Contemporary Philippine Arts from the Regions Quarter 1 Week 6: Gawad sa Manlilikha ng Bayan

Contemporary Philippine Arts from the Regions

Quarter 1 – Week 6 Gawad sa Manlilikha ng Bayan

Senior High School

[illustration: students reading and studying under a tree, a teacher at a desk with a child, a child with a lamp and paper, and a globe held by two students]

Contemporary Philippine Arts from the Regions Alternative Delivery Mode Quarter 1 – Module 4: Gawad sa Manlilikha ng Bayan First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.

Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Rodelio A. Barroga Editor: Aileen M. Lukban Reviewers: Dr. Arlyn M. Brigola and Dr. Gregorio T. Capiral Illustrator: Ralph C. Apostol Layout Artist: Teddy C. Sarmiento Management Team: Wilfredo E. Cabral, Director IV Genia V. Santos, CLMD Chief Dennis M. Mendoza, Regional EPS In Charge of LRMS Micah S. Pacheco, Regional ADM Coordinator Evangeline P. Ladines, CESO V, Schools Division Superintendent Rodel C. Apostol, Division EPS In Charge of LRMS

Printed in the Philippines by _____

Department of Education – National Capital Region

Office Address: Misamis St. Bago Bantay, Quezon City Telefax: 02-929-0153 E-mail Address: depedncr@deped.gov.ph

Contemporary Philippine Arts from the Regions

Quarter 1 – Week 6: Gawad sa Manlilikha ng Bayan

Senior High School

Introductory Message

For the facilitator:

Our country, the Philippines are rich in a culture based on its different forms of arts which was been strengthen by our ancestors. Their amazing work of arts which was been passed to the new generation helps us to be recognized on our unique identities as Filipinos. They are the living treasures who was been recognized on their special contributions to their community and the national heritage.

This module will help and guide our facilitators (teacher, parents, elder sibling, etc.) on the different activities and illustrations to support the continuous learning of our learners on the different Filipinos who have been our living vessels and continuously pass their knowledge and skills to the new generation.

Furthermore. The learners may use separate sheets in answering the pre-test, self-check exercises, and post-test

Notes to the Teacher

This contains helpful tips or strategies that will help you in guiding the learners.

What I Need to Know – This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know – This part includes an activity that aims to check what you already know about the lesson to take. If you get all the answers correct (100%), you may decide to skip this module.

What’s In – This is a brief drill or review to help you link the current lesson with the previous one.

What’s New – In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a poem, a problem opener, an activity, or a situation.

What is It – This section provides a brief discussion of the lesson. This aims to help you discover and understand new concepts and skills.

What’s More – This comprises activities for independent practice to solidify your understanding and skills of the topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned – This includes questions or blank sentences/paragraphs to be filled in to process what you learned from the lesson.

What I Can Do – This section provides an activity that will help you transfer your new knowledge or skill in real-life situations or concerns.

Assessment – This is a task which aims to evaluate your level of mastery in achieving the learning competency.

Additional Activities – In this portion, another activity will be given to you to enrich your knowledge or skill of the lesson learned. This also tends to the retention of learned concepts.

Answer Key – This contains answers to all activities in the module.

At the end of this module you will also find:

References – This is a list of all sources used in developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.

If you encounter any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Always bear in mind that you are not alone.

We hope that through this material, you will experience meaningful learning and gain a deep understanding of the relevant competencies. You can do it!

What I Need to Know

This module was designed to understand the significant roles of traditional artists from different regions.

After going through this module, you are expected to:

1. understand the Republic Act 7355 or Manlilikha ng Bayan Act;
2. identify the sixteen (16) Gawad sa Manlilikha ng Bayan (GAMABA) awardees and their contributions in the Philippines Contemporary Art;
3. appreciate the roles of the artists in the development of the Philippine Arts;
4. familiarize themselves with the different art forms, elements, and principles employed by the different artist and;
5. create a work that promotes traditional art with local practitioners.

What I Know

Directions: Match the artist in Column A with his/her expertise in Column B. Write the letter of your answer on a separate sheet.

Column A	Column B
1. Alonzo Saclag	a. Mat weaving
2. Darhata Sawabi	b. Epic chanter
3. Eduardo Mutuc	c. Abel weaving
4. Ginaw Bilog	d. Metal plating
5. Hajja Amina Appi	e. Tinalak weaving
6. Magdalena Tamayo	f. Playing Kudyapi
7. Masino Intaray	g. Pis syabit weaving
8. Samaon Sulaiman	h. Tabúngaw hat making
9. Teofilo Garcia	i. Playing Kalinga musical instrument
10. Yabing Masalon Dulo	j. B’laan ikat or tie-dye fabric weaving
	k. Surat Mangyan and Ambahan poetry

Lesson 1 Gawad sa Manlilikha ng Bayan

What’s In

This lesson will discuss the sixteen (16) Gawad sa Manlilikha ng Bayan or the National Living Treasure Awardees and their specific contribution in the Philippine Art. These artists acknowledged for developing, preserving, and promoting the traditional art of the Philippines which kept the art alive even in the present time.

What’s New

Activity 1. Do I Know Them?

Directions: Identify the following artist and their role in the community.

1. Born on November 1, 1981, Rodel P. Nacianceno a Filipino performing artist, executive, and film maker, best known for playing the lead parts in FPJ’s Ang Probinsyano.

Artist (Screen Name): _____ Expertise: _____ Role/s in the Community: _____

2. Considered as one of the columns of Kapampangan food, she is undoubtedly a living treasure. The famous chef and food historian found her desire for cooking at young age of four. And to this day, she proceeds to cook conventional Kapampangan specialties at her open-air kitchen in Barangay Parian, Mexico, Pampanga.

Artist: _____ Expertise: _____ Role/s in the Community: _____

3. Born December 17, 1978, he is respected as one of the most noteworthy proficient boxers of all time. A Filipino professional boxer and Senator of the Philippines.

Artist: _____ Expertise: _____ Role/s in the Community: _____

4. A tattoo artist who received the 2018 Dangal ng Haraya Award for Intangible Culture Heritage by the National Commission for Culture and the Arts.

Artist: _____ Expertise: _____ Role/s in the Community: _____

Analysis

1. Who are the different artists?

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2. What is the role of the artists in the society?

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3. What is the impact of their arts to the lives of the Filipinos?

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4. As Filipinos, how can we show our appreciation to them?

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What is It

Through media people nowadays can easily get to know the different artists in their fields and recognize these artists from their efforts through award-giving bodies. These artists are the bearers of our culture.

Since the pre-Spanish era, the Philippines are rich in its culture. Ancestors are the living heritage or culture bearers of this country. They developed these native art forms which portray the significant life of the Filipinos. People know very little about the art forms that exist up to the present time. These artists are doing what they value and love to modify and keep the traditional art alive. People can learn from the vast knowledge of these indigenous people who can live longer not only the techniques to survive but also the distinct identity of being Filipino.

In this lesson, you will learn about our sixteen (16) National Living Treasures, known as the Gawad sa Manlilikha ng Bayan (GAMABA) awardees from the National Commission for Culture and the Arts or NCCA. The awardees produce art forms that are woven into everyday life. These show how pre-colonial traditions continue through to the present time.

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
[illustration: portrait of Ginaw Bilog] Ginaw Bilog (d. 2003) Photo Courtesy of NCCA	Surat Mangyan and Ambahan poetry Preserve the Hanunuo Mangyan script and Ambahan (poem consisting of seven-syllable lines) and promote it on every occasion so that the art will not be lost but preserved for posterity.	Panaytayan, Mansalay, Oriental Mindoro, Region IV-B MIMAROPA
[illustration: portrait of Masino Intaray] Masino Intaray (d. 2013) Photo Courtesy of NCCA	Epic Chanter and Storyteller An outstanding master of the basal (gong music), kulilal (highly lyrical poem) and bagit (instrumental music played on the kusyapi), also played the aroding (mouth harp) and babarak (ring flute) and above all, he was a prolific and preeminent epic chanter and storyteller	Pala’wan, Palawan Island, Region IV-B MIMAROPA
[illustration: portrait of Samaon Sulaiman] Samaon Sulaiman (d. 2011) Photo Courtesy of NCCA	Playing Kudyapi He achieved the highest level of excellence in the art of kutiyapi or kudyapi (two-stringed lute) playing and also proficient in kulintang, agong (suspended bossed gong with wide rim), gandingan (bossed gong with narrow rim), palendag (lip-valley flute), and tambul.	Mamasapano, Maguidanao, Western Midanao Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

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Awardee	Contribution	Region
GAMABA Awardees for the year 1998
[illustration: portrait of Lang Dulay] Lang Dulay (d. 2015) Photo Courtesy of NCCA	T’nalak Weaving She is credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair which traditionally has three primary colors, red, black, and the original colors of abaca leave recreated by her nimble hands-the crocodiles, butterflies, and flowers.	T’boli/Lake Sebu, South Cotabato, Mindanao, Region XII SOCCSKSARGEN
[illustration: portrait of Salinta Monon] Salinta Monon (d. 2009) Photo Courtesy of NCCA	Inabal Weaving She was awarded for fully demonstrating the creative and expressive aspects of the Bagobo abaca ikat (to tie or bond) weaving called inabal (traditional textile of Bagobo) at a time when such art was threatened with extinction.	Tagabawa Bagobo/ Bansalan, Davao del Sur, Region XI Davao Region
GAMABA Awardees for the year 2000
[illustration: portrait of Uwang Ahadas] Uwang Ahadas Photo Courtesy of NCCA	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 his insight to the youngsters of his locale. He keeps on performing and instruct despite his diminishing visual perception, keeping the Yakan melodic custom alive and thriving.	Yakan/ Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
[illustration: portrait of Federico Caballero] Federico Caballero Photo Courtesy of NCCA	Chanting the Sugidanon Epic of the Panay Bukidnon He continuously works for the documentation of the oral literature, in particular the epics, of people. These ten epics, rendered in a language that, though related to Kiniray-a, is no longer spoken.	Sulod-Bukidnon/ Calinog, Iloilo, Panay Island, Region VI Western Visayas

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Awardee	Contribution	Region
[illustration: portrait of Alonzo Saclag] Alonzo Saclag 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 dualities, a peoples’ character recorded in cadences each aggressive and gentle. Play Kalinga musical instruments dance patterns and moves related to rituals.	Kalinga, Northern Luzon Island, Cordillera Administrative Region (CAR)
GAMABA Awardees for the year 2004
[illustration: portrait of Hajja Amina Appi] Hajja Amina Appi (d. 2013) Photo Courtesy of NCCA	Mat weaving She was recognized as the master mat weaver. Her colorful mats with their complex geometric patterns showcased her precise sense of design, proportion, and symmetry and sensitivity to color.	Ungos Matata, Tandubas, Tawi-Tawi, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)
[illustration: portrait of Eduardo Mutuc] Eduardo Mutuc 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, and carosas are in church buildings and non-public collections. A range of these works are quite large, some exceeding forty feet, whilst some are very small and feature very nice and refined craftsmanship.	Apalit, Pampanga, Region III Central Luzon
[illustration: portrait of Darhata Sawabi] Darhata Sawabi (d. 2005) Photo Courtesy of NCCA	Pis syabit Weaving She remained devoted and persevered with her mission to teach the artwork of pis syabit weaving. Her strokes firm and sure, her color sensitivity acute, and her dedication to the best of her products unwavering.	Tausug/ Parang, Sulu, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

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Awardee	Contribution	Region
GAMABA Awardees for the year 2012
[illustration: portrait of Magdalena Gamayo] Magdalena Gamayo Photo Courtesy of NCCA	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 one of a kind design that takes after a string of flowers thus its name, inubon a sabong. She did not formally study such traditional art. Instead, she watched closely as her aunt made and imitated the patterns.	Pinili, Ilocos Norte Region I Ilocos Region
[illustration: portrait of Teofilo Garcia] Teofilo Garcia Photo Courtesy of NCCA	Kattukong or Tabúngaw Hat Making When he finishes fieldwork as a farmer, he focuses on the cultivation and development of tabúngaw (Ilokano term for úpo). At the age of fifteen (15) he learned the art of Kattukong or tabúngaw hat making and basket weaving from his grandfather.	San Quintin, Abra, Cordillera Administrative Region (CAR)
GAMABA Awardees for the year 2016
[illustration: portrait of Ambalang Ausalin] Ambalang Ausalin Photo Courtesy of NCCA	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 ordinary to the Yakan community, who are known to be among the finest weavers within the Southern Philippines. She can perform the suwah bekkat (cross-stitch-like embellishment) and suwah pendan (embroidery-like embellishment) techniques of the 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.	Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

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Awardee	Contribution	Region
[illustration: portrait of Estelita Tumandan Bantilan] Estelita Tumandan Bantilan Photo Courtesy of NCCA	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 pandanus romblon (Pandanus copelandii merr. Bariu) rise matrixed through deft fingers performing an individual rhythm, the beat guided by her eyes. The unwoven strips are held tight at the other end of her body, as toes curl and close around, not only 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.	Upper Lasang, Sapu Masla, Malapatan, Saranggani Region XII SOCCSKSARGEN
[illustration: portrait of Yabing Masalon Dulo] Yabing Masalon Dulo Photo Courtesy of NCCA	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 and imparting the knowledge to younger generations of B’laan weavers. She follows her mother’s movements back and forth. She colors the fibers, counts the thread, and observes the rhythmic dance of a weaver’s dreams woven into unique soulful pieces.	Amguo, Landan, Polomolok, South Cotabato Region XII SOCCSKSARGEN

What’s More

Activity 2. The Past Master and Living Treasures

Directions: Watch the videos on the NCCA Dayaw presentation in the link below. Using a separate sheet write an informative summary of the videos. Follow the rubrics below.

Season 4 Episode1: The Past Master https://www.youtube.com/watch?v=NVpWnkOpVLI&list=PLE4Bk7RrOTZ9HruyiFU3AFvnyPaKaRc3

Season 4 Episode 2: Living Treasures (Part 1) https://www.youtube.com/watch?v=PL4H4o568X0&t=100s

Season 4 Episode 2: Living Treasures (Part 2) https://www.youtube.com/watch?v=M1nRDVTJbKg&t=27s

Category	4	3	2	1
Content & Development	Response is clear, well-focused, and ~1 page double spaced. Comprehensive, accurate, opinionated.	Content is accurate and compelling. Response is adequate and addresses assignment. Content and purpose of the writing are clear.	Content is not comprehensive. Major points are addressed, but not well supported. Response largely summary, rather than insight.	Content is incomplete. Major points are not clear or compelling. Response wholly summary, rather than insight.
Organization	Structure is clear and easy to follow. Transitions are logical and maintain the flow of the paper.	Structure is mostly clear and easy to follow. Transitions are present. Conclusion is logical, if not creative.	Structure is not easy to follow. Transitions need improvement. Conclusion is missing or does not flow from the body of the paper.	Organization and structure detract from the writer’s opinion of the film. Paragraphs are disjointed and lack transition of thoughts.
Accuracy	All supportive facts and examples are reported accurately, and specific scenes from the video are discussed to great effect.	Supportive facts and examples are reported accurately, adequate discussion of specific scenes that irritated the writer’s interest.	Most supportive facts/examples are reported accurately, and there is some discussion of specific scene-work.	NO facts/examples are reported OR most are inaccurately reported.
Subjectivity	Writer approaches the comparison and reflection in an insightful way, addressing each bullet point.	Writer seems to be thinking about the video and module and how they compare, but fail to address one of the bullet points.	Writer adds little to the discussion of the topic, and there is not enough response to the video itself.	Writer has not tried to transform the video’s ideas in a personal or social commentary way.
Grammar & Formatting	Writer makes no grammatical errors that distract the reader from the content.	Writer makes 1-2 grammatical errors or formatting/Works Cited may be slightly off.	Writer makes 3-4 grammatical or formatting errors that distract the reader from the content.	Writer makes more than 4 grammatical errors that distract the reader from the content. No Works Cited page.

What I Have Learned

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:

[transcriber’s note: the table has no header row]

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

What I Can Do

Directions: Create a brochure that promotes our National Living Treasures or Gawad Manlilikha ng Bayan awardees, their artworks, and the place where they came from. Follow the rubrics below.

CATEGORY	4	3	2	1
Graphics/ Pictures	Graphic go well with the text and there is a good mix of text and graphics	Graphics go well with the text, but there are so many that they distract from the text	Graphics go well with the text, but there are too few and the brochure seems “text-heavy”.	Graphics do not go with the accompanying text or appear to be randomly chosen
Attractiveness and Organization	The brochure has no exceptionally attractive formatting and well-organized information.	The brochure has attractive formatting and well-organized information.	The brochure has well-organized information	The brochure’s formatting and organization of material are confusing to the reader.
Content-Accuracy	All facts in the brochure are accurate	99-90% of the facts in the brochure are accurate.	89-80% of the facts in the brochure are accurate.	Fewer than 80% of the facts in the brochure are accurate.
Sources	Careful and accurate records are kept to document the source of 95-100% of the facts and graphics in the brochure.	Careful and accurate records are kept to document the source of 94-85% of the facts and graphics in the brochure.	Careful and accurate records are kept to document the source of 84-75% of the facts and graphics in the brochure.	Sources are not documented accurately or are not kept on many facts and graphics.
Spelling and Proofreading	No spelling errors remain after one person other than the typist reads and corrects the brochure.	No more than 1 spelling error remains after one person other than the typist reads and corrects the brochure.	No more than 3 spelling errors remain after one person other than the typist reads and corrects the brochure.	Several spelling errors in the brochure.

Assessment

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
   • b. R.A. Act. 11190
   • c. R.A. Act. 7356
   • 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
   • b. Haja Amina Appi
   • c. Darhata Sawabi
   • 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
   • b. Haiku
   • c. Gangsa
   • 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
   • b. Kudyapi
   • c. Butting
   • 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
   • b. Musa
   • c. Pis syabit
   • d. T’nalak

8. Which of the following artist worked on the documentation of the epics of Calinog, Iloilo, Panay Island?

   • a. Ginaw Bilog
   • b. Alonzo Saclag
   • c. Uwang Ahadas
   • d. Federico Caballero

9. _____ play Kalinga musical instruments dance patterns and movements associated with rituals.

   • a. Alonzo Saclag
   • b. Teofilo Garcia
   • c. Masino Intaray
   • d. Eduardo Mutuc

10. Who teaches Teofilo Garcia to make a tabúngaw hat and basket weaving?

    • a. Auntie Elena
    • b. Uncle Leolito
    • c. Grandfather Hipolito
    • d. Grandmother Imelda

11. Which of the following is the master of abel weaving from Pinili, Ilocos Norte?

    • a. Darhata Sawabi
    • b. Magdalena Gamayo
    • c. Ambalang Ausulin
    • 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
    • b. Salinta Monon
    • c. Yabing Masalon Dulo
    • d. Estelita Tumandan Bantilan

II. Essay

Instruction: Explain briefly.

13. How does this short-term encounter with GAMABA awardees make you aware of who we are? _____
14. As an artist, what is our main responsibility in our society or country? _____
15. Identify the values we should possess as an artist. Explain. _____

Additional Activities

Knowing our Culture Bearers

Directions: Watch YouTube videos on ABS CBN Local Legends and list down Three (3) other traditional artists that you know that contribute to the country’s intangible cultural heritage and identify the place they came from.

Name	Contribution/s	The place they came from
e.g. Wang-od Oggay	Tattoo Artist	Buscalan, Tinglayan, Kalinga

Answer Key

What I Know

Assessment

1. i 2. g 3. d 4. k 5. a 6. c 7. b 8. f 9. h 10. j

1. a 2. d 3. b 4. a 5. a 6. b 7. d 8. d 9. a 10. c 11. b 12. c 13. Recognizing the GAMABA awardees, as culture bearers of our country, shows the we are proud of our identity as Filipino people. 14. As an artist, we have the responsibility to sustain the skills and talent that we have. Therefore, we should share this talent and skills to our society or simply to the community we belong. 15. As an artist, we should promote our culture by being creative, improvement our talent and skills, and share it to other fellow Filipinos.

References

Datuin, Flaudette May et al. (2016) Contemporary Philippine Arts from the Regions K to 12. Rex Book Store Inc. Quezon City, Philippines

De Leon, Jr., Felipe M. National Living Treasures: Samaon Sulaiman. Retrieve from https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-samaon-sulaiman/

National Commission for Culture and the Arts. GAMABA awardees: Literature and Performing Arts. Retrieved from https://quizlet.com/259998090/gamaba-awardees-literature-and-performing-arts-flash-cards/

Ignacio, P. (2016, August 15) The freedom to express, the freedom to impress (Blog post) Retrieved from https://team7web.wordpress.com/2016/08/15/arts-in-technology/

Kutiyapi (2013, December 5) In Memory of Pala’wan Master Artist Masino Intaray (1943-2013). Retrieve from https://www.youtube.com/watch?v=haS7c8XSWvE

National Commission for Culture and the Arts (2016, February 15) National Living Treasures: Federico Caballero. Retrieved from https://www.facebook.com/NCCAOfficial/posts/10154129424795283

National Commission for Culture and the Arts (2016, October 12) National Living Treasures: Eduardo Mutuc. Retrieved from https://www.facebook.com/NCCAOfficial/posts/happy-birthday-manlilikhang-bayan-eduardo-mutuceduardo-mutuc-is-an-artist-whoh/10154658966895283/

National Commission for Culture and the Arts (2018, April 3) LOREN LEGARDA: Dayaw Season 4 Episode 1 – “The Past Masters” (Video) Retrieved form https://www.youtube.com/watch?v=NVpWnkOpVLI&list=PLE4Bk7RrOTZ9HruyiFU3AFvnyPaKaRc3

National Commission for Culture and the Arts (2018, April 3) Season 4 Episode 2: Living Treasures Part 1 (Video) Retrieved from https://www.youtube.com/watch?v=PL4H4o568X0&t=100s

National Commission for Culture and the Arts (2018, April 3) Season 4 Episode 2: Living Treasures Part 2 (Video) Retrieved from https://www.youtube.com/watch?v=M1nRDVTJbKg&t=27s

National Commission for Culture and the Arts. National Living Treasures: Ambalang Ausalin (Website) Retrieved from https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/ambalang-ausalin/

National Commission for Culture and the Arts. National Living Treasures: Estelita Bantilan (Website) Retrieved from http://gwhsstg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-profile/gamaba/estelita-bantilan/

National Commission for Culture and the Arts. National Living Treasures. Republic Act. No. 7355. Retrieved from http://gwhsstg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-profile/gamaba/

Sandagan, Luzviminda D., and Sayseng. Ayesha H. (2016) Contemporary Philippine Arts from the Regions. JFS Publishing Services, Pasay City, Philippines

Tobias, Maricris Jan. National Living Treasures: Darhata Sawabi. (Website) Retrieved from https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-darhata-sawabi/?fbclid=IwAR3jWWwoR9pF7Y_acmJ-c3-pAyQqH7HOAtOq1PHZy_9xgdPwDRXI6-Q3q90

Tobias, Maricris Jan. National Living Treasures: Magdalena Gamayo. (Website) Retrieve from http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-magdalena-gamayo/

Victoria, Dennese (2013, February 15) Retrieved from https://www.facebook.com/NCCAOfficial/posts/10154129424795283

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