Page |1

National Living
Treasures and Contemporary
Art Production
Filipinos are widely recognized all over the world for their artistic talents. From the
expensive furniture found in fancy restaurants and hotels in Europe to the bands that entertain
audiences all around the world, the Filipino talent in the arts is truly something that we should
be proud of.
This unit will introduce you to the country’s national living treasures-artists who will keep
the tradition of the past to survive the changing world. These artists remind us of the rich artistics
and cultural heritage of our country.
Also in this unit, you will survey the emerging artists and art forms that the country has
been producing.
And last, you will produce art and showcase your talent and pride as a Filipino in the
unit’s culminating activity.

LESSON National Living Treasures Award:

10 Gawad sa Manlilikha ng Bayan

The National Artist of the
Philippines for Literature
LESSON National Living Treasures Award:

11
Gawad sa Manlilikha ng Bayan
(Literature and Performance)

LESSON National Living Treasures Award:

12
Gawad sa Manlilikha ng Bayan
(Crafts)
 Page |2

National Living
Treasures Award:
Gawad sa Manlilikha ng
Bayan

By the end of this lesson, you are expected to:

 Enumerate the guidelines involved in declaring an individual as a national living treasure.
 Explain the nature and purposes of the award in nation building.

LET’S WARM UP!!!

A. Motivation See Lesson 10: Activity Sheets “LET’S WARM UP” to write your answer (Page 11)

WHO-INVENT IT?
The students will have to guess who invented the following:

1. 2. 3.

4. 5.

RELATION TO LESSON: Pertains to the universal inventors whose works are constantly have a high level of
technical and artistic excellence and have been passed on to and widely practiced up until now like our national
living treasures’ works.
 Page |3

KEY TAKEAWAYS! LET’S WORK

AND LEARN!!!
In this new millennium, the indigenous and tribal cultural
and artistics heritage of the Philippines is threatened by modernization and
globalization. Many members of Philippine tribal and indigenous Modernization and
communities move to the city to seek better economic opportunities. Thus, globalization threaten the
they leave behind the rich and unique language and practices that have cultural and artistics heritage of
thrived for many years. Philippine indigenous
communities.

In response to this pressing concern of art and cultural

preservation, the Philippine government in 1992 enacted Republic Act 7355.
This institutionalized the National Living Treasures Award or the Gawad sa
Manlilikha ng Bayan. Through this law, the NCCA “conducts the search for The National Living
the finest traditional artists of the land, adopts a program that will ensure the Treasures Award or the Gawad sa
transfer of their skills to others, and undertakes measures to promote a Manlilikha ng Bayan recognizes
genuine appreciation of and instill pride among our people about the genius Filipino traditional artists.
of the Manlilikha ng Bayan”.

When it was first bestowed in 1993 to three exceptional folk artists in and music, the event was considered
according to the NCCA, as a celebration of how the "folk and traditional artists reflect the diverse heritage and
cultural traditions that transcend their beginnings to become part of our national character."

The recipients of this great national honor are exemplary individuals whose life, works, and identity are
described as part of our national character. NCCA cited, "as Filipinos, they bring age-old customs, crafts and
ways of living to the attention and appreciation of Filipino life. They provide us with a vision of ourselves and of
our nation, a vision we might be able to realize someday, once we are given the opportunity to be true to
ourselves as these artists have remained truthful to their art."

A recipient of the National Living Treasures Award or the Gawad sa Manlilikha ng Bayan, as also cited, is
generally described as "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 been passed on to and widely practiced
by the present generation in his/her community with the same degree of technical and artistic competence."

The NCCA follows these guidelines in identifying and recognizing a person as a Manlilikha ng Bayan in the
field of folk epic literature, music, textile and mat weaving, dance, metal work, and casque production:

a. He or she is 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.
b. He or she must have engaged in a folk art tradition that has been in existence and documented for at least
50 years.
c. He or she must have consistently performed or produced, over a significant period, works of superior and
distinctive quality.
d. He or she 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. He or she 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.

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or
infirmity (deterioration) has left him or her incapable of teaching further his or her craft, may still be
recognized if the following are met:
a. He or she 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. He or she has been instrumental in the revitalization of his or her community’s artistic tradition.
 Page |4

c. He or she has passed on to the other members of the community skills in the folk art for which the
community is traditionally known.
d. His or her community has recognized him or her as master and teacher of his or her craft.

Here is the list of the recipients of the National Living Treasures Award or the Gawad Sa Manlilikha ng Bayan.

Artist Occupation and Place of Origin

Ginaw Bilog Poet
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
Masino Intaray Musician and Storyteller
Palawan
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 and Dancer
Kalinga
Lubungan, 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, Kapampangan
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

NOTE:
Please see LESSON 10: ACTIVITY SHEETS on PAGE 11-13 for your
activity.
 Page |5

National Living Treasures

Award: Gawad sa Manlilikha
ng Bayan
(Literature And Performance)

By the end of this lesson, you are expected to:

 Identify the recipients of the National Living Treasures Award (Literature & Performance)

LET’S WARM UP!!!

Match the folk tales/epics that circulated in the country in column A with their corresponding places
where it began in column B. See Lesson 11: Activity Sheets “LET’S WARM UP” to write your answer (Page
14)

A B
1. Hudhud Mindanao
2. Biag ni Lam-ang Ilocos
3. Ullalim Luzon
4. Hinilawod Visayas
5. Darangan Ifugao

KEY TAKEAWAYS! LET’S WORK

AND LEARN!!!

Like our country’s history, Philippine literature has rich roots and colourful beginnings. During
precolonial times, there were many epics and folks tales that articulated in the country. In the island of Luzon,
the Ifugaos had the HUDHUD, the Ilocanos had BIAG NI LAM-ANG, and the Kalinga had the ULLALIM. From the
Visayas is the HINILAWOD of the Hiligaynon people. And from Mindanao is the DARANGAN. These epics are
part of the Philippine oral tradition-these tales of heroism and adventure are passed on to the next generation
by mouth.
 Page |6

NATIONAL LIVING TREASURES FOR LITERATURE

1. GINAW BILOG
1953-2003
Awarded: 1993

The AMBAHAN is a form of poetic literature which is made up of seven-syllable lines used
to communicate messages through metaphors and imagery. It is sung and contains various messages ranging
from advice, to courtship, and to farewell. Today, this art has remained in existence because of the brilliance of
the Filipino artist Ginaw Bilog. This national treasure from Mansalay, Oriental Mindoro, took it upon himself
to incessantly record the AMBAHAN poetry by the use of bamboo tubes and old, dog-eared notebooks passed
on to him by family and friends. His contribution to Philippine art is through the preservation of this ancient
form of literature. In contemporary times, AMBAHAN serves as a reminder of the country's rich history and
culture.

2. FEDERICO CABALLERO
1938
Awarded: 2000

This epic chanter from Calinog, Iloilo, persistently works for the documentation of oral literature.
Caballero's contribution is in the recording of the dying oral tradition of epics. He was able to document 10,
epics in a language that is no longer spoken. He worked with the Bureau of Nonformal Education and has
traveled to many places in the country to persuade the elders of the importance of learning how to read and
write. Caballero is considered as a BANTUGAN, a person who has achieved distinction. He makes every
effort to dispense justice in the society through his work as a MANUGHUSAV—an intermediary of conflicts.
Caballero's work makes the rich tradition of the epic available to scholars as contemporary artists.

NATIONAL LIVING TREASURES FOR PERFORMANCE

Most of the country's performing arts (dances, songs, and dramatic performances) are heavily influenced
by the Spanish and American colonizers. But the Philippines is rich in native dances, songs, and performances
that are still in practice today. Various tribes and indigenous groups are still using ancient musical instruments
in performing rituals. Despite the threats of media and globalization, Filipinos still perform folk dances and
songs as part of exercising their cultural identity and heritage.

The National Living Treasures Award or the Gawad sa Manlilikha ng Bayan recognizes Filipinos who
show distinctive skills and have achieved exceptional artistic excellence. Here are some of the notable Filipinos
privileged to receive this very important award for their outstanding skills and talents in performing arts.

1. MASINO INTARAY
1943-2013
Awarded: 1993

Intaray was a native of Makagwa Valley in Brookes Point, Palawan. He was not just an exceptional
poet but also a musician, an epic chanter, and a storyteller. His extraordinary skills and talent for playing
various customary music instruments included the basal, kulilal, and bagit. Intaray's unparalleled creative
talent, powerful memory, clear intellect, and profound spirituality allowed him to chant majestically
countless tuturan (myths), tultul (epics), and sudsungit (narratives). His influence in contemporary arts
is making these pieces of ancient knowledge accessible to today's artists.

2. SAMAON SULAIMAN
1953-2011
Awarded: 1993
 Page |7

Sulailnan as a master and teacher of kudyapi in Libutan and other barangays of Maganoy town
Maguindanao, Mindanao. The kudyapi of Maguindanao is one of the most sophisticated Philippine musical
instruments. His expertise in playing kudyapi was evident in this broad repertoire that included binalig,
linapu, minna, and dinaladay. Samaon Sulaiman was also highly skilled in handling other Philippine
traditional instruments such as the kulintang, agong, gandingan, palendag, and tambul. His
contribution to Philippine culture and arts was through his dedication in teaching how to play the kudyapi.
He was also a popular town barber and served as an imam in the Libutan Mosque.

3. ALONZO SACLAG
1941-
Awarded: 2000

Alonzo Saclag is a natise from Lubugan, Kalinga. He is a master of dance and the performing
arts. The Kalinga people take pride in his incredible skills and talent because he has mastered not only
the Kal inga musical instruments but also the dance movements associated with his people's practice.
Although he received no formal instruction, he learned to hone his skills through mere observation. His
contribution to folk art and culture is in heading the establishment of the prestigious Kalinga Budong
Dance Troupe that tours here and abroad to represent and initiate Kalinga performing arts. Through
the group's performances, Kalinga music and dance continue to inspire contemporary artists.

4. UWANG AHADAS
Awarded: 2000

Uwang Ahadas belongs to the Yakan, an indigenous tribe with high reverence to instrumental
music as it is related to life and agricultural cycles, and social undertakings. Ahadas is an incredible
artist from Lamitan, Basilan. He has near-blindness, but this disability does not hinder him from honing
his craft. As a matter of fact, his disability drew him to music, which is his constant companion. In
addition, Ahadas was a hands-on teacher to fascinated and dedicated individuals who wish to learn to
play Yakan instruments, which include the famous kwintangan, kavu, and tuntungan.

NOTE:
Please see LESSON 11: ACTIVITY SHEETS on PAGE 14-15 for your
activity.
 Page |8

National Living Treasures

Award: Gawad sa
Manlilikha ng Bayan
(Crafts)

By the end of this lesson, you are expected to:

 Identify the recipients of the National Living Treasures Award or Gawad sa Manlilikha ng Bayan
(crafts)
 Enumerate the different crafts from the folk and indigenous people in the country

KEY TAKEAWAYS! LET’S WORK

AND LEARN!!!
Almost every Filipino appreciates the colourful and intricate tapestry and textiles that are
hung in homes, grand hallways, and lobbies. You can see many handicraft products such as baskets, brooms,
and bamboo sofa sets in Filipino homes. You can also see young girls wearing beautifully crafted earrings,
bracelets, necklaces, and other accessories made using native products such as beads, shells, and seeds. Many
tourist destinations showcase traditional crafts for local and foreign tourists. This is a clear sign that Filipinos
continue to patronize their own products.

The Philippines’s national living treasures for crafts continue to create truly Filipino crafts
that represent the country’s art and culture.

LIST OF NATIONAL LIVING TREASURES FOR CRAFTS

1. LANG DULAY
1928-2015
Awarded: 1998

One of the most traditional methods of fabric production is weaving. It uses two distinct sets of
threads that are knitted at right angles to create an intrinsic fabric or cloth. Lang Dulay was a master
weaver. She started honing her skills at the young age of 12. She was famous for using traditional
Filipino materials such as abaca fibers weaved into T'nalak cloth. Her artistic designs inculcated with
the rich history of the country have made her a national living treasure. She was widely known for her
 Page |9

distinct designs such as the kabangi (butterfly), bankiring (hair bangs), and the bulinglangit (clouds).
The weaving of Lang Dulay and her people inspired the 2014 Cinemalaya film K'na the Dreamweaver.

2. SALINTA MONON
1920-2009
Awarded: 1998

Salinta Monon, like Lang Dulay, was a very talented weaver. She used the abaca-ikat weaving,
or weaving using fiber from the abaca plant to create very detailed ornate desjgns. Because of Monon's
painstaking craftsmanship, a modest-sized fabric took three to four months to complete. The binuwaya
(crocodile) is considered to be Monon’s beloved design, which was the most difficult to weave. Monon
envisioned to put up a structure for weavers and those who want to learn the art. Monon's contribution
to contemporary art was her dedication and perseverance in creating weaving that represented the
Bagobo culture.

3. DARHATA SAWABI
Birth year unknown; died: 2005
Awarded: 2005

Darhata Sawabi was a textile weaver from the humble barangay of Parang in Jolo, Sulu. Sawabi
was a Tausug famous for the pis syabit, which is the customary cloth worn as a hood by the Filipino
Tausugs. The pis syabit is a challenging textile to weave. Preparing the warp alone requires three days.
The weaving itself is a physical undertaking, as the weaver strings the threads through the frame made
of banana and bamboo to create the tapestry's base. Sawabi's choice of colors, consistency of weave,
and use of traditional designs made her an excellent artist. Sawabi was also a teacher, sharing her
knowledge with the women in her community. Like Monon, she believed in the importance of handing
down to the next generation of weavers the art of traditional weaving. Sawabi scholars and contemporary
artists to study and be inspired by tradition

4. EDUARDO MUTUC
1949-
Awarded: 2005

Eduardo Mutuc is an exceptional Filipino sculptor works with silver, bronze, and wood, crafting
religious and lavman artworks. His works include intricate church retablos ornately designed mirrors,
grand altars, and breathtaking carosas used in churches or procured by collectors. Although he started
late in his career, Mutuc was able to progress and cultivate his valuable skills. His works are more than
simply ornamental, for his masterpieces add charm and luxury to home and monument. Mutuc's
contribution to contemporarv an in the Philippines is in his opulent craftsmanship that graces the places
of worship of many Filipino faithful.

5. HAJA AMINA APPI

1925-2013
Awarded: 2005

Haja Amina Appi, a member of the Sama indigenous community, was a master mat weaver from
the small community of Ungos Matata, Tandubas. Tawi-Tawi. Her flamboyant mats with their intricate
geometric arrangements displayed her particular sense of proportion and color sensitivity. She was highly
esteemed throughout her community for her distinctive designs and the refinement of her sasa and
kima-kima. The art of mat making within the Sama community is assigned and restricted to the women.
The harvesting, dying, designing, and weaving of the mats are all done by the women. This art is featured
in Brillante Mendoza's film Thy Womb.
 P a g e | 10

6. TEOFILO GARCIA
1941-
Awarded: 2012

Teofilo Garcia of San Quintin, Abra, is a master artisan, farmer, and innovator. He is recognized
for his beautifully crafted casque or tabungaw, a distinctive and functional headpiece that he made to
safeguard him from the harsh rays of the sun and from the rain. His creations are made of hollowed-out
native gourd which he polishes and varnishes, thus giving a bright orange hue perfect for the changing
weather. The interior of the tabungaw is lined woven rattan for comfort. His' contribution to
contemporary arts is the integration of his craft in Abra's harvest festival.

7. MAGDALENA GAMAYO
1924-
Awarded: 2012

Magdalena Gamayo is an Ilocano textile weaver of the abel, the traditional blanket. Her works
are of the finest quality, using very high thread count and incorporating intricate designs. Her accuracy
in color spacing makes her blankets sought after. She has mastered the traditional patterns- of sinan-
sabong (flowers), kusikos (spirals), and the binakol inuritan (geometric). Gamayo's exemplary
craftsmanship contributes to contemporary art as the weaving tradition in Ilocos continues to flourish.

NOTE:
Please see LESSON 12 ACTIVITY SHEETS on PAGE 16-17 for your
activity.
 P a g e | 11

NAME: ____________________________________
GRADE AND SECTION: __________________________________
SUBJECT: CONTEMPORARY PHILIPPINE ARTS FROM THE REGION

NOTE:
LESSON 10 - ACTIVITY SHEETS PLEASE DETACHED THIS
PAGE FOR SUBMISSION TOGETHER
WITH YOUR ANSWER SHEETS AND
PROFILE.

LET’S WARM UP
1. _________________________________________________
2. _________________________________________________
3. _________________________________________________
4. _________________________________________________
5. _________________________________________________

LET’S EXERCISE!!!
ACTIVITY 1:

In 2012, President Benigno Aquino bestows the latest recipients of the Philippine National Treasures
Award or Gawad sa Manlilikha ng Bayan. Read the speech of the President Aquino below and write one-
paragraph reaction on the message of President. USE SEPARATE SHEET OF PAPER
Talumpati
ng
Kagalang-galang Benigno S. Aquino III
Pangulo ng Pilipinas
Sa pagpaparangal sa mga Manlilikha ng Bayan

[Inihayag sa Ceremonial Hall, Palasyo ng Malacañan, noong ika-8 ng Nobyembre 2012]

Magandang umaga po. Maupo po tayong lahat.

Chairman Felipe de Leon; Dr. Elena Rivera Mirano; Congresswoman Imelda Marcos; Governor Kit Bersamin,
Province of Abra; Mayor Bonifacio Clemente of the Town of Paoay; the 2012 Gawad sa Manlilikha ng Bayan
Awardees: Magdalena Gamayo, Mr. Teofilo Garcia; other Manlilikha ng Bayan and National Artists present;
honored guests; fellow workers in government; mga minamahal ko pong kababayan:

Muli, magandang umaga po sa lahat.

Nagtitipon po tayo ngayon bilang isang bayan, upang bigyang parangal at pagkilala ang ating mga katangi-
tanging manlilikha. Sa pagharap natin sa modernong panahon, at sa samu’t saring impluwensya ng ibang
kultura, pinatitingkad ng kanilang likhang sining ang ating pagka-Pilipino. Pinapatibay nito ang ating
pagkakakilanlan at pagbubuklod, upang mangibabaw ang pagkakaisa sa kabila ng pagkakaiba.

Mapalad po tayong makasama ngayon si Magdalena Gamayo, ng Lumbaan, Pinili, Ilocos Norte. Labing anim na
taon lang po siya nang matutuhan ang paghahabi, at hanggang ngayon—sa edad na 88—hindi pa rin
kumukupas ang ganda at husay ng kanyang mga likhang sining. Masusi niyang tinututukan ang bawat proseso
 P a g e | 12

sa pagbuo ng obra maestra upang makamit ang primera klaseng produkto. Kalyuhin man ang daliri, mahapo
man ang mga mata, at mapagod ang mga binti at kamay, hindi ito alintana ni Nanay Magdalena. Ang resulta:
lumipas man ang halos pitong dekada, patuloy na tinitingala at tinatangkilik ng kanyang komunidad ang
hinahabi niyang abel Iloco.

Gayundin po ang pagpapakitang-gilas ng isa pa nating awardee; si Ginoong Teofilo Garcia, batikan sa paglikha
ng tabungaw. Labinlimang taong gulang naman po siya nang linangin ang kasanayan sa larangang ito.
Makalipas po ang 55 taon, siya na lang ang natitirang gumagawa ng tabungaw sa San Quintin, Abra. Talaga
namang nakakabilib si Ginoong Garcia; kumpletos rekados ang kanyang kaalaman at talento. Siya ang
nagtatanim at nag-aani ng upo na ginagamit niyang pangunahing materyal, at siya rin ang nag-iisip at
naglalapat ng masalimuot na mga dibuho sa tabungaw. Sikat man sa lugar nila dahil sa kanyang husay, hindi
tumitigil sa paghahanap ng paraan si Ginoong Garcia upang mapaganda pa ang kanyang mga likha. Umaasa
po ako na ang kasanayan at kaalamang ito ng ating mga awardee ay maisasalin sa marami pa nating
kababayan.

Saludo po ang buong bayan sa kahusayan nina Nanay Magdalena at Ginoong Garcia. Nagsisilbi kayong buhay
na yaman ng ating kultura; bukal ng kagalingang pamana ng ating mga ninuno. Karapat-dapat lang po na
kaakibat ng matatanggap n’yong pagkilala, ang karampatang mga benepisyo para sa inyo. Kasama po rito ang
serbisyong pangkalusugan at buwanang pensyon, upang kahit paano’y masuklian ang inyong malaking ambag
sa lipunan. Pinatutunayan po ninyong ang mga pamana ng lahi ay lalong nagpapatingkad sa yaman ng bayan.

Mantakin po ninyo, sa tulong ng ating mga awardee, ang mga produktong ginamit pa ng ating mga ninuno,
pati na ng mga dayuhang nakipag-kalakal sa ating bayan, ay nananatiling buhay sa kasalukuyan. Taglay po
ng ating mga katutubong sining, mapabiswal man, pampanitikan, o pagtatanghal, hindi lamang ang
matitingkad na kulay, makahulugang mga tayutay, o maindayog na tunog at galaw. Inilalarawan din nito ang
pagkamalikhain, karanasan, at paraan ng pakikiangkop ng mga unang Pilipino. Halimbawa na nga po rito ang
paghahabi ng mga kumot at balabal, na magagamit sa malalamig na lugar o panahon. Samantalang ang
tabungaw naman ay nagsisilbing pananggalang sa init ng araw, o sa tag-ulan.

Tunay nga pong ang mga likhang sining na ito ay tatak-Pinoy: marami ang pakinabang, masusing pinag-isipan,
at pangmatagalan. Ito po ang iniiwang hamon at inspirasyon nina Nanay Magdalena at Ginoong Garcia sa atin:
ang pagmamahal sa sining, at pagdidilig ng ibayong sipag at dedikasyon upang mapayabong ito. Hindi naman
po siguro hahangaan at tatagal ang kanilang mga produkto, kung bara-bara lang ang kanilang pagtatrabaho.
Sila po ang ehemplo ng mabubuting katangian ng ating lahi, na ipinapamalas din ng ating mga kababayan sa
iba’t ibang panig ng mundo.

Tungkulin po ng Estado na panatilihin, pangalagaan, at pagyamanin ang ating sining at kultura. Sa

pangunguna ng National Commission for Culture and the Arts, at sa pakikiisa ng iba’t ibang sektor, patuloy
tayong magbibigay parangal sa ating mga manlilikha, at maglalatag ng mga programang susuporta sa ating
katutubong sining. Nais po nating ang kasanayan at kaalamang taglay ng ating mga awardee, ay mananatiling
buhay sa kasalukuyan at sa susunod na salinlahi. Nawa’y tangkilikin ang mga obra maestrang ito, hindi
lamang sa rehiyon kung saan ito nagmula, kundi maging sa kalakhang lipunan. Mulat tayong gaano man
kayaman ang sining at kultura, may panganib itong maglaho kung hindi maipapamana sa susunod na
henerasyon.

Sa ating mabuting pamamahala, hinahabi natin ang magandang kinabukasan para sa bawat isa. Tulad ng
dedikasyon ng ating mga awardee sa paglinang sa ating sining at kultura, hindi po makukuntento ang inyong
gobyerno sa trabahong “puwede na.” Maigi nating itinataguyod ang mahahalagang haligi ng kaunlaran kung
saan walang sinuman ang maiiwan.

Nakamit po natin ang matatayog na tagumpay sa maikling panahon lang ng ating panunungkulan dahil sa
pagkakaisa. Umaasa po akong patuloy tayong magbubuklod bilang isang bayan upang maipamana sa susunod
na henerasyon, hindi lamang ang mayamang sining at kultura, kundi pati na rin ang isang patas at
masaganang bansa.

Magandang araw po. Maraming salamat po.

 P a g e | 13

ASSESSMENT:
Explain/Discuss. (50minimum-150maximum) words.

1. What is a National Living Treasure Award/ Gawad sa Manlilikha ng Bayan?

________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
2. Who are the deserving people who can receive such award? Why?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________

1. Who are the different national living treasures: Gawad sa Manlilikha ng Bayan Recipients?
 P a g e | 14

NAME: ____________________________________
GRADE AND SECTION: __________________________________
SUBJECT: CONTEMPORARY PHILIPPINE ARTS FROM THE REGION

NOTE:
LESSON 11- ACTIVITY SHEETS PLEASE DETACHED THIS
PAGE FOR SUBMISSION TOGETHER
WITH YOUR ANSWER SHEETS AND
PROFILE.

LET’S WARM UP
1.
2.
3.
4.
5.

LET’S EXERCISE!!!
ACTIVITY 1.
Read an Excerpt of “The Bontoc Report,” which was written for the Ethnological Survey of the
Department of Interior by Albert Earnest Jenks in 1950. Answer the questions afterward. USE
SEPARATE SHEET OF PAPER.
Vocal Music

The Igorot has vocal music, but in no way can I describe it—to say nothing of writing it. I tried
repeatedly to write the words of the songs, but failed even in that. The chief cause of failure is that the
words must be sung—even the singers failed to repeat the songs word after word as they repeat the
words of their ordinary speech. There are accents, rests, lengthened sounds, sounds suddenly cut
short—in fact, all sorts of vocal gymnastics that clearly defeated any effort to "talk" the songs. I believe
many of the songs are wordless; they are mere vocalizations—the "tra la la" of modern vocal music; they
may be the first efforts to sing.

I was told repeatedly that there are four classes of songs, and only four. The mang-ay-u-wéng',
the laborer's song, is sung in the field and trail. The mang-ay-u-wéng' is said to be the class of songs
rendered at all ceremonies, though I believe the doleful funeral songs are of another class. The mang-
ay-lu'-kay and the ting-ao' I know nothing of except in name.

Most of the songs seem serious. I never heard a mother or other person singing to a babe.
However, boys and young men, friends with locked arms or with arms over shoulders, often sing happy
songs as they walk along together. They often sing in "parts," and the music produced by a tenor and a
bass voice as they sing their parts in rhythm, and with very apparent appreciation of harmony, is
fascinating and often very pleasing.

GUIDE QUESTIONS:
1. What is the main problem encountered by the observer?
____________________________________________________________________________________________________
2. Describe the kind of vocal music that Igorots have.
____________________________________________________________________________________________________
3. If you get the chance to write down your observation (provided that you have heard a sample of Igorot
music), would you have a different reaction/interpretation?
____________________________________________________________________________________________________
 P a g e | 15

ACTIVITY 2.

You are a graphic designer. The NCCA has commissioned you to DESIGN an ALBUM COVER
of any of the national living treasure. MAKE an ALBUM COVER of your chosen folk artist. Your design should
include designs from the region of the artist you have chosen. The album cover will be evaluated by the NCCA
chair according to conformity to the theme and creativity.

ASSESSMENT:
Match the following national living treasures awardees in column A with their corresponding works in
column B. Once done, be able to identify to what category they will fall.

A. B.
1. Ginaw Bilog a. Performance
2. Federico Cabellero b. Literature
3. Uwang Ahadas c. Oral Literature
4. Masino Intaray d. Basal
5. Samaon Sulaiman e. Kudyapi
6. Alonzo Saclag f. Budong Dance Troupe
g. Yakan Instrument

Who are the different national living treasures: Gawad sa Manlilikha ng Bayan Recipients for crafts?
 P a g e | 16

NAME: ____________________________________
GRADE AND SECTION: __________________________________
SUBJECT: CONTEMPORARY PHILIPPINE ARTS FROM THE REGION

NOTE:
LESSON 12 - ACTIVITY SHEETS PLEASE DETACHED THIS
PAGE FOR SUBMISSION TOGETHER
WITH YOUR ANSWER SHEETS AND
PROFILE.

LET’S EXERCISE!!!
ACTIVITY 1.
Read an excerpt from the Philippine Craftsman Reprint Series by the American government in
the Philippines in 1913. Answer the guide question afterward.
Philippine Mats
The production of mats in the Philippines is large because of the extensive domestic demand for them.
The sleeping mat is used throughout the Christian provinces, and is also found among the Moros. Such mats
are of the finer class and are usually more or less highly decorated with colored straws in various designs. For
this purpose the buri petates are more widely produced than those made from any other material. Pandan mats
are considered stronger and cooler but their use is not so extensive, probably because they are more expensive
than the buri mats. In the Visayas, tikug mats are important.

Another use of mats is in the baling of two of the staple products of the Philippines, tobacco and abaca.
In the Cagayan valley mats of dried banana petioles are employed. A great many of these are made in Batac,
Ilocos Norte, from which place they are shipped to Cagayan. In most cases the tobacco of the Visayas is packed
in such mats also. At Argao, Cebu, banana petiole mats are woven as a by-product of the sabå cloth industry.
In obtaining the fiber, the outer skin of the petiole is pulled off for stripping, and the remaining portion, which
is called "upag," is dried and woven into very coarse mats by children. These are called "bastos" or "liplip," and
are disposed of to the tobacco balers in théßOwn, or are shipped to Cebu and other towns for baling purposes.
While sabå sinamay is produced in several of the districts in the Visayas, notably in Bohol, it is not known that
the upag is used for mat weaving there.

Coarse buri mats are almost exclusively used in wrapping abaca for the export trade. Since baling is
carried on only in large seaports, particularly in Manila and Cebu, the weaving of these mats in certain localities
where the buri palm is abundant and their transportation to the hemp-producing towns are important
industries.

While they are not, strictly speaking, mats, plaited sacks are woven in the same weave and bear the
same relation to sugar and rice ås do mots to tobacco and abaca. Most of the domestic rice crop entering into
commerce is packed in buri sacks and practically all the export sugar is sent away in them. A few bayones are
made of pandan. The production of bayones is an important industry in certain districts.

Mats are also employed throughout the provinces for drying paddy and copra in the sun, in the same
manner in which trays are used for sun-curing fruit in temperate regions.

The use of the finer grades of petates for floor mats and for wall decoration is confined to the foreign
population in the Philippines. Nevertheless, a considerable number is so utilized. For this trade only mats of
the better grades are demanded, and the number sold for the purpose is probably considerably restricted by
the fact that few mats are of suitable color combination and of proper design to satisfy foreign taste. As yet there
is no known commercial export of Philippine mats. There is a considerable demand for floor mats and mats for
wall decoration in Europe and in the United States, but it is improbable that the Philippines can hope to supply
 P a g e | 17

any part of it unless designs and color combinations are vastly improved. Floor mats are used as rugs in the
same manner as are the strips of Japanese matting which are so popular all over the world. Round floor mats,
somewhat larger in diameter than the round table tops, are also in demand. Small mats can be used as doilies
on the table or under the stands of flower pots and the like.

Sleeping mats and mats intended for floors, walls, stands, and mat doilies are the ones which are
suitable for domestic and foreign commerce, and industrial education must interest itself in them. The
Philippine materials available for weaving these mats are varied and well distributed. With improvement in color
combination and design, there should be a large increase in the industry.

Guide Question:

How different is the use and relevance of mats then and now? What caused these changes?
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________

ACTIVITY 2.
You are a fashion designer. You need to SKETCH a DESIGN OF A T-SHIRT. Your design should be
inspired by a craft made by the gifted national living treasures. Your design will be evaluated by fashion
critics to creativity and application of the theme.

ASSESSMENT:
Explain. USE SEPARATE SHEET OF PAPER. (50-100 words)

1. How important is teaching in passing on the tradition of weaving?

____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
2. Is age important in the pursuit of the arts? Explain.
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________

Using the back of this sheet, please leave a comment, suggestion or

recommendation on how we can improve the module. Please let us
know whether the module is easy to understand or not. Any comment
will be much appreciated!!! Thank you!!!

DIWA Senior High School Series:

REFERENCE/S Contemporary Philippines Arts from the Region