NATIONAL ARTIST AWARDEES

Fernando Cueto Amorsolo (May 30, 1892 – April 26, 1972)

is one of the most important artists in the history of painting

in the Philippines. Amorsolo was a portraitist and painter of

rural Philippine landscapes. He is popularly known for his

craftsmanship and mastery in the use of light. Born in

Paco, Manila, he earned a degree from the Liceo de Manila

Art School in 1909.

Biography

Early life and education

Fernando Amorsolo was born on May 30, 1892 in Paco, Manila to Pedro

Amorsolo, a bookkeeper, and Bonifacia Cueto. Amorsolo spent his childhood in Daet,

Camarines Norte, where he studied in a public school and was tutored at home in

Spanish reading and writing. After his father’s death, Amorsolo and his family

moved to Manila to live with Don Fabian de la Rosa, his mother’s cousin and a

Philippine painter. At the age of 13, Amorsolo became an apprentice to De la Rosa, who

would eventually become the advocate and guide to Amorsolo’s painting career. During

this time, Amorsolo’s mother embroidered to earn money, while Amorsolo helped by

selling watercolor postcards to a local bookstore for 10 centavos each. Amorsolo’s

brother, Pablo, was also a painter. Amorsolo’s first success as a young painter came in

1908, when his painting Levendo Periodico took second place at the Bazar Escolta, a
contest organized by the Asociacion International de Artistas. Between 1909 and 1914,

Amorsolo enrolled at the Art School of the Liceo de Manila, where he earned honors for

his paintings and drawings.

After graduating from the Liceo, he entered the University of the Philippines’

School of Fine Arts, where Dela Rosa worked at the time. During college, Fernando

Amorsolo’s primary influences were the Spanish court painter Diego Velazquez, John

Singer Sargent, Anders Zorn, JoaquÃn Sorolla y Bastida, Claude Monet, Pierre-

Auguste Renoir, and Ignacio Zuloaga. Amorsolo’s most notable work as a student at the

Liceo was his painting of a young man and a young woman in a garden, which won him

the first prize in the art school exhibition during his graduation year. To make money

during school, Amorsolo joined competitions and did illustrations for various Philippine

publications, including Severino Reyes’ first novel in Tagalog, Parusa ng

Diyos (God’s Punishment), and Iñigo Ed. Regalado’s Madaling Araw (Dawn). He

also illustrated for the religious Pasion books. Amorsolo graduated with medals from the

University of the Philippines in 1914.

Career

After graduating from the University of the Phillipines, Amorsolo worked as a

draftsman for the Bureau of Public Works, as a chief artist at the Pacific Commercial

Company, and as a part-time instructor at the University of the Philippines (where he

would work for 38 years). His first important painting the 1922 Rice Planting (1922),

which appeared on posters and tourist brochures, becoming one of the most popular

images of the Commonwealth era. Beginning in the 1930s, Amorsolo’s work was

exhibited widely both in the Philippines and abroad. His optimistic, pastoral images set
the tone for Phillipine painting before World War II. Except for his darker World War II-

era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.

Personal life

During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he

married Salud Jorge, with whom he had six children. After Jorge’s death in 1931,

Amorsolo married Maria del Carmen Zaragoza, with whom he had eight more children.

Among her daughters are Sylvia Amorsolo Lazo and Luz Amorsolo. Five of

Amorsolo’s children became painters themselves. Amorsolo was a close friend to

the Philippine sculptor Guillermo Tolentino, the creator of the Caloocan City monument

for Philippine hero Andres Bonifacio.

Style and Techniques

Women and landscapes

Amorsolo is best known for his idealized paintings of women from the

countryside and his illuminated landscapes, which often portrayed traditional Filipino

customs, culture, fiestas and occupations. His pastoral works presented “an imagined

sense of nationhood in counterpoint to American colonial rule” and were important to

the formation of Filipino national identity.

Sketches

Amorsolo was an incessant sketch artist, often drawing sketches at his home, at

Luneta Park, and in the countryside. He drew the people he saw around him, from

Filipino farmers to citydwellers coping with the the Japanese occupation. Amorsolo’s

impressionistic tendencies, which may be seen in his paintings as well, were at their
height in his sketches. His figures were not completely finished but were mere

“suggestions” of the image.

World War II-era works

After the onset of World War II, Amorsolo’s typical pastoral scenes were replaced

by the depictions of a war-torn nation. During the Japanese occupation of the

Philippines during World War II, Amorsolo spent his days at his home near the

Japanese garrison, where he sketched war scenes from the house’s windows or

rooftop.

Legacy

The volume of paintings, sketches and studies of Amorsolo is believed to have

reached more than 10,000 pieces. Amorsolo was an important influence on

contemporary Filipino art and artists, even beyond the so-called “Amorsolo school.”

Amorsolo’s influence can be seen in many landscape paintings by Filipino artists,

including early landscape paintings by abstract painter Federico Aguilar Alcuaz. In

2003, Amorsolo’s children founded the Fernando C. Amorsolo Art Foundation, which is

dedicated to preserving Fernando Amorsolo’s legacy, promoting his style and

vision, and preserving a national heritage through the conservation and promotion of his

works.

Major works

His major works include:

 1920 – My Wife, Salud

 1921 – Maiden in a Stream, GSIS Collection

Awards and achievements

  1922 – 1st Prize, Commercial and Industrial Fair in the Manila Carnival

 1940 – Outstanding University of the Philippines Alumnus Award

In 1972, Fernando Amorsolo became the first Filipino to be distinguished as the

Philippine’s National Artist in Painting. He was named as the “Grand Old Man of

Philippine Art” during the inauguration of the Manila Hilton’s art center, where

his paintings were exhibited on January 23, 1969.

His works:
 Amado Vera Hernandez was born in Hagonoy, Bulacan but

grew up Tondo, Manila, where he studied at the Manila High

School and at the American Correspondence School. While

being a reporter, columnist and editor of several newspapers

and magazines including Watawat, Mabuhay, Pilipino,

Makabayan and Sampaguita, he also honed his poetic craft.

He received the Republic Cultural Heritage Award, a number of Palancas and an award

from the National Press Club for his journalistic achievements.

Amado V. Hernandez lived in a nationalist milieu that witnessed a range of Filipinos that

were determined to prove to colonizers that they were capable of governing themselves.

Hernandez was born on September 13, 1903, Ka Amado as he is called, together with

the nationalist leaders and intellectuals in government, the academe, and among the

Filipino masses perceived in the postwar agrarian problems in Central Luzon the

powerful roots of “social alienation” that would lead to discriminating pressures. He was

married to zarzuela actress and queen of kundiman Honorata “Atang” dela Rama and

began his writing career as a journalist, and later, editor of several pre-World War II

Tagalog news papers. Moreover, Ka Amado was known for his active participation in

the socio-political realm through his literature and his political involvement. During

WWII, he served as intelligence officer for the resistance. The discussion of his

involvement and participation pre, during and post war will be traced through an account

of his life and works, his writings, the Congress of Labor Organization, his wife Atang

dela Rama, and the essence of Philippine and Hernandez’s literature.

Life and Works

From 1926 to 1932, Amado V. Hernandez wrote Sariling Hardin a column in

verse which was a calendar of happenings and observations on human weaknesses

and social background. Meanwhile in 1928, he had a running balagtasan in his column

Pagkakaisa against Jose Corazon de Jesus, Huseng Batute in Taliba. Ka Amado

defended independence movement and Huseng Batute called him the “poet of the

administration” and was included by Julian Cruz Balmaseda among the “poets of the

heart”. Instead of serving under the Japanese administration, Hernandez chose to leave

for the hills. He was a major when the American forces returned in October 1944. He

was appointed by President Osmeña as councilor of the City of Manila and in 1947; he

ran for councilor in the first post-war local elections and won in all four districts of the

city. At this time, he was popular for being a pre-war poet laureate and journalist as well

as an organizer of the Philippine Newspaper Guild of which he became vice-president.

He also helped organize and later on became acting national chairman of the

progressive Congress of Labor Organizations or CLO which he said the objective was

“to help the worker achieve economic security and to help in his cultural uplift.” In 1955,

Hernandez wrote prison and detention center poems when he was transferred to

Muntinlupa from Camp Murphy while waiting for the final ruling of the Supreme Court in

his pursuit of the Lower Court decision of lifetime imprisonment due to “rebellion

complexed with other crimes.” Ka Amado was imprisoned for five years and six months

in Muntinlupa and five other military camps namely: Camp Murphy, Camp Crame, Fort

McKinley, Panopio Compound and another camp which he did not know due to a

forcible arrest at midnight while he was blindfolded with shackled hands. He has several
reasons as to his in-jail poetry and literature. One, he writes to exclaim the greatness of

the Filipino guerrillas which were the glory of World War II (MSB) for he believes that if

this splendor would soon be long forgotten by the contemporary heroes, history won’t.

Another reason that he posited as to why he pursued his literature is that he wanted to

prove that the real essence of a poet cannot be incarcerated. Hernandez has a body of

literature that stretches nearly three generations of Philippine literature. He wrote in the

introduction Isang Dipang Langit that he was able to write over 170 poems in different

periods and in different situations. Some he wrote before 1930, others during his life as

a journalist and some he wrote after the war where he was in the middle of different

movements in politics and labor.

His Works:
 Carlos V. Francisco (1912-1969), popularly known as

"Botong", was a distinguished muralist from and best

known for his historical pieces. Also known as the Poet of

Angono, Rizal he single-handedly brought back the art of

mural painting in Philippines. He was one of the of the

modernist artists together with Galo Ocampo and Victorio

Edades known as " The Triumvirate" who broke away from romanticism style

of Fernando Amorsolo's Philippine Scenes.

He went to School of Fine Arts in University of the Philippines, although he came

from the same school of arts as Amorsolo, he did not follow the traditional style but

developed a modernist style. After the 2nd World War, he taught in School of Fine Arts

in University of Santo Tomas at the same time working with Manuel Conde for cinema.

He worked as scriptwriter for films such as "Ghengis Khan", "Putol na Kampilan", and

"Tatlong Labuyo". He make costumes design also for films "Romeo at Julieta", "Prinsipe

Tenoso", "Ibong Adarna", "Siete Infantes de Lara and "Juan Tamad" series.

His major works includes Portrait of Purita, The Invasion of Limahong, Serenade,

Muslim Betrothal, Blood Compact, First Mass at Limasawa, The Martyrdom of Rizal,

Bayanihan, Magpupukot, Fiesta, Bayanihan sa Bukid and Sandugo. His major

masterpiece is the mural for Bulwagang Katipunan of the Manila City Hall.

He was the second Filipino who received the title of National Artist in Painting in

1973 after Fernando Amorsolo. Among of his awards are first prize for his work

"Kaingin" at the annual Art Association of the Philippines, "Most Outstanding Alumnus"

in 1959, and Republic Cultural Heritage Award in 1964.

His Works:

_____________________________________________________________________

Carlos Peña Romulo, (born January 14, 1899,

Camiling, Philippines—died December 15, 1985,

Manila), Philippine general, diplomat, and journalist

known for his activities on behalf of the Allies

during World War II and his later work with

the United Nations.

In 1931 Romulo was made editor in chief of TVT

Publications, comprising three newspapers, one in English, one in Spanish, and one in

Tagalog (the second most prevalent language in the Philippines). In 1937 he became

publisher of another chain of newspapers.

 When Japan attacked the Philippines in 1941, he became an aide-de-camp to

U.S. Gen. Douglas MacArthur on Corregidor Island, and his broadcasts became widely

known as the “Voice of Freedom.” After Japan captured Corregidor, Romulo went with

MacArthur to Australia and then joined the Philippine government-in-exile of

Pres. Manuel Quezon in Washington, D.C., as secretary of information.

In 1941 Romulo won the Pulitzer Prize for Peace for his prewar evaluations of the

military situation in the Pacific area. He returned to the Philippines with U.S. forces in

1945. In 1948 he served as president of the United Nations Conference on Freedom of

Information in Geneva.

Romulo was president of the General Assembly of the UN (1949–50) and in 1950

became secretary of foreign affairs of the Philippines. In 1952 he was

named ambassador to the United States. No longer satisfied with the politics of the

incumbent Liberal Party, he decided in 1953 to run for the presidency of the Philippines

on a third-party ticket, but he withdrew to become campaign manager for the successful

Nacionalista Party candidate, Ramon Magsaysay. At the Bandung Conference of Afro-

Asian countries in 1955, he criticized the tyranny of both communist rule and Western

colonialism.

When the Philippines was elected to a seat on the United Nations Security

Council in 1956, Romulo served as member of the council and during the month of

January 1957 was its chairman. He served as president of the University of the

Philippines, near Manila (1962–68), and secretary of education (1966–68). He then

became secretary of foreign affairs (1968–78) and minister of foreign affairs (1978–84).

In his later years, while serving under Pres. Ferdinand E. Marcos, Romulo became less
democratic in his views. He supported Marcos’s imposition of martial law in 1972 and

had by the mid-1970s evolved from a champion of a free press into an advocate of a

controlled press, charging Western journalists with unfavourably reporting the problems

of less-developed countries. Romulo’s autobiography, I Walked with Heroes, was

published in 1961.

______________________________________________________________________

Francisco "Franz" Arcellana (September 6, 1916 –

August 1, 2002) was a Filipino writer, poet, essayist,

critic, journalist and teacher. He was born on

September 6, 1916. Arcellana already had ambitions

of becoming a writer early in his childhood. His actual

writing, however, started when he became a member

of The Torres Torch Organization during his high

school years. Arcellana continued writing in various school papers at the University of

the Philippines Diliman. Later on he received a Rockefeller Grant and became a fellow

in Creative Writing at the University of Iowa and at the Breadloaf Writers' Conference

from 1956– 1957.[2][3]

He is considered an important progenitor of the modern Filipino short story in English.

Arcellana pioneered the development of the short story as a lyrical prose-poetic form

within Filipino literature. His works are now often taught in tertiary-level syllabi in

the Philippines. Many of his works were translated into Tagalog, Malaysian, Russian,

Italian, and German. Arcellana won 2nd place in the 1951 Don Carlos Palanca
Memorial Awards for Literature, with his short story, The Flowers of May. Fourteen of

his short stories were also included in Jose Garcia Villa's Honor Roll from 1928 to 1939.

His major achievements included the first award in art criticism from the Art Association

of the Philippines in 1954, the Patnubay ng Sining at Kalinangan award from the city

government of Manila in 1981, and the Gawad Pambansang Alagad ni Balagtas for

English fiction from the Unyon ng mga Manunulat sa Pilipino (UMPIL) in 1988.

The University of the Philippines conferred upon Arcellana a doctorate in humane

letters, honoris causa in 1989. Francisco Arcellana was proclaimed National Artist of the

Philippines in Literature on June 23, 1990 by then Philippine President Corazon C.

Aquino.[4]

In 2009, or seven years after his death, his family came out with a book to pay

tribute to National Artist for Literature Arcellana. The book entitled Franz is a collection

of essays gathered by the Arcellana family from colleagues, friends, students and family

members, including fellow National Artist Nick Joaquin, Butch Dalisay, Recah Trinidad,

Jing Hidalgo, Gemino Abad, Romina Gonzalez, Edwin Cordevilla, Divina Aromin,

Doreen Yu, Danton Remoto, Jose Esteban Arcellana and others.[5]

Arcellana died in 2002. As a National Artist, he received a state funeral at the Libingan

ng mga Bayani. His grandson Liam Hertzsprung performed a piano concert in 2006

dedicated to him.

Arcellana's published books include:

 Selected Stories (1962)

 Poetry and Politics: The State of Original Writing in English in the Philippines

Today (1977)

Guillermo Estrella Tolentino (1890-1976) represents the

National Artist Awards for Sculpture in 1973. He is

consider as the "Father of Philippine Arts" because of his

great works like the famous "Bonifacio Monument"

symbolizing Filipinos cry for freedom located in

intersection of EDSA and Rizal Avenue and "The

Oblation" in UP signifying academic freedom .

Guillermo Tolentino was born in Malolos, Bulacan. He attends School of Fine Arts in

University of the Philippines under Vicente Rivera for painting and later for sculpture

under Vicente Francisco. Sooner he became more interested in sculpture than painting.

He graduated in painting and sculpture in 1915 with prizes in all subjects.

By year 1919 he decided to go to America and work as a waiter. Bernard Baruch

saw his small statue "Freedom" and granted him scholarship in Ecole de Beaux Arts.

This small statue made him to meet and talked personally to President Wilson at the

White House. After graduating with honor in Ecole de Beux Arts, Guillermo Tolentino

travelled Europe and study in Regge Instituto Superiore di Belle Arti di Roma in Rome.

During his stay he created the Saluto Romano and won 2nd prize. He graduated with

highest honor in 1923 and held one-man exhibition in Rome.

Guillermo Tolentino returned home in 1923, then he opened his own studio in

Manila. In 1926, he was appointed as instructor for sculpture in School of Fine Arts in
University of the Philippines. He won the design and commissioning of "The Bonifacio

Monument" in 1930 and finishes its installation in 1933. The "Oblation" was made the

same time with "Bonifacio Monument". After that UP President Rafael

Palma commissioned the "Oblation" in UP Manila and later transfer to UP Diliman. Later

part of his service, he was appointed as Director for School of Fine Arts and in 1955

after resignation he was named as Professor Emeritus. He obtained also Sculptor of the

Year from Philippine Institute of Architecs. He received various awards and citations

such as UNESCO Cultural Award in Sculpture in 1959, Araw ng Maynila Award in

Sculpture in 1963, Republic Cultural Heritage Award in 1967, President's Medal of Merit

in 1973, Diwa ng Lahi Award in 1972, and National Artist Award in 1973.

Other works of Tolentino are 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, bronze medals for the Ramon Magsaysay Award and seal

of the Republic of the Philippines, Venus, Alma Mater statue of the University of the Ea

East and Filipinas in Bondage.

 .

Nick Joaquin, byname of Nicomedes

Joaquin, (born May 4, 1917, Paco, Manila,

Phil.—died April 29, 2004, San Juan, Phil.),

Filipino novelist, poet, playwright, essayist, and

biographer whose works present

the diverse heritage of the Filipino people.

Joaquin was awarded a scholarship to the

Dominican monastery in Hong Kong after

publication of his essay “La Naval de Manila” (1943), a description of Manila’s fabled

resistance to 17th-century Dutch invaders. After World War II he traveled to the United

States, Mexico, and Spain, later serving as a cultural representative of the Philippines to

Taiwan, Cuba, and China.

 Starting as a proofreader for the Philippines Free Press, Joaquin rose to

contributing editor and essayist under the nom de plume “Quijano de Manila” (“Manila

Old-Timer”). He was well known as a historian of the brief Golden Age of Spain in the

Philippines, as a writer of short stories suffused with folk Roman Catholicism, as a

playwright, and as a novelist.

The novel The Woman Who Had Two Navels (1961) examines his country’s

various heritages. A Portrait of the Artist as Filipino (1966), a celebrated play, attempts

to reconcile historical events with dynamicchange. The Aquinos of Tarlac: An Essay on

History as Three Generations (1983) presents a biography of Benigno Aquino, the

assassinated presidential candidate. The action of the novel Cave and Shadows(1983)

occurs in the period of martial law under Ferdinand Marcos. Joaquin’s other works

include the short-story collections Tropical Gothic (1972) and Stories for Groovy

Kids (1979), the play Tropical Baroque(1979), and the collections of poetry The Ballad

of the Five Battles (1981) and Collected Verse (1987). Joaquin’s later works are mostly

nonfiction, including Manila, My Manila: A History for the Young (1990), The D.M.

Guevara Story (1993), and Mr. F.E.U., the Culture Hero That Was Nicanor

Reyes (1995).
 GAWAD SA MANLILIKHA NG BAYAN AWARDEES

In September 2015, netizens lobbied for the declaration of Apo Whang-od as

a National Artist of the Philippines for her role in preserving the dying art of cultural

tattoo.

Eighty-eight-year-old Whang-od Oggay is considered as the last mambabatok

(hand-tap tattoo artist) of her tribe. She hails from mountains of the Cordilleras,

specifically in Buscalan in the municipality of Tinglayan in the Kalinga province.

The ancient technique called batok dates back a thousand years. The tattoo ink,

made of charcoal and water, is tapped into the skin through a thorn end. Traditionally, it

is a symbol of beauty for women and a symbol of strength for men, especially the

headhunters of the Butbut Kalinga tribe. It was said that the number of tattoos on a

man's body would account for the heads he has taken or wars won.
 The campaign with the hashtag #WangOdNationalArtist reached more than

11,000 shares. The Order of National Artists is "the highest national recognition given

to Filipino individuals who have made significant contributions to the development of

Philippine arts; namely, Music, Dance, Theater, Visual Arts, Literature, Film, Broadcast

Arts, and Architecture and Allied Arts."

____________________________________________________________________

Ginaw Bilog

 Poet

 Hanunuo Mangyan

 Panaytayan, Oriental Mindoro

 1993

 Died in 2003

Ginaw Bilog helped preserved the Mangyan literary tradition by documenting the

pieces of ambahan recorded not only on bamboo tubes but also on notebooks passed

on to him. The ambahan is a poetic literary form composed of seven-syllables. It is

usually sung. Ginaw Bilog was a Filipino poet who was recognized as a National Living

Treasure by the Philippine government.[1]

Born on January 3, 1953,[2] Bilog was a Hanunuo Mangyan who was a native

of Mansalay, Oriental Mindoro. He was known for his efforts in preserving the mangyan

poetry tradition of ambahan.[3]

 Then-President Fidel V. Ramos, conferred the National Living Treasure Award to

Ginaw Bilog on December 17, 1993 in recognition of his people's preservation efforts of

the ambahan poetry which is recorded on bamboo.[4]

He died in June 3, 2003 at age 50 due to a lingering illness.

Masino Intaray

 Musician and Storyteller

 Pala’wan

 Brookes Point, Palawan

 1993

 Died in 2013

Masino Intaray has mastered the traditions of his people—the Palawan, Batak, and

Tagbanwa in the highlands of southern Palawan. He is skillful in basal (gong music

ensemble), kulilal (lyrical poem expressing passionate love sang with the

accompaniment of the kusyapi), and bagit (instrumental music depicting nature).

Masino Intaray was a Filipino poet, bard artist, and musician who is

a Palawan native known for his performance of the local traditions

of basal, kulilal and bagit. He is also a recipient of the National Living

Treasure recognition.

Intaray was born on April 10, 1943[2] in Makagwa Valley and lived Brooke's

Point, Palawan. He is known for playing multiple indigenous instruments namely

the basal (gong), aroding (mouth harp), and the babarak (ring flute). Intaray is also

known for his performance of kulilal or songs and bagit, a form of vocal music.[3]

The Palawan native was married and had four children. Intaray died on November 30,

2013 due to complications from diabetes which included multiple bouts of stroke. He

was aged 70.

Samaon Sulaiman

 Musician

 Magindanao

 Mama sa Pano, Maguindanao

 1993

 Died in 2011

Samaon Sulaiman is a master in the use of the kulintang and kutyapi of the

Maguindanaons. His extensive repertoire of dinaladay, linapu, minuna, and binalig has

demonstrated not only his own skills but their culture.

Samaon Sulaiman was a Filipino musician who is a recipient of the National

Living Treasure award. The Maguindanaon is known for his mastery of the

indigenous kutyapi instrument.

 Born on March 3, 1953, Sulaiman first leaned playing kutyapi at around 13 years

old from his uncle. By the time he was 35 years old, he was already recognized

in Maganoy for his skills in playing the instrument as well as being a teacher to aspiring

kutyapi practitioners. He is credited for influencing other local experts in his area such

as Esmael Ahmad, Bitul Sulaiman, Nguda Latip, Ali Ahmad and Tukal Nanalon.

Sulaiman also plays the kulintang, agong (suspended bossed gong with wide

rim), gandingan, palendag, and the tambul. He was also a barber, as well as an imam at

the Libutan mosque. He died on May 21, 2011.

Lang Dulay
 Textile Weaver

 T’boli

 Lake Sebu, South Cotabato

 1998

 Died in 2015

Born on August 3, 1928,[2] Lang Dulay was a T'boli princess[3] from the Lake

Sebu region in South Cotabato. She first learnt weaving at the age of 12 from her

mother, Luan Senig.

She is known for maintaining the use of traditional motifs in T'nalak weaving amidst

commercialization of the craft which saw the introduction of more modern designs by
non-T'bolis. She notably had a mental repertoire of around 100 patterns and designs:

some of these were based on her dreams, hence her description as a "dreamweaver".

Lang Dulay set up the Manlilikha ng Bayan Center workshop in her hometown to

promote the traditional art of T'nalak weaving and by 2014, five of her grandchildren had

become weavers. Lang Dulay fell into a coma in early 2015 and died on April 30 of the

same year.

The T'bolis are known for their use of abaca fibers in textile weaving. Lang Dulay

continued this tradition and preserved the culture of their community through patterns of

crocodiles, butterflies, flowers, mountains, and streams and of Lake Sebu in her works.

______________________________________________________________________

Salinta Monon

 Textile Weaver

 Tagabawa Bagobo

 Bansalan, Davao del Sur

 1998

 Died in 2009

Monon was born on December 12, 1920 and grew up in Bituag, Bansalan in Davao

del Sur and watched her mother weave ikat a traditional abaca fabric when she was a

child, She asked her mother how to use the loom at age 12 and learned how to weave

within a few months.[3] She weaves a design for three to four months. In a month she
can weave fabric which can be used for a single abaca tube skirt which measures 3.5 x

0.42 meters. Her favorite design is the binuwaya or crocodile which is said to be among

the most difficult to weave.

According to Cherry Quizon, an anthropologist based in New York, the origin of

Monon's design can be dated back as early as the 1910s. Monon was awarded

the National Living Treasures Award in 1998.[1] She died on June 4, 2009. Salinta

Monon started learning weaving traditional Bagobo textiles from her mother at the age

of 12. Her family is among the remaining Bagobo weavers in the community.

___________________________________________________________________

Alonzo Saclag

 Musician and Dancer

 Kalinga

 Lubugan, Kalinga

 2000

Alonzo Saclag was born on August 14, 1942.[1] A member of the Kalinga people and

a native of Lubuagan, Kalinga province, Saclag taught himself of his people's traditions

in the performing arts. He learned how to play traditional Kalinga musical instruments

and Kalinga ritual dance movements without formal or informal instruction.

 As an effort to revive the dying tradition of playing the gangsa, a type of Kalinga

gong. Saclag lobbied for two years to the provincial government to grant funds to

convert the abandoned Capitol Building into a museum. With support from the provincial

government and other financiers, a branch of the National Museum was established in

Labuagan.

Saclag also campaigned for the promotion of Kalinga culture in schools in his

community by engaging in talks with the institutions' administrators. He is instrumental

in establishing the practice of children of wearing traditional Kalinga clothing for

important school events as well as the teaching of Kalinga folk songs in schools. He

also lobbied for the broadcast of traditional Kalinga music along with contemporary

music in their local radio station. He also formed the Kalinga Budong Dance Troupe with

the intent of promoting Kalinga dance to a wider audience. Saclag was conferred

the National Living Treasures Award in 2000.[2]By 2016, he has established a village

within his town, named Awichon which aims to promote Kalinga culture to

tourists.Alonzo Saclag has worked for the preservation of Kalinga culture. He lobbied

that the abandoned Capitol Building be turned into a museum, that schools implement

the practice of donning the Kalinga costume for important events, and that traditional

Kalinga music should be broadcasted alongside contemporary music in the local radio

station. He also formed the Kalinga Budong Dance Troupe to guarantee that his

knowledge in the performing arts is passed on to others.