Department of Education

CONTEMPORARY
PHILIPPINE ARTS
FROM THE REGIONS
The Contemporary in Traditional Art
Quarter 1 – Module 6

Hanny Joyce B. M analo

Writer
M arvin M . Lunar
Validator
M ariel Eugene L. Luna
Editor / Layout Artist

Schools Division Office – Muntinlupa City

Student Center for Li fe Ski l l s Bl dg., Centenni a l Ave., Brgy. Tuna s a n, Munti nl upa Ci ty
(02) 8805-9935 / (02) 8805-9940

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 This module was designed and written to help you master the contemporary
forms of arts from the diffe rent regions. It provides the students with an appreciation
of a broad range of styles in the various disciplines with consideration on their
elements and principles, and engage them to an integrative approach in studying
arts. Through this module, students will broaden and acquire the necessary creative
tools that open opportunities in pursuing their individual career goals and
aspirations.

This module on the Contemporary in Traditional Art is divided into the

following lessons, namely- GAMABA & Forms of Arts in the field of literature,
performing arts, plastic arts, weaving, wood carving and pottery.

After going through this module, you are expected to compare forms of arts
from the different regions thru these learning objectives:
 Identify the characteristics of Gamaba
 Evaluate forms of Arts from different regions
 Create a work that promotes contemporary art

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Task: Choose The Best.

Direction: Read and evaluate each statement. Identify what is asked or described in
each item. Write the letter of the correct answer on your paper.
1. The following are the qualifications to become a “Manlilikha ng Bayan”
except:
A. He/she is an inhabitant of an indigenous/traditional cultural community
anywhere in the Philippines.
B. He/she must have engaged in a folk art tradition that has been in
existence and documented for at least ten (10) years.
C. He/she must have consistently performed or produced over a significant
period, works of superior and distinctive quality.
D. He/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.

2. It has been known as the center of woodcarving in the pines.

A. Candelaria C. Paete
B. Malolos D. Sto. Tomas

3. Through this act, the Gawad sa Manlilikha ng Bayan or the National Living
Treasures award was institutionalized.
A. R.A. No. 3550 C. R.A. No. 6780
B. R.A. No. 4610 D. R.A. No. 7355

4. It is the highest policy making and coordinating body for culture and arts in
the Philippines.
A. CCP C. NHCP
B. NCCA D. RMAO

5. Gamaba awardee from Pampanga, he is expert for silver plating of religious

and secular art.
A. Eduardo Mutuc C. Teofilo Garcia
B. Federico Caballero D. Uwang Ahadas

6. Gamaba awardee from Oriental Mindoro, he is expert for Surat Mangyan and
ambahan poetry.
A. Eduardo Mutuc C. Masino Intaray
B. Ginaw Bilog D. Samaon Sulaiman

7. The following are awardees in the year 2000, except:

A. Alonzo Saclag C. Teofilo Garcia
B. Federico Caballero D. Uwang Ahadas

8. The following are Gamaba awardees in the year 1993 for outstanding artists
in music and poetry, except:
A. Darhata Sawabi C. Masino Intaray
B. Ginaw Bilog D. Samaon Sulaiman

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9. Gamaba awardee from South Cotabato, She is expert for tinalak weaving.
A. Ambalang Ausalin C. Lang Dulay
B. Estelita Bantilan D. Yabing Masalon Dulo

10. The following are Gamaba awardees in the year 1993 for outstanding artists
in weaving, except:
A. Haja Amina Appi C. Salinta Monon
B. Magdalena Gamayo D. Uwang Ahadas

11. Gamaba awardee from Basilan, She is expert in textile weaving.

A. Ambalang Ausalin C. Magdalena Gamayo
B. Haja Amina Appi D. Salinta Monon

12. It is based on indigenous people’s cultures that are largely honed by

oral tradition.
A. Contemporary art C. Social art
B. Pop art D. Traditional art

13. In Barangay Dangtalan, the pottery still remains to be an exclusively female

craft, in which municipality it belongs?
A. Dingalan C. Pasil
B. Gapan D. San Fernando

14. It is clay that is modeled, dried, and fired, usually with a glaze or finish,
into a vessel or decorative object.
A. Poetry C. Weaving
B. Pottery D. Woodcarving

15. It is an art that has been practiced for thousands of years, a process of
producing a fabric by interlacing warp and weft threads.
A. Poetry C. Weaving
B. Pottery D. Woodcarving

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Module
The Contemporary in
6 Traditional Art
The arts of the Philippines reflect a society with diverse cultural inf luences
and traditions. By expressing the cultural richness of the archipelago in all its
diversity, Filipino artists have helped to shape a sense of national identity.

These Gawad sa Manlilikha ng Bayan Awardees produce art forms that are
woven into everyday life, art forms that we can be really proud of, demonstrating how
pre-colonial traditions persist through the present.
Students should understand the significant roles of artists and expected to
create avenues to advocate the arts from the different regions.

In this lesson, students will learn about the contemporary in traditional art
and our National Living Treasures, more formally known as the awardees of the
Gawad sa Manlilikha ng Bayan (GAMABA) from the National Commission for Culture
and Arts or NCCA. This awardees produce art forms that 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.

To give you an overview information about GAMABA, watch and analyze a

video clip from YouTube, using this link,
https://www.youtube.com/watch?v=_9SDzVNkJhk&feature=emb_logo or research
something on the the origin of GAMABA and it’s awardees through the years.

Guide Questions:

1. Who were the GAMABA

awardees?
2. Where they from?
3. What do you think is the
significance of this award?
4. How are they similar or
different to each other?

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 In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living
Treasures Award was institutionalized through Republic Act No. 7355. Tasked with
the administration and implementation of the Award is the National Commission for
Culture and the Arts (NCCA), the highest policy-making and coordinating body for
culture and the arts of the State. The NCCA, through the Gawad sa Manlilikha ng
Bayan Committee and an Ad Hoc Panel of Experts, 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.
First awarded in 1993 to three outstanding artists in music and poetry, the
Gawad sa Manlilikha ng Bayan has its roots in the 1988 National Folk Artists Award
organized by the Rotary Club of Makati-Ayala. As a group, these folk and traditional
artists reflect the diverse heritage and cultural traditions that transcend their
beginnings to become part of our national character. 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.

As envisioned under R.A. 7355, “Manlilikha ng Bayan” shall mean 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.
How Does One Become a Manlilikha ng Bayan?

To become a “Manlilikha ng Bayan”, the candidate must possess the following

qualifications:
a. He/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/she must have engaged in a folk art tradition that has been in existence and
documented for at least fifty (50) years.

c. He/she must have consistently performed or produced over a significant period,

works of superior and distinctive quality.

d. He/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.

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 e. He/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 has left him/her incapable of teaching further
his/her craft, may still be recognized if:
a. He/she had created a significant body of works and/or has consistently
displayed excellence in the practice of his/her art, thus achieving important
contributions for its development.

b. He/she has been instrumental in the revitalization of his/her community’s

artistic tradition.

c. He/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/her community has recognized him/her as master and teacher of

his/her craft.

GAW AD SA MANLILIKHA NG BAYAN AW ARDEES

MANLILIKHA NG YEAR OF ETHNICITY/ EXPERTISE

BAYAN CONFERMENT LOCATION
L Ginaw Bilog 1993 Hanunuo surat Mangyan
I (d. 2003) Mangyan/ and ambahan
T Panaytayan, poetry
E Oriental Mindoro
R Masino Intaray 1993 Pala’wan / Lyrical poems and
A Brookes Point, playing their
T Palawan accompanying
U instruments; epic
R chanting and
E storytelling
Samaon Sulaiman 1993 Magindanao / Playing the
& (d. 2011) Mama sa Pano, kudyapi
Maguindanao
P Alonzo Saclag 2000 Kalinga / Playing Kalinga
E Lubuagan, musical
R Kalinga instruments;
F dance patterns
O and movements
R associated with
M rituals
I
N
G Federico 2000 Sulod-Bukidnon / chanting the
Caballero Calinog, Iloilo sugidanon epic of
the Panay
A Bukidnon

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R Uwang Ahadas 2000 Yakan / Playing Yakan
T Lamitan, Basilan musical
S instruments

P Eduardo Mutuc 2004 Kapampangan / Silver plating of

L Apalit Pampanga religious and
A secular art
S
T Teofilo Garcia 2012 Ilocano / gourd casque
I San Quintin, Abra making
C

A
R
T
S

Lang Dulay 1998 T’boli / tinalak weaving

Lake Sebu, South
Cotabato
Salinta Monon 1998 Tagabawa inabal weaving
Bagobo/
Bansalan, Davao
del Sur
Darhata 2004 Tausug / pis siyabit
W Sawabi Parang, Sulu weaving
E (d. 2005)
A Haja Amina Appi 2004 Sama / mat weaving
V Tandubas, Tawi-
I Tawi
N Magdalena 2012 Ilocano / inabel weaving
G Gamayo Pinili, Ilocos Norte
Ambalang Ausalin 2016 Yakan/ textile weaving
Parangbasak,
Lamitan City,
Basilan
Estelita Bantilan 2016 B’laan / mat weaving
Sarangani
Yabing Masalon 2016 B’laan/ ikat weaving
Dulo Polomolok, South
Cotabato

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W EAVING

From fibers and threads to colors and prints,

weaving Speaks so much about the Philippines’ cultural
narrative. Besides preserving history, the country’s weaves
are also promising products that bring attention to
indigenouscommunities via the international design and
lifestyle stage.

According to the Garments and Textile Industry

Development Office (GTIDO) and the Center for
International Trade Expositions and Missions (CITEM), the
A T ’boli from Lake Sebu 2014 edition of Manila FAME identified the weaves that are
demonstrates how ‘t’nalak’
is made from abaca woven
beginning to show potential in global marketability.
fiber. T he age-old method is
widely recognized as the Manila FAME is a premier design and lifestyle event
‘ikat’ process
held annually at the SMX Convention, wholly supported by
CITEM, which in turn is the export promotions arm of the Philippine Department of
Trade and Industry (DTI).

“CITEM has always been committed to

highlighting the versatility, viability, and global
competitiveness of Philippine craftsmanship, and we
are glad we were able to emphasize the fabrics that
have been part of the country’s culture and artistry,”
related CITEM Executive Director Rosvi Gaetos. He
also identified the different Filipino designers who
have become proponents of local weaves.

For the cotton and loom-woven abel textiles Local weavers from Aklan show
how piña is transformed into
from Ilocos, Bungalow 300’s interior designers Marga traditional ‘barong,’
Espiritu and Vernice Songco, the artistic duo’s exhibit dresses, tapestries, bags, and
furniture accessories
at Manila FAME injected their refreshing take on
vintage and modern aesthetics. This brought a new
spin on the said fabric that has been a huge part of the golden age of Ilocos.

Weavers from Ilocos also participated in presenting

abel as material known for bolstering the economy of the
Ilocos region during the colonial times, as the products
crafted from such thread were largely exported to different
countries of the world.

Meanwhile, the vibrant and intricate handcrafted

mats that define the traditional Samar mat weaving are
being advocated by painter and sculptor Patty Eustaquio.
At the Manila Fame exhibit, she infused her design
trademark that highlights stark contrasts between the
present and the past.
Intricacy is a common
feature among Philippine
weaves Weavers from Samar also showcased how the sedge grass
locally known as tikog can be transformed as mats, and
how it can be crafted for bags, furniture matting, and adornments for ceiling panels
or walls, and other decorative pieces.

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 The piña fabric from Aklan, on the other hand, was exhibited through the
interpretations of jewelery designer Natalya Lagdameo. The fiber used in this famed
weaving process in the region comes from the mature leaves of the pineapple plant,
which is scraped to extract the fine thread called liniwan.

Aklanon weavers presented how this material is commonly used in making

the traditional barong, dresses, tapestries, bags, and furniture accessories.

Finally, the art of t’nalak weaving from South

Cotabato, was brought to life by the design
sensibilities of Bong and Rossy Rojales of Heima.

The T’boli women of Lake Sebu were invited to

demonstrate the weaving practice. This traditional
cloth weaves are made with abaca-woven fiber, and
the practice is widely recognized for its age-old method
involving the ikat process, where natural dyes and Handcrafted mats from Samar are woven
threads from indigenous plants are used. from sedge grass locally known as ‘tikog’

To date, the time-honored weaving is dubbed as “dream weaving” because the

T’boli weavers believe that the textile patterns are lent by Fu Dalu, the spirit of abaca,
which are communicated to them through dreams.

“We are thankful to the artists and designers who lent their talent, vision, and
artistic sensibilities to innovate and recognize with respect the traditions woven into
one of the oldest and strongest pillars of local art, weaving,” Gaetos ended.

W OODCARVING

Source: https://w w w .flickriver.com/photos/reynaldnunez/5279875712/

The Spanish conquistador Miguel Lopez de Legaspi called the Filipinos

“buen ebanistas” after seeing the woodwork produced by the natives. Filipinos had
been engaging in the art of woodcarving long before the arrival of the Spaniards.

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The craft is more than 2000 years old — dating back to the time when carvers had
to make use of stones, shells and even the teeth and tusks of animals to shape the
wood. Today, Filipino woodcarvers continue to carve a name in the ranks of the
finest in the craft.

The more popular Filipino woodcarvers are the Ifugaos, the Tagbanwas, the
Maranaos and the Paetenos.

Ifugao W oodcarvers

Source: https://w w w .asw angproject.com/bulul -divinity-inside-the-w ood/

The Ifugaos of Northern Luzon are famous for the way they carved the
mountain slopes that form the legendary Banaue rice terraces. They are also well
known for their mastery of wood carving. Ifugao woodcarvings are usually of their
deities, the most famous of which are the various interpretations of the granary
deity known as the bul-ul. This granary deity occupies a significant role in the lives
of the Ifugaos and the bul-ul is ever present in the rice granaries, usually
accompanied by a female idol to assure an abundant harvest.

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 With the current ban on hardwoods, Filipino woodcarvers now use ipil or
acacia. Ifugaos also use the reddish wood called gutmu. The wood is roughly
shaped with a bolo — a one-edged knife about 12 to 18 inches long. In working out
the details, an improvised thin gouge 2 to 6 inches long is used and then the
carving is polished with the leaves of the aplah plant. After this, the images are
blackened with soot. Through time, the wood acquires a fine, har d gloss.

Tagbanwa W oodcarvers

South of the Phjlippines, one finds the Tagbanwa woodcarvers. Whereas the
Ifugaos engage in woodcarving primarily because it is an essential part of their
beliefs and customs, the Tagbanwas of Palawan carve for the sheer fun of it. And
this is probably why the Tagabanwa woodcarvings stand out as one of the most
exciting of indigenous Philippine woodcarvings. These wooden works of art are
highly stylized and reflect sophisticated aesthetics, leading one art critic to say that
they have “close affinities to near-abstract art.”

Tagbanwa wood carving is unique because it incorporates a technique of

completely blackening the surface of the wood and then bringing out white portions
while etching the design. Only a few of the Tagbanwa woodcarvings are intended
for use in rituals. Most of them serve as toys for the children, décor for the house,
or as a means of self-expression.

The Tagbanwa’s favorite wood comes from the alimutyugani tree. After the
bark is removed, the wood is shaped.

Then the wood is rubbed with the leaves of the cassava plant until it turns
green. Lumps of resin called salung are placed on the ground and ignited and the
wood is passed over the smoke until it becomes black with soot. The process of
rubbing cassava leaves all over the wood and blackening the carving by passing it
over the burning resin is repeated until the black coloring does not rub off. Then
the designs are etched out using a very small knive called pisaw. These designs
are usually polka dots, v-marks and white triangles which, when carved on the
blackened wood, come out was white incisions.

Maranao W oodcarvers

Source: https://en.wikipedia.org/wiki/Okir

Further down south of the Philippine Islands, are the Maranao Muslim
woodcarvers. Figural representations in their craft are taboo to the Maranao
woodcarvers. Natural forms are allowed only on the condition that they are “de -
natured.” Because of this limitation, the Maranao woodcarvers use the okkil motif
in most of their works. The okkil motif is rich in Sassanian character — the flowing
floral forms and S movements. The Filipino Muslim adaptation of the okkil has a

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strong indigenous character, deriving inspiration from local plants, sea corals and
native objects.

The okkil is carved into musical instruments and everyday objects such as
kitchen wares and bamboo tubes. The design can also be seen in the wooden
handles of swords and knives. Aside from the okkil, the sarimanok — a stylized
representation of a bird or rooster is also one of the more popular Maranao
woodcarving designs.

W oodcarvers of Paete

Source: ht t ps://craf t crazeee.f iles.wordpress.com/2013/09/img_27491.jpg

In Luzon — the biggest of the three major Philippine islands — the town of
Paete in Laguna has been known as the center of woodcarving in the Philippines.
The ban on logging has led many woodcarvers to switch to paper mache, but
today, Paete continues to be one of the best sources of fine woodcarvings. In this
town, woodcarving has been elevated to a fine art form which is no wonder,
because the name Paete comes from the word paet, which literally means chisel.

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POTTERY
Pottery is one of the most primordial arts that combine design and function.
It comes from a wide variety shapes and decorative technique s. The designs were
usually geometric with stylized nature motif; later pottery became more functional.
Pottery Making in Antique

Barangay Bari in Sibalom, Antique is very famous in

terms of quality and durability. The craftsman that
manufactures earthen products is called potters locally termed
as manugdihon. The most common earthenware they produce
are the kuron or daba, a round-bottomed, wide-mouthed native
cooking pot; kalan, an earthen stove; paso or plant pot; and
banga, used exclusively for storing drinking water. These
products are usually being sold in local market and exported in
nearby islands and provinces, such as Cuyo, Palawan.

Even if Antique is adapting high-technology environment, the art of pottery

struggles to live. Earthenware is made of clay produced in a swampy area and a clay
field, or in open fields near riverbanks. The materials used in manufacturing these
clay products are clay, fine sand and red soil and the proper proportion of water.
Pottery making in Bari is very traditional. Clay is sourced from the fields near
Sibalom River. Then it is mixed manually (pagmasa) or through footwork
(paglinas).The paghurma or molding process, the potters cautiously paddles using a
pamikpik or wooden paddle; the thin layer of clay for the kuron or clay pot which
makes it more durable and perfect for storing and cooking. The freshly molded earth
is kept for days under the lower part of their houses or in a kamalig or hutwhich also
serve as their working area to keep them away from the direct rays of the sun. It is
believed that air-dried pots are more durable than sun dried ones.
The paghaplas or burnishing and addition of slipping solution or haraplas
lend a fine finish. It is usually applied to exterior surface not necessarily reaching
the mouth rim of the pot. The haraplas, a solution of fine red soil, usually found in
Mount Itay-itay in Lacaron, Sibalom and water, gives the Bari earthenware their rich
dark red after being fired. The bulalo or a special stone is used to polish to the outer
part of the ware to achieve the final texture and color.
The pagpagba or firing is the last phase; the manugdihon of Bari still uses the
old practice of pagpagba, the open firing or semi-bonfire type which takes only about
one hour or two to cook the earthen ware. They use dagami (dried rice hay), ramay
(dried banana leaves), tuod (bamboo trunks) and dried woods.

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Handmade Pottery of Pasil, Kalinga
In Kalinga, at least in Barangay Dangtalan in Pasil, pottery still remains to be
an exclusively fe male craft.
According to Nora Ayangwa, who is into the pottery business for 18 years now.
The men in their town, do not know how to make pots, only women can mold pots.
Pottery has already been part of the lives of the people in Pasil.

According to Pasil Tourism Officer Milagros Butalao, Pottery was already

around even before and it was passed on to generations. The process, the skill, and
even the materials are handed over from mothers to their daughters.

POT S. Products of the Pasil women potters are

CRAFT . Pasil potter Anita Alwod, 64, craftily
used in cooking and serving dishes in the Pasil
molds a pot with her bare hands and some
Slow Food booth during the 2019 Kalinga
indigenous tools passed on by her mother.
(JJPM-PIA CAR) Bodong Festival. (JJPM-PIA-CAR)

Pasil’s pottery stands out not only because it is an all-female industry but it
is also a handmade craft using indigenous tools and plants.
Butalao explained the women potters finish high quality pots from scratch
using only their hands and some indigenous tools.
“The clay they use is different from others because it is a special kind of clay
that can only be found in Dangtalan. They make use of their hands; from scratch,
the design, and all just making use of indigenous materials without machines. It is
really craftsmanship.”
The Pasil Potters Association has a four women potters in 2005, the
association grew with more than 30 women potters from Barangays Dangtalan and
Dalupa.
With the association, the women potters were able to link up with government
agencies like the Department of Tourism that helps in promoting their products.
DOT- Cordillera officer-in-charge Jovy Ganongan added that making Pasil’s
pottery as an added tourist attraction will not only be beneficial for the municipality
but will also help the women potters in marketing their products.

15
Task 1: Information Slip
Directions: Identify the characteristics of GAMABA using the information slip
below. Write the answer on your paper.

1.
2.
GAMABA 3.
4.
5.

Task 2: Explore Your Ideas, W rite It Down.

Directions: Compares forms of arts from the different regions using the table
below. Write the answer on your paper.

FORM REGION DESCRIPTION

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Task: Tweet of the Day!
Tweet three things you have learned today. Write the answer on your paper .

Tweet: __________________________________________________
________________________________________________________
________________________________________________________________
________________________________________________________________
_____________________________________________________________

Tweet: __________________________________________________
________________________________________________________
________________________________________________________________
________________________________________________________________
_____________________________________________________________

Tweet: __________________________________________________
________________________________________________________
________________________________________________________________
________________________________________________________________
_____________________________________________________________

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Task: Think and Create!
Study your own community, name one traditional art form, then create and choose
among the various ways mentioned in the list below on how you are going to
promote it.

1. Slogan
2. Poster
3. Poem
Rubrics for Assessment

Content Organization Creativity

(50 points) (25 points) (25 points)
Total
Category Show full Information is Utilizes various ways to
understanding in very organized deliver his idea that (100 points)
ideas about the well-constructed entices the viewers or
topic listeners of the output

Grade

Task: True or False

Direction: Write T if the statement is true and F if the statement is false.
Write the answer on your paper.
1. It was in the year 1994 when the Gawad sa Manlilikha ng Bayan was
institutionalized.
2. Filipinos had been engaging in the art of woodcarving long before the arrival
of the Spaniards.
3. Ifugao woodcarvings are usually about their deities.
4. Figural representations in their craft are taboo to the Tagbanwa
woodcarvers.
5. The name Paete comes from the word paet, which literally means chisel.
6. The craftsman that manufacturers’ earthen products at Bari is locally
termed as manugdihon.
7. Pasil’s pottery stands out not only because it is an all-female industry but it
is also a handmade craft using indigenous tools and plants.
8. The tikog from Samar can be transformed as mats, bags, furniture matting,
and adornments.
9. The more popular Filipino woodcarvers are the Ifugaos, the Tagbanwas, the
Maranaos and the Paetenos.
10. Masino Intaray was a gamaba awardee who is expert in playing the kudyapi.

18
11. Alonzo Saclag was a gamaba awardee who is expert in playing Kalinga
musical instruments.
12. Darhata Sawabi and Haja Amina Appi were both gamaba awardees in the
year 2004 in the form of weaving.
13. Magdalena Gamayo was a gamaba awardee who is expert in inabel weaving.
14. There were five gamaba awardees in the year 2016 in the form of weaving.
15. The gamaba awardees in the form of plastic arts were Eduardo Mutuc and
Teofilo Garcia.

Task: Choose and Reflect!

Direction: Choose one gamaba awardee who inspires you, make a research
about his/her life and write a reflection of your realization and learning.

_________________________________________

19
 vary
vary Learner/s’ answers may
Learner/s’ answers may
Reflect!
Task 1: Information Slip Task: Choose and

C 15. T 15.
B 14. F 14.
C 13. vary T 13.
D 12. Learner/s’ answers may T 12.
A 11. T 11.
D 10. Task: Think and Create! F 10.
C 9. T 9.
A 8. vary T 8.
C 7. Learner/s’ answers may T 7.
B 6. T 6.
A 5. Task: Tweet of the Day! T 5.
B 4. F 4.
D 3. vary T 3.
C 2. Learner/s’ answers may T 2.
B 1. F 1.
Ideas, W rite It Down.
Task: Choose The Best. Task 2: Explore Your Task: True or False

References
PICTURES:

home.tibiao on August 30, 2010, Traditional Pottery Making in Antique, Philippines

(https://yhetz03.webs.com/apps/blog/show/4665497-traditional-pottery-making-in-antique-philippines-

Jamie Joie P. Malingan, Craft‘women’ship: The handmade pottery of Pasil

(https://pia.gov.ph/features/articles/1019592)

MT Admin, Weaving the Philippines Local textures and fabrics

(https://www.manilatimes.net/2014/07/02/lifestyle-entertainment/life-times/weaving-thephilippines-local-
textures-and-fabrics/108502/)

Rosanna C. Rogacion, The Woodcarvers of the Philippines

(https://medium.com/@mariarosanna/the-woodcarvers-of-the-philippines-3e4b10cd580f)

VIDEOS:

NCCA P HILIPPINES
(https://www.youtube.com/watch?v=_9SDzVNkJhk&feature=emb_logo)

CONTENT:

home.tibiao on August 30, 2010, Traditional Pottery Making in Antique, Philippines

(https://yhetz03.webs.com/apps/blog/show/4665497-traditional-pottery-making-in-antique-philippines-

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Jamie Joie P. Malingan, Craft‘women’ship: The handmade pottery of Pasil
(https://pia.gov.ph/features/articles/1019592)

MT Admin, Weaving the Philippines Local textures and fabrics

(https://www.manilatimes.net/2014/07/02/lifestyle-entertainment/life-times/weaving-thephilippines-local-
textures-and-fabrics/108502/)

NCCA.GOV.PH
(https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/)

Rosanna C. Rogacion, The Woodcarvers of the Philippines

(https://medium.com/@mariarosanna/the-woodcarvers-of-the-philippines-3e4b10cd580f)

21