LESSON 1: GAMABA
(Gawad sa Manlilikha ng bayan)
Gamaba or National living treasures
*Institutionalized through Republic Act No. 7355
in April 1992 known as the Manlilikha sa Bayan
Act.
*Administration and Implementation is the NCCA
-GAMABA committee & ad hoc panel of experts
-conducts the search for the finest traditional artist
of the land
-Adopts a program that will ensure the transfer of
their skills to others undertakes measures to
promote a genuine appreciation of the arts
-Instill pride among our people about the genius
of the Manlilikha sa Bayan
*Is conferred to Filipinos who are at the forefront
of the practice , preservation and promotion of the
national’s traditional folk arts
*Main Objective
-To honor & support traditional folk artist and to
see to it that their skills & crafts are preserved.
Emblem
AWARD LOGO
-is the representation of the human form used in
traditional cloth
-below the logo is the phrase
“ MANLILIKHA NG BAYAN” written in Baybayin
CRITERIA
1. Should be a Filipino citizen or group of citizens
belonging to an indigenous or traditional
community anywhere in the Phil; and engage in
Filipino traditional art in the ff categories:
a. folk architecture f. literature
b. maritime architecture g.graphic and plastic arts
c. weaving h.ornament
d. carving i.textile and fiber art
e. performing arts j. pottery
2. Should have been engaged in the tradition and
craft for the significant period of time with at least
50 years of existence and documentation.
3. Should have produced and performed of
artistic, distinctive and superior quality
4. Should possess mastery of tools and materials
that are needed for the art and must have a
reputation of an art master & craft maker in the
community where he/she belongs
5. Should have passed on and/or will pass on the
traditional crafts and skills to other members of
the community by virtue of teaching
In case when a manlilikha ng bayan candidate
is incapable of teaching further his/her craft
and skill due to age or infirmity:
1. He/she should have created a significant body
of work and has contributed to the development
of the tradition and craft
2. He/ she should have played a role in the
preservation & revitalization of the artistic tradition
in the community
The Awards and Incentives:
1. Designed medallion and plaque, with a
duplicate set that should be donated to and
displayed in a provincial museum or the largest
cultural center in the awardee’s community
2. The awardee is given an initial grant of
Php100,000 and a Php14,000 lifetime stipend per
month
3. The awardee is granted a maximum cumulative
amount of Php 750,000 medical and
hospitalization benefits as well as funeral
assistance similar as those received by the
National Artists.
TRADITIONAL ART IN BICOL:
Bikol Art:
- Is defined by a rich folk tradition that
incorporates vibrant elements from indigenous,
colonial and contemporary sources.
- Some Bikol artists are formally trained in the
traditional Western paradigms of art but most are
self-trained.
- Techniques and themes are refined through
personal experimentations and innovations rather
than formally prescribed methodologies.
Four Core Ideas of Bikol art
( in terms of its essential aesthetic principles)
1. ORAG- refers to the principle of quite self-
confidence and a penchant for excellence with
which the artist pursues his craft.
- the art object reflects the stature and confidence
of the artist.
2. GAYON- refers to the care and beauty with
which the artist creates his piece. An art object is
considered to be magayon if it showcases the
patience and the nurturing hands of the artist
3. UGAY- is the grace with which the artist
surrenders himself fully to his craft. A Bikolnon
artist pursues his art without presuppositions of
recognition or reward.
- implies perseverance and humility
- an art piece displays this quality when it mirrors
the natural growth of the artist
4. BANSAY- refers to the seamless ordering of
things that lead to the evocation of pleasure.
- an object is said to contain the trait of
Kabansayan if its components are thoughtfully
assembled to express a credible whole
BAMBOO BASKETS INDUSTRY IN NABUA,
CAMSUR
THE NABUA HOME INDUSTRIES CENTER
(NCHIC)
- Founded in the late 1960’s by Crispin Brina Sr.
- Now called as NABUA HOME INDUSTRIES
(NHI)
- The bamboo baskets from Nabua was a
response to the growing global interest in “tropical
giftware” which opened up within the export-
oriented policies of the American period & which
further boosted during the Marcos dictatorship
*Kararaw- a typical sun-dried bamboo basket.
-was typically used for storing food and
transporting harvested products.
- used during special events as a
server of steamed rice, after being
lined with heated banana leaves.
NATURAL CARPET INDUSTRIES
(NAPA HANDICRAFTS)
-started out in 1979 as a backyard
industry engaged in weaving
traditional abaca handicraft.
-Socorro Morin Napa, his mother is
one of Camalig’s popular
“abakalera”
-in 2016, they employs 120 skilled weavers and
artisans
-and more than 200 indirect workers from other
provinces
-They work 7,300 square meter production area
to cater to orders from Australia, Canada, Middle
East,Europe and China
-Felipe Noe Morin Napa Jr. , barangay captain of
Sumlang in Camalig, Albay
-His family own Napa Handicrafts now called as
Natural Carpet Industries ( NCI)- a maker of world
class abaca carpets, furniture, baskets and bags
-they supplies international designer home stores
such as Crate and Barrel, The Pottery Barn, The
Gap, and Muji in Japan
- Handcrafted placemats, carpets, rugs, ottomans,
sofas and beds, garden and beach sets made
from abaca in five-star hotels in Manila
-displayed in the 2014 United Nations World
Tourism Organization conference and the 2015
Asia Pacific Economic Cooperation Summit in
Manila.
BAAO BURDA INITIATIVES
- Bernadette delos Santos “Bidibidi”started
making fashion accessories out of recycled
materials such as buttons and beads, patchwork
and painting.
- Her small projects hit, so she had to train
women and out- of- school youth to make them.
- “Swatchpatch Totes” – first product of bags
made by community of women
- Flowers, leaves, trees, and butterflies.
KARAW CRAFTVENTURES AND
ENCANTURES
- Is a social enterprise founded by young
entrepreneur Paul Andrew Orpiada of Naga City.
- Graduated BS Entrepreneurship from AdNU in
2011
- He started Karaw in 2009 and continued it in
2012 as a college graduate through funding
support from the British Council, The Do School,
Watson Institute PH, and BPI Foundation.
- Was thus born, a social enterprise to produce
souvenir items and plush toys using upcycled
discarded rags as materials.
- Vision was to use art as a tool in empowering its
stakeholders, the women inmates of Naga City
District Jail and provide them career and training
opportunities.
- the name Karaw, is the Bikol word for play
- Orpiada wanted the stakeholders to play with
their imagination and express their creativity in
designing and actual presentation.
- They initially produce “ragpets” mainly designed
by Orpiada, which they sold in fairs, fiestas, and
selected stores
- had a collaboration with artist Pen Prestado’s
“Encantures”, Filipino and Bikol mythological
creatures as plush toys, souvenirs and fun but
functional items.
- The Bakunawa- moon-eating eclipse- causing
ancient Bikol monster- coin purse
- manananggal- wings opened in flight, hides a
USB in its belly once its other half is lifted.
TINAGO WATER HYACINTH HANDICRAFT
DEVELOPMENT ASSOCIATION
- A social enterprise of mostly women
- they gather the water hyacinth which infest the
river near them, dry the stems, and then process
them to create boxes, bags, frames, and other
décor
-These are sold at barangay hall and at trade fairs

SCULPTURE
Headless Monument in Legaspi
- The headless monument was allegedly built by
Don Buenaventura de Erquiaga, a Spanish
philanthropist who founded Legazpi College (now
Aquinas Univerity), in memory of the Bicolanos
who suffered atrocities during the Japanese
occupation.
*The Statue of General Ola
at the Bicol Heritage Park
*Oragon Monument
- was unveiled on the 18th day of June 2010,
during the 62nd Charter Anniversary of Naga
CITY
- Located near the Naga City People’s Mall.
- It is a two-part display that captures the heroism
of Naguenos and portraying bravery
- Crafted by the artist Jose Barcena Jr. who also
carved the Quince Martires
LESSON 2: LOCAL MATERIALS USED IN
CREATING AN ART
-Choosing the appropriate kind and amount of art
materials that will be used in executing the
artwork are CRUCIAL for the success of the
artist’s effort.
DIFFERENCE BETWEEN INDIGENOUS AND
LOCAL ART MATERIALS
INDIGENOUS ART MATERIALS
- Naturally comes from the place
- Not introduced to the place or imported from
somewhere else
- Has been there right from the start
LOCAL ART MATERIALS
- Comes from the place or locality but may or may
not be originally part of that place.
- It could have been introduced to the place or
locality by colonists or settlers from other places.
KINDS OF LOCAL ART MATERIALS
- The use of local art materials in creating various
types of arts has become the showcase of Filipino
creativity, resourcefulness and artistry.
I. ABACA
- Manila hemp
- Extracted from the leaf sheath around the trunk
of the abaca plant known scientifically as MUSA
TEXTILIS which is related to the banana plant.
- Rope, slippers, bag
2. COCONUT SHELLS/ BAO
- Used for wood carving, Improvised cooking
utensils and myriads of other uses.
3. BAMBOO/ KAWAYAN
- Classified as a plant of the grass family
4. CAPIZ/KAPIS
- Windowpane oyster, a bivalve marine mollusk.
Commonly found along the coastal waters.
- Windows, lanterns and wallings
5. RATTAN
- Naturally renewable palm of climbing palms.
Furniture, handicrafts, and building materials
6.COWRIE SHELLS/ SIGAY
- Often used in shell jewelry and shell craft work.
- Popular for their vibrant color
7. JUNK
- Useless or of little value
- Junk art
- Discarded materials stored or hidden away
inside homes or thrown in garbage bins are
usually made up of plastic, wood and metal
8. DRIED LEAVES
- Falling off from branches of trees and plants.
Ranging from pale yellow to dark brown dried
leaves.
9. PLANT SEEDS
- Can be acquired from farms and rural areas.
Others can be bought commercially
10. ROCKS AND SAND
- Abundant
- Varies in size and color allowing for varied art
forms
LOCAL ART MATERIALS:
1. Traditional
2. Non- Traditional
Traditional art materials
- Available locally are those that are usually
bought from department stores and bookstores.
Non- Traditional Materials
- Not usually used in creating art like coffee,
plastic bottles and recyclable materials.
LESSON 3: Critiquing Available Materials and
Appropriate Techniques
- In creating art, the artist has to check the art
materials necessary for the conceived artwor
CRITIQUE vs. CRTICIZE
CRITIQUING:
- Taking note of the process of creation, paying
attention to the kind of art materials and the way
they were used and considers the art technique
applied.
- Kritike tekhne “the critical art”
- Detailed analysis and assessment of something

CRITICIZING:
- Relying on feelings for evaluation, depending
heavily on the visual appeal of artwork.
- Either beautiful or ugly; nice or not.
- Sharp disapproval of something

CRITIQUIING:
- Thought more than felt
- Concerned with the process of creating art
- Considered the artist’s technique
- More objective than subjective

CRITICIZING:
- Felt more than thought
- Concerned with what is perceived through the
senses
- Considered the artist as good ornot good
- More subjective than objective

CRITIQUING AVAILABLE ART MATERIAS:

- They have to undergo evaluation for them to be
deemed really useful.
- Each art material has to be examined.
*AVAILABILITY
*ACCESSIBILITY
*AFFORDABILITY

1. AVAILABILITY
- Art material has to be obtainable, ready for use
and at hand.
2. ACCESSIBILITY
- Art material has to be within the artist’s reach
- Easily acquired without much effort
3. AFFORDABILITY
- Art material has to be within the financial
capacity of the artist to be purchased.

CRITIQUING APPROPRIATE ART

TECHNIQUE:
- The manner and ability by which an artist
employs the technical skills of a particular art.
*APPROPRIATENESS
*MASTERY
*PRACTICALITY

1. APPROPRIATENESS
- The manner by which the artist is going to apply
in creating an artwork should be suited to the kind
of art materials that will be used as well as suited
to the kind of art technique.
2. MASTERY
- It is expected that the artist is skilled and highly
knowledgeable of the art technique.
3. PRACTICALITY
- It should be functional and sensible for the
objectives or purpose set by the artist for the
creation of the artwork.