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Lesson 4: The Contemporary in Traditional Art: Gawad Sa Manlilikha NG Bayan

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Lesson 4:

THE CONTEMPORARY IN
TRADITIONAL ART:
GAWAD SA MANLILIKHA NG BAYAN
GAWAD SA MANLILIKHA NG BAYAN
From
The National Commission For
Culture And The Arts
(NCCA)
GAMABA
National Living Treasures
“one who creates for the country”
12 individuals have received this distinction
from the time
Filipinos who are at the forefront of the
practice, preservation, and promotion of the
nation’s traditional folk arts.
• Formalized in 1992, through
Republic Act
No. 7355, the Manlilikha ng
Bayan Act.
• The National Commission
for the Culture and the
Arts oversees its
implementation
Objective
honor and support traditional folk artists

• a program that ensures the transfer of their


skills to new generations and the promotion
of the craft both locally and internationally.
• Should be a Filipino citizen or group of citizen
s belonging to an indigenous / traditional cult
ural community anywhere in the Philippines, e
ngaged in Filipino traditional art in the following
categories: folk architecture, maritime transport,
weaving, carving, performing arts, literature, gra
phic and plastic arts, ornament, textile or fiber a
rt, pottery and other artistic expressions of tradit
ional culture;
• Should have been engaged in the
tradition and craft for a significant period
of time with at least 50 years of
existence and documentation;
• Should have produced and performed
of artistic, distinctive, and superior
quality;
• Should possess mastery of the tools
and materials that are needed for the
art and must have a reputation for
being an art master and craft maker
in the community where he / she belo
ngs;
Should have passed on and/ or will pass
on the traditional crafts and skills to
other members of the community by
virtue of teaching;
GAWAD SA MANLILIKHA NG BAYAN
Awardees?
GINAW BILOG
POET
HANUNOO MANGYAN/
MANSALAY,
ORIENTAL MINDORO,
CENTRAL
PHILIPPINES

Surat Mangyan
And Ambahan Poetry
The ambahan is a literary product
and poetic expression of the
Southern Mangyans of Mindoro,
Philippines. Although there are
about seven different ethnic
groups living in Mindoro,
collectively called the Mangyans,
these groups are quite distinct fro
m each other as to language,
customs, and way of living.
MASINO INTARAY
PALAWAN/ BROOKES
POINT,
MAKAGAWA VALLEY PALAWAN ISLAND,
CENTRAL PHILIPPINES

Lyrical poems
(kulilal, basal,
and bagit) and playing their
Accompanying instrument;
Epic chanting and story telling
SAMAON SULAIMAN
MAGUINDANAO/ MAMA SA PANO,
MAGUINDANAO WESTERN
MINDANAO ISLAND,
SOUTHERN PHILIPINES

Playing The Kudyapi


LANG DULAY
T,BOLI/LAKE SEBU
SOUTH COTABATO,
MINDANAO
SOUTHERN PHILIPPINES

Tinalawak Weaving
IKAT
- Method of from abaca fibers with
three primary colors

- Sensitive to nature forces


- Design first
- 3 months
• Looming
• Drying
• Designing
• Cooking
• Drying again
• Weaving
• 1998 – Smithsonian Institute
Washington D.C.

46 weavers
SALINTA MONON
TAGBANWA BAGOBO/
BANSALAN,
DAVAO DEL SUR,
SOUTHERN MINDANAO
ISLAND, SOUTHERN
PHILIPPINES

Inabal Weaving
Weaving at the
age 12 years old
• At one glance can identify the design
ALONZO SACLAG
KALINGA/ LUBUAAGAN
KALINGA, NORTHERN LUZON
ISLAND, NORTHERN
PHILIPPINES

Playing Kalinga
Musical Instruments,
Dance Patterns And
Movements
Associated With Rituals
FEDERICO CABALLERO
SULOD BUKIDNON/
CALINOG, ILO-ILO,
PANAY ISLAND
CENTRAL PHILIPPINES

Chanting The
Sugidanon Epic
Of The Panay
Bukidnon
UWANG AHADAS
YAKAN/ LAMITAN
BASILAN ISLAND,
SOUTHERN PHILIPPINES

Playing Yakan
Musical Instruments
DARHATA SAWABI
TAUSUG/PARANG
SULU, SOUTHERN
PHILIPPINES

Pis Siyabit
Weaving
EDUARDO MUTUC
KAPAMPANGAN/
APALIT PAMPANGA,
CENTRAL LUZON
ISLAND, NORTHERN
PHILIPPINES

Silver Planting
Religious
Secular Art
HAJA AMINA APPI
SAMA/ TANDUBAS, TAWI-TAWI
SOUTHERN PHILIPPINES

MAT WEAVING
TEOFILO GARCIA
ILOCANO/ SAN QUINTIN,
ABRA, NORTHERN LUZON
ISLAND, NORTHERN
PHILIPPINES

Gourd Casque
Making
Mat Weaving
Kattokong nga tabungaw
MAGDALENA GAMAYO
ILOCANO/PINILI ILOCOS
NORTE, NORTHERN LUZON,
NORTHERN PHILIPPINES

Inabal Weaving

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