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Gawad Sa Manlilikha NG Bayan (Gamaba)

The document discusses the Gawad sa Manlilikha ng Bayan (GAMABA), an award that recognizes outstanding traditional artists in the Philippines. It notes that 12 individuals have received the distinction since 1992. The award emphasizes the intangible and communal aspects of traditional art. The document provides examples of past GAMABA awardees in weaving, literature/performing arts, and plastic arts. It then discusses challenges traditional arts face like tourism, mining, militarization, and Christianization. The selection process can be difficult due to the archipelagic geography. Receiving the award may disrupt communities by elevating individuals.

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Ferdinand Fremista Jr
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773 views17 pages

Gawad Sa Manlilikha NG Bayan (Gamaba)

The document discusses the Gawad sa Manlilikha ng Bayan (GAMABA), an award that recognizes outstanding traditional artists in the Philippines. It notes that 12 individuals have received the distinction since 1992. The award emphasizes the intangible and communal aspects of traditional art. The document provides examples of past GAMABA awardees in weaving, literature/performing arts, and plastic arts. It then discusses challenges traditional arts face like tourism, mining, militarization, and Christianization. The selection process can be difficult due to the archipelagic geography. Receiving the award may disrupt communities by elevating individuals.

Uploaded by

Ferdinand Fremista Jr
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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GAWAD SA MANLILIKHA

NG BAYAN (GAMABA)
HOW DOES TRADITION BECOME
CONTEMPORARY, AND THE CONTEMPORARY
TRADITIONAL?

TEOFILO GARCIA
HOW DOES TRADITION BECOME
CONTEMPORARY, AND THE
CONTEMPORARY TRADITIONAL?
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 a continuing performance of tradition. Although traditional artists do
not consider their work as a contemporary art form, its similarities to contemporary art
practices can be discerned.
WHAT IS GAMABA?
Garcia has been named Manlilikha ng Bayan (“one who creates for the country”) or
National Living Treasure.

12 individuals have received this distinction. From 1992-2012 (Republic Act No. 7355)

The National Commission for Culture and the Arts (NCCA) give the highest awards for
culture and arts, including the National Artist Award.

The said award and the GAMABA recognizes the outstanding work of artist in the
Philippines.

Traditional art is based on indigenous people’s culture that are largely honed by oral
tradition.

A distinct feature of the GAMABA is the emphasis on the intangible, and communal
aspects of art production.
GAMABA AWARDEES
WEAVING:

LANG DULAY (1998) SALINTA MONON


tinalak weaving (1998)
inabal weaving
GAMABA AWARDEES
WEAVING:

DARHATA SAWABI HAJA AMINA APPI


(2004) (2004)
pis siyabit weaving mat weaving
GAMABA AWARDEES
WEAVING:

MAGDALENA GAMAYO
(2004)
inabel weaving
GAMABA AWARDEES
LITERATURE/PERFORMING ARTS:

GINAW BILOG MASINO INTARAY (1993)


(1993) kulilal, basal, and bagit; playing
surat Mangyan & ambahan accompanying inst., epic chanting, and
poetry storytelling
GAMABA AWARDEES
LITERATURE/PERFORMING ARTS:

SAMAON ALONZO SACLAG (2000)


SULAIMAN (1993) playing kalinga musical instruments,
playing the kudyapi dance pattern/movements associated
with rituals
GAMABA AWARDEES
LITERATURE/PERFORMING ARTS:

FEDERICO UWANG AHADAS


CABALLERO (1993) (2000)
chanting the sugidanon epic playing Yakan musical instruments
of the Panay Bukidnon
GAMABA AWARDEES
PLASTIC ARTS:

EDUARDO MUTUC TEOFILO GARCIA


(2004) (2012)
silver planting of religious and gourd casque making
secular art
THE PRODUCTION PROCESS IN
CHANGING ENVIRONMENTS

TOURISM
Land areas being converted into sites for tourist consumption.
Ecological domains being susceptible to damage by natural disasters
and tourist mobility.
Dances and ritual are performed for audience rather than community
observance or tradition.
Art forms native to community tend to diminish its quality.
Works are being converted into souvenirs for the tourists.
THE PRODUCTION PROCESS IN
CHANGING ENVIRONMENTS

MINING/INFRASTRUCTURE
PROJECTS
Construction of dams and the establishment of oil and mining companies
evict people from their dwellings and severely damage the environment.
THE PRODUCTION PROCESS IN
CHANGING ENVIRONMENTS

MILITARIZATION
The insecurity and tension brought about by militarized zones arrest the people’s
ability to create art.
THE PRODUCTION PROCESS IN
CHANGING ENVIRONMENTS

CHRISTIANIZATION
The influence of Christianity and the conversion of the natives to a foreign religion
have caused the community to forsake their indigenous rituals and traditions.
DIFFICULTIES IN SELECTION
PROCESS

The archipelagic orientation of the


Philippines makes some locations challenging
to reach by land, air, or sea. Places that poses
risks prevent the sustained entry of
researchers and possibly diminish reception
outside the locality. This is partly why
awarding does not follow a regular pattern, as
the column on the Year of Conferment on the
GAMABA awardees shows.
EFFECT OF GAMABA IN
COMMUNITIES
Since the artists are very much entrenched in their localities, the award
system might create a division within the communities when one person is
elevated to a status of national awardee. The attention and entry of the
outsiders may create a disruption that may also change, not just the social and
economic relationships, but also the people’s attitudes, concepts, and
definitions of the art forms and the processes.

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