11/12

Contemporary Philippine
Arts From the Regions
Quarter 1 – Module 8:
Life and Works of
“Manlilikha ng Bayan”

SELF-LEARNING MODULE

DIVISION OF GENERAL SANTOS CITY

Subject Area – Grade 11/12
Self-Learning Module (SLM)
Quarter 1 – Module 8: Title
First Edition, 2020

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of the Government of the Philippines. However, prior approval of the government agency or
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Such agency or office may, among other things, impose as a condition the payment of
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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.

Development Team of the Module

Writer: Sarah R. Nombre

Reviewers: Eden Ruth D. Tejada
Cover Art Designer: Reggie D. Galindez
Management Team: Romelito G. Flores, CESO V – Schools Division Superintendent
Mario M. Bermudez, CESO VI – Asst. Schools Division
Superintendent
Juliet F. Lastimosa, CID Chief
Sally A. Palomo, EPS - LRMS
Gregorio O. Ruales, EPS – ADM Coordinator
Luzviminda R. Loreno, EPS-SHS Coordinator

Printed in the Philippines by Department of Education – General Santos City

Office Address: Tiongson St., Lagao, General Santos City

Telefax: (083) 552-8909
E-mail Address: depedgensan@deped.gov.ph
 11/12
Contemporary Philippine Arts
from the Regions
Quarter 1 – Module 8:
Life and Works of Manlilikha ng Bayan

3
SELF-LEARNING MODULE

DIVISION OF GENERAL SANTOS CITY

Introductory Message
For the facilitator:
Welcome to the Contemporary Philippine Arts Self-Learning Module (SLM) on Life and
Works of Manlilikha ng Bayan

This module was collaboratively designed, developed, and reviewed by educators

both from public and private institutions to assist you, the teacher, or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners in guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st-century skills while taking into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their learning. Furthermore, you are expected to encourage and assist the learners
as they do the tasks included in the module.

5
For the learner:
Welcome to the Contemporary Philippine Arts Self-Learning Module (SLM) on Life and
Works of Manlilikha ng Bayan ‘

The hand is one of the most symbolized parts of the human body. It is often used to
depict skill, action, and purpose. Through our hands, we may learn, create, and
accomplish. Hence, the hand in this learning resource signifies that you as a learner
is capable and empowered to successfully achieve the relevant competencies and
skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity, or a situation.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer

6
 Key at the end of the module.

What I Have Learned This includes questions or blank

sentences/paragraphs to be filled in to
process what you learned from the lesson.

What I Can Do This section provides an activity that will help

you transfer your new knowledge or skill in
real-life situations or concerns.

Assessment This is a task which aims to evaluate your

level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given to

you to enrich your knowledge or skill of the
lesson learned. This also tends to the
retention of learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are not
alone.
We hope that through this material, you will experience meaningful learning and
gain a deep understanding of the relevant competencies. You can do it!

7
 What I Need to Know

This module was designed and written with you in mind. It is here to help
you master the Contemporary Art Forms and their practices in various regions. The
scope of this module permits it to be used in many different learning situations.
The language used recognizes the diverse vocabulary level of students. The lessons
are arranged to follow the standard sequence of the course. But the order in which
you read them can be changed to correspond with the textbook you are now using.

Most Essential Learning Competencies:

• The learner interprets and relates the significance of arts forms from the
regions. CAR11/12CAP-0c-e-7
• The learner promotes arts from the regions. CAR11/12CAP-0c-e-8

You are expected to interpret and relate the significance of arts forms from
the regions.

This will give you an idea of the skills or competencies you are expected to
learn in the module. This module consist of only 2 lesson, namely:

• Lesson 8 – Interpreting and relating the significance of art forms from the
region.
• Lesson 9- Promote arts from Mindanao.

After going through this module, you are expected to:

1. Recognize the Manlilikha ng Bayan awardees from Mindanao
2. Relate their contribution to the Philippine Arts
3. Promote contemporary arts from Mindanao.

8
 What I Know

Read carefully and answer each question to the best of your prior knowledge. Write your
answers in your answer sheet.

1. Award logo representation of the human form used in traditional cloth. Below the logo is
the phrase “ Manlilikha ng Bayan.”
a. Emblem c. Lei
b. Medal d. wreath

2. Is conferred on Filipinos who are the forefront of the practice, preservation and promotion
of the nation’s traditional folk arts.
A. Alab ng Haraya awards c. National Living Treasures Award
B .National Artist Award d. Philippine Heritage Awards
3. A Maguindanaon who has achieved he highest level of excellence in the art of kutyapi
playing.
a. Pablo Antonio c. Samaon Sulaiman
b. Lang Dulay d.Uwang Ahadas

4. It is a two-stringed plucked lute

a. agung c. kulintang
B. dabakan d. kutyapi

5. A textile weaver from T’boli using abaca fibers as fine as hair.

A. Darhata Sawabi
B. Haja Amina Appi
C. Lang Dulay
D. Magdalena Gamayo
E.
6. The textile made from T’boli is commonly called as
a. Corduroy c. Tafetta
b. Flanel d. Tinalak

7. A tetxtile weaver from Tagabawa Bagobo Bansalan, Davao del Sur.

a. Darhata Sawabe c. Salinta Monon
b. Haja Amina Appi d. Uwang Ahadas

8. The traditional hand-woven textile of the Bagobos is one of the finest . Of the many
designs Salinta Manon weaves, this is her favorite since it is one of the hardest to make.
a. bandira c. sinukla
b. binuwaya d. tinalak

9. Lang Dulay was awarded on

a. 1993 b. 1998 c. 2000 d. 2004

9
10. Lang Dulay died at the age of
A. 85 b. 88 c. 90 d. 91

11 Salinta Manon textile weaving is known as

A. Abaca -ikat/inabal b. mat b. pis yabit d. tinalak
12. Samaon Sulaiman started playing kutyapi which made a kutyapi master and
teacher at the age of
A. 13 b. 15 c. 20 d. 35
13. The nomination of Gawad Manlilikha ng Bayan is composed of an ad hoc panel of
experts except one:
a. Ad hoc panel of experts
b. Former awardee
c. Government and private institutions
d. The sub-commissions on cultural communities and traditional arts
14. The states recognition of such sociocultural contributions was formalized in 1992 the a
republic act.
a. R.A. 7354 b. R.A. 7355 c. R.A. 7356 d. R.A. 7394
15. In 2014, the Senate of the Philippines adopted Senate Resolution No. (SRN) that aimed
at recognizing the accomplishments of the country’s living treasures.
A. Senate Resolution Number 765
b. Senate Resolution Number 1824
C. Senate Resolution Number 1896
D. Senate Resolution Number 7394

10
Lesson
Works of Manlilikha ng Bayan
8
The Gawad sa Manlilikha ng bayan, or the National Living Treasures Award, is
conferred on Filipinos who are the forefront of the practice, preserving and promoting the
nation’s traditional folk arts.
The State’s recognition of such sociocultural contributions was formalized in 1992,
through Republic Act No. 7355, the Manlilikha ng Bayan Act. The National Commission For
the Culture and the arts oversees its implementation.
The award's main objective is to honor and support traditional folk artists and see to it
that their skills and crafts are preserved. The award is tied with a program that ensures the
transfer of their skills to new generations and promotes the craft both locally and
internationally. In 2014, the Senate of the Philippines adopted Senate resolution No. (SRN)
765 to recognize the accomplishment of the countries living treasures.

What’s In

Activity 1: Let’s have a short review. This is a brief drill or review to help you link
the current lesson with the previous one.

Based on the previous lessons, Name at least three ( artists from Mindanao
who became famous in their contribution to contemporary arts.

What I Know

What’s New

Activity 1
1 Elements of2 the Arts 3

Line. Is an identifiable path created by a point moving in space. It is one-dimensional

and can vary in width, direction, and length. Lines often define the edges of a
form. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin.

11
 What’s New

Are you now ready to learn our new lesson? In this module, we are going to
explore and meet the different artists from different regions in Mindanao .

Activity 2. Let’s Discover.

How much do I know about my locality?
A. Name of a local artist.
B. Contribution to contemporary art in the country.

NAME: ________________________________

A B

REGION
____________________

12
 What is It

National Living Treasures Awardee from Mindanao

SAMAON SULAIMAN (+2011)

Musician
Maguindanao
Mamasa Pano, Maguindanao
1993

https://bch.bangsamoro.gov.ph/samaon-sulaiman/

The Magindanaon, who are among the largest of Filipino Islamic groups, are
concentrated in Dinaig, Datu Piang, Maganoy, and Buluan in Maguindanao province. Highly
sophisticated in weaving, okir designs, jewelry, metalwork, and brassware, their art is
Southeast Asian yet distinct.

In the field of music, the Magindanaon has few peers among Filipino cultural
communities. Their masters on the kulintang (gong-chime) and kutyapi (two-stringed plucked
lute) are comparable to any instrumental virtuoso in the East or West.

The kutyapi is a favorite solo instrument among both Muslim and non-Muslim
Filipinos. It is also played in combination with other instruments. It exists in a great variety of
designs, shapes, and sizes and known by such names as kotapi (Subanon), fegereng
(Tiruray), faglong (B’laan), hegelong (T’boli) and kuglong or kudlong (Manobo).

The Magindanao kutyapi is one of the most technically demanding and difficult to
master among Filipino traditional instruments, which is why the younger generation is not too
keen to learn it. Of its two strings, one provides the rhythmic drone. At the same time, the
other has movable frets that allow melodies to be played in two sets of pentatonic scales,
one containing semitones, the other containing none.

Magindanao kutyapi music is rich in melodic and rhythmic invention. It explores a

wide range of timbres and sound phenomena – both human and natural, possesses a subtle
and variable tuning system, and is deeply poetic in inspiration.

Though it is the most popular kulintang among the Magindanaon, it is the kutyapi that
captivates with its intimate, meditative, almost mystical charm. It retains a delicate, quiet
temper even at its most celebrative and ebullient mood.

13
Samaon Sulaiman achieved the highest level of excellence in the art of kutyapi playing. His
extensive repertoire of dinaladay, linapu, minuna, binalig, and other forms and styles
interpreted with refinement and sensitivity fully demonstrate his instrument's creative and
expressive possibilities.

Lang Dulay(+2015)
Textile Weaver
Lake Sebu, South Cotabato
1998

https://www.facebook.com/Lang-Dulay-Tnalak-Weaving-Center-
229820187563674/photos/pcb.233407387204954/233407327204960/

Using abaca fibers as fine as hair, Lang Dulay speaks more eloquently than words
can. Images from the distant past of her people, the Tbolis, are recreated by her nimble
hands – the crocodiles, butterflies and flowers, along with mountains and streams, of Lake
Sebu, South Cotabato, where she and her ancestors were born – fill the fabric with their
longing to be remembered. Through her weaving, Lang Dulay does what she can to keep
her people’s tradition alive.

There are a few of them left, the traditional weavers of the tnalak or Tboli cloth. It is
not hard to see why: weaving tnalak is a tedious process that begins with stripping the stem
of the abaca plant to get the fibers, to coaxing even finer fibers for the textile, then drying the
threads and tying each strand by hand. Afterwards, there is the delicate task of setting the
strands on the “bed-tying” frame made of bamboo, intending to decide which strands should
be tied to resist the dye. It is the bud or tying of the abaca fibers that defines the design.

A roll of tnalak must be individually set on a back strap loom, so-called because of the
broadband the weaver sets against her back to provide tension to work. There is great strain
on the weaver’s back and eyes, particularly since Tboli women are required to help out in the
fields to augment the family income. It is only after the farm work is done that the weaver can
sit down to her designs. Also,due to the fiber's peculiarity, of its getting brittle under the noon
day sun, working on it is preferred during the cool evenings or early morn.

14
 SALINTA MONON (+ 2009)
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998

Practically, since she was born, Salinta Monon had watched her mother’s nimble
hands glide over the loom, weaving traditional Bagobo textiles. At 12 she presented herself
to her mother, to be taught how to weave herself. Her ardent desire to excel in the art of her
ancestors enabled her to learn quickly. She developed a keen eye for the traditional designs.
Now, at the age of 65, she can identify the design and the author of a woven piece just by a
glance.

She has woven continuously, through her marriage and six pregnancies, and even
after her husband’s death 20 years ago. She and her sister are the only remaining Bagobo
weavers in her community. Her husband paid her parents a higher bride price because of
her weaving skills. However, he left all the abaca gathering and stripping to her. Instead, he
concentrated on making their small farm holding productive. Life was such that she was
obliged to help out in the farm, often putting her work aside to make sure the planting got
done and the harvest were brought in. When her husband died,she was left alone with a
farm and six children, but she continued with her weaving, as a source of income and pride.

Salinta has built a solid reputation for the quality of her work and the intricacies of her
designs. There is a continuing demand for her fabrics. She has reached the stage where she
can set her price, but she admits to a nagging sense of being underpaid nevertheless,
considering the time she puts into her work. It takes her three to four months to finish a fabric
3.5 m x 42 cm in length, or one abaca tube skirt per month.

She used to wear the traditional hand-woven tube skirt of the Bagobo. The sinukla
and the bandira were two of the most common types until the market began to be flooded
with cheap machine-made fabrics. Now, she wears her traditional clothes only on speacial
occasions. Of the many designs she weaves, her favorite is the binuwaya (crocodile), which
is hardest to make.

Today, she has her son to strip the abaca fibers for her. Abaca was once plentiful in
their area, but an unexpected scourge has devastated the wild abaca crops. Now, they are
starting to domesticate their own plants to keep up with the fabric's steady demand.

When she has work to finish, Salinta isolates herself from her family to ensure her
art's privacy and concentration. At the moment, she does her weaving in her own home, but
she wants nothing better than to build a structure just for weaving, a place exclusively for the
use of weavers. She looks forward to teaching young wives in her community the art of
weaving. Despite the increasing pressures of modern society, Bagobo women are still
interested in learning the art.(Tobias, 2015;ncca.gov.ph, 2016.

15
 What’s More

Now that you have met some of the local artists in our area, are you interested to
know more artists in your locality?

Activity 3: Know your Locality.

Research for more national awardee in your locality and name one to answer the
activity below.

Name of awardee Art/ craft

Ethnicity
Date of
award

Region:
____________________________
______________

16
 What I Have Learned

Activity 4: Based on the discussion in activity 3, We are now going to interact with the
artists. Fill in with information requested on your chosen artist. For you to be guided, read
the rubric on the next page.

Artist Profile Chart

Artist Profile

_____________________________________
(Name of the Artist)

• Brief Biography

• Education

• Major works

• Awards

• Style

17
 Artist Profile Rubric

Poor Fair Good Excellent

1 pts 2 pts 3 pts 4 pts

Elements/ I showed little I did the project The artwork I planned

Principles/Key evidence of adequately shows that I carefully and
Concepts understanding of demonstrating applied elements, showed a grasp
the elements, some principles, or key of the elements,
principles, or key understanding of concepts of the principles, or key
concepts of the elements, topic effectively; concepts of the
topic; no principles, or key showed an topic; the project
evidence of concepts of the awareness of the was executed to
planning. topic. creative and a high quality.
production
process; planning
evident.
Creativity/ I fulfilled the I tried an I tried a few ideas I explored several
Originality project but gave adequate idea, before selecting choices before
no evidence of but it lacked one; made selecting one;
trying anything originality; decisions after tried unusual
unusual; might solution or output referring to more combinations;
have copied can be termed than one source; made
work. “cliché”. found or pursued connections to
an unusual way previous
of achieving the knowledge;
output. showed problem-
solving skills to
come up with an
innovative
solution.
Effort/ My project was I finished the I worked hard and The project was
Perseverance completed with project, but it completed the continued until it
minimum effort. could have been project, but with a was complete as I
improved with little more effort it could make it;
more effort; might have been effort given was
chose an easy outstanding. far beyond the
project and did it requirement.
indifferently.
Craftsmanship/ I showed below- I showed average With a little more The artwork was
Skill average craftsmanship; effort, the work beautiful and
craftsmanship; adequate, but not could have been patiently done; it
lack of pride in as good as it outstanding, lacks was as good as
finished work. could have been, the finishing hard work could
a bit careless. touches. make it.

18
 What I Can Do

Activity 5: Art Promotion.

Make a video promotion of a local artists. You may do your output in a group
or you may do it individually. Send your output directly to your teacher following the
rubrics given below. Limit your video to 1 minute minimum and 2 minutes maximum.

Contemporary Art Form Rubric

Minimally
Exceeds Fully Meets Did Not Meet
Meets
Criteria Expectations Expectations Expectation
Expectation
(4) (3) (1)
(2)

Art/masterpiec Art/masterpiec Art/masterpiec Art/masterpiec

e reflects a e reflects a e reflects e does not
complete and detailed some detailed reflect
detailed manifestation manifestation nationalism
C-ontent
manifestation of nationalism of nationalism and promotion
of nationalism and promotion and promotion of Filipino art.
and promotion of Filipino art. of Filipino art.
of Filipino art.

The Most of the Some of the Art/masterpiec

O-rganization art/masterpiec art/masterpiec art/masterpiec e is not clear
e is clear and e is clear and e is clear and and
organized. organized. organized. organized.

The The The The

art/masterpiec art/masterpiec art/masterpiec art/masterpiec
e has shown e has shown e has shown e has shown
C-reativity/ excellent very good good artistry. poor artistry.
Video Quality artistry. The artistry. The The video The video
video quality is video quality is quality is quality needs
great. also very good. improvement.
good.

19
 Assessment

Congratulations! You have now reached the end of the topic for this lesson. We will now
evaluate your level of mastery in achieving the learning competency.

Read each statement carefully. Choose your answer from the box. Write your answer on the
space provided before each number or in an answer sheet.

1. Award logo representation of the human form used in traditional cloth. Below the logo is
the phrase “ Manlilikha ng Bayan.”
a. Emblem c. Lei
b. Medal d. wreath

2. Is conferred on Filipinos who are the forefront of the practice, preservation and promotion
of the nation’s traditional folk arts.
C. Alab ng Haraya awards c. National Living Treasures Award
B .National Artist Award d. Philippine Heritage Awards
3. A Maguindanaon who has achieved he highest level of excellence in the art of kutyapi
playing.
a. Pablo Antonio c. Samaon Sulaiman
b. Lang Dulay d.Uwang Ahadas

4. It is a two-stringed plucked lute

b. agung c. kulintang
D. dabakan d. kutyapi

5. A textile weaver from T’boli using abaca fibers as fine as hair.

F. Darhata Sawabi
G. Haja Amina Appi
H. Lang Dulay
I. Magdalena Gamayo
J.
6. The textile made from T’boli is commonly called as
a. Corduroy c. Tafetta
b. Flanel d. Tinalak

7. A tetxtile weaver from Tagabawa Bagobo Bansalan, Davao del Sur.

a. Darhata Sawabe c. Salinta Monon
b. Haja Amina Appi d. Uwang Ahadas

8. The traditional hand-woven textile of the Bagobos is one of the finest . Of the many
designs Salinta Manon weaves, this is her favorite since it is one of the hardest to make.
a. bandira c. sinukla
b. binuwaya d. tinalak

20
9. Lang Dulay was awarded on
b. 1993 b. 1998 c. 2000 d. 2004

10. Lang Dulay died at the age of

B. 85 b. 88 c. 90 d. 91

11 Salinta Manon textile weaving is known as

B. Abaca -ikat/inabal b. mat b. pis yabit d. tinalak
12. Samaon Sulaiman started playing kutyapi which made a kutyapi master and
teacher at the age of
B. 13 b. 15 c. 20 d. 35
13. The nomination of Gawad Manlilikha ng Bayan is composed of an ad hoc panel of
experts except one:
e. Ad hoc panel of experts
f. Former awardee
g. Government and private institutions
h. The sub-commissions on cultural communities and traditional arts
14. The states recognition of such sociocultural contributions was formalized in 1992 the a
republic act.
b. R.A. 7354 b. R.A. 7355 c. R.A. 7356 d. R.A. 7394
15. In 2014, the Senate of the Philippines adopted Senate Resolution No. (SRN) that aimed
at recognizing the accomplishments of the country’s living treasures.
B. Senate Resolution Number 765
b. Senate Resolution Number 1824
C. Senate Resolution Number 1896
D. Senate Resolution Number 7394

21
 Answer Key

Assessment What I Know

1. B 11.B
Pre-Test 2. B. 12B
3. A 13.D
1. A 11. a 4. A` 14.A
2. C 12. a 5. C 15.A
3. C 13. b 6. C
4. D 14. b 7. D
5. C 15.a 8. C
6. D 9. D
7. C 10.C
8. B
9. B
10. d TheatricalPerformance
Cinema
Musical Instrument

22
References
Palencia, Marjuave M.,Cruz, Oscar Jesus, Solmerano, Ernesto Thaddeus M.,
Ondevilla, Miel Kristian B., Jerusalem Violeta L., Contemporary Philippine Arts
from the Regions -K-12 basic Education Curriculum Senior High School- Core
Subject( 2nd Edition) 155-178

23
 DISCLAIMER
This Self-learning Module (SLM) was developed by DepEd – Division of
General Santos City with the primary objective of preparing for and
addressing the new normal. Contents of this module were based on DepEd’s
Most Essential Learning Competencies (MELC). This is a supplementary
material to be used by all learners in General Santos City in all public
schools beginning SY 2020-2021. The process of LR development was
observed in the production of this module. This is version 1.0. We highly
encourage feedback, comments, and recommendations.

For inquiries or feedback, please write or call:

Department of Education – General Santos City

Learning Resource Management System (LRMS)

Tiongson St., Lagao, General Santos City

Telefax No.: (083) 552-8909

Email Address: depedgensan@deped.gov.ph