sur, and as far as Laoag in Ilocos
Norte sit up and take notice of his unique, functional and
elegant headpiece that shields him from the rain and the
sun. 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
Textile Weaver
Ilocano
Pinili, Ilocos Norte
2012

Magdalena a master weaver has taught herself the

traditional patterns of binakol, inuritan (geometric
design), kusikos (spiral forms similar to oranges),
and sinan-sabong (flowers), which is the most
challenging pattern. She has also taught herself to
recreate designs, which is a useful skill particularly
when she is only able to see the design but does not
have a sample of how it is done.
 AMBALANG AUSALIN
Textile Weaver, 2016
(born 4 March 1943)

Apuh Ambalang, 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. She possesses the complex
knowledge of the entire weaving process, aware at the same time of the cultural
significance of each textile design or category. As a young girl, her mother, who was the
best weaver of her time, mentored Ambalang. She practiced with strips of lugus and
coconut leaves (mat-making material). Having learned from her mother the expert,
Ambalang, using the backstrap loom, started to weave all designs of the bunga
sama category, then took on the sinalu’an and the seputangan, two of the most
intricate categories in Yakan weaving. They are the most intricate since the former requires
the use of the minutest details of diamond or rhomboid designs, and the latter demands
balance and the filling up of all the spaces on the warp with pussuk
labung and dinglu or mata-mata patterns.
The Yakan of Basilan are known to be among the finest weavers in the Southern Philippines. They create eye-
catching and colorful textiles with tiny motifs, and possess techniques wielded only by seasoned weavers
accomplishing designs restricted for utilization within a certain weaving category only.
ESTELITA BANTILAN
Mat Weaver, 2016
(born 17 October 1940)

Like all mat weavers, Estelita’s entire body is her “loom.” The thin
strips of the pandanus romblon (Pandanus copelandii merr.
Bariu) emerge matrixed through deft fingers performing a personal
rhythm, the beat seemingly guided by her eyes. The unwoven strips
are held taut at the other end of her body, as toes curl and close
around, not only these strips but, as it were, the abstraction that
other people call design. The arc of her torso determines the
dexterity of feet and toes. Hand/eye coordination transpires within a
frame of milliseconds.
Mats are woven with mental powers deployed to realize the
mathematical possibilities of color and crossover movement,
synaptically (nearly simultaneously) linked to foot and handwork —
the operations mediated by or through the eyes — and no muscle,
no thought, no strand nor strip, no inner sentiment, and no bodily
posture can be outside an inaudible rhythm.
 YABING MASALON DULO
Ikat Weaver, 2016
(born 8 August 1914)

Fu Yabing Masalon Dulo (August 8, 1914 – January 26, 2021),

commonly referred to as Fu Yabing, was a Filipino textile master
weaver and dyer, credited with preserving the Blaan
traditional mabal tabih art of ikat weaving and dyeing. At the time
of her death, she was one of only two surviving master designers
of the mabal tabih art of the indigenous Blaan people of southern
Mindanao in the Philippines

She was named a recipient of the National Living Treasure Award in 2016 but it was
formally awarded to her in October 2018. To preserve the Blaan weaving tradition, Fu
Yabing taught the craft of tabih to her only daughter Lamina Dulo Gulili and women in
her community. She was also given the honorific "Fu," as a Blaan elder. She retired
from weaving in 2018 after a motorcycle accident. Fu Yabing died in her sleep on
January 26, 2021, at the age of 106.
 SAMPORONIA PAGSAC MADANLO
Textile Weaver
Mandaya
PM Sobrecarey, Caraga, Davao Oriental
2023

Samporonia Madanlo is a highly esteemed Mandaya virtuoso,

renowned for her exceptional skills in the art of “Dagmay”
weaving. As one of the few remaining gi-pandayan or master
weavers, she possesses an unparalleled expertise in every aspect of
the art, from the meticulous harvesting of abaca to the intricate
execution of the most complex patterns. Through her unwavering
dedication and commitment, Samporonia’s creations have been
recognized for their remarkable quality, often compared to the works
of past master weavers.
Beyond her mastery of Dagmay weaving, Samporonia embodies the true essence of
this traditional art form, which serves as a vessel for the indigenous knowledge system
and practices of the Mandaya community. As a Baylan, she has delved into other
traditional and innovative Mandaya arts, enriching her repertoire of skills. She
generously imparts her wisdom and expertise to her family and the wider community,
earning widespread respect and admiration for her contributions.
ROSIE GODWINO SULA
Chanter
T’boli
Poblacion, Lake Sebu, South Cotabato
2023

Sula is a Tboli woman from Lake Sebu, South Cotabato. She is

a chanter who performs the Tboli practice of lingon,
including lingon hololok or epic chants such as "Tudbulul". She
came from the Godwino clan which is reputed in their
community in the field of music, learning chanting and
storytelling from her father at eight years old. Sula is the founder
of Libun Hulung Matul and Gono Hofo Heritage Center and
is also a teacher. The
National Commission for Culture and the Arts conferred Sula
the Gawad sa Manlilikha ng Bayan award in December 2023.
She is the second T'nalak weaver to receive the recognition
after Lang Dulay.
MARIFE RAVIDAS GANAHON
Mat Weaver
Higaonon
Pat-pat, Malaybalay City, Bukidnon
2023
Marife, a “manglalala ho ikam” (mat weaver), is
revered in her community for her name is synonymous
to “Ikam Sodsod”, which she has refined after years of
weaving. Marife who started learning ikam at 10 years
old has accomplished the mastery of ikam artistry:
determined and meticulous all throughout the process
of creating ikam. Her ikam is refined through her
continuous practice and openness to always strive for
excellence.
Marife’s mats serve as symbolic representations of
profound memory, bridging and paying tribute to
numerous generations of manglalala. Presently, she
diligently seeks to discover the roots of this art form,
involving and empowering the young women in her
HADJA SAKINUR-AIN MUGONG DELASAS
Dancer
Sama
Tubig-Boh, Bongao, Tawi-Tawi
2023
Dancing at a young age, Hadja Sakinur-ain has mastered
the art of “Igal”. Igal is a Sama term for “dance” and is
tantamount to the Pangalay of the Tausug, the Pamansak
and Gandingan of the Yakan. According to Hadja Sakinur-
ain, “It happens right when the dancer is one with her
soul and spirit, as guided by the traditional “tagunggu”
music.
Regarded by her community as the Danda Pandey Ngigal
(Igal expert), she learned so much of her dance skills
from her mother who taught her gestures mimicking the
ocean water, fishes, and birds. She is known for
spreading her expertise in the art performances where
she emphasizes the need to keep all elements of the
AMPARO BALANSI MABANAG
Embroiderer
Ga’dang
Poblacion, Paracelis, Mountain Province
2023
Afu Amparo, a highly esteemed gumabukat (beadwork/accessory
maker) and gumasinnun (weaver), demonstrates her exceptional
skill and artistry through her creation of Ga’dang traditional
garments of unmatched excellence. Having accumulated years of
expertise, her meticulous beadwork, expert embroidery, and
precise weaving of Ga’dang textiles serve as a testament to her
fervor, and devotion in producing outstanding works for her
community members, subsequently safeguarding the continuity of
the Ga’dang cultural heritage.
In the heart of the Cordillera Region, Afu Amparo emerges as a
beacon of tradition, representing the rich cultural heritage of the
Ga’dang people. With her exceptional skills, unwavering devotion,
profound knowledge and respect for tradition, she has carved her
name into the chronicles of the past. Through her artistry and
unwavering commitment, she guarantees the perpetual prosperity
of the Ga’dang legacy, surpassing the boundaries of time and
BARBARA KIBED OFONG
Textile Weaver
T’boli
Lamdalag, Lake Sebu, South Cotabato
2023
Continuously producing the highest possible quality of
T’nalak for more than 50 years, Bo’i Barbara’s remarkable
artistry and knowledge is spiritually guided through her
“ties” with Fu Dalu, the guardian spirit of abaca. As a
dreamweaver, she has artistically expressed T’boli
cosmology, human relationships, and reverence to natural
surroundings through more than 90 patterns in her
weaving while incorporating the use of dyes derived from
nature.
Bo’i Barbara’s extraordinary visual memory and mastery
of the abaca, expressed in each singular and complex
composition in T’nalak, carries with it a profound
connection to their T’boli homeland Lake Sebu, and their
 BUNDOS BANSIL FARA
Brass Caster, South Cotabato
2023
Tboli
Poblacion, Lake Sebu

Bundos Fara has dedicated his life to

honing the art of “Temwel” or brass
casting, a skill bestowed upon him by
Ginton, the deity of metal-work.
Throughout his existence, Bundos has
diligently practiced this art form,
combining traditional techniques with his
own creative flair to produce a range of
exceptional pieces. His community
recognizes him for his ability to create
both traditional designs and innovative
 ADELITA ROMUALDO BAGCAL
Chanter and Poet
Ilocano
4 Marcos, Banna, Ilocos Norte
2023

Adelita Bagcal has dedicated herself to safeguarding

and promoting the Ilocano oral tradition known as
“Dallot”, as well as other oral traditions, from a
young age. Displaying remarkable talent and passion,
Adelita has become the sole remaining expert in this
art form, which revolves around courtship and
marriage. Performing Dallot during various social
gatherings, she showcases her mastery of the Ilocano
language and the intricate figures of speech required
to deliver
DALLOT- In Ilokano, a language a Philippines,
spoken in truly remarkable
dallot is a piece.
type of oral tradition that
involves singing and answering in verses. Dallot is a boy or girl names that means warrior,
innovative or handsome.
ABING TAWIDE COGUIT
Embroiderer
Agusan Manobo
Kalampayan, La Paz, Agusan del Sur
2023
One of the last and finest manunuyam among the Agusan
Manobo people, Bae Abina utilizes her upbringing in her
“Suyam” – the embroidery tradition of the Agusan
Manobo. Following the tradition, Abina was chosen by the
spirit of Tuma, and granted her the blessing to become a
matugo (a creative expert) of the traditional tools and
indigenous knowledge for her to conjure works of
extraordinary quality with austere patterning and dense
significations, featuring Agusan Manobo iconography
derived from their flora and fauna which is adorned by
almost every significant people in her community.
To her people, Abina stands as an emblem of tradition
and identity having inspired countless traditional artists.
Her work not only fills the community with pride, but also
 ACTIVITY:
You have already discovered the famous GAMABA awardees and their work 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
ASSIGNMENT:
CREATE A STORY:
Create a comic strip or a story book. Choose
form the above factors that affects the
traditional artists 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).