GAWAD MANLILIKHA NG BAYAN

As envisioned in Republic Act No. 7355

Known as Manlilikha ng Bayan Act was established in 1992 and shall
mean citizen engaged in any traditional art uniquely Filipino, whose distinct
skills have reached such a high level of technical and artistic excellence, and
have passed it on to in his or her community with the same degree of technical
and artistic competence.

National Commission for Culture and the Arts (NCCA)

The highest policy and coordinating body for culture and the arts of the
state. It has to search for the finest traditional artist of the land who adopts a
program that will ensure the transfer of their skills to others, undertakes
measures to promote a genuine appreciation of and crafts and give pride among
our people about the genius of Manlilikha ng Bayan.
The Gawad Manlilikha ng Bayan (GAMABA) Awardees

As Filipino who recognize the unique identities of our fellow Filipinos, it is the right
to see their contribution to the community. The country is rich with various elements
of tangible and intangible cultural heritage which has passed on the new generation.
Culture as part of our Philippine identity includes a variety of arts that enhance by
our National Living Treasure artists who are recognized in their special contribution
to the national heritage. These are Filipino citizen who is engaged in any traditional
art forms and has contributed to the development of cultural diversity and the
creativity of humanity.
 Awardee Contribution Region
GAMABA Awardees for the year 1993

Surat Mangyan and Ambahan

poetry
Preserve the Hanunuo Mangyan Panaytayan, Mansalay,
script and Ambahan (poem Oriental Mindoro,
consisting of seven-syllable lines) Region IV-B
and promote it on every occasion MIMAROPA
so that the art will not be lost but
Ginaw Bilog preserved for posterity.
(d. 2003)
Photo Courtesy of NCCA

Epic Chanter and Storyteller

An outstanding master of the basal
(gong music), kulilal (highly lyrical
poem) and bagit (instrumental Pala’wan, Palawan
music played on the kusyapi), also Island,
played the aroding (mouth harp) Region IV-B
and babarak (ring flute) and above MIMAROPA
all, he was a prolific and pre-
Masino Intaray eminent epic chanter and
(d. 2013) storyteller
Photo Courtesy of NCCA

Playing Kudyapi
He achieved the highest level of Mamasapano,
excellence in the art of kutiyapi or Maguidanao, Western
kudyapi (two-stringed lute) playing Midanao
and also proficient in kulintang, Bangsamoro
agong (suspended bossed gong Autonomous Region in
with wide rim), gandingan (bossed Muslim Mindanao
gong with narrow rim), palendag (BARMM)
Samaon Sulaiman (lip-valley flute), and tambul.
(d. 2011)

Photo Courtesy of NCCA

GAMABA Awardees for the year 1998

 T’nalak Weaving
She is credited with preserving her
people’s traditional T’nalak using
abaca fibers as fine as hair which T’boli/Lake Sebu, South
traditionally has three primary Cotabato, Mindanao,
colors, red, black, and the original Region XII
colors of abaca leave recreated by SOCCSKSARGEN
her nimble hands-the crocodiles,
butterflies, and flowers.
Lang Dulay
(d. 2015)
Photo Courtesy of NCCA

Inabal Weaving
She was awarded for fully
demonstrating the creative and
expressive aspects of the Bagobo Tagabawa Bagobo/
abaca ikat (to tie or bond) weaving Bansalan, Davao del Sur,
called inabal (traditional textile of Region XI
Bagobo) at a time when such art Davao Region
was threatened with extinction.
Salinta Monon
(d. 2009)
Photo Courtesy of NCCA
GAMABA Awardees for the year 2000
Playing Yakan Instruments
He referred to for his ability and
mastery in playing different Yakan
instruments (made of bamboo,
wood, and metal) and for imparting Yakan/ Lamitan, Basilan
his insight to the youngsters of his Island,
locale. He keeps on performing Bangsamoro
and instruct despite his Autonomous Region in
diminishing visual perception, Muslim Mindanao
Uwang Ahadas keeping the Yakan melodic custom (BARMM)
alive and thriving.
Photo Courtesy of NCCA

Chanting the Sugidanon Epic of

the Panay Bukidnon
He continuously works for the
documentation of the oral Sulod-Bukidnon/
literature, in particular the epics, Calinog, Iloilo, Panay
of people. These ten epics, Island,
rendered in a language that, Region VI
though related to Kiniray-a, is no Western Visayas
longer spoken.
Federico Caballero

Photo Courtesy of NCCA

 Playing Kalinga Musical
Instruments
His lifestyle work is to paint a
portrait of his people to record a
tradition of opposites and Kalinga, Northern Luzon
dualities, a peoples’ character Island,
recorded in cadences each Cordillera Administrative
aggressive and gentle. Play Region (CAR)
Kalinga musical instruments
Alonzo Saclag dance patterns and moves related
to rituals.
Photo Courtesy of NCCA
GAMABA Awardees for the year 2004
Mat weaving
She was recognized as the master Ungos Matata,
mat weaver. Her colorful mats Tandubas, Tawi-Tawi,
with their complex geometric Bangsamoro
patterns showcased her precise Autonomous Region in
sense of design, proportion, and Muslim Mindanao
symmetry and sensitivity to color. (BARMM)

Hajja Amina Appi

(d. 2013)

Photo Courtesy of NCCA

Metal Plating
He is an artist who has devoted his
existence to developing religious
and secular artwork in silver,
bronze, and wood. His intricately
detailed retablos, mirrors, altars,
Apalit, Pampanga,
and carosas are in church
Region III
buildings and non-public
Central Luzon
collections. A range of these works
Eduardo Mutuc
are quite large, some exceeding
forty feet, whilst some are very
Photo Courtesy of NCCA
small and feature very nice and
refined craftsmanship.
Pis syabit Weaving
She remained devoted and
persevered with her mission to Tausug/ Parang,
teach the artwork of pis syabit Sulu,
weaving. Her strokes firm and Bangsamoro
sure, her color sensitivity acute, Autonomous Region in
and her dedication to the best of Muslim Mindanao
her products unwavering. (BARMM)

Darhata Sawabi
(d. 2005)
Photo Courtesy of NCCA

GAMABA Awardees for the year 2012

 Abel Weaving
She has been a master in abel
weaving from Pinili, Ilocos Norte.
She is not only weaving traditional
Ilocano textiles but also designs
new patters. One of her designs
employs a difficult weaving
technique called pililian meaning
partially. The weave produces a Pinili, Ilocos Norte
one of a kind design that takes Region I
Magdalena after a string of flowers thus its Ilocos Region
Gamayo name, inubon a sabong. She did
not formally study such traditional
Photo Courtesy of NCCA art. Instead, she watched closely as
her aunt made and imitated the
patterns.
Kattukong or Tabúngaw Hat
Making
When he finishes fieldwork as a
farmer, he focuses on the
cultivation and development of San Quintin, Abra,
tabú ngaw (Ilokano term for ú po). Cordillera Administrative
At the age of fifteen (15) he learned Region (CAR)
the art of Kattukong or tabú ngaw
hat making and basket weaving
Teofilo Garcia from his grandfather.
Photo Courtesy of NCCA
GAMABA Awardees for the year 2016

Yakan Weaving
Apuh Ambalang, is significantly
respected in all of Lamitan. Her
ability is regarded unique: she can
bring forth all designs and
actualize all textile categories Lamitan, Basilan Island,
ordinary to the Yakan community, Bangsamoro
who are known to be among the Autonomous Region in
finest weavers within the Muslim Mindanao
Southern Philippines. She can (BARMM)
perform the suwah bekkat (cross-
stitch-like embellishment) and
Ambalang Ausalin suwah pendan (embroidery-like
embellishment) techniques of the
Photo Courtesy of NCCA
bunga sama category. She has the
complex knowledge of the whole
weaving process, mindful at the
same time as the cultural
significance of each textile design
or category.
 B’laan Mat Weaving

Since she was a child, she was

bright and careful in tangle
weaving. Her perseverance took
place because of her supportive
husband. The thin strips of the Upper Lasang, Sapu
pandanus romblon (Pandanus Masla, Malapatan,
copelandii merr. Bariu) rise Saranggani
matrixed through deft fingers Region XII
performing an individual rhythm, SOCCSKSARGEN
the beat guided by her eyes. The
Estelita Tumandan unwoven strips are held tight at
Bantilan the other end of her body, as toes
curl and close around, not only
Photo Courtesy of NCCA these strips but, as it were, the
abstraction that other people call
design. The arc of her torso
determines the dexterity of feet
and toes. Hand/eye coordination
happens inside a frame of
milliseconds.

B’laan Ikat or Tie-dye Fabric

Weaving
Yabing Masalon Dulo, called as “Fu
Yabing”, was only fourteen (14)
years old when she started
weaving. All her younger years
were spent in sharpening her skills Amguo, Landan,
and imparting the knowledge to Polomolok, South
younger generations of B’laan Cotabato
weavers. Region XII
SOCCSKSARGEN
Yabing Masalon Dulo She follows her mother’s
movements back and forth. She
Photo Courtesy of NCCA
colors the fibers, counts the
thread, and observes the rhythmic
dance of a weaver’s dreams woven
into unique soulful pieces.
Republic Act No. 7355 known as Manlilikha ng Bayan Act was established in 1992
to give recognition to traditional art uniquely Filipino who preserves and promotes
its traditional folk arts that contribute to the national heritage.

National Commission for Culture and the Arts (NCCA) is the highest policy and
coordinating body for culture and arts of the state.

The Philippines through the effort of NCCA introduced the sixteen (16) Gawad sa
Manlilikha ng Bayan or GAMABA Awardees namely:

Ginaw Bilog 1993 Surat Mangyan and

Ambahan poetry
Masino Intaray 1993 Epic chanter and
storyteller
Samaon Sulaiman 1993 Playing Kudyapi
Lang Dulay 1998 T’nalak Weaving
Salinta Monon 1998 Inabal Weaving
Uwang Ahadas 2000 Playing Yakan
Instruments
Federico Caballero 2000 Chanting the Sugidanon
Epic of the Panay
Bukidnon
Alonzo Saclag 2000 Playing Kalinga Musical
Instruments
Hajja Amina Appi 2004 Mat Weaving
Eduardo Mutuc 2004 Metal Plating
Darhata Sawabi 2004 Pis syabit Weaving
Magdalena Gamayo 2012 Abel Weaving
Teofilo Garcia 2012 Kattukong or Tabúngaw
Hat Making
Ambalang Ausulin 2016 Yakan Weaving
Estelita Bantilan 2016 B’laan Mat Weaving
Yabing Masalon Dulo 2016 B’laan Ikat or Tie-dye
Fabric Weaving
Multiple Choice. Choose the letter of the best answer. Write your answer on a
separate sheet of paper.

1. Which of the following Republic Act known as the Manlilikha ng Bayan Act?
a. R.A. Act. 7355 c. R.A. Act. 7356
b. R.A. Act. 11190 d. R.A. Act. 10066
2. is a tnalak weaver from the indigenous community of the
Tboli in Lake Sebu, South Cotabato.
a. Magdalena Gamayo c. Darhata Sawabi
b. Haja Amina Appi d. Lang Dulay
3. Which is among the following is the highest policy and coordinating body for
culture and arts of the state?
a. Philippine Commission on Culture and the Arts
b. National Commission for Culture and the Arts
c. Philippine Academic Arts and Culture
d. Nation Expert for Talent and Skills
4. Which of the following is NOT an idea of the Manlilikha ng Bayan Act?
a. Create hindrances for popularizing their works locally and internationally
b. Renew a community's artistic tradition thereby protecting a valuable aspect
of Philippine culture
c. Recognize the importance of traditional folk artists as a singular channel
between skills of the past and the future
d. Provide mechanisms for identifying and assisting qualified traditional folk
artists to transfer their skills to the community
5. is kind of poem consisting of seven-syllable
lines which most of the time contains of love and friendship.
a. Ambahan c. Gangsa
b. Haiku d. Tanaga
6. Which of the following is a two-stringed lute made of wood, one string for the
melody, one for the drone?
a. Buktot c. Butting
b. Kudyapi d. Pas-ing
7. is a kind of fabric made up of fine abaca fibers weaved with
different designs which reflect the tradition of the T’boli.
a. Abel c. Pis syabit
b. Musa d. T’nalak
8. Which of the following artist worked on the documentation of the epics of
Calinog, Iloilo, Panay Island?
a. Ginaw Bilog c. Uwang Ahadas
b. Alonzo Saclag d. Federico Caballero
9. play Kalinga musical instruments dance patterns and
movements associated with rituals.
a. Alonzo Saclag c. Masino Intaray
b. Teofilo Garcia d. Eduardo Mutuc
10. Who teaches Teofilo Garcia to make a tabú ngaw hat and basket weaving?
a. Auntie Elena c. Grandfather Hipolito
b. Uncle Leolito d. Grandmother Imelda
 11. Which of the following is the master of abel weaving from Pinili, Ilocos Norte?
a. Darhata Sawabi c. Ambalang Ausulin
b. Magdalena Gamayo d. Yabing Masalon Dulo
12. began weaving since fourteen (14) years
old and
continuously impart knowledge to younger generations of B’laan
weavers.
a. Lang Dulay c. Yabing Masalon Dulo
b. Salinta Monon d. Estelita Tumandan Bantilan

Directions: Write T if True and F if False.

13. Surat Mangyan and Ambahan poetry: Ginaw Bilog

14. Epic Chanter and Storyteller : Masino Intaray
15. Playing Kudyapi: Samaon Sulaiman
16. T’nalak Weaving: Lang Dulay
17. Mat Weaving: Hajja Amina Appi
18. Metal Plating: Eduardo Mutuc
19. Hat Making: Teofilo Garcia
20. Fabric Weaving: Yabing Masalon Dulo