Contemporary Arts (CAR) Lessons

CORE SUBJECT
Contemporary Philippine Arts from the Regions
National Artists
for Visual Arts
CAR 09: National Artist Visual Arts

CORE SUBJECT
Philippine Visual Arts is a confluence

of both ethnic and western traditions in
the treatment of subject and the use of
medium.

CORE SUBJECT
In the Philippines, visual arts can be

characterized as a mixture of western
and native cultural influences.

CORE SUBJECT
When the Spaniards invaded the country, the

friars were the ones who introduced the western
styles of painting and carving, in which the theme
was mainly religious. All over the country,
churches have become informal museums where
paintings and statues abound.

CORE SUBJECT
Today, along with inspirations from other

countries, Spanish influence is still apparent in
the works of Filipinos. Some contemporary visual
artists have been educated and trained abroad,
introducing in the country different movements
in the world of art.

CORE SUBJECT
Napoleon Abueva
1930-present; Conferred: 1976
• birthplace: Tagbilaran, Bohol

• Father of Modern Philippine Sculpture
• youngest national artist awardee
• Water Buffalo
• bronze image of Teodoro M. Kalaw,
façade of National Library

CORE SUBJECT
The Transfiguration
at the
Eternal Gardens
Memorial Park
CORE SUBJECT
death masks of
Benigno Aquino Jr.
And
Fernando Poe Jr.
CORE SUBJECT
Ang Kiukok
1931-2005; Conferred: 2001
• immigrant parents: Vicente Ang

and Chin Lim
• “imbued with nationalist fervor
and sociological; agenda” (NCCA)
• Geometric Landscape, 1969
• Pieta won bronze medal in Saigon
• Seated Figure (1979) auctioned at
Singapore’s Southeby’s

CORE SUBJECT
Pieta, 1962
CORE SUBJECT
Dog Fight, 1962

CORE SUBJECT
Victorio C. Edades
1895-1985; Conferred: 1976
• Father of Modernism in Philippine Art
• impressionists influences: Cezanne and
Paul Gauguin
• colors were dark and gloomy
• most subjects were Filipino laborers in
their everyday situations
• “working class depicted in rough, bold,
impasto strokes, and standing tall and
singular in his advocacy and practice”
(NCCA)
• Poinsettia Girl ; The Wrestlers ; Portrait of the
Professor

CORE SUBJECT
The Sketch
CORE SUBJECT
Japanese Girl
CORE SUBJECT
Cesar Legaspi
1917-1994; Conferred: 1990
• pioneer of Neorealist Movement

• works paved way to the birth of modern
art
• “the use of the geometric fragmentation
technique, weaving social comment and
juxtaposing the mythical and modern
into his overlapping, interacting forms
with disturbing power and intensity”
• Man and Woman
• Reclining Nude

CORE SUBJECT
Gadgets
CORE SUBJECT
Tree Planting
CORE SUBJECT
Vicente S. Manansala
1910-1981; Conferred: 1981
• illustrator and cubist painter
• birthplace: Macabebe, Pampanga
• barrio and city depictions were “as
visions of reality teetering on the edge
of abstraction” (NCCA)
• training: Otis School of Drawing, Los
Angeles ; Paris
• Jeepney combined the elements of
provincial folk culture with busy streets
of the city

CORE SUBJECT
Madonna
of the
Slums
CORE SUBJECT
Birdman
CORE SUBJECT
Hernando R. Ocampo
1911-1978; Conferred: 1991
• self-taught painter
• his works “provided an understanding
and awareness of the harsh social
realities in the country
• invented a new mode of perception
that demonstrated the atmosphere
and the wildlife of the country
• used movement and bold colors
• Nude wirh Candle and Flower ; Ina ng
Balon ; Man and Carabo ; Ancestors ;
Fiesta

CORE SUBJECT
Kasaysayan ng Lahi
CORE SUBJECT
Revelation V
CORE SUBJECT
Fernando C. Amorsolo
1892-1972; Conferred: 1972
• country’s first national artist
• “Grand Old Man of Philippine Art”
• Art School of the Liceo de Manila ;
University of the Philippines
• Academia de San Fernando, Madrid
c/o Enrique Zobel de Ayala
• “the rapture of a sensualist utterly in
love with the earth, with the
Philippine sun” (Nick Joaquin)
• Planting Rice, 1946

CORE SUBJECT
Defense of a Filipina Woman’s Honor, 1946

CORE SUBJECT
Sunday Morning Going Town, 1958

CORE SUBJECT
Carlos “Botong” V. Francisco

1912-1969; Conferred: 1973
• muralist from Angono, Rizal

• ability to turn “fragments of the
historic past into vivid records of the
legendary courage of the ancestors of
his race”
• Blood Compact
• Bayanihan sa Bukid
• Magpupukot
• Fiesta

CORE SUBJECT
First Mass at Limasawa

CORE SUBJECT
The Martyrdom of Rizal

CORE SUBJECT
Arturo “Art” R. Luz

• printmaker, sculptor, art administrator
• minimalist; used geometric abstracts that
“exemplify and ideal of sublime austerity
in expression and form”
• pioneered the professionalization of the
art galleries that “set a prestigious
influence over generations of Filipino
artists”
• Self-Portrait ; Cities of the Past
• black and white mural can be viewed in
the hall of CCP’s Little Theater

CORE SUBJECT
Bagong
Taon
CORE SUBJECT
Man
with
Guitar
CORE SUBJECT
J. Elizalde Navarro
1924-1999; Conferred: 1999
• Jerry Elizalde Navarro
• born in Antique
• painter, sculptor, graphic designer,
printmaker, mask-maker in hard
wood—merges the human and the animal
• Represented the country at Sao Paolo
Biennale for sculpture
• I’m Sorry Jesus, I Can’t Attend Christmas
This Year ; Homage to Dodjie Laurel
• A Flying Contraption for Mr. Icarus ; The
Seasons

CORE SUBJECT
Singkil
CORE SUBJECT
Is He
the Man?
CORE SUBJECT
Guillermo E. Tolentino
1890-1976; Conferred: 1973
• master in classical sculpture
• “a product of the Revival Period in
Philippine art”
• Royal Academy of Fine Arts, Rome, Italy
• figure of Jose Rizal (UP)
• Pres. Quezon (Quezon Memorial)
• Pres. Magsaysay (GSIS Building)
• designed the medals for Ramón
Magsaysay Award; and the seal of the
Republic of the Philippines

CORE SUBJECT
Oblation
University of the
Philippines, Diliman
CORE SUBJECT
Unang Sigaw sa
Balintawak
(Bonifacio
Monument)
Caloocan
CORE SUBJECT
Jose T. Joya
1931-1995; Conferred: 2003
• former dean of College of Fine Art,
UP, Diliman
• initiated Abstract Expressionism
(the use of abstract style to convey
strong emotional or expressive
content) in the country
• masterpieces showed “dynamic
spontaneity” and “quick gestures”
• Nanking ; Beethoven Listening to the
Blues ; Cityscape ; Granadean
Arabesque ; Biennial

CORE SUBJECT
Mariveles
CORE SUBJECT
Hills of Nikko
CORE SUBJECT
Benedicto “Bencab” R. Cabrera

• “upheld the primacy of drawing over the
decorative color”
• lyrical impressionist
• Sabel a symbolic scavenger which he
describes as “a melancholic symbol of
dislocation, despair, and isolation—the
personification of human dignity
threatened by life’s vicissitudes, and the
vast inequities of Philippine society”
• Madonna with Objects, 1991 ; Studies of
Sabel (diptych, 1991) ; People Waiting, 1989
; The Indifference, 1988 ; Waiting for the
Monsoon, 1986
CORE SUBJECT
The Oriental Fan, (from Larawan series) 1982

CORE SUBJECT
Sabel
CORE SUBJECT
Abdulmari Asia Imao

1936-2014; Conferred: 2006
• sculptor, painter, ceramist,

photographer, writer, cultural
researcher
• mentors: Guillermo Tolentino and
Napoleon Abueva
• incorporated native motifs and
designs: sarimanok, the naga, the ukkil
• Industry Brass Mural and Mural Relief
on Filmmaking, Manila City Hall

CORE SUBJECT
Sarimanok
with
8 Fishes
CORE SUBJECT
Sarimanok
CORE SUBJECT
Francisco Coching
1919-1998; Conferred: 2001
• comic book creator with 53 comic books
under his name
• apprentice of Tony Velasquez (Liwayway
Magazine)
• Hagibis ; Don Cobarde ; Pagano ; Dumagit ;
Lapu-Lapu ; Bulalakaw ; Waldas ; Talipandas ;
Palasig ; Movie Fan ; Gat Sibasib ; Satur
• “for two decades, his fanciful stories
captured the popular imagination.
Borrowing from the long tradition of
romances and corridos along with the moro-
moro and zarsuela of the colonial era”
(Alfredo Roces, art critic)

CORE SUBJECT
El Indio
CORE SUBJECT
National Artists for Dance
CAR 10: National Artist Dance

CORE SUBJECT
“The diversity of Philippine dances, as

manifested in different dynamics and
forms, grew out of the various contexts
and experiences of the people.”
—B.E.S. Villaruz, dance scholar

CORE SUBJECT
This explains how the movement and

choreography are based on the different
environments in the archipelago.
Philippine dances originated from various

elements of the environment.

CORE SUBJECT
TINIKLING
oldest dance in the country
derived from the movements of the tinikling bird
bird wanders on grass stems and crushes several branches of the tree
dancers perform gracefully without getting caught in between the two bamboo
poles

CORE SUBJECT
CARIÑOSA
derived from the Spanish word
means “the loving or affectionate one”
courtship dance
closely associated with the Panay Islands in the Visayas

CORE SUBJECT
MUSLIM DANCES
spirituality, royalty, splendor
colorful and elaborate costumes
precise and regal movements
Pangalay ; Burung Talo ; Asik

CORE SUBJECT
Francisca R. Aquino
1899-1983; Conferred: 1973
• pioneer of Philippine folk dances
• teacher, nationalist
• first Filipina to be awarded national artist for
dance
• conducted research on Filipino dances by visiting
secluded districts and neighborhoods in the
islands of Luzon
• her thesis “Philippine Folk Dances and Games”
has been a thorough guide for students and
educators
• Republic Award of Merit, awarded by Pres.
Ramon Magsaysay
• Cultural Award from United Nations
Educational, Scientific and Cultural Organization
(UNESCO)
CORE SUBJECT
Leonor O. Goquingco
1917-2005; Conferred: 1976
• aka Cristina Luna
• dubbed as the Trailblazer, Mother of
Philippine Theatre Dance, Dean of Filipino
Performing Arts Critics
• plays the piano, designs scene and costumes,
sculpts, acts, directs, dances, choreographs
• pioneered the blending of folk dance and ballet
(making the latter more viable)
• choreography: The Firebirds ; The Clowns ; Noli
Dance Suite
• 1960: Filipinescas: Philippine Life, Legend and Lore
in Dance
• book: The Dances of the Emerald Isles: A Great
Philippine Heritage, 1980

CORE SUBJECT
Ramon Obusan
1938-2006; Conferred: 2006
• dancer, choreograoher, stage designer,
artistic director
• 1972: established the Ramon Obusan
Folkloric Group (ROFG—a company that
reflects the culture of Filipinos in dance
and music)
• ROFG performed dance productions and
rituals from ethnolinguistic and
indigenous groups including those from
the natives of Cordillera, the Bagobo, the
Aeta, the Meranaw (or Maranao), and the
T’boli

CORE SUBJECT
Lucresia Reyes-Urtula
1929-1999; Conferred: 1988
• Dance Director of Bayanihan
Philippine National Folk Dance
Company (now the Bayanihan
Dance Company—considered as the
oldest dance company in the
country)
• choreographed creative dances based
on her impressive research on
cultural dances
• recognized dances: the Singkil, Vinta,
Tagabili, Pagdidiwata, Salidsid

CORE SUBJECT
Alice Reyes
• founder of Ballet Philippines—country’s

premier ballet dance company
• Colorado College ; Sarah Lawrence College
• received grants from: John D. Rockefeller
III Foundation and Music Promotion
Foundation of the Philippines
• choreographer: Cinderella ; Romeo and Juliet ;
Amada ; Itim-Asul ; Bayanihan Remembered ;
Mga Babae
• lasting contribution: professionalization of
dance as a career

CORE SUBJECT
National Artists for Music
CAR 11: National Artist Music

CORE SUBJECT
Early Philippine music was

instrumental and vocal in form.

CORE SUBJECT
Although the Philippines is located in Southeast Asia, its popular and

contemporary musical tradition is Western because of Spanish and the
American colonization periods. There were no descriptions of Philippine
music during the pre-colonization times.

CORE SUBJECT
“subsequent reports made by friars, civil servants and travelers include

descriptions of instrumental and vocal music”
—Corazon Canave-Dioquino
musicologist

CORE SUBJECT
“gongs of various kinds of size and shapes, drums, flutes of different

types, zithers, lutes, clappers, and buzzers”
on instruments

CORE SUBJECT
“epics relating genealogies and exploits of heroes

and gods; work songs related to planting, harvesting,
fishing; ritual songs to drive away evil spirits; songs to
celebrate festive occasions particularly marriage, birth,
victory at war, or the settling of tribal disputes; mourning
songs for the dead; courting songs; and children’s games
songs”
on vocal music

CORE SUBJECT
Philippine contemporary music is

heavily influenced by the West
because of its colonization.

CORE SUBJECT
“religious music connected to and outside the

Catholic liturgy and a European-inspired secular music
adapted by the Filipinos and reflected in their folk songs
and instrumental music”
on Philippine music considering
Catholicism as a dominant force
during the Spanish era

CORE SUBJECT
Philippine Music during American Period

according to Canave-Dioquino
taught in schools
zarzuela entered the scene
Filipinos exposed to pop culture
music created by Filipinos using Western pop forms

CORE SUBJECT
Antonino R. Buenaventura
1904-1996; Conferred: 1988
• a musical career “that spanned seven decades
of unwavering commitment to advancing the
frontiers of Philippine music” (NCCA)
• popularized folk song by creating music
based on the wide array of folksongs from
various ethnic groups
• Ode to Freedom ; Echoes of the Past ; Echoes
from the Philippines ; History Fantasy ;
Triumphal March
• brought the Philippine Army Band back to
its glory; recognized as the only band that
can sound like a symphony orchestra

CORE SUBJECT
Ernani J. Cuenco
1936-1988; Conferred: 1999
• written “an outstanding and memorable
body of works that resonates with the
Filipino sense of musicality and which
embodies an ingenious voice that raises
the aesthetic dimensions of contemporary
Filipino music” (NCCA)
• music teacher, composer, musical director,
film scorer
• film scoring (Best Music Award): Wild,
Wild Jess (MMFF 1982) ; El Vibora
(FAMAS)
• love balladds: Kalesa ; Bato sa Buhangin ;
Gaano Kita Kamahal ; Inang Bayan

CORE SUBJECT
Jovita Fuentes
1895-1978; Conferred: 1976
• first female national artist for music

• mentor: Salvina Fornari, famous Italian
singer
• performances: Mimi, Giacomo Puccini’s
La Boheme ; Princess Yang Gui Fe, Li
Tai Pe ; a role in the Ne york production
of Madama Butterfly

CORE SUBJECT
Jose Maceda
1917-2004; Conferred: 1997
• highly acclaimed composer and
ethnomusicologist
• had training in music, cultural
anthropology, legend, performance
studies, dance and cultural studies
• most compositions were performed as
a communal ritual
• Ugma-ugma, 1963
• Pagsamba, 1968
• Udlot-udlot, 1975
• Ugnayan ; Aroding ; Suling-suling

CORE SUBJECT
Lucio D. San Pedro

1913-2002; Conferred: 1991
• educator, master conductor, composer;
through his works “evoked the folk
elements of the Filipino heritage”
• led local bands: Banda Angono Numero
Uno, the San Pedro Band of Angono, the
Peng Kong Grand Mason Concert Band
(as master conductor)
• The Devil’s Bridge (orchestral music)
• Sa Mahal Kong Bayan (choral music)
• Lahing Kayumanggi (band music)
• Sa Ugoy ng Duyan (vocal music—famous
Filipino lullaby)

CORE SUBJECT
Levi Celerio
1910-2002; Conferred: 1997
• highly talented lyricist; 4,000 songs

under his name
• excellent leaf player—Guinness Book
of World Records
• love songs: Saan Ka Man Naroroon and
Ikaw
• Christmas songs: Misa de Gallo and
Pasko na Naman

CORE SUBJECT
Felipe Padilla de Leon

1912-1992; Conferred: 1991
• composer, conductor, scholar
• his works have “Filipinized Western
music forms”
• body of works: concertos, sonatas,
marches—described how Filipinos
express their feelings and their
aspirations in times of strife and peace
• Mariang Makiling Overture
• Orchestertuk
• Lupang Tinubuan
• Noli Me Tangere (opera adaptation)

CORE SUBJECT
Lucrecia R. Kasilag
1917-2008; Conferred: 1989
• native of La Union
• legacy was “to discover the Filipino
roots through ethnic music and fusing
it with Western influences” (NCCA)
• Bayanihan Folk Arts Center—for
research and theatrical presentations
that urges to integrate native Filipino
instruments in orchestral productions
• orchestral music: Her Son ; Jose ; Sisa ;
the Legend of Sarimanok

CORE SUBJECT
Antonio J. Molina
1894-1980; Conferred: 1973
• Dean of Filipino Composers
• musician, writer, music educator—the
last of the musical triumvirate
• played for Manila Grand Opera House
• mentored: Felipe Padilla de leon
• Hatinggabi—popular serenade for solo
violin and piano supplement
• Kung sa Iyong Gunita
• Awit ni Maria Clara
• Larawan Nitong Pilipinas

CORE SUBJECT
Andrea O. Veneracion
1928-2013; Conferred: 1999
• founder of Philippine Madrigal

Singers (group received UNESCO
Artist for Peace Award, 2009)
• creator of Asian Institute for
Liturgy and Music (AILM) Chorale
• by founding the Philippine Madrigal
Singers, had been responsible for
“spearheading of the development of
Philippine choral music” (NCCA)

CORE SUBJECT
Francisco Feliciano
1941-2014; Conferred: 2014
• prolific composer of over 30 major works
• studied music composition at the: University
of the Philippines; Hochschule der Kuenste,
Berlin, Germany; Yale University School of
Music
• mentors: Martin Behrmann, Jacob
Druckman, Isang Yun, H.W. Zimmerman,
Krystof Penderecki
• opera works: La Loba Negra ; Ashen Wings ;
Sikhay Sa Kabila ng Paalam (Beyond the
Farewell) ; Yerma
• John D. Rockefeller Award in Music
Composition, 1977

CORE SUBJECT
National Artists for Theatre
CAR 12: National Artist Theatre

CORE SUBJECT
Many forms and innovations in

Philippine drama and theatre were
brought by colonization.

CORE SUBJECT
The Philippine dramatic tradition has its roots in

the rituals and ceremonies of pre-colonial Filipinos.
The way they performed offerings to the gods and

held communal celebrations were already dramatic
performances.
—Doreen Fernandez
Theatre and Culture Scholar

CORE SUBJECT
Forms of Drama and Theatre

brought by colonization
religious themed: traditional

cenaculo and moro- zarzuela Spanish one-act
moro comic opera
stage performance
American
vaudeville consisted of
entertainment
various play acts

CORE SUBJECT
Throughout the years, from the English plays of scholastic theatre

groups to the street theatre during the Martial Law period, Filipino dramatic
and theatrical practitioners continue to promote and preserve theatre arts in
the country.

CORE SUBJECT
Daisy Avellana
1917-2013; Conferred: 1999
• First Lady of Philippine Theatre
• birthplace: Roxas City, Capiz
• actor, director, writer
• her contributions had brought “a new level
of excellence by staging and performing in
breakthrough productions of classic Filipino
and foreign plays”
• advocacy and efforts brought about
profound reformation in dramatic and
theatrical practice “by encouraging the
establishment of Filipino theater”
• productions: Othello ; Macbeth in Black ; Casa
de Bernarda Alba ; Tatarin
CORE SUBJECT
Honorata “Atang” de la Rama

1905-1991; Conferred: 1987
• battled for the supremacy of the
kundiman during American rule
• popularized Mutya ng Pasig by
Deogracias Rosario and Nicanor
Abelardo
• Queen of the Kundiman
• zarzuela and kundiman “express best the
Filipino soul”
• zarzuelas: Marina, Mascota and Sueño de
Un Vals
• wrote: Anak ni Eba ; Aking Ina ; Puri at
Buhay

CORE SUBJECT
Rolado S. Tinio
1937-1997; Conferred: 1997
• director, actor, educator, critic, translator, poet,
dramatist
• translated to Tagalog: Shakespeare, The Merchant
of Venice ; Arthur Miller, Death of a Salesman ;
Samuel Beckett, Waiting for Godot ; August
Strinberg, Miss Julie
• as director, remembered as someone “whose
original insights into the scripts he handled
brought forth productions notable for their visual
impact and intellectual cogency”
• became Artistic Director, TP at CCP
• revival of traditional works is described with
“excellence and beauty of his practice that claimed
for theatre a place among the arts in the
Philippines” (NCCA)

CORE SUBJECT
Salvador F. Bernal
1945-2011; Conferred: 2003
• was part of over 300 productions in
art, film, and music
• style is known for maximizing the use
of raw materials in theatre production
• used native Filipino materials:
bamboo, abaca fiber, the basic gauze
cacha
• not only a theatre designer, but also
an educator who held classes and
training in universities and the CCP

CORE SUBJECT
Lamberto V. Avellana
1915-1991; Conferred: 1976
• his Barangay Theater Guild propagated
dramatic and theatrical performances of
foreign and local plays
• The Bow Wonder of Philippine
Movies, 1939
• from stage actor, took the challenge as
film director
• landmark films: Kandelerong Pilak
(first Filipino film to be shown at
Cannes International Film Festival) ;
Sakay ; Anak Dalita ; Badjao

CORE SUBJECT
Wilfrido Ma. Guerrero

1911-1995; Conferred: 1997
• writer, director, educator, artist
• at age 14, wrote first play in Spanish:
No Todo Es Risa
• greatest contribution: introduction
of the concept of theatre campus
tour
• Half an Hour in a Convent ; Wanted:
Chaperon ; Forever ; Condemned ; In
Unity ; Three rates ; Our Strange Ways ;
The Forsaken House

CORE SUBJECT
Severino Montano
1915-1980; Conferred: 2001
• Titans of Philippine Theatre
• poet, director, actor, theatre organizer,
playwright, educator
• pursued the establishment of legitimate
theatre
• started Arena Theater in the Philippine
Normal College (now PNU) with about
1,000.00
• trained and directed: Joonee Gamboa and
Behn Cervantes
• Sabina ; But Not My Sons Any Longer ; Gabriela
Silang ; The Merry Wives of Manila

CORE SUBJECT
National Living Treasures Award:

Gawad sa Manlilikha ng Bayan
CAR 13: NLT Award_GAMABA

CORE SUBJECT
Modernization and globalization

threaten the cultural and artistic
heritage of Philippine indigenous
communities.

CORE SUBJECT
Many members of Philippine tribal and indigenous

communities move to the city to seek better economic
opportunities.
Thus, they leave behind the rich and unique

language and practices that have thrived for many years.

CORE SUBJECT
1992 Republic Act 7355
National Living Treasures Award


CORE SUBJECT
Through this law:
The NCCA conducts the search for the finest

traditional artists of the land, adopts a program that will
ensure the transfer of their skills to others, and
undertakes measures to promote a genuine appreciation
of and instill pride among our people about the genius of
the Manlilikha ng Bayan.

CORE SUBJECT
GAMABA Insignia
CORE SUBJECT
RECIPIENTS
exemplary individuals whose life,

works, and identity are described as
part of our national character

CORE SUBJECT
RECIPIENTS
they provide us with a vision of
ourselves and of our nation; a
as Filipinos, they bring age-old vision we might be able to
customs, crafts and ways of realize someday, once we are
living to the attention and given the opportunity to be
appreciation of Filipino life true to ourselves as these artists
have remained truthful to their
art

CORE SUBJECT
RECIPIENTS
a citizen engaged in any traditional art uniquely
Filipino whose distinctive skills have reached such a
high level of technical and artistic excellence and
have passed on to and widely practiced by the
present generation in his community with the same
degree of technical and artistic competence

CORE SUBJECT
GUIDELINES:
a. an inhabitant of an indigenous/traditional cultural
community anywhere in the Philippines that has
preserved indigenous customs, beliefs, rituals and
traditions and/or syncretized whatever external
elements that have influenced it
b. must have engaged in a folk art tradition that has
been in existence and documented for at least 50
years

CORE SUBJECT
GUIDELINES:
c. must have consistently performed or produced, over a
significant period, works of superior and distinctive quality
d. 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
e. 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

CORE SUBJECT
A traditional artist who possesses all the

qualities of a Manlilikha ng Bayan
candidate, but due to age or infirmity
(deterioration) has left him incapable of
teaching further his craft, may still be
recognized if the following are met…

CORE SUBJECT
a. had created a significant body of works and/or has consistently

displayed excellence in the practice of his or her art, thus achieving
important contributions for its development
b. has been instrumental in the revitalization of

his community's artistic tradition

CORE SUBJECT
c. has passed on to the other members of the community skills in the folk
art for which the community is traditionally known
d. his community has recognized him as master

and teacher of his craft

CORE SUBJECT
Ginaw Bilog poet Hanunuo Mangyan Panaytayan, Oriental Mindoro

Masino Intaray musician/storyteller Pala’wan Brookes Point, Palawan
Samaon Sulaiman musician Magindanao Mamasapano, Maguindanao
Lang Dulay textile weaver T’Boli Lake Sebu, South Cotabato
Salinta Monon textile weaver Tagabawa Bagobo Bansalan, Davao del Sur
Alonzo Saclag musician/dancer Kalinga Lubugan, Kalinga
Federico Caballero epic chanter Sulod-Bukidnon Calinog, Iloilo
Uwang Ahadas musician Yakan Lamitan, Basilan
Darhata Sawabi textile weaver Tausug Parang, Sulu
Eduardo Mutuc metalsmith Kapampangan Apalit, Pampanga
Haja Amina Appi mat weaver Sama Tandubas, Tawi-Tawi
Teofilo Garcia casque maker Ilocano San Quintin, Abra
Magdalena Gamayo textile weaver Ilocano Pinili, Ilocos Norte

CORE SUBJECT
What is the difference between

(GAMABA) Award and
National Artist of the Philippines
Award?

Contemporary Arts (CAR) Lessons

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CORE SUBJECT

Contemporary Philippine Arts from the Regions

CAR 09: National Artist Visual Arts

Philippine Visual Arts is a confluence

CAR 09: National Artist Visual Arts

In the Philippines, visual arts can be

CAR 09: National Artist Visual Arts

When the Spaniards invaded the country, the

CAR 09: National Artist Visual Arts

Today, along with inspirations from other

CAR 09: National Artist Visual Arts

• birthplace: Tagbilaran, Bohol

CAR 09: National Artist Visual Arts

• immigrant parents: Vicente Ang

CAR 09: National Artist Visual Arts

Dog Fight, 1962

CAR 09: National Artist Visual Arts

• pioneer of Neorealist Movement

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

Defense of a Filipina Woman’s Honor, 1946

Sunday Morning Going Town, 1958

Carlos “Botong” V. Francisco

• muralist from Angono, Rizal

CAR 09: National Artist Visual Arts

First Mass at Limasawa

The Martyrdom of Rizal

Arturo “Art” R. Luz

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

Benedicto “Bencab” R. Cabrera

The Oriental Fan, (from Larawan series) 1982

Abdulmari Asia Imao

• sculptor, painter, ceramist,

CAR 09: National Artist Visual Arts

CAR 09: National Artist Visual Arts

National Artists for Dance

CAR 10: National Artist Dance

“The diversity of Philippine dances, as

—B.E.S. Villaruz, dance scholar

CAR 10: National Artist Dance

This explains how the movement and

Philippine dances originated from various

CAR 10: National Artist Dance

derived from the movements of the tinikling bird

CAR 10: National Artist Dance

means “the loving or affectionate one”

closely associated with the Panay Islands in the Visayas

CAR 10: National Artist Dance

colorful and elaborate costumes

precise and regal movements

Pangalay ; Burung Talo ; Asik

CAR 10: National Artist Dance

CAR 10: National Artist Dance

CAR 10: National Artist Dance

• founder of Ballet Philippines—country’s

CAR 10: National Artist Dance

National Artists for Music

CAR 11: National Artist Music