About GAMABA Virtual Museum
The GAMABA (Gawad sa Manlilikha ng Bayan or National Living Treasures Award) era in the Philippines highlights the living heritage and extraordinary skills of Filipino artists in traditional arts and crafts. This award, established in 1992, honors individuals who have reached a high level of proficiency and are known for their dedication to their craft, thus ensuring the preservation and propagation of the country's rich cultural legacy.
GAMABA Virtual Museum is an online platform that celebrates the artistic talents of Filipino artists. We showcase a wide range of artworks from various genres, including music, dance, literature, and visual arts. Our mission is to promote Philippine culture and heritage by highlighting the works of GAMABA (Gawad sa Manlilikha ng Bayan) artists - individuals who have been recognized for their exceptional contributions to the country's traditional arts and crafts. Join us in our journey to discover and support the rich cultural heritage of the Philippines.
Featured Artists
Artist and their Art
01
Haja Amina Appi
Haja Amina Appi from Ungos Matata in Tandubas, Tawi-Tawi, stands out as the leading mat weaver within the Sama indigenous community of Ungos Matata. Renowned for her vibrant mats adorned with intricate geometric designs, Haja Amina showcases her exceptional skill in design, proportion, symmetry, and color usage. Her distinctive mats, featuring multiple colors, are encased in a plain white backing, merging functionality with artistry and requiring up to three months to complete.
Haja Amina’s mat weaving process starts with collecting durable, thorny pandan leaves, which she then cleans, strips, dries, and presses. She infuses her work with vibrant colors by dyeing these strips, particularly favoring red, purple, and yellow, and sometimes uses up to eight colors. Amina’s technique combines traditional and modern methods, weaving the dyed strips into complex geometric patterns from the center outwards, relying on her memory and experience to achieve perfect symmetry and balance. Her innovative approach to mat weaving is evident in her bold color choices and intricate designs, showcasing her mastery of this traditional craft.
Woven mat by Appi
This vibrant woven mat is a testament to the artistic skill and cultural expression of Haja Amina Appi. The mat features a kaleidoscope of colors and patterns, arranged in a geometric tessellation that captures the eye. Each individual diamond shape is a burst of color and texture, contributing to the overall mosaic that is reminiscent of the traditional mats found in many Filipino homes, yet stands out for its complexity and detail.
The weaving technique exemplified here is the Sinaluan, characterized by its intricate design and the dexterity required to interlace the pandan leaves into such elaborate patterns. The choice of colors—bold reds, yellows, blues, and greens—speak of the weaver's deep understanding of color theory and her expert ability to create harmony and contrast within the mat's design. The pattern suggests a narrative, each band of color and motif weaving together stories of the community, the environment, and the Amina Appi's personal touch.
02
Eduardo Mutuc
tinues with resilience. His journey in art began at 29, transitioning from farming to woodcarving and later mastering metalwork, significantly influenced by the art of silver plating learned from a colleague, leading to significant commissions and self-employment.
Mutuc's artistry, born from traditional religious influence and personal innovation, shines in both his church and secular pieces, despite economic challenges reducing commissions. His meticulous process involves detailed drawing, wood chiseling, metal sheet molding, and careful finishing, demanding precision due to the high cost of materials. His commitment to craftsmanship is evident in the unique expressiveness and individuality of each piece, especially in the lifelike cherubs that adorn his works. Mutuc emphasizes the importance of respect for the craft, proper technique, and continuous practice over mere profit, guiding his students and maintaining the integrity of his work.
Eduardo Mutuc, a revered artist, has devoted his life to crafting religious and secular artworks from silver, bronze, and wood, with his masterpieces, including retablos, mirrors, altars, and carosas, displayed in churches and private collections. His works range from large installations to small, finely crafted pieces. Despite the grandeur of his art, Mutuc operates from a modest studio in Apalit, Pampanga, where he faces challenges like flooding but con-
Spanish colonial-era style crucifix by Mutuc
The artwork presented is an exquisite representation of the Spanish colonial-era style crucifix created by Eduardo Mutuc. Central to this piece is an intricate sunburst pattern that emanates from a central heart, indicative of the Sacred Heart of Jesus, a recurrent motif in Spanish colonial religious art, embodying divine love and enlightenment.
Surmounting the design is the acronym "INRI," an integral part of the Christian crucifix symbolism, denoting Jesus's inscription during the crucifixion. The edges are embellished with acanthus leaves, a design element characteristic of Baroque artistry, signifying eternal life and a connection to the divine. These ornate details, with their fine symmetry and elaborate foliage, are demonstrative of the exceptional skill and attention to detail in the metalwork.
This crucifix is not just a religious symbol but also a piece of cultural heritage that reflects the deep historical and artistic connections between the Philippines and Spain. It showcases the artist's mastery in blending local and colonial influences, creating a devotional object rich in both spiritual and cultural significance. The absence of a corpus shifts the focus to the symbolic elements of the piece, underscoring its decorative and ceremonial value.
03
Yabing Masalon Dulo
Fu Yabing Dulo, who considers herself to be older than ninety, has lived through substantial changes in her native Amgu-o, Landan, a once isolated and forest-rich settlement that has transformed into a more accessible and less verdant barangay. As a respected elder, or Fu, she embodies the living memory of her community, recalling a time when the area was unconnected to the wider political framework and rich in natural resources. Despite the significant environmental and societal transformations, Fu Yabing has remained in her ancestral land, witnessing its evolution from a secluded forest habitat to a landscape altered by modernization and development.
Throughout her life, Fu Yabing has been dedicated to the traditional art of Blaan ikat dyeing, a craft she has preserved and mastered against the backdrop of these changes. This skill, deeply rooted in the cultural fabric of her community, has become increasingly rare as the environments and traditions that once supported it have shifted. The forests, once a source of materials and inspiration for the Blaan people, have receded, making way for agricultural and industrial expansion. Fu Yabing’s commitment to her craft not only maintains a vital cultural practice but also serves as a living bridge between the past and present, illustrating the resilience and adaptability of indigenous art forms.
Fu Yabing’s narrative is not just a personal story but a reflection of broader cultural and environmental dynamics affecting the Blaan community and other indigenous groups in Mindanao. The transition from a nature-integrated lifestyle to one impacted by external economic and political forces has challenged the continuity of traditional practices like ikat dyeing. Despite these challenges, Fu Yabing’s artistry remains a testament to the enduring strength and cultural significance of indigenous crafts. Her efforts, supported by family and community initiatives, highlight the importance of preserving such traditions amidst evolving landscapes, ensuring that these age-old practices continue to be valued and celebrated.
Warp ikat-dyed abaka by Dulo
The textile showcased is an exemplary work of warp ikat dyeing, a traditional technique mastered by the late Yabing Masalon Dulo. The fabric is made of abaca, a natural fiber indigenous to the Philippines, favored for its durability and the rich texture it imparts to the woven material. The ikat technique involves a resist dyeing process where the threads are dyed before they are woven, creating intricate, blurred patterns that are distinctive to this art form.
The design displayed in the artwork features an array of geometric motifs that are meticulously aligned to form a larger cohesive pattern across the textile. The colors are subtle yet complex, primarily using a nuanced palette of browns, which showcases the use of natural dyes.
04
Darhata Sawabi
In Barangay Parang, on Jolo Island, Sulu province, women artisans diligently craft the pis syabit, a traditional Tausug headwear. Among them, Darhata Sawabi stands out for her dedication to this craft, which she learned from her mother. Despite the limited financial return from subsistence farming in her community, Sawabi has embraced weaving as her primary livelihood, gaining independence and supporting herself through the sale of her intricately woven tapestries, which are also used in local fashion and accessories.
The process of making pis syabit is complex and time-consuming, with initial preparations like setting up the warp taking days. Darhata Sawabi, now in her late forties, has faced physical challenges that prevent her from performing all the weaving steps herself and incurs significant costs for materials and labor. Despite these obstacles, her unique talent in blending colors and maintaining traditional patterns has made her work highly valued within the Tausug community.
Throughout her life, Darhata Sawabi has overcome numerous adversities, including displacement due to conflict in Jolo during the 1970s. Her resilience has allowed her to continue her craft and support her family by selling her weavings. Sawabi's commitment to preserving Tausug heritage through her weaving has not only provided for her livelihood but also ensured the transmission of this cultural art to future generations, teaching and inspiring others in her community.
Pis syabit by Sawabi
This is a Pis syabit, that is intricately handwoven by the revered Sulu weaver Darhata Sawabi. This tapestry is a remarkable manifestation of Tausug art, characterized by its vibrant color scheme and geometric precision. The Pis syabit, which is typically used as a headcloth, is woven using a variety of techniques that create complex patterns, often comprising diamonds and squares, each filled with smaller, detailed motifs that can symbolize elements of Tausug culture and environment.
05
Estelita Bantilan
Seventy-two years ago, Labnai Tumndan was born in the Blaan-speaking community of Mlasang, where the local tree, mlasang, is central to their cultural identity. By the mid-20th century, her people were transitioning to a more settled village life in what is now Sarangani and South Cotabato, Philippines. Labnai, who later became known as Estelita, grew up during a time of change as her community integrated into the broader Philippine society and adapted to new provincial boundaries.
Estelita, nicknamed "Princess" in her later years, was renowned for her exceptional skill in mat weaving, a tradition she continued despite the influences of foreign missionaries and the evolving social landscape. Her talent in creating intricate and large mats, along with her decision to gift rather than sell them, made her a respected figure in her community. Her husband Tuwada's support and her dedication to her craft have preserved this cultural art form, making her a beloved and esteemed member of Upper Lasang.
Estelita's life and work are deeply interwoven with the cultural and geographical landscape of Upper Lasang in Malapatan, Sarangani. The region's history of shifting agriculture, its exchange with coastal communities, and its mat weaving tradition reflect a rich cultural heritage. Estelita's weaving, characterized by its technical and aesthetic sophistication, is a testament to the enduring nature of this tradition. Her mats, valued for their beauty and significance rather than their monetary worth, embody the communal and artistic spirit of her community, where she remains a humble yet prominent figure.
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Woven mat by Bantilan
This woven mat is an excellent representation of the craft of Estelita Bantilan, a master weaver from the B'laan tribe in Malapatan, Sarangani Province. This particular mat, with its distinctive pattern and color palette, reflects the traditional B'laan art of ikat weaving, known as 'Igem'. The design features a striking contrast of warm yellow and orange tones intersected by bands of deep black, creating a bold, diagonal checkerboard pattern that captures the viewer's attention.
The artistry involved in creating such a mat is immense, as the process requires the careful alignment of dyed abaca fibers to form the precise patterns before the actual weaving takes place. The colors and designs of the mat carry cultural significance, representing elements of B'laan mythology and the natural world surrounding the community.
06
Teofilo Garcia
Garcia is renowned for his exceptional skill in crafting traditional Tabungaw (gourd) hats, a skill he learned from his grandfather at the age of 15. These hats, known for their polished orange sheen, finely woven rattan matting, and bamboo accents, are a testament to Garcia's dedication to preserving this traditional craft. Despite challenges in sourcing materials and working mostly alone, Garcia continues to innovate, using materials like nito and bamboo fibers to add new dimensions to the Tabungaw, making it a functional and artistic representation of Filipino craftsmanship. He was recognized as a National Living Treasure in 2012 for his contributions to preserving Philippine cultural heritage.
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Tabungaw hats by Garcia
The artwork “Tabungaw hats”, are traditional Filipino headgear made from dried gourds. Crafted by the acclaimed artisan Teofilo Garcia, a GAMABA awardee, these hats are emblematic of his dedication to preserving the cultural heritage of his region in Abra, Philippines. The Tabungaw hats are known for their sturdy construction and the natural color of the gourd, which can range from a warm, creamy hue to a deeper, tanned shade, as seen here.
The process of making these hats involves selecting the right gourds and drying them until they harden sufficiently. Once dried, they are hollowed out and shaped into the classic form of the hat. The smooth, polished surface of these gourds signifies the quality of workmanship that Teofilo Garcia is renowned for. His technique not only ensures durability but also lends the hats their unique aesthetic.
07
Samaon Sulaiman
Samaon Sulaiman, a revered figure in Filipino cultural heritage, was born in 1951 in Maganoy (now Shariff Aguak), Maguindanao in the Southern Philippines. He was a master of the *kutyapi*, a traditional two-stringed, fretted boat-lute indigenous to the Maguindanao people. His profound skill and deep understanding of the instrument earned him national recognition as a Gawad sa Manlilikha ng Bayan (GAMABA) or National Living Treasure in 1993. This prestigious award is given to individuals who possess a high level of technical skill and knowledge of a traditional art form, and who play significant roles in preserving and promoting the country's cultural heritage.
Sulaiman was not just a performer; he was a custodian of Maguindanao's musical heritage, embodying the soulful melodies, intricate rhythms, and profound narratives that the *kutyapi* conveys. His music was a reflection of the life, struggles, and aspirations of his people, bridging generations and fostering a deeper appreciation for the richness of Maguindanaoan culture.
Despite the modernizing influences threatening traditional arts, Sulaiman dedicated his life to the perpetuation of *kutyapi* music, teaching the younger generation and ensuring the survival of this art form. His contributions went beyond mere performance; he was instrumental in the cultural preservation and transmission of Maguindanaoan traditions, making him a pivotal figure in the narrative of Filipino cultural history.
Master of the Kutyapi
Samaon Sulaiman's artistry on the kutyapi stands as a profound testament to the rich cultural tapestry of the Maguindanao people. His performances were not just musical renditions but a harmonious blend of tradition, spirituality, and storytelling that captivated audiences and transported them to the heart of Maguindanaoan life. Each strum and pluck on the kutyapi strings resonated with the depth of his connection to his heritage, encapsulating centuries of oral traditions, communal memories, and the soulful rhythms of indigenous life.
In a typical performance, Sulaiman would sit, the kutyapi gracefully cradled in his arms, his fingers moving with precision and grace over its strings and frets. The instrument, beautifully crafted from local wood and adorned with intricate designs, became an extension of his own spirit. The music that flowed from it carried the whispers of ancient forests, the flow of mighty rivers, and the stories of his ancestors. It was an immersive experience, where each note painted vivid pictures of battles, celebrations, loves, and losses.
08
Masino Intaray
Masino Intaray, born in the early 20th century, was a Palawanon epic chanter, musician, and storyteller from the Philippines, revered for his mastery of the *kulilal*, an intricate form of narrative song that recounts the heroic deeds and adventures of ancestral Palawan heroes. Hailing from the indigenous Pala'wan community in Southern Palawan, Intaray was not only a custodian of his people's history and folklore but also a significant figure in the broader canvas of Philippine cultural heritage.
Beyond his role as a performer, Masino Intaray was a sage and a philosopher, embodying the wisdom and traditions of his community. His extensive knowledge of Pala'wan folklore, customs, and oral literature made him a vital link between generations, ensuring the transmission of cultural knowledge and identity to younger members of his community.
Intaray's contributions to preserving and promoting indigenous Philippine culture have been recognized posthumously, securing his legacy as one of the great cultural icons of the Philippines. Through his art, Masino Intaray not only preserved the rich heritage of the Pala'wan people but also contributed significantly to the tapestry of world cultural heritage, showcasing the depth, beauty, and diversity of indigenous Philippine art and storytelling.
Music and Epic Chanting
Intaray's art was deeply rooted in the traditions and spiritual beliefs of the Pala'wan people. He was adept at playing various indigenous musical instruments, including the *kudyapi* (a two-stringed boat lute), the *basal* (a gong), and the *gimbal* (a drum), which he often used to accompany his epic chants and narratives. His performances were immersive experiences, weaving together music, chant, and story in a way that captivated audiences and transported them into the mythical world of Palawan's ancestral past.
09
Lang Dulay
Lang Dulay (c. 1928 – April 30, 2015) was a T'boli dreamweaver from Lake Sebu, South Cotabato, Philippines, celebrated for her exceptional skill in weaving T'nalak. The T'nalak fabric, made from abaca fibers, is deeply embedded in the culture of the T'boli people, embodying their traditions, beliefs, and identities. Lang Dulay was known as a custodian of this cultural heritage, preserving the ancient art passed down through generations, and was recognized as a National Living Treasure or Gawad sa Manlilikha ng Bayan (GAMABA) in 1998 by the Philippine government.Despite facing modernization and the decline of traditional arts, Lang Dulay dedicated her life to the preservation of T'nalak weaving. She taught the craft to younger generations in her community, ensuring the transmission of this cultural legacy. Through her efforts, she played a pivotal role in revitalizing interest in T'boli arts and crafts, not only as a means of preserving cultural identity but also as a source of livelihood for many in her community.
Lang Dulay's contribution to Philippine culture extends beyond her weavings. She embodied the resilience and creativity of the indigenous peoples of the Philippines, their connection to the land and their ancestors, and their struggle to maintain their cultural practices in a rapidly changing world. Her legacy continues to inspire both her community and those beyond it, highlighting the importance of cultural preservation in the face of globalization.
T'nalak weaving by Dulay
Lang Dulay learned the art of T'nalak weaving at the age of 12, and over the years, she mastered the intricate process, from extracting the abaca fibers to the final weaving. Her designs, inspired by dreams and visions—a distinctive element of T'boli weaving—featured traditional patterns such as the 'bulinglangit' (clouds), 'bankiring' (hair bangs), and 'kabangi' (butterfly). These patterns are not merely decorative but hold significant cultural meanings and stories from T'boli folklore and environment.
10
Salinta Monon
Salinta Monon was a revered Filipina textile weaver from the Bagobo Tagabawa tribe, located in Davao del Sur, Philippines. Born in 1920, she was recognized for her mastery in weaving abaca fiber textiles, specifically the "inabal," a traditional fabric of her people. Monon's dedication to her craft and her role in preserving and promoting her tribe's weaving traditions earned her the distinction of being named a National Living Treasure or Gawad sa Manlilikha ng Bayan (GAMABA) by the Philippine government in 1998. Throughout her life, Salinta Monon was dedicated to the preservation of the inabal weaving tradition. She was deeply involved in teaching the younger members of her community, ensuring that the knowledge and skills of weaving would continue to be passed on to future generations. Her work not only helped keep the tradition alive but also contributed to the recognition and appreciation of indigenous Philippine textiles both nationally and internationally.
Salinta Monon's legacy goes beyond her contributions to the craft of weaving. She is remembered as a cultural bearer who embodied the resilience and creativity of her people. Through her work, she played a crucial role in promoting the cultural heritage of the Bagobo Tagabawa tribe, offering a glimpse into their rich history and spiritual beliefs. Monon passed away on December 4, 2009, but her influence remains, inspiring both her community and those beyond it to value and preserve indigenous traditions and crafts.
Textile Weaving (Bagobo)
The Bagobo Tagabawa tribe, to which Monon belonged, has a rich cultural heritage, with weaving being a significant part of their identity. The inabal fabric is known for its intricate designs and durability, traditionally used in creating everyday wear and ceremonial garments. Monon learned the art of weaving from her mother and other female relatives, a skill passed down through generations of Bagobo women. She became an expert in creating the traditional patterns that are symbolic of the Bagobo Tagabawa's cultural beliefs and stories, such as the "kinamayo" pattern.
11
Federico Caballero
Federico Caballero is a distinguished Filipino cultural bearer, known for his deep knowledge and practice of the Panay-Bukidnon (also known as Sulodnon) epic chanting tradition in the Visayas region of the Philippines. Born in 1939 in Calinog, Iloilo, Caballero belongs to the indigenous Panay-Bukidnon community, which is recognized for its rich oral literature, including the epic chants that narrate the heroic exploits and adventures of ancestral figures.Throughout his life, Caballero has been a vital figure in preserving and promoting the Sugidanon, the epic chanting tradition of his people. These epics, passed down orally through generations, are not just stories; they are a significant part of the cultural identity and heritage of the Panay-Bukidnon community, containing knowledge about their history, values, beliefs, and the natural environment.
For his tireless dedication to preserving this intangible cultural heritage, Federico Caballero was awarded the prestigious title of Gawad sa Manlilikha ng Bayan (GAMABA), or National Living Treasure, by the Philippine government in 2000. This recognition highlights his significant contributions to the conservation of the Philippines' cultural legacy and his role as a mentor to future generations in the Panay-Bukidnon community.
Beyond his recognition, Caballero's work underscores the importance of oral traditions in understanding and preserving the history and identity of indigenous communities. Through his dedication, Federico Caballero not only safeguards the Sugidanon epics but also ensures that the cultural and spiritual essence of the Panay-Bukidnon people continues to thrive.
Epic Chanting (Panay-Bukidnon)
Caballero's journey into epic chanting began in his youth, influenced by his mother and other relatives who were also chanters. Despite the challenges posed by modernization and the dwindling interest of the younger generation in traditional practices, he has dedicated himself to teaching and passing on these epics to ensure their survival. His efforts include not just the recitation of the epics but also imparting the values and wisdom contained within them.
12
Uwang Ahadas
Uwang Ahadas is a revered figure in the cultural landscape of the Philippines, celebrated for his mastery in the traditional music of the Yakan, an indigenous group primarily residing in Basilan Island in the southern part of the country. Born in the early 1940s in Lamitan, Basilan, Ahadas has become synonymous with the preservation and promotion of Yakan music, a vital aspect of the group's rich cultural heritage.Blind since childhood, Uwang Ahadas did not let his lack of sight hinder his passion for music. Instead, it seemed to deepen his connection to the traditional instruments and sounds of his people. He is particularly skilled in playing several indigenous musical instruments, including the kwintangan (a set of five horizontal gongs), the gabbang (a bamboo xylophone), and the agung (a large, suspended gong). His ability to convey emotions and stories through music has made him a pivotal figure in the Yakan community, bridging generations through the universal language of sound.
In recognition of his efforts to preserve and promote traditional Philippine music, Uwang Ahadas was named a Gawad sa Manlilikha ng Bayan (GAMABA), or National Living Treasure, by the Philippine government. This prestigious award highlights his significant role in not only safeguarding the musical traditions of the Yakan people but also in enriching the cultural fabric of the Philippines.
Music (Yakan)
Ahadas' contributions to the preservation of Yakan music go beyond performance. He is dedicated to teaching younger generations, ensuring that the intricate rhythms, melodies, and techniques of Yakan musical tradition are not lost. His role as a mentor and educator in his community has been invaluable in keeping the Yakan musical heritage vibrant and relevant, even as the modern world encroaches upon traditional lifestyles.Through his music, Uwang Ahadas tells the story of his people, their joys and sorrows, their traditions, and their connection to the land. His life's work stands as a testament to the power of music as a vehicle for cultural preservation and as a source of pride and identity for future generations.
13
Magdalena Gamayo
Magdalena Gamayo, born in 1924 in Pinili, Ilocos Norte, Philippines, is an esteemed figure in the realm of traditional Filipino weaving, particularly known for her exceptional skills in the Ilocano craft of inabel. Her journey into the intricate world of weaving began at the tender age of 16, under the guidance of her aunt. Over the decades, Gamayo has not only mastered the art but has also become a pivotal figure in the preservation and promotion of this centuries-old tradition.Despite the mechanization of textile production and the declining interest in traditional crafts among younger generations, Gamayo has remained committed to the manual loom. She views weaving not only as a means of livelihood but as a cultural heritage that encapsulates the history, identity, and artistry of the Ilocano people. To this end, she has devoted much of her life to teaching the younger generation the techniques of inabel weaving, ensuring that the knowledge and skills are passed down and preserved.
In recognition of her unparalleled expertise and her efforts to keep the tradition alive, Magdalena Gamayo was awarded the Gawad sa Manlilikha ng Bayan (GAMABA), or the National Living Treasures Award, by the Philippine government in 2012. This prestigious accolade highlights her significant contribution to the preservation of Philippine cultural heritage.
Inabel Weaving (Ilocano)
Inabel weaving is known for its complexity and the skill required to produce its intricate designs, which include a variety of patterns such as binakol (a geometric pattern that creates a three-dimensional illusion), inuritan (complex floral and animal designs), and sinan-sabong (a pattern resembling a bouquet of flowers). Gamayo's mastery over these patterns, along with her dedication to maintaining the highest standards of craftsmanship, has made her work highly sought after and has garnered her national recognition.Through her dedication, Magdalena Gamayo has not only preserved the art of inabel weaving but has also ensured its continuity. Her life and work serve as a beacon of inspiration, demonstrating the profound value of cultural traditions in connecting past, present, and future generations.
14
Ambalang Ausalin
Ambalang Ausalin, a revered figure in the cultural heritage of the Philippines, was born in 1919 in Sumisip, Basilan. She hailed from the indigenous Yakan community, known for their intricate and vibrant weaving traditions. Ausalin dedicated her life to mastering the art of Yakan weaving, specifically renowned for her expertise in creating the traditional Yakan fabric known as "sinaluan." Beyond her mastery of the craft, Ambalang Ausalin played a crucial role in preserving and promoting Yakan weaving traditions. She served as a mentor to younger members of her community, passing down her knowledge and skills to ensure the continuity of this cultural heritage. Through her dedication, she helped instill a sense of pride and identity in the younger generation, fostering a deeper appreciation for Yakan culture and traditions.
In recognition of her contributions, Ausalin was honored as a Gawad sa Manlilikha ng Bayan (GAMABA) or National Living Treasure by the Philippine government. This prestigious award celebrated her significant role in safeguarding and promoting the cultural heritage of the Yakan people.
Yakan Weaving (Basilan)
Yakan weaving is a deeply ingrained aspect of Yakan culture, with each pattern and motif holding significant cultural and symbolic meaning. Ausalin's skill and creativity in producing these intricate designs made her an esteemed figure within her community and beyond. She meticulously crafted sinaluan fabrics using a backstrap loom, a traditional tool that requires precision and dexterity.Ambalang Ausalin's legacy continues to inspire appreciation for Yakan weaving and indigenous Philippine culture. Her life's work serves as a testament to the importance of preserving traditional arts and crafts, not only as expressions of creativity but also as repositories of cultural identity and heritage. Through her dedication and talent, Ausalin helped ensure that the vibrant traditions of the Yakan community endure for generations to come.
15
Marife Ravidas Ganahon
Marife Ravidas Ganahon, an esteemed artisan from the T'boli tribe in Lake Sebu, South Cotabato, Philippines, is renowned for her exceptional skills in the traditional craft of T'nalak weaving. Born into a family with a rich heritage of weaving, Ganahon began learning the art of T'nalak at a young age, under the guidance of her elders.Marife Ravidas Ganahon's dedication to preserving and promoting T'nalak weaving has earned her recognition both locally and internationally. She is known for her mastery of traditional weaving techniques, as well as her creativity in designing new patterns and motifs while staying true to the T'boli aesthetic. In addition to her skill as a weaver, Ganahon is also passionate about sharing her knowledge with others. She has been actively involved in community-based initiatives aimed at revitalizing T'nalak weaving and providing livelihood opportunities for T'boli women. Through her efforts, she has helped empower her fellow weavers and contribute to the cultural and economic development of her community.
In recognition of her contributions to the preservation of indigenous culture, Marife Ravidas Ganahon was honored with the Gawad sa Manlilikha ng Bayan (GAMABA) or National Living Treasure award by the Philippine government. This prestigious accolade celebrates her significant role in safeguarding and promoting the cultural heritage of the T'boli people and indigenous communities across the Philippines.Marife Ravidas Ganahon's legacy serves as a testament to the resilience, creativity, and cultural richness of the T'boli people. Through her dedication to T'nalak weaving, she has not only preserved an ancient tradition but also ensured that it continues to thrive and evolve in the modern world.
T'nalak weaving
T'nalak weaving holds deep cultural significance for the T'boli people, representing their connection to their ancestral lands, their spirituality, and their identity as a distinct indigenous group. The intricate patterns and designs found in T'nalak fabrics are believed to be inspired by dreams and visions, making each piece unique and imbued with symbolic meaning.Marife Ravidas Ganahon's legacy serves as a testament to the resilience, creativity, and cultural richness of the T'boli people. Through her dedication to T'nalak weaving, she has not only preserved an ancient tradition but also ensured that it continues to thrive and evolve in the modern world.
16
Abina Tawide Coguit
Abina Tawide Coguit, a revered cultural bearer from the Bagobo Tagabawa tribe in the Philippines, was born and raised in the highlands of Davao del Sur. Hailing from a lineage rich in traditional knowledge and craftsmanship, Coguit inherited a deep appreciation for her indigenous heritage from her ancestors. Beyond her role as a master artisan, Coguit was also a mentor and educator within her community. She generously shared her knowledge and skills with younger generations, ensuring the continuity of Bagobo Tagabawa traditions for years to come. In recognition of her contributions to preserving indigenous culture, Abina Tawide Coguit was honored as a Gawad sa Manlilikha ng Bayan (GAMABA) or National Living Treasure by the Philippine government. This prestigious award celebrated her significant role in safeguarding and promoting the cultural heritage of the Bagobo Tagabawa people and indigenous communities across the Philippines.
Agusan Manobo Embroidery
Coguit dedicated her life to preserving and promoting the cultural traditions of the Bagobo Tagabawa people, particularly their intricate beadwork and embroidery. She mastered the art of beadwork at a young age, learning the techniques and motifs passed down through generations of Bagobo artisans. The beadwork of the Bagobo Tagabawa tribe is renowned for its intricate patterns and vibrant colors, each design imbued with cultural symbolism and significance. Coguit's skill and creativity in beadwork earned her recognition both locally and internationally, with her creations celebrated for their beauty and craftsmanship.
17
Alonzo Saclag
Alonzo saclag has dedicated his entire life from preserving and passionately manifesting and familiarizing his own heritage, he received no prior instruction exposure as to how he can execute and perform kalinga musical instruments, but he also mastered the dance movements and patterns that is associated with his people’s rituals. According to him, his tool was pure observation, and his teacher was experience and also passion into his culture, where he came from.
Kalinga Music and Dance Culture
Ever since he was a child, Saclag has been fascinated into Kalinga heritage and culture, specifically in Kalinga music and dance culture. He was keen into preserving and upholding his own heritage and identity as a Kalinga descendant.
18
Adelita Romualdo Bagcal
Bagcal has performed “Dallot” during traditional weddings within her community, she has clung to the ritual since she was a child. She is considered to be a dallot master, a position only a few can call themselves with especially with the nuances that comes with performing this artistic ritual.
Dallot by Bagcal
Dallot has been a medium of tradition for Ilocanos. It is usually performed at traditional Ilocano based weddings, it is a poem that symbolizes the agreed mutual blessings of the families of both man and woman, from their parents and nearest kins.
19
Sakinur-ain Delasas
Her artistic career started in her hometown, where, at a young age, she gave her first Igal performance. But her artistic development really took off in 1974 when she joined the Tambuli Cultural Dance Troupe. Like a good wine that ages nicely, her skills improved with time. As a trailblazing dancer, she rose to the position of director of the MSU-Tawi Tawi College of Technology and Oceanography Tambuli Cultural Dance Troupe.
Igal Dance by Delasas
Delasas is well known for her Igal traditional dance, this is a traditional dance that is passed on by generation, and is definitely a unique dance that is only honed and acquired by their family, mimicking nature and its interpretational form in her dance routine.
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Ginaw Bilog
Ginaw Bilog, a Hanunoo Mangyan from Mansalay, Mindoro, has played a pivotal role in perpetuating the ambahan tradition, meticulously recording these poems in bamboo and in weathered notebooks inherited from previous generations. His efforts in preserving and sharing both ancestral and contemporary ambahans underscore the continuity of this literary form within his community. Thanks to the dedication of individuals like Ginaw, the ambahan remains a vibrant part of Filipino cultural identity, symbolizing the resilience and artistic spirit of the Mangyan people and enriching the Philippines' cultural tapestry.
Ambahan by Bilog
The ambahan is an expression of an idea or feeling in a beautiful and harmonious language. Unlike other forms of poetry, however, the ambahan is not poetry for its own sake or for the poet's satisfaction. The ambahan is primarily a poem of social character; it finds its true existence in society. It serves practical purposes within the community. It is used by the parents in educating their children, by young people in courting each other, by a visitor asking for food, and by a relative bidding goodbye or farewell.
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Bundos Bansil Fara
He is an expert metalworker who creates exquisite ornaments like my teacup-sized bell out of leftover scraps of metal. However, the painstaking procedure is more difficult than it seems. Fara employs age-old techniques that have been refined over many generations of use. He learnt the skill of brass casting from his father, who had learned it from his father. In fact, Bundos Fara is a brass caster of the third generation. Their blood is metal. She aged gracefully and developed her talents. As a trailblazing dancer, she rose to the position of director of the MSU-Tawi Tawi College of Technology and Oceanography Tambuli Cultural Dance Troupe.
Brass Casting by Fara
It takes at least two days to make a single brass bell, which weighs about one hundred grams, from mold to clapper attachment. Fara improved his method significantly by using a handy electric-powered blower in place of the hand-pumped bamboo bellows to speed up the process a little, but the majority of the baking and melting is still done in two vintage kilns the size of microwaves. However, the entire procedure calls for sacks of charcoal and a pail of patience.
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Beadwork and Embroidery
The design of the colorful and intricate accessories are a symbol of resilience and cultural pride. She dedicates her life into making sure that she could foretell the tales of her ancestors.
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Amparo Balansi Mabanag
Mabanag is embedded within the culture of the igorot people, the Ga’dang is known for colorful traditional costumes with types of beads that is numerous that is incorporated with intricate embroidery.
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Samporonia Pagsac Madanlo
In her community in Dangilas, P.M. Sobrecarey, Caraga, Davao Oriental, seventy-four-year-old Samporonia Pagsac Madanlo is highly respected as a master of various traditional crafts and activities, including embroidery, beadwork, dance, basketry, chanting, and healing. However, her most well-known contribution is her dagmay, a Mandaya traditional cloth.
Mandaya Textile Weaving by Madanlo
The backstrap loom is used to weave abaca fibers into dagmays. The ikat technique is used to accomplish the repertory of intricate motifs. The Mandaya mythology includes textile figures, especially in the tale of the goddess Tagamaling.
Madanlo began learning to weave when she was ten years old, and in spite of numerous obstacles, she still practices the age-old technique.
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Barbara Kibed Ofong
Barbara Fanuy Kibed Ofong, a 63-year-old native of Tablo, Lamdalag, Lake Sebu, South Cotabato, is a trailblazer for the integrity of t'nalak weaving and a standard-setter when it comes to quality.
T'boli Textile Weaving by Ofong
The T'boli people's abaca textile, known as t'nalak, is woven on a backstrap loom and dyed using the ikat method. It is one of the striking examples of the T'boli people's artistic ability, with many elaborate designs.
Ofong has been a weaver for virtually her whole life, making her the greatest in her neighborhood. Being a leader in the community, she also keeps inspiring others to enjoy and practice the skill that represents their ethnicity.
Ofong has been recognized as the second Manlilikha ng Bayan t'nalak weaver. Lang Dulay, who departed in 2015, is the first.
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Rosie Godwino Sula
Tboli expert on tangible and intangible cultural heritage, Rosie Godwino Sula, stated that she hopes to impart her expertise to future generations so that they will comprehend indigenous wisdom, or katutubong kaalaman.
T'boli Chanting by Sula
A section of a chant for peace and prayer was performed by Sula at Keheton Kenhulung Tboli. Jenny Sula Campilan, a weaver and blouse maker, and Julie Mantang Fanulan, a tinalak and basket weaver, joined her. Jocelyn Dalisan provided them with assistance.
Fanulan performed on the bamboo mouth harp, the kubing. A kubing was only played during a moon eclipse, it was stated during the occasion.
According to Sula, the Tbolis consider that "it is understood that the moon is swallowed by the big python" during a lunar eclipse.
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National Commission for Culture and the Arts. (2004). National Living Treasures: Eduardo Mutuc. ncca.gov.ph. https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-eduardo-mutuc/
National Commission for Culture and the Arts. (2012). National Living Treasures: Magdalena Gamayo. ncca.gov.ph. https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-magdalena-gamayo/
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National Commission for Culture and the Arts. (2016). National Living Treasures: Ambalang Ausalin. ncca.gov.ph. https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/ambalang-ausalin/#:~:text=Her%20best%20work%20for%20this,(turtle%2Dlike%20design)
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