In April 1992, the Gawad sa Manlilikha ng

Bayan or the Natl. Living Treasure Award was

institutionalized through RA No. 7355. Tasked
with the administration and implementation of
the award is the NCCA. The NCCA, through
Gawad sa Manlilikha ng Bayan Committee
and an ad hoc panel of experts, conducts the
search for the finest traditional artists of the
land.

The Gawad sa Manlilikha The State’s recognition

ng Bayan is conferred on of such contributions was
Filipinos who are at the formalized in 1992
forefront of the practice,
preservation, and through RA No. 7355,
promotion of the nation’s the Manlilikha ng Bayan
traditional folk arts. Act.

The main objective of the award is

to honor and support
traditional folk artists and to see to In 2014, the Senate adopted Senate
it that their skills and crafts are Resolution No. (SRN) 765 aimed at
preserved. The award is tied with a recognizing the accomplishments of the
country’s living treasures.
program that ensures the transfer of
their skills and promotion of the
craft.
The award logo is representation of the
human form used in traditional cloth.
Below the logo is the phrase “Manlilikha
ng Bayan” written in Baybayin, an
ancient Filipino script used in the
Philippines in the 16th century.
 Should be a Filipino citizen or group of citizens belonging to an indigenous or
cultural community anywhere in the Philippines, engaged in Filipino traditional art
in the ff. categories:
Should have passed on and/or will pass on the
folk architecture, maritime transport, weaving, carving, performing arts, literature, traditional crafts and skills to other members of
graphic and plastic arts, ornament, textile or fiber art, pottery, and artistic the community by virtue of teaching .
expression of traditional culture.

In case when a candidate is incapable of teaching his/her craft due to age or

infirmity:
Should have been engaged in the tradition and craft
b. He/She should played a role in the preservation and revitalization of the artistic
for a significant period of time with at least fifty years tradition in the Community
of existence and documentation. c. He/She has been recognized as a master of his/her craft and admired for
his/her character and integrity in his or her community.

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 reputation for being an art master/craft
maker.
 The Nominations
Nominations can come from the members of the ad hoc
panel of experts, traditional arts, government and private
institutions, universities and other persons knowledgeable
The Panel of any of the categories
The panel is composed of a representative from each of the
committees of the Sub commission on Cultural Communities
and Traditional Arts, such as the Office of the Muslim Affairs
(OMA), the National Commission on Indigenous Peoples
(NCIP) and other institutions. The Screening
The committees are deployed to various priority areas in
the country to conduct searches and document the
candidates’ art or craft. Then, they will reevaluate the
qualifications of the candidates and submit

The Panel The Screening

The ad hoc panel of reviewers is composed of five members their recommendations to the NCCA Board of
of the Gawad sa Manlilikha ng Bayan Committee and four Commissioners. Once selected, the President of the
individuals identified by the Committee among Philippines confers the awardees in a public
scholars/experts in traditional arts. ceremony in Malacanang Palace.
Dulay had mastered hundreds
of designs, and each one is
relevant to the meaning and
story it reveals. Her t’nalak is
also a reflection of knowledge
and aspiration of the T’boli.

POB: Lake Sebu, South

Cotabato She was a
traditional weaver from T’boli
tribe. Dulay saved the
t’nalak tradition from
extinction and considered a
master of her art by the
NCCA.

Category:
Textile Weaver
(T’nalak)
Category: Musician (Yakan specifically
kulintang, kwitangan kayu, gabbang,
agung and tuntungan

POB: Lamitan, Basilan

Ahadas became blind when he was about 5
years old. Then, music became an integral
part of his life

He is a part Yakan ethnic community that has

a rich musical heritage. He first learned
through observation, eventually trying and
learning different Yakan musical instruments.

He was able to master the following:

gabbang (a bamboo xylophone) agung
(traditional male instrument) kwintangan
(traditional female instrument)

He has travelled all over Basilan to

teach other people his art.

(His brother shared his passion, documenting

Uwang’s method of instruction). He has
continued his vocation to spread the music of
the Yakan.
 Her designs Her creations
can contain are noted for
up to eight POB: their complex
colors. Amina Tandubas, and precise
has earned Tawi Tawi geometric
her great motifs that The weaving
esteem from showcase her process starts
Haja is not In the ethnic
inherent eye with the
content with Her community of
for color, harvest
the dull community Sama
commercial due to her design, and selection
of Tawi- Tawi,
unique and proportion of pandan
Dyes Category: the mat
and leaves. The
available but amazing Weaver (mat) weaving
symmetry. leaves after
has has work. She is tradition is Each one of being pressed
instead not selfish passed from her creations and sun-dried,
developed with her mother to require will then
her own tint. work but daughter. On patience and dyed and
instead feels of the master stamina since woven.
great pride of this
when a mat can
craft is Haja take as long
people learn Amina Appi as three
and copy her months to
designs. make.
 Category:
Metalsmith or
metal sculptor
(bronze and silver)

Recognized for his

religious and secular art He teaches his
that uses silver, bronze, students to learn the
and wood. His works basics including the
are often seen in
intricately carved proper handling of
retables, altars and tools to master one’s
carrosas or parade craft.
floats.
He learned the art of metal plating
in his early thirties while he was a
furniture maker. One of his early
works was a tabernacle
commissioned by Monsignor
Fidelis Limcauco. His pieces
often incorporate Spanish colonial
designs.
• Her skill in making these hand woven
garments has made her self sufficient,
often making her product sell more than
normal market price.
• Pis Syabit is a woven traditional
headgear of the Tausug in Jolo. It is
traditionally made by the women of
the community which is passed on
from generation to generation.
• Category: Weaver (pis syabit)
POB: Lubugan, Kalinga Province

Alonzo Saclag was the genius of Kalinga

dance and performing arts. He dedicated
himself to the promotion and preservation of
Kalinga culture for the benefit of his tribe and
others.
He was able to master the Kalinga
musical instruments and ritualistic
dance movements. Some of his
preservation includes the revival of
gangsa or Kalinga gong.
He successfully petitioned that the
capitol building be turned into a
museum where their cultural artifacts
can be exhibited, hence the creation of
Lubuagan branch of National Museum.

He also established the Kalinga

Budong Dance Troupe which
showcases the rich performing arts
of the region.

He dreams that someday he would

be able to create a showcase
Kalinga village that will serve as an
ecological safe haven.