THE PHILIPPINE SCHOOL

Al Muhaisnah 4, Dubai, United Arab Emirates

NAME: Arrianne Mae Marriella Mamolo

GRADE & SECTION: 11- D

The Contemporary in
Traditional Art: Gawad sa Manlilikha
ng Bayan (GAMABA)

What I Know

Pre - test

Multiple Choice. Select the letter of the best answer from among the given choices.

1. A Tinalak weaver who have produced creations which remain faithful to the T’boli
tradition as manifested in the complexity of her design, fineness of workmanship and
quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. . Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists in the Philippines
to promote a genuine appreciation of traditional craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The Boy Wonder of
Philippine Movies”
A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka
B. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”
A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi
B. Fernando C. Amorsolo D. F. Sionil Jose
6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was awarded for fully
demonstrating the creative and expressive aspects of the Bagobo abaca ikat
weaving.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Masino Intaray
7. She is known as the Queen of Kundiman.
A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana D. Haja Amina Appi
 8. Asian president of the United Nations General Assembly who multifaceted career
spanned 50 years of public service as an educator, soldier, university president,
journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino filmmaker whose
life is devoted to the art and commerce of cinema spanning three generations of
filmmakers
A. Eddie Romero C. Ildefonso P. Santos
B. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
A. Ginaw Bilog C. Salinta Monon
B. Samaon Sulaiman D. Teofilo Garcia

What I Need to Know

In one form or another art has always been around. It helps mankind in the
improvement of various activities and their products. It has a varied and multiple complex. It
is as wide as an ocean, covers a wide range of activities such as photography, painting,
sculpting, and architecture, etc. But as time rolls by newer forms of art arose, such as music,
theatre, and photography, etc., in which are now a days considered the most beautiful types
of performing arts.
From the preceding lesson we have learned that traditional arts, like the pre - colonial
indigenous arts are also contemporary. They are living traditions and are produced up to the
present, in modified ways.
In this lesson, you will learn about our National living treasures, more formally known
as the awardees of Gawad sa Manlilikha ng Bayan (GAMABA).
Their incomparable dedication to craftsmanship and excellence show how these
Filipinos lives and work. Many cultural practices of indigenous communities were preserved
because of their passion, abilities, and tenacity in passing down their tradition to the
youngsters. It’s one thing to be recognized as a living legend of the arts in the
Philippines, and it’s a whole other thing completely to be acknowledged as an artist who
has kept a rare sort of traditional Filipino creativity and ingenuity alive.

In 1992, the National Commission on Culture and therefore the Arts (NCCA)
began selecting and honoring recipients of the National Living Treasures Award,
also referred to as Gawad sa Manlilikha ng Bayan (GAMABA), through Republic Act No.
7355. It continues to be awarded today and is handed out in the form of a medal.
 Photo Credit: https://bit.ly/37Grcwe

The picture above shows the thirteen National Living treasures who have possess
technical and creative skills, creating work with fine artistic quality, and ties to community
and folk-art traditions. More than that, they show a strong character and unfaltering integrity,
leading them to earn the respect and admiration of the people.
The awardees yield art forms that are entwined into daily life. These proves how pre -
colonial traditions continue through to the present.
How does tradition become contemporary, and the contemporary traditional?
(retrieved from Contemporary Art from the Regions textbook (2016 pp.57)
1
Traditional art is based on indigenous people’s cultures that are largely honed by oral
tradition. It finds deep affinities with nature, place, society, ritual, and spirituality and
everyday life. In traditional integrative art, forms and expressions do not normally end up as
objects distanced from everyday living. The site of dissemination and knowledge transfer is
neither in the formal spaces of a museum nor a theater. The process of creation is usually
shared among members of the community, and appeals to broader aspects of life.(extracted
from Contemporary Art from the Regions textbook , Flaudette May Datulin et.al pp. 58 )
Thus, it emphasis on the intangible and communal aspects of art production that are closely
aligned with the process based and collaborative inclination of some contemporary art
practices.
The worker of a farmer named Teofilo Garcia of San Quintin in the Province of Abra,
2012 GAMABA awardee who have discovered and popularized the durable tabungaw hat
out of enlarged upo or gourd. He hollowed out the upo / tabungaw, varnished and polished it
to make it more durable and unique yellow sheen.
He used different mediums such as varnish to strengthens organic material, strips of
rattan (uway) to line the hat, fern (nito) is placed on the mouth of the hat as decoration. He
intended to transform the harvest into durable hats to protect the people who are exposed
for long hours under the heat of the sun, especially the farmers. Until now, he shared his
knowledge and skills of making the Tabungaw hat at San Quintin National High School and
inspires the youth to value tradition and to ensure its preservation.
Base from the given example of the work of Teofilo Garcia, we reiterate that
Philippine traditional art, though based on long - standing , established practices, has
always been contemporary in a sense that it is art that is being made now, and that it
persists as part of continuing performance of tradition ( (extracted from Contemporary Art from the
Regions textbook , Flaudette May Datulin et.al pp. 57 ) .

On the other hand, contemporary-traditional art refers to an art produced at the

present period that reflects the current culture by utilizing classical techniques in drawing,
painting, and sculpting. Practicing artists are mainly concerned with the preservation of time-
honored skills in creating works of figurative and representational forms of fine art as a
means to express human emotions and experiences. Subjects are based on the aesthetics
of balancing external reality with the intuitive, internal conscience driven by emotion,
philosophical thought, or the spirit. The term is used broadly to encompass all styles and
practices of representational art, such as Classicism, Impressionism, Realism, and Plein Air
(En plein air) painting. Technical skills are founded in the teachings of the Renaissance,
Academic Art, and American Impressionism (https://en.wikipedia.org/wiki/Contemporary-
Traditional_Art)
 What’s New

Activity 1: Coloring the words

For you to assess your level of understanding about the traditional arts and GAMABA
awardees ., you are going to hunt the word or group of words related to it by coloring it
using your crayons or colored pen .You can trace the word/s horizontal, vertical, diagonal,
backwards or another way to form a words. Write your answer in a sheet of paper.

2
T R A D I T I O N A L A R T L G
P A P O S U C E A S D F K V P A
E L B T H Q O A K E N S P L O M
1.
L A A U S L N A T U R E E A L A
T S H S N N T R R F Y J O C I B
L T A G E G E H O B A O P I T A
A C Z S H T A E L T E K L S I Y
R A A D U A Y W E A V I N G C N
L A N G D U L A Y K G R O U N D
T T R A Y R A R O P M E T N O C
T E O F I L O G A R C I A O U H
N D I S A S T E R L H A Z A E D
R T E O F I L O G A R C I A O T
Traditional 6. Teofilo Garcia
2. Art 7. Lang Dulay
3. Gamaba 8. Ground
4. Politic 9. Nature
5. Weaving 10. Disaster
 What Is It

What is GAMABA?

The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN (National Living
Treasures). It is an award given to recognize the outstanding work of the artists in the
Philippines. The given award was established in 1992 through Republic Act No. 7355 until
2012. There were thirteen finest folk artists of the land who have received this distinction for
their dedication in creating the craft, using skills, and indigenous methods and materials.
Artists who received the recognition for preserving the traditional art of the Philippines which
kept the art alive even in the contemporary period (Sandagan & Sayseng 2016).
Who are the GAMABA awardees? What are their qualifications?
The GAMABA awardees are the people who have adopts a program that will ensure the
transfer of their skills to others. They undertake measures to promote a genuine appreciation
of traditional craft and art and instill pride among our people about the skill of the Gawad sa
Manlilikha ng Bayan (GAMABA). Filipinos conferred as the forefront of the practice,
preservation, and promotion of the nation’s traditional folk arts.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
To become a GAMABA awardees is same as joining a contest there are mechanics
and guidelines to follow.
1. Must be 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.
2. Must have engaged in a folk-art tradition that has been in existence and
documented for at least fifty (50) years.
3. Must have consistently performed or produced over a significant period,
works of superior and distinctive quality.
4. He/she/group 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.

5. 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.
GAMABA Awardees:

Uwang Ahadas, musician

A Yakan of Lamitan, Basilan was awarded for

his dexterity in playing Yakan musical
instruments such as the kwintangan,
gabbang, agung, kwintangan kayu, tuntungan
among others. He has a deep knowledge of
the aesthetic possibilities and social contexts
of those instruments. In spite of the dimming
of his eyesight, he has devoted his life to the teaching of Yakan musical
traditions (https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

Yakan musical instruments are not the easiest or most affordable to maintain, but Uwang
Ahadas of Lamitan, Basilan made it his life’s work to master them. From an early age, he and
his siblings were encouraged to play these instruments, and he developed a passion for
them, training himself by observing older members of the community . At age 20, he
broke tradition by reaching excellence in playing the kwintangan, an instrument
typically played by a woman. The instrument, made up of logs arranged beneath a
tree near a rice field, is used to call for abundant grains and rice growth. He is also
dedicated to sharing his knowledge to younger folk; his teaching style is hands-on
and supportive, giving his students his full attention. He was awarded in 2000.
( https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-
treasures.html

Magdalena Gamayo, textile weaver

Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving

when she was 16, guided by her aunt’s patterns. She received her first
loom from her father three years later, which she would end up using for
30 years. She taught herself traditional patterns, such as kusikus
(whirlwind), marurup (Milky Way), and sinan paddak ti pusa (cat’s
pawprint), building on the more common inuritan (geometric design) and sinan-sabong
(flowers)

.Gamayo’s skill and instinct are none more apparent than they are in her ability to replicate
designs she’s only seen once. Her binakol, or woven cloth, continues to draw praise and awe
for its above-average thread count and uniform weave. To keep Ilocos’ abel weaving tradition
alive, she teaches her practice to her cousin’s daughter-in-law and sister-in-law. She was
awarded in 2012.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html
Eduardo Mutuc, metalsmith, and artist

A Kapampangan from Central Luzon is recognized for reviving

the Spanish colonial-era craft of Plateria. This self-taught master
craftsman found his calling in producing religious and secular art in
silver, bronze, and wood. 4In doing so, and in his pursuit of perfection for
himself and his apprentices, he assures the continuity of this rich
tradition. Having finished up to elementary school, Eduardo Mutuc, a farmer at the time,
became an apprentice to furniture carvers to earn additional income. He had no prior
4
knowledge of the work he was getting into, but this did not stop him from expanding his
experience and becoming one of the most respected creators of religious and secular art
today. He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of
varying sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit,
Pampanga. He was awarded in 2004

Lang Dulay, T’nalak weaver

A T'boli of Lake Sebu, South Cotabato, was awarded for

weaving the abaca ikat cloth called t'nalak . She has produced
creations which remain faithful to the T’boli tradition as manifested in
the complexity of her design, fineness of workmanship and quality of
finish. In Lang Dulay’s family, the weaving of the t’nalak (a fine abaca
cloth) took place before or after farm work, when the weather was cool
and the conditions were better for the product. Dulay, who grew up in
Lake Sebu, South Cotabato, was taught to weave by her mother when she was 12. As
demand grew for new designs, she persisted and kept working with traditional patterns, even
though they were harder to complete — she knew around a hundred, including bulinglangit
(clouds), kabangi (butterfly), crocodiles, and flowers. She valued purity, so much so that she
never washed her t’nalak with soap. She was awarded in 1998 and died in 2015.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

Samaon Sulaiman, musician

A Maguindanaon of Mamasapano, Maguindanao. He was

awarded for his outstanding artistry and dedication to his chosen
instrument, the Magindanao kutyapi. Kutyapi is a two-stringed
plucked lute, regarded as one of the most technically demanding
and difficult to master among Filipino traditional.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)

Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed lute that
requires highly technical skill to play. The Maganoy, Maguindanao native learned from his
uncle, Pinagunay, at age 13, developing and learning different forms and styles of playing the
instrument.

The sound is melodic and rhythmic, its effect meditative and captivating. He was also
proficient in playing instruments such as the kulintang, agong (a suspended gong with a wide
rim), gandingan (a gong with a narrow rim), and tambul. Sulaiman’s fascination for his craft
led him to become an influential teacher. He was awarded in 1993 and died in 2011.
(https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html ).

Haja Amina Appi, Pandan mat weaver

Lives in Ungos Matata, Tandubas, Tawi-Tawi,. She is

recognized as the master mat weaver among the Sama indigenous
community of Ungos Matata. Her colorful mats with their complex
geometric patterns exhibit her precise sense of design, proportion
and symmetry and sensitivity to color.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
 Weaving pandan mats is a long and difficult process that is handed down from
woman to woman across generations: Pandan leaves are harvested and made into narrow,
long strips, sun-dried, pressed, and dyed before finally becoming suitable for weaving. The
resulting mats are used for sleeping and saying prayers or given as gifts to newly-weds. Haja
Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that boast beautiful
geometric designs, vibrant colors, and fine symmetry. She was awarded National Living
Treasure in 2004. She experimented with her work and developed her own tints to create the
hues she had in mind. Appi died in 2013, but her art lives on through her children and other
young women in her community. ((https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-
national-living-treasures.html ).

Federico Caballero, chanter and educator

A Panay-Bukidnon of Calinog, lloilo was awarded for his mastery of

chanting the sugidanon, the epic tradition of Central Panay. He
ceaselessly worked for the documentation of the epics of his people
painstakingly piecing together the elements of this oral tradition
nearly lost. ((https://aboutphilippines.org/files/Gamaba-Awardees.pdf) He was best known for his
expertise in the Sugidanon, a Central Panay epic traditionally chanted while lying on a
hammock, and his work in the preservation of oral literature, documenting 10 Panay-
Bukidnon epics in an extinct language with close ties to Kinaray-a. His love of folklore began
when he was young, hearing tales of grand adventures as bedtime stories, and his mother
taught him to recite epics in lieu of doing household chores. In his spare time, he also works
with the Department of Education’s Bureau of Non-Formal Education, teaching elders to read
and write. He was awarded in 2000. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-
national-living-treasures.html ).

Ginaw Bilog, poet

A Hanunuo Mangyan of Mansalay, Oriental Mindoro. Awarded

for faithfully preserving the Hanunuo Mangyan script and Ambahan
poetry. He has promoted the local script and poetry so that the art will
not be lost but preserved. The Mangyan script is one of the four
remaining syllabic scripts in the country, and Ginaw Bilog’s work has
been crucial to its preservation. Based in Mansalay, Oriental Mindoro,
the poet was known for writing Ambahan (a metaphoric poem
comprising seven-syllable lines), first in a notebook, then on traditionally used bamboo tubes.
The poems, often recited with music at social gatherings and used to convey messages
among the Hanunuo Mangyan, had topics like advising the young, bidding a friend goodbye,
and asking for a place to stay. Bilog, who was awarded in 1993, died in 2003.

Salinta Monon, textile weaver

A GAMABA awrdee of Tagabawa Bagobo of Bansalan,

Davao del Sur. She was awarded for fully demonstrating the
creative and expressive aspects of the Bagobo abaca ikat weaving called Inabal at a time
when such art is threatened with extinction. Salinta Monon was 12 when she began learning
to weave the Inabal, a traditional Bagobo textile. In her home in Bansalan, Davao del Sur,
Monon would isolate herself from family to be able to concentrate on creating her cloths and
skirts, which took three to four months to finish, respectively.

Her favorite pattern, despite or because of its difficulty, was the Binuwaya (crocodile),
and she continued weaving until her death in 2009. For her, not only was it a source of
income, it was a source of pride as well. She and her younger sister were the only Bagobo
weavers left in their community, and she dreamt of having a structure built for teaching new
would-be weavers. She was awarded in 1998. (https://cnnphilippines.com/life/culture/2017/10/10/indigenous-
artists-national-living-treasures.html)

Darhata Sawabi, textile weaver

A GAMABA awardee of barangay Parang, Jolo Island,

Sulu province. Has preserved the art of Pis Syabit weaving. It is
difficult art of tapestry weaving that creates the traditional squares
used by the Tausug for ornamentation. Despite the conflict in Jolo,
Sawabi’s dedication to her art enhanced the preservation of
traditional Tausug designs. Darhata Sawabi’s mission was to lead
young women towards making a living out of her craft. The Parang, Sulu-based textile
weaver’s primary creation was the headpiece Pis Siyabit — pis stands for the pattern, which
is said to be derived from India’s mandala, depicting spirituality through geometric forms, and
Siyabit refers to the hook and technique. She gained recognition for the precision of her work
and her passion for preserving traditional designs, as well as teaching the youth and was
awarded in 2004. She died in 2005.

Teofilo Garcia, gourd hatmaker

A GAMABA awardee of San Quintin Abra who have discovered

and popularized the durable Tabungaw hat out of enlarged upo or
gourd. He hollowed out the upo / tabungaw, varnished and
polished it to make it more durable and unique yellow sheen. In San
Quintin, Abra, Teofilo Garcia would often walk around town wearing his
gourd casques. Through word of mouth and his participation in the annual local harvest
festival, Garcia was able to introduce the Tabungaw plant as a good and sturdy material for
functional, elegant, and protective hats. He produces everything he needs — planting and
harvesting the gourds, splitting, and refining rattan for the lining, and weaving Nito and
bamboo for accents himself — and usually takes seven days to finish a hat. Awarded in
2012, he continues to experiment and work on new designs.

Alonzo Saclag, traditional dancer and musician

A Kalinga of Lubuagan, Kalinga was awarded for his

mastery of the Kalinga dance and the performing arts. He was
also recognized for his persistence to create and nurture a
greater consciousness and appreciation of Kalinga culture
among the Kalinga themselves and beyond their borders. It was through observation, time,
and experience — rather than education or training or any kind — that Alonzo Saclag of
Lubuagan, Kalinga mastered local musical instruments, along with dance patterns associated
with rituals. Some of these are rarely performed, but done so with special purposes, whether
it’s preparing for retaliation, a victorious vindication for the community, or forging successful
peace pacts. Saclag understands the importance of his practice and is a strong advocate of
passing on his knowledge and continuing the use of traditional dress and adornments. His
efforts have included formal education, reaching radio stations, and the formation of the
Kalinga Budong Dance Troupe. He was awarded in 2000.

Masino Intaray, chanter and musician

A Pala'wan of Brookes Point, Palawan. He was awarded

for his exemplary skills in basal or gong music ensemble. He was
also recognized for his versatility as musician, poet, epic chanter,
and storyteller of the Kulilal and Bagit traditions of the Pala'wan.
A member of the Pala’wan tribe, musician and epic chanter
Masino Intaray was a master of the basal, a gong music
ensemble played during rice cooking (tambilaw) and sharing
(tinapay) rituals, which gather the community as they serve offerings to Pala’wan rice god
Ampo’t Paray. Intaray also performed the Kulilal, a lyrical poem expressing love,
accompanied by two-stringed lute and bamboo zither, and the bagit, an instrumental piece
about nature. His memory and determination guided him in chanting through many
successive nights, reciting epics, stories, myths of origin, and the teachings of ancestors.
Intaray, who was awarded in 1993, died in 2013.

What’s More

Activity 2: Summing Up!

You have already discovered the famous GAMABA awardees and their works and expertise.
This time let us try how far your learning is. What you are going to do is to fill in the table
with the important information of all GAMABA awardees. The first one is done for you.

Gamaba Awardees Form Ethnicity Expertise Year of Confirmation

Lang Dulay Weaving T’boli Tinalak weaving 1998

Uwang Ahadas Music Yakan Yakan musical 2000

instruments

(kwintangan,

gabbang, agung,

kwintangan

kayu, tuntungan)

Eduardo Mutuc Metalsmith Kapampangan Religious and 2004

and artistic secular art in

works using silver,

 bronze, and
wood.

Haja Amina Appi Pandan Sama Weaving pandan 2004

mat indigen Mats.

weaving

Federico Caballero Chanting Panay- Documentation 2000

Bukidnon
and and chanting

education traditional epics.

Teaching elders

to read and
write.

Ginaw Bilog Poetry Hanunuo Hanunuo 1993

Mangyan Mangyan script

and Ambahan

poetry

Alonzo Saclag Traditional Kalinga Kalinga dance 2000

dance and and performing

music arts.

Mastered local

musical

instruments,

along with dance

patterns

associated with

rituals

Factors Affecting the Traditional Artist’s Production Process

1. Christianization. The impact of Christianity and the discussion of the locals to a
remote religion have made individuals from the network reject their indigenous
ceremonies and customs. At more regrettable, individuals are persuaded that the last
are crude and thusly their training has no spot in contemporary culture. Now and
again
2. notwithstanding, the network figures out how to syncretize their indigenous ways with
customs of Christianity.
3. Mining and framework venture – mining and system adventures expel individuals
from their homes and seriously harm the earth. Denied the abundance of the land,
indigenous gatherings are provoked to look for short – term work from these
businesses to get by in a cash economy.
4. Tourism – plays a big role in one's nation. This is to promote the culture,
environment, and the life of a nation to others. Along these lines, land regions are
changed over into locales for traveler utilization. Environmental spaces become
increasingly vulnerable to harm with the consolidated powers of catastrophic events
 and visitor convenience. Works of art local to the network will in general reduce in
quality. Expelled from their unique setting, the works are changed into mass delivered
ornaments so as to satisfy the needs of the traveler exchange. Neon hues and
structures woven from engineered strands have been made accessible as of late to
make projects of levelheaded material plans for business purposes.
5. Militarization. The weakness and pressures realized by hostile areas capture the
individuals' capacity to make workmanship. It keeps individuals from having public
social events, were trades and passing information can happen.

What I Have Learned

Congratulations because you were able to succeed the activity above. What do you
believe are a portion of the issues identified with the awards? What do you think are the
challenges faced by our living treasures before they become an awardee?
Now, let us walk around and see the sights of the challenges met by our living
treasures when it comes to the production process and the changing environment.
The conventional specialists' method of creation keeps on being influenced with the
elements of progress. Environmental debasement introduced by disasters, modernization,
and free enterprise tries uprooting the indigenous people groups from their hereditary path.
As their command post, it is considered of foremost significance - this is the place assets are
assembled and shared, and where culture is performed.

Answer the following questions briefly. 5 points each.

1. What is the essence of GAMABA? Do you think having two national credits for human
expressions emphasize the gap between independent articulations and regular,
network-based ceremonies and works of art?

A individual or group of artists recognized by the Government of the

Philippines for their contributions to the intangible cultural heritage of the
country is awarded the National Living Treasures Award, alternatively known as
the Gawad sa Manlilikha ng Bayan (GAMABA; lit. 'Award for the Creators of the
Country'). The very aim of this award is to give those traditional folk artists
honor and pride and to preserve their works, abilities and crafts. In April 1992,
the Republic Act No. created the Gawad ng manlikha ng bayan or the National
Living treasures award.

2. How traditions become contemporary and contemporary becomes traditional.

Normally, traditional forms and expressions do not end up as objects distanced

from daily life. Only those within the group are limited to the distribution of
different conventional data. For instance, hat making is considered traditional,
but it is considered contemporary if anyone practices it today and incorporates
some modern techniques. Based on the example given, long-standing existing
traditions have always been contemporary in the sense that these arts are now
being developed as part of conventional continuous performance. Thus,
 traditional can become contemporary and, compared to time, contemporary is
traditional.

3. Contemporary art is an art of today, as a senior high school student do you consider
yourself a contemporary artist or a traditional one? How and why?

I consider myself as a contemporary artist as a senior high school student

because I am also part of the new age, or recognized for the 21st century, where
technology is used to produce artworks. As I practice both, I may consider
myself both a contemporary and a traditional artist. We have many practices in
our nation that have been passed down to generations and have been followed
to date. We have folk dance competitions in school and native performances
that have made us traditional practitioners. The forms in which I use my art are
constantly being redefined. I still look for new ways of explaining what I think,
and often I lean towards enjoying the abstract. I could be more conventional
than I thought, and with that, there's nothing wrong. I guess I'm a mix. In an
abstract way, I want to express fact and vice versa. I suppose I'm a little bit of
all of them.

What I Can Do

Activity: Creating a poster

(The Teacher will make rubrics as tool for scoring)

Choose one GAMABA artist and create a poster to promote it. It can be on A3 size
can digitally make the poster with computer. Explain your concept and share to your friends
or family.

Additional Activity
After doing the activities:
I noticed
The significance and effects of Gamaba in
community.

A question I have is
What are the qualifications of Gamaba
awardees?

I am not sure
I am sure with all of my learnings.

I realized
That we are very lucky and blessed that
we have this amazing and talented artists
that shows the art of the Philippines.