BRYAN V CATAMA

L-R: (1) Ginaw Bilog, (2) Masino Intaray, (3) Samaon

Sulaiman, (4) Lang Dulay
 1) Ginaw Bilog
• Poet
• Hanunuo Mangyan
• Panaytayan, Oriental Mindoro
• 1993
• Died in 2003
• Ginaw Bilog helped preserved the
Mangyan literary tradition by
documenting the pieces of ambahan
recorded not only on bamboo tubes but
also on notebooks passed on to him.
The ambahan is a poetic literary form
composed of seven-syllables. It is
usually sung.
2) Masino Intaray
• Musician and Storyteller
• Pala’wan
• Brookes Point, Palawan
• 1993
• Died in 2013
• Masino Intaray has mastered the traditions of
his people—the Palawan, Batak, and
Tagbanwa in the highlands of southern
Palawan. He is skillful in basal (gong music
ensemble), kulilal (lyrical poem expressing
passionate love sang with the
accompaniment of the kusyapi), and bagit
(instrumental music depicting nature).
 3) Samaon Sulaiman
• Musician
• Magindanao
• Mama sa Pano, Maguindanao
• 1993
• Died in 2011
• Samaon Sulaiman is a master in the use of
the kulintang and kutyapi of the
Maguindanaons. His extensive repertoire of
dinaladay, linapu, minuna, and binalig has
demonstrated not only his own skills but their
culture.
 4) Lang Dulay
• Textile Weaver
• T’boli
• Lake Sebu, South Cotabato
• 1998
• Died in 2015
• The T'bolis are known for their use of
abaca fibers in textile weaving. Lang
Dulay continued this tradition and
preserved the culture of their community
through patterns of crocodiles, butterflies,
flowers, mountains, and streams and of
Lake Sebu in her works.
L-R: (5) Salinta Monon, (6) Alonzo Saclag, (7)
Federico Caballero, (8) Uwang Ahadas
 5) Salinta Monon
• Textile Weaver
• Tagabawa Bagobo
• Bansalan, Davao del Sur
• 1998
• Died in 2009
• Salinta Monon started learning
weaving traditional Bagobo textiles
from her mother at the age of 12. Her
family is among the remaining Bagobo
weavers in the community.
 6) Alonzo Saclag
Musician and Dancer
Kalinga
Lubugan, Kalinga
2000
Alonzo Saclag has worked for the preservation
of Kalinga culture. He lobbied that the
abandoned Capitol Building be turned into a
museum, that schools implement the practice of
donning the Kalinga costume for important
events, and that traditional Kalinga music
should be broadcasted alongside contemporary
music in the local radio station. He also formed
the Kalinga Budong Dance Troupe to guarantee
that his knowledge in the performing arts is
passed on to others
 7) Federico Caballero

Epic Chanter
Sulod-Bukidnon
Calinog, Iloilo
2000
Federico Caballero, a Panay-Bukidnon
from the mountains of Central Panay, has
worked hard to document the oral literature
of his people. He has preserved the epics
that use a language that has long been
dead by working together with scholars,
artists, and advocates of culture.
 8) Uwang Ahadas
Musician
Yakan
Lamitan, Basilan
2000
Uwang Ahadas has made it his life's
work to preserve and promote Yakan
culture through the traditional music and
instruments of his tribe. He has
mastered tha gabbang, the agung, the
kwintangan kayu, and others.
L-R: (9) Darhata Sawabi, (10) Eduardo
Mutuc, (11) Haja Amina Appi
 9) Darhata Sawabi
Textile Weaver
Tausug
Parang, Sulu
2004
Died in 2005
Darhata Sawabi is one of the master
weavers in the island of Jolo. Like
most women in their tribe, she has
learned the art of weaving the pis
syabit, the traditional cloth tapestry
worn as head cover by the Tausug of
Jolo, from her mother.
 10) Eduardo Mutuc

Metalsmith
Kapampangan
Apalit, Pampanga
2004
Eduardo Mutuc dedicated his life in
sculpting retablos, mirrors, altars,
and carosas from silver, bronze,
and wood. Some of his works can
exceed 40 feet while the others
feature smaller size and delicate
craftmanship.
 11) Haja Amina Appi
Mat Weaver
Sama
Tandubas, Tawi-Tawi
2004
Haja Amina Appi is recognized
as the master mat weaver
among the Sama indigenous
community of Ungos Matata.
Her mats are known for their
complex geometric patters,
proportion, and unique
combination of colors.
L-R: (12) Teofilo Garcia, (13) Magdalena Gamayo
 12) Teofilo Garcia
Casque (tabungaw) Maker
Ilocano
San Quintin, Abra
2012
Teofilo learned how to make gourd
casques and weave baskets from his
grandfather at the age of 16. Since he
learned the craft, he never stopped
experimenting with other designs. He
previously used nito (vine trimmings)
to decorate the headgear and then
used with other materials such as
bamboo after his supplier from
Cagayan passed away.
 13) Magdalena Gamayo
Textile (inabel) Weaver
Ilocano
Pinili, Ilocos Norte
2012
In her profile, it was reported that
Magdalena has taught herself the traditional
patterns of binakol, inuritan (geometric
design), kusikos (spiral forms similar to
oranges), and sinan-sabong (flowers). She
has learned the art of weaving from her aunt
and started harnessing her innate skills at
the age of 16. She may be in her late 80s
but she still manages to arrange threads on
the loom, which is the hardest task in textile
weaving.
Should Apo Whang-Od be the 14th on this list? We can only
wait. Meanwhile, let's all do our part in preserving the
heritage of our beloved country.
 Gawad sa Manlilikha ng
Bayan
National Living Treasures Award
Republic Act No. 7355
April 1992
National Commission for Culture and
the Arts (NCCA)
The highest policy-making and coordinating body for
culture and the arts of the State
 National Commission for Culture
and the Arts (NCCA)
• 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 instil pride among our
people about the genius of the Manlilikha ng
Bayan
 Gawad sa Manlilikha ng
Bayan
First awarded in 1993 to three outstanding
artists in music and poetry
has its roots in the 1988 National Folk Artists
Award organized by the Rotary Club of Makati-
Ayala
 Gawad sa Manlilikha ng
Bayan
As a group, these folk and traditional artists
reflect the diverse heritage and cultural traditions
that transcend their beginnings to become part
of our national character.
As Filipinos, they bring age-old customs, crafts
and ways of living to the attention and
appreciation of Filipino life.
They provide us with a vision of ourselves and of
our nation, a vision we might be able to realize
someday, once we are given the opportunity to
be true to ourselves as these artists have
remained truthful to their art.
R.A. 7355
o “Manlilikha ng Bayan”
o shall mean a citizen engaged in any
traditional art uniquely Filipino
o whose distinctive skills have reached such a
high level of technical and artistic excellence
and
o have been passed on to and widely practiced
by the present generation in his/her
community with the same degree of technical
and artistic competence.
How does one become a
Manlilikha ng Bayan?
• To become a “Manlilikha ng Bayan”, the
candidate must possess the following
qualifications:
a. He/she is an inhabitant of an
indigenous/traditional cultural community
anywhere in the Philippines that has preserved
indigenous customs, beliefs, rituals and
traditions and/or has syncretized whatever
external elements that have influenced it.
How does one become a
Manlilikha ng Bayan?
b. He/she must have engaged in a folk
art tradition that has been in existence and
documented for at least fifty (50) years.
c. He/she must have consistently
performed or produced over a significant
period, works of superior and distinctive
quality.
How does one become a
Manlilikha ng Bayan?
d. He/she must possess a mastery of
tools and materials needed by the art, and
must have an established reputation in the
art as master and maker of works of
extraordinary technical quality.
e. He/she must have passed on and/or
will pass on to other members of the
community their skills in the folk art for which
the community is traditionally known.
A traditional artist who possesses all
the qualities of a Manlilikha ng Bayan
candidate, but due to age or infirmity
has left him/her incapable of teaching
further his/her craft, may still be
recognized if:
a. He/she had created a significant
body of works and/or has consistently
displayed excellence in the practice of
his/her art, thus achieving important
contributions for its development.
A traditional artist who possesses all
the qualities of a Manlilikha ng Bayan
candidate, but due to age or infirmity
has left him/her incapable of teaching
further his/her craft, may still be
recognized if:
b. He/she has been instrumental in the
revitalization of his/her community’s artistic
tradition.
A traditional artist who possesses all
the qualities of a Manlilikha ng Bayan
candidate, but due to age or infirmity
has left him/her incapable of teaching
further his/her craft, may still be
recognized if:
c. He/she has passed on to the other
members of the community skills in the folk
art for which the community is traditionally
known.
A traditional artist who possesses all
the qualities of a Manlilikha ng Bayan
candidate, but due to age or infirmity
has left him/her incapable of teaching
further his/her craft, may still be
recognized if:
d. His/her community has recognized
him/her as master and teacher of his/her
craft.
Categories:
The Award shall be given in each, but not
limited to the following categories of
traditional folk arts, viz.:
folk architecture,
maritime transport,
weaving carving,
performing arts,
Categories:
The Award shall be given in each, but not
limited to the following categories of
traditional folk arts, viz.:
literature,
graphic and plastic arts,
ornament,
textile or fiber art,
pottery and other artistic expressions of
traditional culture.
Categories:

Consideration shall be given to

geographical distribution and balance of
artistic categories.
What are the incentives
received by the awardee?
A Manlilikha ng Bayan awardee receives:
specially designed gold medallion,
an initial grant of P100,000 and
P10,000 monthly stipend for life.
What are the incentives
received by the awardee?
In consonance with the provision of
Republic Act No. 7355, which states that
“the monetary grant may be increased
whenever circumstances so warrant,” the
NCCA board approved:
an additional monthly personal allowance of
P14,000 for the awardees
 Source:
• http://ncca.gov.ph/about-culture-and-
arts/culture-profile/gamaba/guidelines-on-
inviting-a-gamaba-awardee/