CONTEMPORARY PHIL ARTS FROM THE REGION
Second Semester | Asistin, Julie | Arber
ARBER REPORTING
Group 1;
RA 7355
Section 1:
This act provides for the recognition of National living
treasures, otherwise known as the “Manlilikha ng
Bayan” and the promotion and development of
traditional Folk Arts, providing funds therefor, and for
other purposes.
What is NCCA and its Connection to GAMABA?
The National Commission for Culture and the Arts
(NCCA), through the Gawad sa Manlilikha ng Bayan
Executive Council, 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.
Section 2 (Policy):
• The State aims to uphold and enhance its
traditional folk arts, encompassing visual,
performing, and literary forms.
• The government seeks to acknowledge and
assist traditional folk artists in preserving
and transmitting their valuable artistic traditions
to forthcoming generations of Filipinos.
Section 2 (Objectives):
• Recognize how important traditional folk artists
are as a bridge between past skills and future
generations.
• Bring new life to a community's artistic customs
to safeguard a precious part of Philippine
culture.
• Help find and support talented traditional folk
artists so they can pass on their skills to others
in the community.
• Make sure there are chances for their art to be
appreciated both locally and around the world.
Section 3 (Definition of Terms):
• NNCA - National Commission for Culture and
the Arts
• GAMABA - Gawad sa Manlilikha ng Bayan
Executive Council
• Manlilikha ng bayan - the highest state honor
given to a Filipino in recognition of their
outstanding work as a traditional folk artist.
• Traditional Folk Art
the highest state honor given to a Filipino in
recognition of their outstanding work as a
traditional folk artist.
How does one become a gamaba awardee?
1. He/she is an inhabitant of an
indigenous/traditional cultural community
anywhere in the Philippines
2. He/she must have engaged in a folk art
tradition
3. He/she must have consistently performed over
a significant period, works of superior and
distinctive quality.
4. 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
Section 4 (Criteria and Qualification):
To become a Manlilikha ng Bayan, the candidate must
satisfy the following minimum criteria;
1. Technical and creative skill — The candidate
must possess a mastery of the 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. Artistic quality — The work of the candidate
must be outstanding aesthetically, and he/she
must have consistently produced over a
significant period, works of superior quality;
3. Community tradition — The candidate must
have transferred and/or willing to transfer to
other members of the community, skills in the
folk art for which the community has become
nationally known;
4. Folk art tradition — The candidate must have
engaged in a folk art tradition that has been in
existence and documented for at least fifty (50)
years; and
5. Character and integrity — As a precious
treasurer of the county, the candidate must
command the respect and admiration of the
country for his character and integrity.
Section 5 (Award and Other Incentives):
Individual Awardee: The rank and title of Manlilikha ng
Bayan, as proclaimed by the President of the Philippines
in accordance with Executive Order No. 236 or Honors
Code of the Philippines;
• The GAMABA gold-plated medallion minted by
the Bangko Sentral ng Pilipinas (BSP) and
citation;
• A lifetime emolument and materials and
physical benefits comparable in value to those
received by the highest officers of the land
such as:
• A minimum cash award of Two Hundred
Thousand Pesos (Php 200,000.00), net of
taxes. A minimum lifetime personal monthly
stipend of Fifty Thousand Pesos (Php
50,000.00). Medical and hospitalization
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benefits not exceeding Php 750,000.00 per
year.
• A state funeral, the arrangements for and the
expenses of which shall be borne by the
Government, upon the death of the Manlilikha
ng Bayan; and
• A place of honor, in line with protocol
precedence, in state functions, national
commemoration ceremonies and all other
cultural presentations.
Group awardee: The rank and title of Manlilikha ng
Bayan, as proclaimed by the President of the Philippines
in accordance with Executive Order No. 236 or Honors
Code of the Philippines;
• A one-time award of Two Hundred Thousand
Pesos (Php 200,000.00), net of taxes;
• The group shall designate its leader who will
represent and attend events and functions on
behalf of the group.
• The said representative will also have a place
of honor, in line with protocol precedence, in
state functions, national commemoration
ceremonies and all other cultural presentations.
Group 2;
GAWAD NG MANLILIKHA NG BAYAN
• The Philippine government established the
National Living Treasure Award in 1992 to
honor traditional artists and preserve cultural
heritage. The National Commission for Cultural
and Arts manages the award, recognizing the
mastery. These masters not only preserve age-
old practices but also inspire a sense of
national identity. The law (R.A 7355) defines a
“Manlilikha ng Bayan” as someone who excels
in a traditional Filipino art form, passing down
their expertise to future generations
• The Gawad sa Manlilikha ng Bayan logo
features a stylized human figure from traditional
cloth, with “Manlilikha ng Bayan” written
beneath it in an old Filipino script.
WHAT ARE THE QUALIFICATIONS FOR BEING A
CANDIDATE FOR MANLILIKHA NG BAYAN?
To become a Manlilikha ng Bayan, Filipino artists must
meet these criteria:
• Master traditional art forms with exceptional
skill. Consistently create high-quality work for a
substantial time.
• Practice an art form with a documented history
of at least 50 years.
• Earn respect and admiration for their character.
• Actively share their skills with the community,
though exceptions are made for exceptional
artists unable to teach due to age or health.
Categories- The Gawad sa Manlilikha ng Bayan
recognizes excellence in both traditional performing arts
and crafts, ensuring awardees come from diverse
regions and represent a variety of art forms. These
categories include but are not limited to:
1. Maritime transport
2. Weaving
3. Carving
4. Performing arts
5. Literature
6. Graphic and Plastic Arts
7. Ornament
8. Pottery
LIST OF THE DECLARED GAMABA AWARDEE
FOLK LITERATURE;
Ginaw Bilog (+2003) – Poet
Hanunuo Mangyan Panaytaan, Oriental Mindoro (1993)
The poem “Hanunuo Mangyan Script and Ambahan”, a
poem consisting of 7-syllable lines, was preserved and
promoted on every occasion in order to preserve the art
for its posterity.
Federico Caballero
Epic Chanter Sulod-Bukidnon Calinog, Iloilo (2000)
Federico was known as the outsanding master of the
‘basal’, ‘kulilal’, and ‘bagit’. He also played the ‘aroding’
and ‘barakak’.
PERFORMANCE
Alonzo Saclag -
Musician and Dancer Lubuagan, Kalinga (2000)
He is the founder of Kalinga Budong Dance Troupe,
ensuring that the music and dance of his ancestors are
passed down to younger generations. Alonzo was
known as the master of dance and performing arts. He
mastered the dance patterns and movements related
with his people’s rituals.
Masino Intaray (+2013) -
Musician and Storyteller Brookes Point, Palawan (1993)
Masino Intaray, a Filipino poet, a bard artist, and
musician from Palawan is known for his performance of
the local traditions of basal, kulilal, and baguit.
Samaon Sulaiman (+2011)
Musician Mama sa pano, Maguindanao (1993)
He is known for his mastery of the indigenous ‘kutyapi’
instrument. Samaon first learned playing kutyapi at
around 13 years old from his uncle.
Uwang Ahadas
Musician Yakan Lamitan, Basilan (2000)
Uwang is known for his ability in playing various Yakan
instruments and imparting his insights to the local
youths. He continues to perform and instruct despite his
diminishing visual perception, preserving the Yakan
melodic customs.
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CRAFTS;
Lang Dulay (+2015) - Textile Weaver
T’boli, Lake Sebu, South Cotabato (1998)
Lang Dulay is known for her extraordinary weaving.
Using the image of the T’boli people along with the
crocodiles, butterflies, flowers, mountains, and streams,
of Lake Sebu, South Cotabato are put on to her craft.
Other than that, Land Dulay knew a lot of designs,
ranging from bulinglangit (clouds), the bankiring (hair
bangs), and the kabangi (butterfly), where each design
holds a story.
Salinta Monon (+2009) - Textile Weaver
Tagabawa Bagobo, Bansalan Davao Del Sur ( 1998)
Ever since she was young, Salinta Monon watched her
mother weave traditional Bagobo textiles. When she
turned 12, she asked her mother to teach her how to
weave. Her favorite one, which was the hardest and
most time demanding design, was the binuwaya
(crocodile). Throughout the years, she along with her
younger sister were the last Bagobo textile weavers.
Darhata Sawabi (+2005) - Textile Weaver
Tausug, Parang, Sulu (2004)
Darhata Sawabi is one of the women weavers in
Barangay Parang to weave Pis Syabit, a traditional cloth
tapestry worn as a head covering by the Tausug of Jolo.
Darhata faced many challenges in life, including in her
creations. Still she remained faithful to the art of Pis
Syabit weaving, as she recognized the need for her to
remain in the community to pass Pis Syabit weaving to
many more generations.
Benefits and privileges of an awardee:
The rank and title of Manlilikha ng Bayan, proclaimed by
the President of the Philippines via Executive Order No.
236 or the Honors Code of the Philippines, entails
several privileges, including the prestigious GAMABA
gold-plated medallion minted by the Bangko Sentral ng
Pilipinas (BSP) along with a citation. Recipients also
receive a lifetime emolument and material benefits
equivalent to high-ranking officials, including a minimum
cash award of Two Hundred Thousand Pesos (Php
200,000.00), a monthly stipend of Fifty Thousand Pesos
(Php 50,000.00), and medical coverage up to Php
750,000.00 per year. Furthermore, they are entitled to a
state funeral, with the government covering all
associated expenses, and hold a place of honor at state
functions, national ceremonies, and cultural
presentations in accordance with protocol precedence.
Group 3;
FILIPINO ARTISTS
LANG DULAY
Lang Dulay knows a hundred designs, including the
bulinglangit (clouds), the bankiring (hair bangs), and the
kabangi (butterfly), each one special for the stories it
tells. Using red and black dyes, she spins her stories
with grace. Her textiles reflect the wisdom and the
visions of her people. Before the 1960s, the Tboli
bartered tnalak for horses, which played an important
role in their work. Upon the establishment of the St. Cruz
Mission, which encouraged the community to weave and
provided them with a means to market their produce, the
tnalak designs gained widespread popularity and enable
weavers like Lang to earn a steady income from their
art. However, the demand also resulted in the
commercialization of the tnalak industry, with outsiders
coming in to impose their own designs on the Tboli
weavers.
Ironically modern designs get a better price than the
traditional ones. Despite this, and the fact that those
modern designs are easier to weave, Lang persists in
doing things the old, if harder, way, to give voice, in
effect, to the songs that were her elders’ before her. Her
textiles are judged excellent because of the “fine even
quality of the yarn, the close interweaving of the warp
and weft, the precision in the forms and patterns, the
chromatic integrity of the dye, and the consistency of the
finish.” She was only 12 when she first learned how to
weave. Through the years, she has dreamed that,
someday she could pass on her talent and skills to the
young in her community. Four of her grandchildren have
themselves picked up the shuttle and are learning to
weave.
With the art comes certain taboos that Tboli weavers are
careful to observe, such as passing a single abaca
thread all over the body before weaving so as not to get
sick. Lang Dulay never washes the tnalak with soap,
and avoids using soap when she is dyeing the threads in
order to maintain the pureness of the abaca. Upon
learning that she was being considered to be one of the
Gawad sa Manlilikha ng Bayan awardees, tears of joy
fell from her eyes. She thought of the school that she
wanted to build, a school where the women of her
community could go to perfect their art.
Year of Conferment: In 1998, Lang Dulay received the
National Living Treasure (Manlilikha ng Bayan) award
from the National Commission for the Culture and the
Arts (NCCA) for her contribution in the preservation of
their culture and for her fine craftsmanship of the
delicate abaca fibers.
Expertise; T'nalak, a dyed fabric made from refined
abaca fibre.
SALINTA MONON
Salinta Monon, a Tagabawa Bagobo textile weaver from
Bansalan, Davao del Sur, was born in 1933 and passed
away in 2009. Salinta Monon learned the art of weaving
from her mother at the age of 12, inheriting the
traditional Bagobo weaving techniques. She developed
a deep understanding of traditional designs and could
identify the design and weaver of a piece with just a
glance. Throughout her life, Salinta continuously wove,
even during marriage, pregnancies, and after her
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husband's death. She and her sister were the last
remaining Bagobo weavers in their community. Salinta
gained a solid reputation for the quality and intricacy of
her woven fabrics, with a continuing demand for her
work.
Her favorite design to weave was the binuwaya
(crocodile), known for its complexity. Salinta faced
challenges with the changing market, as machine-made
fabrics flooded it, affecting the traditional handmade
textiles. Despite the challenges, Salinta Monon
expressed a desire to pass on her weaving skills to the
younger generation and looked forward to building a
dedicated space for weavers. Her story reflects not only
her personal dedication to the art but also the
challenges faced by traditional weavers in adapting to
modern times while preserving their cultural heritage.
Year of Conferment: Salinta Monon was honored with
the GAMABA Award, also known as the National Living
Treasure Award, in 1998. The Philippine National
Government provides this award on individuals for their
contributions to the nation's cultural heritage. This
cultural award was established in 1992 under Republic
Act 7355, also known as the Manlilikha ng Bayan Act.
In addition to the national distinction, her town mayor
conferred individual honors on her in 2007. In 2009,
Salinta Monon delicately met her creator. The
announcement of her passing prompted many tributes
from the town's executive, Bansalan residents, and
others from all over the world who had met and learnt
what she did.
Expertise: At the age of twelve, Salinta Monon learnt
how to operate a weaving loom after witnessing her
mother's skillful hands weave ikat, a traditional abaca
fabric, and other traditional Bagobo fabrics. Her favorite
design was the crocodile, or binuwaya, which is known
to be one of the hardest to weave.
The inabal, which are intricately woven abaca cloths
dyed using the ikat technique, hold significant cultural
meanings. They are regarded not only as symbols of
wealth but also as offerings to deities and tokens of
appreciation for those who oversee rituals. These finely
crafted textiles take on a sacred essence, known as ikut,
when passed down through generations, serving as
protective talismans believed to ensure the successful
completion of new homes.
DARHATA SAWABI
Darhata Sawabi, a Tausug textile weaver from Sulu,
played a crucial role in preserving the art of pis syabit, a
traditional cloth tapestry worn by the Tausug of Jolo.
Raised in Barangay Parang, she dedicated her life to
weaving and imparting this skill to younger generations.
Unmarried and facing challenges with subsistence
farming in her community, Sawabi relied on weaving as
her sole source of income. The labor-intensive process
of pis syabit weaving took three days for the warp alone,
prompting her to enlist the help of apprentice weavers
and children. Despite facing displacement twice during
the Moro conflict in the 1970s, Sawabi's commitment to
her craft remained unwavering.
Weaving colorful fabric squares, Sawabi earned around
P2,000 for each hand-woven square, contributing to her
self-sufficiency. The challenges of the craft, including the
physical toll and the impact of conflict, did not deter her.
Sawabi's dedication to pis syabit weaving persisted,
showcasing her firm strokes, acute color sensitivity, and
an unwavering commitment to quality, along with a
mission to teach and preserve this traditional art form
within her community.
Year of Conferment: In 2004, Darhata Sawabi was
honored with the National Living Treasures Award.
Expertise: Pis syabit weaving is a difficult art. Preparing
the warp alone already takes three days. It is a very
mechanical task, consisting of stringing black and red
threads across a banana and bamboo frame to form the
base of the tapestry.
At 48, and burdened by years of hard work, Sawabi no
longer has the strength or the stamina for this. Instead,
she hires one of the neighboring children or apprentice
weavers to do it at the cost of P300. It is a substantial
amount, considering the fact that she still has to spend
for thread. Sawabi’s typical creations feature several
colors, including the basic black and red that form the
warp, and a particular color can require up to eight
cones, depending on the role it plays in the design. All in
all, it comes up to considerable capital which she can
only recover after much time and effort.
HAJA AMINA APPI
Haja Amina Appi is regarded as the Filipino master mat
weaver and teacher among the Sama indigenous
community of Ungos Matata, residing in the town of
Tandubas, Tawi-Tawi. She was born on June 25, 1925,
and was noted to have been nurtured in a community
famous for the weaving of pandanus mats which implied
that was where she developed her skills in mat weaving
since then.
As time goes by, Haja Amina Appi was then credited for
her mastery of such a craft as her colorful pandan mats
displayed complex geometric patterns which is a
testament to her precise sense of design, proportion,
symmetry, and sensitivity to color. It was noted that her
hands were observed to be thick, calloused and dye-
stained from a lifetime of harvesting pandanus and
creating fascinating designs upon weaving them.
Creating such works is no doubt a challenge. For her,
the most difficult part was visualising her ethnic
experiences and memories, and using them as her
inspiration for her design. It is also said that it took her
up to three months to make her such functional and
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beautiful creations. Haja Amina Appi soon passed away
in April 2, 2013 and her art of mat weaving continues to
live on through her children and other women in her
community.
Year of Conferment: Due to her high precision,
instinctive sense of proportion and symmetry, even
asymmetry and overall mastery of the art of mat
weaving, Haja Amina Appi was rewarded with the
National Living Treasures Award in 2004 by the National
Commission for Culture and the Arts in the Philippine,
earning the respect and recognition of her artistry.
Expertise: The whole process of mat weaving is
described to be a long and tedious process as it involves
the harvesting and stripping of the pandan leaves which
would dictate the overall design. The process was said
to require patience, stamina, an eye for detail, color
instinct, and a genius for applied mathematics, and Haja
Amina Appi mastered such a process.
The thorny leaf variety of pandan leaves was chosen as
the primary material as it is stronger and studier.
The thorns of such leaves will be removed and will soon
be stripped, sun-dried, pressed, and dyed with boiling
water mixed with anjibi (commercial dye) in order to
prepare them for the weaving process. Right after, Haja
Amina then experimented with the use of anjibi in
creating her unique designs, featuring up to eight colors.
Her mats are completely colorful with several sets of
differently-colored matting strips woven together into a
geometric design.
Not only were the designs beautiful to look at, these
mats are said to be functional in daily life.
MAGDALENA GAMAYO
Magdalena Gamayo was born on August 13, 1924, in
Pinili, Ilocos Norte. She is a Filipino weaver who is a
lead practitioner of the Ilocano tradition of pinagabel.
She has been a mag-aabel for over 80 years, learning
the craft at age 16 by watching her aunts work at the
height of the Second World War. Since that time,
Magdalena has honed her abilities, mastering inabel
patterns to the point she can recreate patterns without
needing a reference sample. At the age of 19,
Magdalena was bought by her father a loom made of
hard saggat wood, and this became her loom for 30
years. Magdalena became skilled in traditional patterns
such as 'binakól,' 'inuritan,' and 'kusikos.' However, she
was most admired for her expertise in the 'inuban nga
sabong' pattern. Her inabel fabrics were admired for
their intricate patterns and smooth texture. At the age of
88, she has two apprentices, her cousin's daughter-in-
law and her own daughter-in-law. She first taught them
the simple binakol pattern. After mastering that pattern,
she had them work on other designs.
Year of Conferment: In November 8 2012, she was
recognized and was accorded the GAMABA
or National Living Treasures Award that was held in
Malacañang Palace.
Expertise: Magdalena Gamayo is known for being a
master weaver of the inabel cloth - the historical cotton
fabric bartered for gold in the Galleon Trade and
mentioned in the classic Ilocano epic Biag ni Lam-ang.
One of the patterns that was created by her is Inubong a
sabong which means “string of flowers” a unique and
difficult weaving technique called “pinilian”. This is the
design that made her to be nominated and be one of the
Gawad Manlilikha ng Bayan awardees.
Inuritan- It has a geometric pattern that Magdalena
Gamayo also taught to herself.
Kusikos- Spiral forms like oranges
GINAW BILOG
Ginaw Bilog, a revered Hanunoo Mangyan poet, was
born in Panaytayan, Oriental Mindoro, in 1950, and his
legacy transcends his untimely death in 2003. Immersed
in the rich cultural environment of Mansalay, Mindoro,
Ginaw's passion for preserving the Mangyan literary
tradition, particularly the ambahan, set him apart as a
guardian of indigenous heritage. .
His dedication to recording and sharing ambahan
poetry, etched on bamboo tubes and passed down
through generations, showcased his commitment to the
poetic art of surat Mangyan.Ginaw Bilog's artistic
endeavours, deeply rooted in his ethnicity and cultural
upbringing, earned him recognition beyond his
homeland.
His multifaceted contributions to the preservation of the
ambahan poetry and traditional Mangyan art forms were
acknowledged in 1993 with the Panaytayan Award.
Through his profound connection to the wisdom
encapsulated in ambahan, Ginaw Bilog became an
advocate for the Hanunoo Mangyan cultural identity,
leaving an enduring legacy in the realm of indigenous
Filipino art.
Year of Conferment: On December 17, 1993, President
Fidel Ramos presented the National Living Treasures
Award, "Gawad Manlilikha ng Bayan," to Ginaw Bilog at
Malacañang Palace. This esteemed recognition
highlighted Bilog's role as a representative of Hanunoo-
Mangyan poets from southern Mindoro and honored the
Mangyan community's dedication to preserving the
ancient Ambahan poetry, recorded on bamboo with the
Surat Mangyan script.
The conferment, a significant national tribute,
underscored the Philippines' appreciation for the cultural
contributions of traditional artists, specifically the
Mangyans, and marked a pivotal moment in
institutionalizing the recognition of their rich cultural
heritage.
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Expertise: A symbolic poem featuring seven-syllable
lines inscribed on bamboo tubes, serves as a means of
communication among the Hanunuo Mangyan
community in southern Mindoro. This metaphoric poetry,
recited during social gatherings, is complemented by
musical accompaniment, including guitars, fiddles,
flutes, and jew’s harps. The surat Mangyan, one of the
last four syllabic scripts in the Philippines, plays a crucial
role in sustaining the tradition of ambahan. Overall,
ambahan is a kind of poem that is consists of seven
syllable lines which most of the time contains messages
of love and friendship.
Mangyan script, also known as surat Mangyan, and the
ambahan
Group 4;
MASINO INTARAY
He belonged to the T’boli tribe, one of the indigenous
communities in Mindanao. He is known for his intricate
weaving techniques and mastery of indigenous
materials. Beyond his weaving skills, he was also
renowned for his prowess as a chanter, poet, and
instrumentalist of Palaw’an music.
Date and place of birth: April 10, 1943, in Makagwa
Valley and lived in Brooke's Point, Palawan. He passed
away on November 30, 2013 at the age of 70.
Year of Conferment: He was conferred with the Gawad
sa Manlilikha ng Bayan or National Living Treasures
Award (1993).
Expertise:
"Takder," a traditional woven mat used for various
purposes in Filipino culture.
"Tepo," a woven basket used for storing and carrying
items.
"Bangkal," a type of woven bag traditionally used by
farmers. Master of the
“Basal, kulilal and bagit.
SAMAON SULAIMAN
He came from a Moro ethnicity, particularly a
Maguindanaoan in Mindanao. He is renowned for his
expertise in traditional Moro crafts, such as brassworks
and woodcarving, and mastery of the indigenous
“kutiyapi” instrument.
Date and place of birth: Born: March 3, 1953 in
Mamasapano, Maguindanao. He passed away on May
21, 2011 at the age of 58.
Year of Conferment: He was conferred with the Gawad
sa Manlilikha ng Bayan or National Living Treasures
Award (1993)
Expertise:
Brassworks: Sulaiman is known for crafting intricate
brass items, such as kulintang, gongs, and agung or
agong.
Woodcarving: He excels in carving wooden items, such
as ukkil or okir (decorative posts) and panolong (roof
finials).
Jewelry: Sulaiman also creates stunning jewelry pieces
inspired by traditional Moro designs.
ALONZO SACLAG
He is of Kalinga ethnicity and from the Cordillera region
of the Philippines. He is celebrated for his mastery of
Kalinga traditional arts, particularly in tattooing, textile
weaving and ritual dances. He may not have a formal
education but gained expertise in all of these through
experience and desire to learn their arts.
Date and place of birth: Alonzo Saclag was born on
August 4, 1942. A member of the Kalinga people and a
native of Lubuagan, Kalinga province. He then passed
away due to diabetes on November 30, 2013 at the age
of 70.
Year of Conferment: He was conferred with the Gawad
sa Manlilikha ng Bayan or National Living Treasures
Award (2000)
Expertise:
Tattooing: Saclag is known for his intricate and symbolic
tattoos, which are traditional to Kalinga culture.
Textile Weaving: He excels in weaving traditional
Kalinga textiles such as "tapis" (wrap-around skirts) and
"ulom" (headgear).
Storytelling through Art: Saclag's artworks often depict
stories and legends from Kalinga folklore, preserving
and promoting the cultural heritage of his people.
FEDERICO CABALLERO
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Federico Caballero is a Panay-Bukidnon that
ceaselessly works for the documentation of the oral
literature, particularly the epics of his people. His own
love for his people’s folklore began when he was a small
child. He is then recognized for his expertise in
traditional pottery-making and ceramic artistry.
Date and place of birth: He was born on December 25,
1938 in Panay, Philippines and is 85 years old.
Year of Conferment: He was awarded with the Gawad
sa Manlilikha ng Bayan award in 2000 for his expertise
in the Sugidanon.
Expertise:
Pottery-making: Caballero specializes in crafting
traditional Filipino pottery using indigenous techniques
and materials.
Ceramic Artistry: He is known for his artistic flair in
creating decorative ceramic pieces such as vases, jars,
and figurines.
Glazing Techniques: Caballero is skilled in various
glazing techniques, producing stunning finishes and
textures on his ceramic artworks.
UWANG AHADAS
He is of Tausug ethnicity, is from the Philippines,
particularly from the Sulu archipelago. The people of his
community believed that Uwang’s near-blindness is a
form of retribution from the nature spirits that dwelled in
Bohe Libaken, a brook near the place where he was
born. He is renowned for his expertise in traditional boat-
building and maritime craftsmanship.
Date and place of birth: February 15, 1945 in Lamitan,
Basilan, Philippines and died October 29, 2022 (aged
77).
Year of Conferment: He was conferred with the Gawad
Manlilikha ng Bayan (GAMABA) in 2000
Expertise:
Boat-building: Ahadas specializes in constructing
traditional Tausug boats such as "vintas" using age-old
techniques passed down through generations.
Maritime Craftsmanship: He excels in crafting intricate
details on boats, including carving, painting, and
decorative elements.
Navigation Tools: Ahadas also creates traditional
maritime navigation tools and instruments used by
Tausug seafarers.
EDUARDO MUTUE
Eduardo Mutuc, of Filipino ethnicity, is from the
Philippines. He is an artist that dedicated his life to
creating religious and secular art in silver, bronze, and
wood. His intricately detailed retablos, mirrors, altars,
and carosas are in churches and private collections. He
is known for his expertise in traditional architecture and
architectural preservation.
Date and place of birth: October 12, 1949 in Apalit,
Pampanga.
Year of Conferment: He was conferred with the
National Living Treasure Award in 2004
Expertise:
Traditional Architecture: Mutuc specializes in designing
and building structures using traditional Filipino
architectural styles and techniques.
Architectural Preservation: He is dedicated to preserving
and restoring historical buildings and landmarks,
safeguarding the cultural heritage of the Philippines.
Community Engagement: Mutuc actively engages with
local communities to promote awareness and
appreciation of traditional architecture and cultural
heritage.
TEOFILO GARCIA
Teofilo Garcia is an Ilocano, from San Quentin, Abra. He
was a farmer and hat maker, and known for his craft
named “tabungaw” hat, a type of Ilocano hat made from
a variety of gourd (Upo). Since Teofilo is still principally
a farmer, he devotes his land to planting upo (family
Cucurbitaceae), which he then transforms into the
traditional tabungaw.
Date and place of birth: March 27, 1941 in San
Quintin, Abra in the Cordillera Region
Year of Conferment: He was conferred with the
Gawad sa Manlilikha ng Bayan in 2012
Expertise:
Hat making: Garcia is known for crafting tabungaw hat,
a type of ilocano hat made from different types of gourd,
locally known as “Upo” or “Tabungaw” in ilocano
Master artisan: Garcia is considered as master artisan
since he learned how to craft hats and weave at the age
of 15 with the guide of his grandfather.
CONTEMPORARY PHIL ARTS FROM THE REGION
Second Semester | Asistin, Julie | Arber