Contemporary Philippine Arts from the Regions

I. Contemporary Art
• It is the art that springs out of the present-day events and passions of the
society. It is the newest form of art, amusing people from the middle to
the late 20th century up to this time (Perez, 2016).
• It is a statement that an artist makes about life, thoughts, ideas, beliefs,
and many other things that define human life (Ramirez, 2016).

A. Characteristics of Contemporary Art (Ramirez, 2016)

1.It is not confined in the museum.
The artworks from this genre can also be found in galleries, art schools, side
streets, and public spaces like train or bus stations, and even shopping centers or
parks.

2.It practices a different way of selling art works.

Due to the increase in internet and social media usage in our country, people
who sell artworks also went “online” to increase their sales.

3.Many contemporary artists are self-taught and did not have formal
education.
Concerned with the development of their talent and skills in art-making, thy
study on their own, interact with artists and read a lot about lives of artists and
their artworks. They also explore materials in hardware stores, experiment with
chemical reactions, and study welding and simple engineering skills.

4.It has a variety of materials or medium to choose from.

Access to different kinds of materials has expanded the choice of artists. The
problem of weight has also been solved by technology, which has given artists
enough flexibility and liberty to combine art materials with found objects.

5.Its artists sometimes employ the help of fabricators, carpenters, electricians,

or welders in “constructing” artworks.
This is practiced by conceptual artists, who use principles of physics and
technology of construction to form their artworks.

6.Originality is not an issue in this type of art.

An artist can get another artist’s work and redesign it using different materials.

7.It is the process, rather than sale, which is essential in contemporary art-
making.
It is not how much money the artists make out of the final outwork but the
experience while they are doing it that matters most. They put more value to
transmittal of the artwork’s message than to the compensation that they will
receive for the piece.

A. Subject Matter and Style in Contemporary Art

Subject Matter
A subject is any person, animal, thing, or issue that is described or represented
in a work. It usually generates the question, “What is it?”

The subject matter is not confined to representation of human figures and

landscapes. Commonly, the subjects in this art are children, women, the
environment, or a combination of any of these. There are also artworks where
the subject matter is not easily recognized.

If an artwork is an experiment on technique, the subject matter is the technique

itself. In conceptual arts, the viewer has to engage thinking and exploring the
meaning of the art work.

2. Styles
a. abstract expressionism - It is a painting style in which the artist applies paint
in a manner that expresses emotions and feelings in a spontaneous way.

b. Kinetic art - It is a sculpture that moves with the wind or with the help of a
machine or electricity.
c. Op art - It uses lines or images repeatedly to create an optical illusion.
d. Performance art - Consist of a variety of media and human body to execute
an artistic theatrical expression before a live audience.
e. Environment art - Involves artistic creation and manipulation of space
such as landscape or architectural design that may enclose its audience.
f. Feminist art - It tackles issues of identity, sexuality, gender roles, equality, and
the ways in which the female is treated in society.
g. Minimalism - It shows a stripped-down, pre-fabricated look, free of details,
and often with flat surface but expresses a specific content or statement.
h. Video art - It consists of images that are recorded through a video and viewed
through television, computer, or projection screen.
I. Graffiti art - It is a drawing, inscription or sketch done hastily on a wall or
other surface made to be seen by the public.
j. Postmodern art - It carries modern styles to extreme practices, often expressing
an idea through a mix of materials such as found objects welded together.
l. Body art - It is an art form that uses body as the medium or main material. It
can be painted or clothed and used to perform artistic act in public. Tattooing and
piercing are also examples of body art.
m. Digital art - It is done with the aid of computer to create an image or design
composed of bits and bytes. The image can be printed on paper, tarpaulin, or other
mediums.

B. Types of Techniques in Contemporary Arts

Listed below are different types of techniques that artists can choose from:
1. Collage - a piece of art made by sticking various materials such as
photographs and pieces of paper or fabric onto a backing
2. Decalcomania - the art or process of transferring pictures and designs
from specially prepared paper (as to glass)
3. Decoupage - the art of decorating surfaces by applying cutouts (as of
paper) and then coating with usually several layers of finish (such as
lacquer or varnish)
4. Frottage - the technique of creating a design by rubbing (as with a
pencil) over an object placed underneath the paper
5. Montage - the production of a rapid succession of images in a motion
picture to illustrate an association of ideas
6. Trapunto - a decorative quilted design in high relief worked through
at least two (2) layers of cloth by outlining the design in running stitch
and padding it from the underside
7. Digital applications - any application software that can be used by a
computer, mobile device, or tablet to make and/or display a work of
art
 Contemporary Arts in the
Philippines 1

I. The Order of the National Artists

Established under Proclamation No. 1001, s. 1972, it is the highest national recognition
given to Filipino individuals who have made significant contributions to the development
of Philippine arts. The National Commission for Culture and the Arts (NCCA) and Cultural
Center of the Philippines (CCP) administers the award. The president of the Philippines
grants this award to a person that is recommended by both institutions every three (3) years.
A. Objectives
The Order of National Artists aims to recognize:
1. Filipino artists who have made significant contributions to the cultural heritage of
the country.
2. Filipino artistic accomplishment at its highest level and to promote creative
expression as significant to the development of a national cultural identity.
3. Filipino artists who have dedicated their lives to their works to forge new paths and
directions for future generations of Filipino artists.
B. Criteria for Selection
The Order of National Artists shall be given to artists who have met the following criteria:
1. Living artists who are natural-born Filipino citizens at the time of nomination, as
well as those who died after the establishment of the award in 1972 but were Filipino
citizens at the time of their death. Filipinos who have lost and re–acquired Filipino
citizenship, through dual citizenship status for at least the minimum period of five
years shall be eligible for nomination.
2. Artists who through the content and form of their works have contributed in building
a Filipino sense of nationhood.
3. Artists who have pioneered in a mode of creative expression or style, thus, earning
distinction and making an impact on succeeding generations of artists.
4. Artists who have created a substantial and significant body of works and/or
consistently displayed excellence in the practice of their art form thus enriching
artistic expression or style.
5. Artists who enjoy broad acceptance through:
1. prestigious national and/or international recognition, such as the Gawad CCP
Para sa Sining, CCP Thirteen Artists Award, and NCCA Alab ng Haraya
2. critical acclaim and/or reviews of their works
3. respect and esteem from peers.
C. Honors and Privileges
1. The rank and title of National Artist, as proclaimed by the President of the
Philippines;
2. The National Artist gold-plated medallion minted by the Bangko Sentral ng
Pilipinas (BSP) and citation;
3. Lifetime emolument and material and physical benefits comparable in value to
those received by the highest officers of the land such as:
 3.1. A minimum cash award of Two Hundred Thousand Pesos (P200,000.00), net of
taxes for living awardees and a minimum cash award of One Hundred Fifty
Thousand Pesos (P150,000.00), net of taxes for posthumous awardees, payable
to legal heir/s;

3.2 A minimum lifetime personal monthly stipend of Thirty Thousand Pesos

(P30,000.00)
The above-mentioned privileges shall be given effective January 1, 2013.
3.2.1.1 Life insurance coverage for Awardees who are still insurable;
4.2.1.1 A State Funeral benefit not exceeding P500,000.00.
4. A place of honor, in line with protocular precedence, in state functions, national
commemoration ceremonies, and all other cultural presentations.

II. The National Artists (Source: ncca.gov.ph, 2015)

A. Architecture
1. National Capital Region
a. Pablo S. Antonio (1976)
Born in Binondo, Manila, he pioneered modern Philippine architecture. He
emphasizes function before elegance and the maximum use of natural light
and cross ventilation in his design.
Antonio’s major works include the following: Far Eastern University
Administration and Science buildings; Manila Polo Club; Ideal Theater;
Galaxy Theater; Capitan Luis Gonzaga Building; Boulevard-Alhambra
apartments; and Ramon Roces Publications Building.

b. Juan F. Nakpil (1973)

Born in Quiapo, Manila, he was known as the “Dean of Filipino Architects.”
He espoused architecture reflective of Philippine traditions and culture.
His major works are: Geronimo de los Reyes Building, Magsaysay Building,
Rizal Theater, Capitol Theater, Captain Pepe Building, Manila Jockey Club,
Rufino Building, Philippine Village Hotel, University of the Philippines
Administration and University Library, and the reconstructed Rizal house in
Calamba, Laguna.
c. Ildefonso P. Santos (2006)
Born in Malabon, Manila, he is considered as the “Father of Philippine
Landscape Architecture.” His works include Tagaytay Highland resort; Mt.
Malarayat Golf and Country Club in Lipa, Batangas; and Orchard Gold and
Country Club in Imus, Cavite.
2. Region 3 – Central Luzon
a. Jose Maria V. Zaragoza (2014)
From Guagua, Pampanga, Zaragoza’s name became almost synonymous
with modern ecclesiastical architecture. His major works include Meralco
Building, Philbanking Building, Sto. Domingo Church and Convent,
 Metropolitan Cathedral of Cebu City, Villa San Miguel Church in
Mandaluyong.
3. Region 18 – Negros Island
a. Leandro V. Locsin (1990)
Born in Silay, Negros Occidental, he believes that the true Philippine
Architecture is “the product of two great streams of culture, the oriental and
the occidental… to produce a new object of harmony.” He used themes of
floating volume, the duality of light and heavy, and buoyant and massive in
his major works.
His largest single work is the Istana Nurul Iman, the palace of the Sultan of
Brunei. He designed the five buildings of the CCP Complex – the Cultural
Center of the Philippines, Folk Arts Theater, Philippine International
Convention Center, Philcite, and The Westin Hotel.

B. Visual Arts
1. National Capital Region
a. Fernando Amorsolo (1972)
Born in Paco, Manila, the “Grand Old Man of Philippine Art” was the first
to be awarded as National Artist in the country. The backlighting technique
became his trademark where the figures are seen aglow on canvas.
His major works include the following: Maiden in a Stream (1921), El Ciego
(1928), Dalagang Bukid (1936), The Meztiza (1943), Planting Rice (1946),
and Sunday Morning Going to Town (1958).
b. Cesar Legaspi (1990)
A pioneer “Neo-Realist” of the country, he is remembered for refining
cubism in the Philippine context. He made use of geometric fragmentation
technique, weaving social comment and juxtaposing the mythical and
modern into his overlapping, interacting forms with disturbing power and
intensity.
Among his works are Gadgets I, Gadgets II, Diggers, Idols of the Third Eye,
Facade, Ovary, Flora and Fauna, Triptych, Flight, Bayanihan, Struggle,
Avenging Figure, Turning Point, Peace, The Survivor, and The Ritual.
c. Hernando Ocampo (1991)
A self-taught painter from Sta. Cruz, Manila, his canvases evoked the lush
Philippine landscape, its flora and fauna, under the sun and rain in fierce and
bold colors.
He also played a pivotal role in sustaining the Philippine Art Gallery, the
country’s first. His acknowledged masterpiece “Genesis” served as the basis
of CCP Main Theater’s curtain design. His other major works include Ina ng
Balon, Calvary, Slum Dwellers, Nude with Candle and Flower, Man and
Carabao, Angel’s Kiss, Palayok at Kalan, Ancestors, Isda at Mangga, The
Resurrection, Fifty-three “Q”, Backdrop, and Fiesta.
d. Arturo Luz (1997)
 He established the Luz Gallery that professionalized the art gallery as an
institution. Among his other significant paintings are Bagong Taon,
Vendador de Flores, Skipping Rope, Candle Vendors, Procession, Self-
Portrait, Night Glows, Grand Finale, Cities of the Past, and Imaginary
Landscapes. His mural painting Black and White is displayed in the lobby of
the CCP’s Bulwagang Carlos V. Francisco (Little Theater). His sculpture of
a stainless steel cube is located in front of the Benguet Mining Corporation
Building in Pasig.
e. Jose T. Joya (2003)
He pioneered abstract expressionism in the Philippines. He distinguished
himself by creating an authentic Filipino abstract idiom that transcended
foreign influences.
Most of his paintings of harmonious colors were inspired by Philippine
landscapes and his use of rice paper in collages placed value on transparency,
a common characteristic of folk art.

f. Benedicto Cabrera (2006)

He is from Malabon and has been noted as the best-selling painter of his
generation of Filipino artist.
He has christened the emblematic scavenger figure “Sabel” who is a
melancholic symbol of dislocation, despair, and isolation – the
personification of human dignity threatened by life’s ups and downs, and vast
inequities of Philippine society.
g. Federico Aguilar Alcuaz (2009)
He is a painter and a sculptor from Sta. Cruz, Manila. An artist of voluminous
output, he was known mainly for his gestural paintings in acrylic and oil, as
well as sketches in ink, watercolor, and pencil.
After his exhibit at Philippine Art Gallery, he received a fellowship from the
Ministry of Foreign Affairs in Spain and proceeded to study at the Academia
de Bellas Artes de San Fernando in Madrid, where other Filipino expatriates
like Juan Luna, Felix Resurreccion Hidalgo, Fernando Amorsolo, Fabian
dela Rosa and Jose Ma. Asuncion received a similar classical training.
h. Francisco Coching (2014)
Born in Buting, Pasig, Coching was acknowledged as the “King of Komiks”
and “Dean of Filipino Illustrators.” Starting his career in 1934, he was a
central force in the formation of the popular art form of comics.
He was a part of the golden age of the Filipino comics in the 50’s and 60’s.
Until his early retirement in 1973, Coching mesmerized the comics-reading
public as well as his fellow artists, cartoonists, and writers.
2. Region 1 – Ilocos Region
a. Victorio Edades (1976)
The “Father of Modern Philippine Painting” grew up in Barrio Bolosan,
Dagupan, Pangasinan. Unlike Amorsolo’s cheerful hues, Edades’ colors
 were dark and somber. His favorite subject matter are laborers, factory
workers or the simple fold in all their dirt, sweat and grime.
Among his works are The Sketch, The Artist and the Model, Portrait of the
Professor, Japanese Girl, Mother and Daughter, The Wrestlers, and
Poinsettia Girl.
3. Region 3 – Central Luzon
a. Guillermo Tolentino (1973)
Born in Malolos, Bulacan, he is hailed as the “Father of Philippine Arts.” His
famous works include the Bonifacio Monument in Caloocan, and the UP
Oblation in Diliman, Quezon City.
He also designed the gold and bronze medals for the Ramon Magsaysay
Award and did the seal of the Republic of the Philippines.

b. Vicente Manansala (1981)

Manansala was a cubist painter and illustrator from Macabebe, Pampanga.
His paintings are described as “visions of reality teetering on the edge of
abstraction.”
He trained at Paris and at Otis School of Drawing in Los Angeles. Manansala
believes that the beauty of art is in the process, in the moment of doing a
particular painting, closely associating it with the act of making love. “The
climax is just when it’s really finished.”
Manansala’s works include A Cluster of Nipa Hut, San Francisco Del Monte,
Banaklaot, I Believe in God, Market Venders, Madonna of the Slums, Still
Life with Green Guitar, Via Crucis, Whirr, Nude.
4. Region 4A – CALABARZON
a. Carlos “Botong” Francisco (1973)
A poet from Angono, Botong single-handedly revived the forgotten art of
mural and was best known for his historical pieces.
His other major works include the following: Portrait of Purita, The Invasion
of Limahong, Serenade, Muslim Betrothal, Blood Compact, First Mass at
Limasawa, The Martyrdom of Rizal, Bayanihan, Magpupukot, Fiesta,
Bayanihan sa Bukid, and Sandugo.
5. Region 6 – Western Visayas
a. J. Elizalde Navarro (1999)
He was born in Antique. A versatile artist, being both a proficient painter and
sculptor, devotion to the visual arts spans 40 years of drawing, printmaking,
graphic designing, painting, and sculpting.
Three of his major mixed media works are I’m Sorry Jesus, I Can’t Attend
Christmas This Year (1965), and his Homage to Dodjie Laurel (1969: Ateneo
Art Gallery collection), and A Flying Contraption for Mr. Icarus (1984:
Lopez Museum).
6. Region 7 – Central Visayas
 a. Napoleon Abueva (1976)
Abueva, a native of Bohol, was the youngest awardee (He was only 46 when
he was given the title) and was considered as the “Father of Modern
Philippine Sculpture.”
Being adept in either academic representational style or modern abstract, he
has utilized almost all kinds of materials from hard wood (molave, acacia,
langka wood, ipil, kamagong, palm wood and bamboo) to adobe, metal,
stainless steel, cement, marble, bronze, iron, alabaster, coral and brass.
Some of his major works include Kaganapan (1953), Kiss of Judas (1955),
Thirty Pieces of Silver, The Transfiguration (1979), Eternal Garden
Memorial Park, UP Gateway (1967), Nine Muses (1994), UP Faculty Center,
Sunburst (1994)- Peninsula Manila Hotel, the bronze figure of Teodoro M.
Kalaw in front of National Library, and murals in marble at the National
Heroes Shrine, Mt. Samat, Bataan.

7. Region 11 – Davao
a. Ang Kiukok
Born Ang Hwa Shing, he was a painter from Davao City. He fused influences
from cubism, surrealism, and expressionism in his style. He favored subjects
such as fighting cocks, rabid dogs, and people enraptured by rage. He also
painted multiple depictions of the crucified Christ.
Some of his works include Geometric Landscape (1969); Pieta, which won
for him the bronze medal in the 1st International Art Exhibition held in
Saigon (1962); and the Seated Figure (1979), auctioned at Sotheby’s in
Singapore.
8. Region 15 – Autonomous Region of Muslim Mindanao
a. Abdulmari Asia Imao (2006)
A native of Sulu, he is a sculptor, painter, photographer, ceramist,
documentary film maker, cultural researcher, writer, and articulator of
Philippine Muslim art and culture.

Through his works, the indigenous ukkil, sarimanok and naga motifs have
been popularized and instilled in the consciousness of the Filipino nation and
other peoples as original Filipino creations.
Some of his works include Industry Brass Mural, Mural Relief in
Filmmaking, Industrial Mural, and Sulu Warriors.

C. Fashion Design
1. Region 14 – Cordillera Administrative Region
a. Ramon Valera
 He was a fashion designer from Abra. His contribution lies in the tradition of
excellence of his works, and his commitment to his profession, performing
his magical seminal innovations on the Philippine terno.

D. Literature
1. National Capital Region
a. Jose Garcia Villa (1973)
He is considered as one of the finest contemporary poets. He introduced
reversed consonance rhyme scheme, including the comma poems that made
full use of the punctuation mark in an innovative, poetic way.
Villa’s works have been collected into the following books: Footnote to
Youth, Many Voices, Poems by Doveglion, Poems 55, Poems in Praise of
Love: The Best Love Poems of Jose Garcia Villa as Chosen By Himself,
Selected Stories, The Portable Villa, The Essential Villa, Mir-i-nisa,
Storymasters 3: Selected Stories from Footnote to Youth, 55 Poems: Selected
and Translated into Tagalog by Hilario
S. Francia.
b. Nick Joaquin (1976)
He is considered as the most distinguished Filipino writer in English writing.
Nick Joaquin has also enriched the English language with critics coining
“Joaquinesque” to describe his baroque Spanish-flavored English or his
reinventions of English based on Filipinisms.
Among his works are The Woman Who Had Two Navels, A Portrait of the
Artist as Filipino, Manila, My Manila: A History for the Young, The Ballad
of the Five Battles, Rizal in Saga, Almanac for Manileños, and Cave and
Shadows.
c. Francisco Arcellana (1990)
He pioneered the development of the short story as a lyrical prose-poetic
form. For Arcellana, the pride of fiction is “that it is able to render truth that
is able to present reality”.
Arcellana’s published books are Selected Stories (1962), Poetry and Politics:
The State of Original Writing in English in the Philippines Today (1977), and
The Francisco Arcellana Sampler (1990).
Some of his short stories are Frankie, The Man Who Would Be Poe, Death
in a Factory, Lina, A Clown Remembers, Divided by Two, The Mats, and his
poems being The Other Woman, This Being the Third Poem This Poem is for
Mathilda, To Touch You and I Touched Her, among others.
d. Levi Celerio (1997)
National Artist for Literature and Music
 Born in Tondo, Manila, Levi is a prolific lyricist and composer for decades.
He made it to the Guinness Book of World Records as the only person able
to make music using just a leaf. Levi effortlessly translated/wrote anew the
lyrics to traditional melodies: “O Maliwanag Na Buwan” (Iloko), “Ako ay
May Singsing” (Pampango), “Alibangbang” (Visaya) among others.
e. Rolando S. Tinio (1997)
National Artist for Theater and Literature
A playwright, thespian, poet, teacher, critic, and translator, marked his career
with prolific artistic productions.
In the mid-1960s he decided to try writing in Tagalog and the product of this
was the collection of poems now called “Bagay.” He is the sole inventor of
“Taglish” in Philippine poetry.
Aside from his collections of poetry (Sitsit sa Kuliglig, Dunung – Dunungan,
Kristal na Uniberso, A Trick of Mirrors) among his works were the
following: film scripts for Now and Forever, Gamitin Mo Ako, Bayad Puri
and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the
komedya Orosman at Zafira; and Larawan, the musical.
f. Alejandro Roces (2003)
He is considered as the country’s best writer of comic short stories. He is the
champion of the Filipino culture and was instrumental in popularizing
several local fiestas specifically Moriones and Ati-atihan. He also led the
campaign to change the country’s Independence Day from July 4 to June 12,
and the language used in Philippine passports, currency, and diplomas to
Filipino.

g. Cirilo F. Bautista (2014)

He is a multi-awarded poet, fictionist and essayist. He founded the Philippine
Literary Arts Council in 1981, the Iligan National Writers Workshop in 1993,
and the Baguio Writers Group. He is also holding regular funded and
unfunded workshops throughout the country.
His major works include: Summer Suns (1963), Words and Battlefields
(1998), The Trilogy of Saint Lazarus (2001), and Galaw ng Asoge (2003).
2. Region 1 – Ilocos Region
a. Francisco Sionil Jose (2001)
He is one of the most widely-read Filipino writers in the English language.
His novels and short stories depict the social underpinnings of class struggles
and colonialism in our society.
F. Sionil Jose is also a publisher, lecturer on cultural issues, and the founder
of the Philippine chapter of the international organization PEN. He has
bestowed the CCP Centennial Honors for the Arts in 1999; the Outstanding
Fulbrighters Award for Literature in 1988; and the Ramon Magsaysay Award
for Journalism, Literature, and Creative Communication Arts in 1980.
3. Region 2 – Cagayan Valley
a. Edith L. Tiempo (1999)
She is a poet, fictionist, teacher, and literary critic who founded the Siliman
National Writers Workshop. Her works are characterized by a remarkable
fusion of style and substance and her poems are intricate verbal
transfigurations of significant experiences.
Tiempo’s published works include the novel A Blade of Fern (1978), The
Native Coast (1979), and The Alien Corn (1992); the poetry collections, The
Tracks of Babylon and Other Poems (1966), and The Charmer’s Box and
Other Poems(1993); and the short story collection Abide, Joshua, and Other
Stories (1964).
4. Region 3 – Central Luzon
a. Amado V. Hernandez (1973)
He is a poet, playwright, and novelist from Hagonoy, Bulacan. He believes
that “the function of the writer is to act as the conscience of society and to
affirm the greatness of the human spirit in the face of inequity and
oppression.”
He contributed to the development of Tagalog prose through the use of
colloquial style.
He wrote “Mga Ibong Mandaragit,” his first socio-political novel, while in
prison. His other works include Bayang Malaya, Isang Dipang Langit, Luha
ng Buwaya, Amado V. Hernandez: Tudla at Tudling: Katipunan ng mga
Nalathalang Tula 1921-1970, Langaw sa Isang Basong Gatas at Iba Pang
Kuwento ni Amado V. Hernandez, and Magkabilang Mukha ng Isang Bagol
at Iba Pang Akda ni Amado
V. Hernandez.

b. Carlos P. Romulo (1982)

Born in Camiling, Tarlac, he is the first Asian president of the United Nations
General Assembly, then Philippine Ambassador to Washington D.C., and
minister of foreign affairs.
He was a reporter at 16, a newspaper editor by the age of 20, and a publisher
at 32. He was the only Asian to win America’s coveted Pulitzer Prize in
Journalism for a series of articles predicting the outbreak of World War II.
With 82 honorary degrees from different international institutions and 74
decorations from foreign countries, Romulo is perhaps among the most
decorated Filipino in history.

c. Virgilio S. Almario (2003)

Born in San Miguel, Bulacan, he currently serves as the chairman of the
Komisyon ng Wikang Filipino. His earliest pieces of literary criticism were
 collected in “Ang Makata sa Panahon ng Makina” now considered as the first
book of literary criticism in Filipino.
d. Lazaro Francisco (2009)
He earned his reputation as the “Master of the Tagalog Novel” and it is
backed up by numerous awards he received and for his contribution to
Philippine literature and culture in general. His novels exposed the evils of
the tenancy system, the exploitation of farmers by unscrupulous landlords,
and foreign domination. Francisco’s masterpiece novels are Ama, Bayang
Napatiwakal, Maganda Pa Ang Daigdig, and Daluyong.
5. Region 4A – CALABARZON
a. Bienvenido Lumbera (2006)
He introduced Bagay poetry to Tagalog literature. As a librettist for the Tales of
the Manuvu and Rama Hari, he pioneered the creative fusion of fine arts and
popular imagination. As a scholar, his major books include the following:
Tagalog Poetry, 1570-1898: Tradition and Influences in its Development;
Philippine Literature: A History and Anthology, Revaluation: Essays on
Philippine Literature, and Writing the Nation/Pag-akda ng Bansa.
6. Region 4B – MIMAROPA
a. Nestor Vicente Madali Gonzalez (1997)
He is a fictionist, essayist, poet, and teacher. He earned numerous recognitions
including the First Commonwealth Literary Contest in 1940, the Republic
Cultural Heritage Award in 1960, and the Gawad CCP Para sa Sining in 1990.
The major works of N.V.M Gonzalez include the following: The Winds of April,
Seven Hills Away, Children of the Ash-Covered Loam and Other Stories, The
Bamboo Dancers, Look Stranger, on this Island Now, Mindoro and Beyond:
Twenty -One Stories, The Bread of Salt and Other Stories, Work on the Mountain,
The Novel of Justice: Selected Essays 1968-1994, and A Grammar of Dreams
and Other Stories.

E. Historical Literature
1. National Capital Region
a. Carlos Quirino (1997)
In 1997, President Ramos created historical literature as a new category in
the National Artist Awards and Quirino was its first, and so far, its only
recipient. He wrote “The Great Malayan” one of the earliest biographies of
Jose Rizal. His books and articles span the whole spectrum of Philippine
History.
His book “Maps and Views of Old Manila” is considered as the best book on
the subject. His other books include “Quezon, Man of Destiny,” “Magsaysay
of the Philippines,” “Lives of the Philippine Presidents,” “Philippine
Cartography,” “The History of Philippine Sugar Industry,” “Filipino
Heritage: The Making of a Nation,” and “Filipinos at War: The Fight for
Freedom from Mactan to EDSA.”
F. Dance
1. National Capital Region
a. Alice Reyes (2014)
She is a dancer, choreographer, teacher, and director from Manila. She made
a lasting impact on the development and promotion of contemporary dance
in the Philippines.
Her biggest contribution to Philippine dance is the development of a
distinctly Filipino modern dance idiom. Reyes utilized inherently Filipino
materials and her subject matters were expressed through a combination of
movements and styles From Philippine indigenous dance, modern dance, and
classical ballet.
2. Region 3 – Central Luzon
a. Francisca Reyes Aquino (1973)
Born in Bocaue, Bulacan, Francisca was known as the “Mother of
Philippine Folk Dancing.” She made a research on the unrecorded forms
of local celebration, ritual, and sport, which later resulted into a 1926
thesis titled “Philippine Folk Dances and Games.”
She served as supervisor of physical education at the Bureau of Education
in the 1940s. The Bureau distributed her work and adapted the teaching
of folk dancing to promote awareness of cultural heritage.
Her books include the following: Philippine National Dances (1946);
Gymnastics for Girls (1947); Fundamental Dance Steps and Music
(1948); Foreign Folk Dances (1949); Dances for all Occasion (1950);
Playground Demonstration (1951); and Philippine Folk Dances,
Volumes I to VI.
3. Region 5 – Bicol Region
b. Ramon Obusan (2006)
He is a dancer, choreographer, stage designer, artistic director and an
acclaimed archivist, researcher, and documentary filmmaker from
Legaspi, Albay. Obusan’s work focused on promoting Philippine
traditional dance and cultural work.
Through the Ramon Obusan Folkloric Group (ROFG), he had effected
cultural and diplomatic exchanges using the multifarious aspects and
dimensions of th art of dance.
Among the full-length he choreographed are the following: “Vamos a
Belen! Series,” “Noon Po sa Amin,” “Obra Maestra,” “Unpublished
dances of the Philippines,” “Water, Fire and Life, Philippine Dances and
Music–A Celebration of Life,” “Saludo sa Sentenyal,” “Glimpses of
ASEAN, Dances and Music of the ASEAN-Member Countries,” and
“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in
Dance.”

4. Region 6 – Western Visayas

 a. Lucrecia Reyes-Urtula (1988)
She spends almost four (4) decades in the discovery and study of
Philippine folk and ethnic dances. She became the dance director of
Bayanihan Philippine Dance Company and choreographed collections of
mountain dances, Spanish- influenced dances, Muslim pageants and
festivals, and regional variations and dances of the countryside for the
group.
Among the widely-acclaimed dances, she had staged were the following:
Singkil, Vinta, Tagabili, Pagdiwata, Salidsid, Idaw Banga, and Aires de
Verbena.

5. Region 15 – Autonomous Region in Muslim Mindanao

a. Leonor Orosa-Goquingco (1976)
From Jolo, Sulu, Leonor was dubbed “Trailblaizer,” “Mother of
Philippine Theater Dance” and “Dean of Filipino Performing Arts
Critics.”
She produced highly original choreographies like “TREND: Return to
Native,” “In a Javanese Garden,” “Sports,” “VINTA!,” “In a
Concentration Camp,” “The Magic Garden,” “The Clowns,” “Firebird,”
“Noli Dance Suite,” “The Flagellant,” “The Creation…” and the dance
epic “Filipinescas: Philippine Life, Legend and Lore” which was
considered as her most ambitious work. Orosa brought native folk dance,
mirroring Philippine culture from pagan to modern times, to its highest
stage of development.
G. Music
1. National Capital Region
a. Antonio J. Molina (1973)
He is known for introducing innovations such as the whole tone scale,
pentatonic scale, exuberance of dominant ninths and eleventh chords, and
liner counterpoints.
His most familiar composition is Hating Gabi, a serenade. Other works
are Misa Antoniana Grand Festival Mass, Ang Batingaw, Kundiman-
Kundangan; Hating Gabi, String Quartet, Kung sa Iyong Gunita,
Pandangguhan; Amihan, Awit ni Maria Clara, and Larawan Nitong
Pilipinas.
b. Honorata “Atang” de la Rama (1987)
National Artist for Theater and Music
Honored as the “Queen of Kundiman” in 1979, she believes that, “the
sarswela and the kundiman expresses best the Filipino soul.”
Atang began her career as early as seven (7) years old as a star in Spanish
sarswelas. By the age of 15, she starred in the sarswela “Dalagang Bukid,”
where she became known for singing the song, “Nabasag na Banga.”
c. Jose Maceda (1997)
 Maceda is a composer, musicologist, teacher, and performer. He wrote
papers that enlightened Filipino and foreign scholars about the nature of
Philippine traditional and ethnic music. His experiment also freed
Filipino musical expression from the view that European culture is
dominant.
His compositions like “Ugma-ugma,” and “Udlot-uldot” are monuments
to his persistent commitment to Philippine music. Other major works
include Agungan, Kubing, Pagsamba, Ugnayan, Ading, Aroding, Siasid,
and Suling- suling.
d. Andrea Veneracion (1999)
She is known for her achievements as choirmaster and choral singer.
She found the Philippine Madrigal Singers and spearheaded the
development of choral music in the Philippines.
e. Ramon Santos (2014)
He is currently the country’s foremost exponent of contemporary
Filipino music. A prime figure in the second generation of Filipino
composers in the modern idiom, Santos has contributed greatly to the
quest for new directions in music, taking as basis non-Western traditions
in the Philippines and Southeast Asia.
2. Region 1 – Ilocos Region
a. Lucrecia Roces Kasilag (1989)
She was instrumental in developing Philippine music and culture. Her
pioneering task to discover the Filipino roots through ethnic music and
fusing it with Western influences has led many Filipino composers to
experiment in the similar approach. She founded the Bayanihan Folk Arts
Center for research and theatrical presentations.
Her orchestral music include, Love Songs, Legend of the Sarimanok, Ang
Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber music like
Awit ng mga Awit Psalms, Fantaisie on a 4-Note Theme, and East Meets
Jazz Ethnika.
3. Region 3 – Central Luzon
a. Antonio R. Buenaventura (1988)
A musician from Baliuag, Bulacan, Buenaventura vigorously pursued a
musical career that spanned seven (7) decades. During that time, he
committed himself to the advancement of Philippine music frontier. In
1935, he joined Francisca Reyes Aquino to conduct research on
folksongs and dances that led to its popularization.
He has written several marches such as the “Triumphal March,” “Echoes
of the
Past,” “History Fantasy,” “Second Symphony in E-flat,” “Echoes from
the Philippines,” and “Ode to Freedom.” His orchestral music
compositions include “Concert Overture,” “Prelude and Fugue in G
Minor,” “Philippines Triumphant, Mindanao Sketches,” and “Symphony
in C Major,” among others.
 b. Felipe Padilla de Leon (1997)
He Filipinized western music forms. His sonatas, marches, and concertos
have become full expression of the sentiments of the Filipino in times of
strife and peace.
De Leon’s orchestral music include “Mariang Makiling Overture (1939),”
“Roca Encantada, symphonic legend (1950),” “Maynila Overture (1976),”
“Orchesterstuk(1981)” choral music like “Payapang Daigdig,” “Ako’y
Pilipino,” “Lupang Tinubuan,” “Ama Namin” and songs “Bulaklak,”
“Alitaptap,” and “Mutya ng Lahi.”
c. Ernani J. Cuenco (1999)
His works “Bato sa Buhangin,” “Inang Bayan,” “Isang Dalangin,”
“Kalesa,” and “Pilipinas” brought contemporary Filipino music to a
higher level. He enriched the Filipino love ballad by adding elements of
kundiman to his song “Gaano Kita Kamahal.”
Cuenco played with the Filipino Youth Symphony Orchestra and the
Manila Symphony Orchestra from 1960 to 1968, and the Manila
Chamber Soloists from 1966 to 1970. He completed a music degree in
piano and cello from the University of Santo Tomas where he also taught
for decades until his death in 1988.

4. Region 4A – CALABARZON
a. Lucio D. San Pedro (1991)
San Pedro’s work with town bands have significantly contributed to the
development of a civic culture among the Filipino communities and
opened a creative outlet for young Filipinos.
He is popular for his contributions such as the lullaby “Sa Ugoy ng Duyan”
which he made in collaboration with Levi Celerio, and the symphonic
poem “Lahing Kayumanggi.”
b. Francisco Feliciano (2014)
He brought awareness to the people all over the world Asian culture is a
rich source of inspiration and celebration of ethnicity through his works
that brought out the “Asianness” in music. By his numerous creative
outputs, he has elevated the Filipino artistry into one that is highly
esteemed by the people.
His major works are, “Ashen Wings (1995),” “Sikhay sa Kabila ng
Paalam (1993),” “La Loba Negra (1983),” “Yerma (1982),” “Pamugun
(1995),” and
“Pokpok Alimako (1981).”
5. Region 6 – Western Visayas
a. Jovita Fuentes (1976)
 She was best known for her portrayal of Cio-cio San in Giacomo Puccini’s
H. Film Madame Butterfly in Italy. Her performance was hailed as the
“most sublime interpretation of the part” and place the Philippines on the
map in terms of performing.

6. National Capital Region

a. Gerardo De Leon (1982)
Born as Gerardo Ilagan, he is the most awarded film director in the
history of Filipino Academy of Movie Arts and Sciences (FAMAS)
Awards. He produced classics such as “Daigdig ng Mga Api,” “El
Filibusterismo,” “Dyesebel,” and “Sisa.”
b. Ishmael Bernal (2001)
Critics have hailed Bernal as “the genius of Philippine cinema.” He is
recognized through his films that serve as social commentaries and bold
reflections on the existing realities of the struggle of the Filipino.
Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken
Marriage” (1983), “Himala” (1982), “City After Dark” (1980), and
“Nunal sa Tubig” (1976).

c. Roland Allan K. Poe (2006)

Popularly known as Fernando Poe, Jr., he was a cultural icon of
tremendous audience impact and cinema artist and craftsman–as an actor,
director, writer, and producer.
The image of the underdog was projected in his films such as “Apollo
Robles (1961),” “Batang Maynila (1962),” “Mga Alabok sa Lupa (1967),”
“Batang Matador and Batang Estibador (1969),” “Ako ang Katarungan
(1974),” “Tatak ng Alipin (1975),” “Totoy Bato (1977)”, “Asedillo
(1981),” “Partida (1985),” and “Ang Probisyano (1996),” among many
others. The mythical hero, on the other hand, was highlighted in “Ang
Alamat (1972),” Ang Pagbabalik ng Lawin (1975)” including his
“Panday” series (1980, 1981, 1982, 1984) and the action adventure films
adapted from komiks materials such as “Ang Kampana sa Santa
Quiteria(1971),” “Santo Domingo (1972),” and “Alupihang Dagat
(1975)” among others.
7. Region 5 – Bicol Region
a. Lino Brocka (1997)
He is widely regarded as one of the most influential and significant
Filipino filmmakers in Philippine cinema history. His films breathed life
and hope for the marginalized sectors of the society. He served in the
organizations such as Philippine Educational Theater Association
(PETA) and the Concerned Artists of the Philippines (CAP).
 He has directed landmark films such as “Tinimbang Ka Ngunit Kulang
(1974),” “Maynila sa mga Kuko ng Liwanag (1975),” “Insiang (1976),”
“Bayan Ko: Kapit sa Patalim (1984), and “Ornoprobis (1989).”

b. Manuel Conde (2009)

He is known for producing and directing films based on Filipino tales
such as, “Siete Infantes de Lara,’ “IbongAdarna,” and “Prinsipe Tenoso.”
He also dared to recreate on screen narratives of world history literature
though his works “Genghis Khan” and “Sigfredo.”
8. Region 14 – Cordillera Administrative Region
a. Lamberto V. Avellana (1976)
National Artist for Theater and Film
Known as “The Boy Wonder of Philippine Movies,” Avellana has plenty
of firsts in the film industry. He was the first to use the motion picture to
establish a point-of-view, the first to have his film shown at the Cannes
International Film, and the first National Artist of the Philippines for the
film.
His first film “Sakay,” revolutionized the filmic language in the country
and was declared the best picture of 1938 by critics and journalists. He
has also directed films for worldwide release such as “Sergeant Hassan
(1967),” “Destination Vietnam (1969),” and “The Evil Within (1970).”
9. Region 18 – Negros Island Region
a. Eddie Romero (2003)
He is considered as one of the finest in the cinema of the Philippines and
his body of work delved into history and politics.
His works include the films, “Ganito Kami Noon… Paano Kayo
Ngayon?,” “Aguila,” “Kamakalawa,” “Banta ng Kahapon,” and his 13-
part series “Noli Me Tangere.”
H. Theater
1. National Capital Region
a. Wilfrido Ma. Guerrero (1997)
He served as the director of UP Dramatic Club for 16 years and founded the
UP Mobile Theater which started the concept of theater campus tour. By
bringing theatre to the countryside, Guerrero made it possible for students
and audiences, in general, to experience the basic grammar of staging and
acting in familiar and friendly ways through his plays that humorously reflect
the behavior of the Filipino.
His plays include “Half an Hour in a Convent,” “Wanted: A Chaperon,”
“Forever, Condemned,” “Perhaps, In Unity,” “Deep in My Heart,” “Three
Rats,” “Our Strange Ways,” “The Forsaken House,” and “Frustrations.”
2. Region 1 – Ilocos Region
a. Salvador F. Bernal (2003)
 Acknowledged as the “guru of contemporary Filipino theater design,” he
designed more than 300 productions since 1969. He adapted to the budget
limitations by using local materials such as bamboo, abaca, hemp twine,
rattan chain links, and gauze cacha.
He organized Philippine Association of Theater Designers and
Technicians (PATDAT) to promote and professionalize theater design.

b. Severino Montano (2001)

He is the forerunner in institutionalizing “legitimate theater” in the
Philippines. He organized the Arena Theater to bring drama to the masses
and established a graduate program at the Philippine Normal College for
the training of playwrights, directors, technicians, actors, and designers.

3. Region 6 – Western Visayas

a. Daisy Avellana
She elevated legitimate theater and dramatic arts and encouraged the
establishment of performing groups and the professionalization of
Filipino theater. She co-founded the Barangay Theater Guild, together
with her husband, Lamberto Avelllana, which gave way for the
popularization of theater and dramatic arts in the country through radio
and television.
She starred in plays like “Othello (1953),” “Macbeth in Black (1959),”
“Casa de Bernarda Alba (1967),” and “Tatarin.” Her directorial credits
include “Diego Silang (1968),” and “Walang Sugat (1971).”

Contemporary Arts in the Philippines 2

I. Traditional Folk Arts

A. Folk Architecture
These are simple structures built of local materials and available tools to
provide shelter for its inhabitants.
1. Bahay Kubo or Nipa Hut
Also known as kamalig, it serves as an icon to Filipino lowland
and rural culture. It is a stilt house with walls usually made up of
bamboo rods and bamboo mats or sawali, and a thatched roof made
up of anahaw or nipa.
 2. Bale or Ifugao House
It is a one-room house with an attic for storage. Located at the
contour of the rice terraces, the exterior of the house looks like a
pyramid resting on four posts, while the interior is enclosed by
slanting walls and ceiling that appears to be spherical that are formed
by the loft.

3. Ivatan House in Batanes

Most of the Ivatan houses are built with limestone walls, and cogon
roofs, strong enough to withstand the typhoons and earthquakes that visit
the province. It has narrow doors and windows with wooden shutters and
often secured by wooden bars

4. Torogan or Maranao House

Literally means “a place for sleeping,” torogan is a stately house
for the elite members of the Maranao tribe in Mindanao. As the
house of the datu or sultan, it is a symbol of status and leadership. It
also serves as a courthouse, hall for community meetings, and its
courtyard as ritual areas for weddings.

5. Badjao’s Stilt Houses and Houseboats

Badjao, the sea gypsies of the Philippines, cruise along the islands
of Sulu. Their unique ecological setting and fishing economy compel
the Badjao to adjust to the limited space of their lepa or floating
homes. Strong platforms are made on both ends of the boat for the
fish, kitchen utensils and fishing gadgets with the kitchen area
usually found at the back.
There are also Badjaos who prefer to live in stilt houses built out
of driftwood and debris from the coastal cities around Southeast
Asia. Its foundations are carefully placed in between coastal rocks
and corals.

B. Maritime Transports
 These are simple marine vessels made for the transport of goods
and people by sea and other waterways in the surrounding regions.

1. Wooden Banca
The outrigger canoe is a small wooden boat used for transport
in daily activities by people near the coast. It is sometimes highly
decorated.

2. Vinta
It is a traditional boat made by Sama-Bajau (Badjao) and Moros
living in the Sulu Archipelago, Zamboanga peninsula, and southern
Mindanao. The assorted vertical colors in its sail represent the
colorful culture of the Muslim community. These boats are used for
inter-island transport of people and goods.

C.Weaving, Textile making, and Fabric Art

Early Filipinos weaved using fibers from abaca, cotton, pineapple
and, bark. Before the final garment or fabric is produced, the fibers were
first knotted, boiled, dyed, and dried and weaved using hands and a
wooden platform. This tedious process spans from a week up to months.
1. Piña fabric
Piña weaving is the oldest industry of Aklan. Piña cloth is soft
and looks delicate but it is durable and long-lasting. It is often used
to our national costumes, the baro’t saya and barong. If the piña
fiber is blended with silk, it is called “piña silk” and when mixed
with abaca it is called “piña jusi.”

2. T’nalak woven cloth

Woven by the T’boli women of Lake Sebu, South Cotabato,
Mindanao, it represents the tribe’s culture and tradition. According to
them, the unique designs and patterns on the cloth are bestowed upon
them through dreams.

3. Tingkep baskets
It serves both practical and spiritual purposes in the Pala’wan community life. It is
used as a storage container for rice, salt, and personal belongings. It is also used to
house the powerful female spirit Linamin et Kundu during a healing ritual called
 Kundu. It is handcrafted by the women from fine bamboo strips and made in
natural colors.

4. Hinabol
Weaving is a happy activity for the Higaonon hinabol weavers of Bukidnon. Their ancestors
have used abaca as a raw material for their clothing, footwear, blankets, and for their fishing
gear.
The production of textile was considered to be sacred to the tribe. The cloth reflects the moods
and feelings of the weaver. It is woven as offering to the spirits and also given as a gift, as a
dowry, and is used to bring peace during tribal conflicts.

5. Yakan-weaved
clothMade by the Yakan tribe from Basilan, it features elaborate geometric designs and
patterns that are inspired by nature. The fabrics produced by the weavers are used for religious
and ritual purposes, bartered for daily necessities, given as gifts, and used for peace offerings
in times of conflict.

6. The Tapis of the Kalinga Tribe

For them, weaving is a sacred tradition passed on from mother to daughter. The tapis is a
costume indigenous to the Kalinga and Apayao. It is a rectangular cloth woman wear as a
wraparound skirt. The garment was woven using a backstrap loom and was embroidered with
nature-inspired patterns.

D. Carving
From the northern part of the country down to the south, there is always a wood
carving province that will amaze us. One of those is Paete in Laguna, the
woodcarving capital of the Philippines. Wood is the common material that is
widely used in the country. Other materials such as stone and metals such as
silver and bronze are used in regions where there is an abundance of the
mineral.

A. Literature
It refers to the traditional oral literature of various ethnic groups
of the country. It includes the story of “Malakas at Maganda” and
epics such as “Hudhud ni Aliguyon,” “Darangan,” and the likes.

B. Graphic and Plastic Arts

 Graphic arts are mainly two-dimensional (2D), like sketching,
painting, photography, and calligraphy. Plastic arts include sculpture or
ceramics which have three dimensions (3D).

C. Ornament
It is used to embellish parts of a building or object. The Ifugaos have
carved Anito figures or Bulul which represent their ancestral spirit and
granary gods. The bulul is placed in the rice granaries to guard their
harvest. On the other hand, the Kapampangans are famous in their
parol, an iconic symbol of the Filipino Christmas.

D. Pottery
Native Filipinos created pottery since 3500 years ago. These
potteries serve as a secondary burial jars to hold the deceased. Some of
these were decorated with anthropomorphic designs.

1. Manunggul Jar
It is a secondary burial jar found in the early 1960’s in Manunggul
Cave, Lippun Point, Palawan. The upper portion of the jar is incised
with curvilinear scroll designs and painted with natural iron or
hematite. On top of the lid is a boat with two human figures
representing two souls on a voyage to the afterlife. The boatman is
seated behind a figure whose hands are crossed on the chest. The
position of the hands is a traditional Filipino practice observed when
arranging the corpse.

2. Maitum Anthropomorphic Potteries

Earthenware pots resembling human figures were found in Ayub
Cave in Pinol, Maitum, Saranggani Province. The pots were dated to
the Metal Age (5 BC – 225 AD) and were used for secondary burial.
There were 29 jars discovered and each of head-shaped covers portrays
different kinds of expressions: sadness, joy, contentment. The heads
were either plain or coated with red or black paints.Some have earrings,
others are tattooed. Some covers depict teeth while others have arms,
female breasts, and male genitalia.
II. Gawad sa Manlilikha ng Bayan (GAMABA) or National Living
Treasures Awards
Institutionalized through R.A. No. 7355, GAMABA is awarded to a
citizen engaged in any traditional art uniquely Filipino whose distinctive
skills 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
National Commission for Culture and the Arts (NCCA) was tasked with the
administration and implementation of the award. The NCCA, through the
Gawad sa Manlilikha ng Bayan Committee, and an Ad Hoc Panel of
Experts.
The main objective of the award is to honor and support

traditional folk artists and to see to it that their skills and crafts are preserved.
The award is tied to a program that ensures the transfer of their skills to new
generations and the promotion of the craft both locally and internationally.

E. Categories
The Award shall be given in each, but not limited to the following
categories of traditional folk arts, namely: folk architecture, maritime
transport, weaving, carving, performing arts, literature, graphic and
plastic arts, ornament, textile or fiber art, pottery and other artistic
expressions of traditional culture. Consideration shall be given to
geographical distribution and balance of artistic categories.

F. Manlilikha ng Bayan Awardees (Source:

ncca.gov.ph, 2015)
1. Ginaw Bilog (1993) Poet, Hanunuo
Mangyan Panaytayan, Oriental Mindoro
Ginaw Bilog contributed in the preservation and promotion of
ambahan – a poetic literary form composed of seven-syllable
lines used to convey messages through metaphors and images.

2. Masino Intaray (1993)

 Musician and Storyteller, Pala’wan Brookes Point,
Palawan
Masino Intaray is a productive and leading epic chanter and
storyteller recognized for his outstanding mastery of the musical
instruments basal, kulilal, and bagit.

He has the creative memory, endurance, clarity of intellect and

spiritual purpose that enable him to chant all through the night,
for successive nights, countless tultul (epics), sudsungit
(narratives), and tuturan (myths of origin and teachings of
ancestors).

3. Samaon Sulaiman (1993) Musician,

Maguindanao Mamasapano, Maguindanao
Samaon Sulaiman learned to play the kutyapi from his uncle
when he was about 13 years old. At 35, he becomes the most
acclaimed kutyapi master and teacher of his instrument in Libutan
and other barangays of Maganoy town, deeply influencing the
other acknowledged experts in kutyapi in the area, such as Esmael
Ahmad, Bitul Sulaiman, Nguda Latip, Ali Ahmad and Tukal
Nanalon.
Aside from kutyapi, Samaon is also proficient in kulintang,
agong (suspended bossed gong with wide rim), gandingan
(bossed gong with narrow rim), palendag (lip-valley flute), and
tambul.
Samaon was a popular barber in his community and serve as
an Imam in the Libutan mosque.

4. Lang Dulay (1998) Textile Weaver,

T’boli
Lake Sebu, South Cotabato
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.
 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.”

5. Salinta Monon (1998)

Textile Weaver, Tagabawa Bagobo Bansalan, Davao
del Sur
As young as 12 years old, Salinta Monon 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, and now, at
the age of 65, she can identify the design as well as the author of
a woven piece just by a glance.
She 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.

6. Alonzo Saclag (2000) Musician and Dancer,

Kalinga Lubugan, Kalinga
Alonzo Saclag is a Kalinga master of dance and the
performing arts whose mission is to create and nurture a greater
consciousness and appreciation of Kalinga culture among the
tribe and beyond their borders.
He received no instruction, formal or
otherwise, in the performing arts. Yet he has mastered the
Kalinga musical instruments and dance patterns. He intends to
pass his skill to other members of the community, particularly the
younger generation. Much of his energy is channeled towards
different preservation efforts. He has for years urged the members
of his community to preserve their artifacts and
archaeological sites. While the unwritten laws and epics chronicle
their victories as a people, their artifacts afford us a glimpse into
their day- to-day existence. One such artifact is the Kalinga gong
 or the gangsa, the making of which is a disappearing trade. He
has endeavored to revive this dying craft. And to hold these and
other treasures, he lobbied for two years with the provincial
government to grant funds to convert the abandoned Capitol
Building into a museum. His persistence was finally rewarded
when, with support from the provincial government and other
patrons, the Lubuagan branch of the
National Museum was established.

7. Federico Caballero (2000) Epic Chanter,

Sulod-Bukidnon Calinog, Iloilo
Federico ceaselessly works for the documentation of the oral
literature particularly the epics Labaw Dunggon, and
Humadapnon. He works with the Bureau of Nonformal
Education, traveling from barangay to barangay, trying to
convince the older folk of the necessity and benefits of learning
to read and write. He is considered as a bantugan, a person who
has attained distinction and he strives to dispense justice in the
community through his work as a manughusay – an arbiter of
conflicts.

8. Uwang Ahadas (2000) Musician, Yakan

Lamitan, Basilan
Uwang Ahadas is a talented musician from the Yakan tribe of
Basilan. Instrumental music is significant to the Yakan because it
is connected both in their agricultural and social realm. He is a
hands-on teacher to interested individuals who wants to learn
kwintangan, kayu, and tuntungan.

9. Darhata Sawabi (2004) Textile Weaver,

Tausug Parang, Sulu
Darhata Sawabi is a Tausug weaver of pis syabit – the
traditional cloth tapestry worn as a head cover.
Sawabi remains faithful to the art of pis syabit
 weaving. Her strokes are firm and sure, her color

sensitivity acute, and her dedication to the quality of her products

unwavering. She recognizes the need for her to remain in the
community and continue with her mission to teach the art of pis
syabit weaving. She had, after all, already been teaching the
young women of Parang how to make a living from their woven
fabrics. Some of her students are already teachers themselves. She
looks forward to sharing the tradition of pis syabit weaving to the
younger generations (Tobias, 2014).

10. Eduardo Mutuc (2004) Metalsmith,

Kapampangan Apalit, Pampanga
He is an artist who has 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.
According to him, craftsmanship begins with respect for one’s
tools and the medium. The first thing he teaches his students is
how to hold the chisel and hammer properly to promote ease of
use and prevent fatigue and mistakes because of improper
handling. He also cautions against working with an eye towards
easy money. The only way to improve one’s skills, he says, is to
immerse oneself, learn the technique, and to practice. Only in
perfecting one’s craft can there be real reward (Tobias, 2014).

11. Haja Amina Appi (2004) Mat Weaver,

Sama Tandubas, Tawi-Tawi
She is recognized as a master mat weaver among the Sama
indigenous community for her unique designs, straightness of her
edging or tabig, and fineness of her sasa, and kima-kima.
The whole process, from harvesting to stripping down the
pandan leaves to the actual execution of design, is exclusive to
women. It is a long and tedious process which requires patience,
stamina, eye for detail, unerring color instinct, and a genius for
applied mathematics.
12. Teofilo Garcia (2012) Casque Maker,
Ilocano San Quintin, Abra
A master artisan of gourd casques or kattukong - an all-
weather traditional headgear made of tabungaw or gourd. Teofilo
takes pride on his works by wearing it always. He is a complete
craftsman who executes all the phases of his craft production
from the planting of his raw materials to the finishing of the
manufactured form. He makes his indigenous tools.
His kattukong exhibits the finest workmanship. The outer nito
weave on the edges as well as the inner lining of the casque is
highly refined and excellently crafted. The designs he uses show
mastery of traditional form and his ability to creatively innovate
from within the tradition.

13. Magdalena Gamayo (2012) Textile Weaver, Ilocano Pinili,

Ilocos Norte
A weaver of inabel, an Ilocano woven cloth, she exhibits her
mastery and exceptional skill by producing abel which is finer
than the others. Her blankets have a very high thread count and
her designs are the most intricate and can sometimes take up to
five (5) colors.