LESSON 3 produced over a significant period, works

of superior and distinctive quality.

The Contemporary in Traditional Art:
4. He/she/group must possess a mastery of
Gawad sa Manlilikha ng Bayan (GAMABA)
tools and materials needed by the art and
must have an established reputation in the
In 1992, the National Commission on art as master and maker of works of
Culture and therefore the Arts (NCCA) began extraordinary technical quality.
selecting and honoring recipients of the 5. Must have passed on and/or will pass on to
National Living Treasures Award, also referred other members of the community their
to as Gawad sa Manlilikha ng Bayan skills in the folk art for which the
(GAMABA), through Republic Act No. 7355. It community is traditionally known.
continues to be awarded today and is handed
out in the form of a medal. GAMABA Awardees
Uwang Ahadas, musician
The worker of a farmer named Teofilo
Garcia of San Quintin in the Province of Abra, A Yakan of Lamitan, Basilan was
2012 GAMABA awardee who have discovered awarded for his dexterity in playing Yakan
and popularized the durable tabungaw hat musical instruments such as the kwintangan,
out of enlarged upo or gourd. He hollowed out gabbang, agung, kwintangan kayu,
the upo / tabungaw, varnished and polished it tuntungan among others. He has a deep
to make it more durable and unique yellow knowledge of the aesthetic possibilities and
sheen. social contexts of those instruments. In spite
of the dimming of his eyesight, he has
He used different mediums such as devoted his life to the teaching of Yakan
varnish to strengthens organic material, musical traditions
strips of rattan (uway) to line the hat, fern Yakan musical instruments are not
(nito) is placed on the mouth of the hat as the easiest or most affordable to maintain, but
decoration. He intended to transform the Uwang Ahadas of Lamitan, Basilan made it his
harvest into durable hats to protect the life’s work to master them. From an early age,
people who are exposed for long hours under he and his siblings were encouraged to play
the heat of the sun, especially the farmers. these instruments, and he developed a
Until now, he shared his knowledge and skills passion for them, training himself by
of making the Tabungaw hat at San Quintin observing older members of the community.
National High School and inspires the youth to At age 20, he broke tradition by reaching
value tradition and to ensure its preservation. excellence in playing the kwintangan, an
instrument typically played by a woman. The
The GAMABA awardees are the instrument, made up of logs arranged
people who have adopts a program that will beneath a tree near a rice field, is used to call
ensure the transfer of their skills to others. for abundant grains and rice growth. He is
They undertake measures to promote a also dedicated to sharing his knowledge to
genuine appreciation of traditional craft and younger folk; his teaching style is hands-on
art and instill pride among our people about and supportive, giving his students his full
the skill of the Gawad sa Manlilikha ng Bayan attention. He was awarded in 2000.
(GAMABA). Filipinos conferred as the
forefront of the practice, preservation, and Magdalena Gamayo, textile weaver
promotion of the nation’s traditional folk arts.
Based in Pinili, Ilocos Norte, Magdalena
To become a GAMABA awardees is same as Gamayo took up weaving when she was 16,
joining a contest there are mechanics and guided by her aunt’s patterns. She received
guidelines to follow. her first loom from her father three years
later, which she would end up using for 30
1. Must be an inhabitant of an years. She taught herself traditional patterns,
indigenous/traditional cultural community such as kusikus (whirlwind), marurup (Milky
anywhere in the Philippines that has Way), and sinan paddak ti pusa (cat’s
preserved indigenous customs, beliefs, pawprint), building on the more common
rituals and traditions and/or has inuritan (geometric design) and sinan-sabong
syncretized whatever external elements (flowers)
that have influenced it.
2. Must have engaged in a folk-art tradition Gamayo’s skill and instinct are none more
that has been in existence and apparent than they are in her ability to
documented for at least fifty (50) years. replicate designs she’s only seen once. Her
3. Must have consistently performed or
1
binakol, or woven cloth, continues to draw playing the instrument. The sound is melodic
praise and awe for its above-average thread and rhythmic, its effect meditative and
count and uniform weave. captivating. He was also proficient in playing
instruments such as the kulintang, agong (a
Eduardo Mutuc, metalsmith, and artist suspended gong with a wide rim), gandingan
(a gong with a narrow rim), and tambul.
A Kapampangan from Central Luzon is Sulaiman’s fascination for his craft led him to
recognized for reviving the Spanish colonial- become an influential teacher. He was
era craft of Plateria. This self-taught master awarded in 1993 and died in 2011.
craftsman found his calling in producing
religious and secular art in silver, bronze, and Haja Amina Appi, Pandan mat weaver
wood. In doing so, and in his pursuit of
perfection for himself and his apprentices, he Lives in Ungos Matata, Tandubas,
assures the 4continuity of this rich tradition. Tawi-Tawi, she is recognized as the master
Having finished up to elementary school, mat weaver among the Sama indigenous
Eduardo Mutuc, a farmer at the time, became community of Ungos Matata. Her colorful
an apprentice to furniture carvers to earn mats with their complex geometric patterns
additional income. He had no prior exhibit her precise sense of design,
knowledge of the work he was getting into, proportionan d symmetry and sensitivity to
but this did not stop him from expanding his color.
experience and becoming one of the most
respected creators of religious and secular Weaving pandan mats is a long and
art today. He uses wood, silver, and bronze to difficult process that is handed down from
create exquisitely detailed and lifelike pieces woman to woman across generations: Pandan
of varying sizes: altars, mirrors, retablos, and leaves are harvested and made into narrow,
even carosas. Mutuc is based in Apalit, long strips, sun-dried, pressed, and dyed
Pampanga. He was awarded in 2004. before finally becoming suitable for weaving.
The resulting mats are used for sleeping and
Lang Dulay, T’nalak weaver saying prayers or given as gifts to newly-
weds. Haja Amina Appi of Ungos Matata,
A T'boli of Lake Sebu, South Cotabato, Tandubas, Tawi
was awarded for weaving the abaca ikat cloth Tawi created intricate mats that boast
called t'nalak . She has produced creations beautiful geometric designs, vibrant colors,
which remain faithful to the T’boli tradition as and fine symmetry. She was awarded National
manifested in the complexity of her design, Living Treasure in 2004. She experimented
fineness of workmanship and quality of finish. with her work and developed her own tints to
In Lang Dulay’s family, the weaving of the create the hues she had in mind. Appi died in
t’nalak (a fine abaca cloth) took place before 2013, but her art lives on through her children
or after farm work, when the weather was and other young women in her community.
cool and the conditions were better for the
product. Dulay, who grew up in Lake Sebu, Federico Caballero, chanter and
South Cotabato, was taught to weave by her educator
mother when she was 12.
A Panay-Bukidnon of Calinog, lloilo was
Samaon Sulaiman, musician awarded for his mastery of chanting the
sugidanon, the epic tradition of Central Panay.
A Maguindanaon of Mamasapano, He ceaselessly worked for the documentation
Maguindanao. He was awarded for his of the epics of his people painstakingly
outstanding artistry and dedication to his piecing together the elements of this oral
chosen instrument, the Magindanao kutyapi. tradition nearly lost. He was best known for
Kutyapi is a two-stringed plucked lute, his expertise in the Sugidanon, a Central
regarded as one of the most technically Panay epic traditionally chanted while lying on
demanding and difficult to master among a hammock, and his work in the preservation
Filipino traditional. of oral literature, documenting 10 Panay-
Bukidnon epics in an extinct language with
Musician Samaon Sulaiman was a close ties to Kinaray-a. His love of folklore
master of the kutyapi, a two-stringed lute began when he was young, hearing tales of
that requires highly technical skill to play. The grand adventures as bedtime stories, and his
Maganoy, Maguindanao native learned from mother taught him to recite epics in lieu of
his uncle, Pinagunay, at age 13, developing doing household chores. In his spare time, he
and learning different forms and styles of also works with the Department of

2
Education’s Bureau of Non-Formal Education, Darhata Sawabi’s mission was to lead young
teaching elders. women towards making a living out of her
craft. The Parang, Sulu-based textile weaver’s
Ginaw Bilog, poet primary creation was the headpiece Pis
Siyabit — pis stands for the pattern, which is
A Hanunuo Mangyan of Mansalay, said to be derived from India’s mandala,
Oriental Mindoro. Awarded for faithfully depicting spirituality through geometric
preserving the Hanunuo Mangyan script and forms, and Siyabit refers to the hook and
Ambahan poetry. He has promoted the local technique. She gained recognition for the
script and poetry so that the art will not be precision of her work and her passion for
lost but preserved. The Mangyan script is one preserving traditional designs, as well as
of the four remaining syllabic scripts in the teaching the youth and was awarded in 2004.
country, and Ginaw Bilog’s work has been She died in 2005.
crucial to its preservation. Based in Mansalay,
Oriental Mindoro, the poet was known for Teofilo Garcia, gourd hatmaker
writing Ambahan (a metaphoric poem
comprising seven-syllable lines), first in a A GAMABA awardee of San Quintin Abra who
notebook, then on traditionally used bamboo have discovered and popularized the durable
tubes. The poems, often recited with music at Tabungaw hat out of enlarged upo or gourd.
social gatherings and used to convey He hollowed out the upo / tabungaw,
messages among the Hanunuo Mangyan, had varnished and polished it to make it more
topics like advising the young, bidding a durable and unique yellow sheen. In San
friend goodbye, and asking for a place to stay. Quintin, Abra, Teofilo Garcia would often walk
Bilog, who was awarded in 1993, died in around town wearing his gourd casques.
2003. Through word of mouth and his participation
in the annual local harvest festival, Garcia was
Salinta Monon, textile weaver. able to introduce the Tabungaw plant as a
good and sturdy material for functional,
A GAMABA awrdee of Tagabawa elegant, and protective hats. He produces
Bagobo of Bansalan, Davao del Sur. She was everything he needs — planting and
awarded for fully demonstrating the creative harvesting the gourds, splitting, and refining
and expressive aspects of the Bagobo abaca rattan for the lining, and weaving Nito and
ikat weaving called Inabal at a time when bamboo for accents himself — and usually
such art is threatened with extinction. Salinta takes seven days to finish a hat. Awarded in
Monon was 12 when she began learning to 2012, he continues to experiment and work
weave the Inabal, a traditional Bagobo on new designs.
textile. In her home in Bansalan, Davao del
Sur, Monon would isolate herself from family Alonzo Saclag, traditional dancer and
to be able to concentrate on creating her musician
cloths and skirts, which took three to four
months to finish, respectively. Her favorite A Kalinga of Lubuagan, Kalinga was
pattern, despite or because of its difficulty, awarded for his mastery of the Kalinga dance
was the Binuwaya (crocodile), and she and the performing arts. He was also
continued weaving until her death in 2009. recognized for his persistence to create and
For her, not only was it a source of income, it nurture a greater consciousness and
was a source of pride as well. She and her appreciation of Kalinga culture among the
younger sister were the only Bagobo weavers Kalinga themselves and beyond their borders.
left in their community, and she dreamt of It was through observation, time, and
having a structure built for teaching new experience — rather than education or
would-be weavers. She was awarded in 1998. training or any kind — that Alonzo Saclag of
Lubuagan, Kalinga mastered local musical
Darhata Sawabi, textile weaver instruments, along with dance patterns
associated with rituals. Some of these are
rarely performed, but done so with special
A GAMABA awardee of barangay
purposes, whether it’s preparing for
Parang, Jolo Island, Sulu province. Has
retaliation, a victorious vindication for the
preserved the art of Pis Syabit weaving. It is
community, or forging successful peace pacts.
difficult art of tapestry weaving that creates
Saclag understands the importance of his
the traditional squares used by the Tausug for
practice and is a strong advocate of passing
ornamentation. Despite the conflict in Jolo,
on his knowledge and continuing the use of
Sawabi’s dedication to her art enhanced the
traditional dress and adornments. His efforts
preservation of traditional Tausug designs.
have included formal education, reaching
3
 radio stations, and the formation of the Contribution
Kalinga Budong Dance Troupe. He was
awarded in 2000. National Commission for Culture and the
Arts (NCCA) and the Cultural Center of the
Masino Intaray, chanter and musician Philippines (CCP) and gave by the President of
the Philippines upon suggestion by the two
A Pala'wan of Brookes Point, Palawan. He organizations.
was awarded for his exemplary skills in basal
or gong music ensemble. He was also It has a similar glory as the GAMABA and
recognized for his versatility as musician, the National Scientist Award. The honor is
poet, epic chanter, and storyteller of the presented at regular intervals through a
Kulilal and Bagit traditions of the Pala'wan. A thorough consultation and determination
member of the Pala’wan tribe, musician and process mutually encouraged by two
epic chanter Masino Intaray was a master of significant social workplaces, the National
the basal, a gong music ensemble played Commission on Culture and expressions of the
during rice cooking (tambilaw) and sharing human experience and the social focal point
(tinapay) rituals, which gather the community of the Philippines.
as they serve offerings to Pala’wan rice god
Ampo’t Paray. Intaray also performed the NAA was built up in 1972 under
Kulilal, a lyrical poem expressing love, Presidential Decree No. 1001 gave by then
accompanied by two-stringed lute and President Ferdinand Marcos. The first was
bamboo zither, and the bagit, an instrumental Fernando Amorsolo, who was presented the
piece about nature. honor after death. Much has changed since
the organization of the honor.
Factors Affecting the Traditional
Artist’s Production Process The National Artist of the Philippines are
based on a broad criteria, as set forth by the
1. Christianization. The impact of Cultural Center of the Philippines and the
Christianity and the discussion of the locals National Commission on Culture and the Arts:
to a remote religion have made individuals
from the network reject their indigenous 1. Living artists who have been Filipino
ceremonies and customs. citizens for the last ten years prior to
nomination as well as those who have died
2. Now and again notwithstanding, the after the establishment of the award in 1972
network figures out how to syncretize their but were Filipino citizens at the time of their
indigenous ways with customs of death.
Christianity.
3. Mining and framework venture – mining 2. Artists who have helped build a Filipino
and system adventures expel individuals sense of nationhood through the content and
from their homes and seriously harm the form of their works.
earth. Denied the abundance of the land,
indigenous gatherings are provoked to look 3. Artists who have distinguished themselves
for short – term work from these businesses by pioneering in a mode of creative
to get by in a cash economy. expression or style, making an impact on
4. Tourism – plays a big role in one's nation. succeeding generations of artists.
This is to promote the culture, environment,
and the life of a nation to others. Along 4. Artists who have created a significant body
these lines, land regions are changed over of works and/or have consistently displayed
into locales for traveler utilization. excellence in the practice of their art form,
Environmental spaces become increasingly enriching artistic expression or style; and
vulnerable to harm with the consolidated
powers of catastrophic events and visitor 5. Artists who enjoy broad acceptance
convenience. Works of art local to the through prestigious national and/or
network will in general reduce in quality. international recognition, awards in
prestigious national and/or international
5. Militarization. The weakness and pressures events, critical acclaim and/or reviews of
realized by hostile areas capture the their works, and/or respect, and esteem
individuals' capacity to make from peers within an artistic discipline.
workmanship. PABLO S. ANTONIO
National Artist for Architecture (1976)
National Artists of the Philippines and their (January 25, 1902 – June 14, 1975)
4
 His basic design is grounded on simplicity, no outdoor settings that have enhanced
clutter. The lines are clean and smooth, and contemporary Filipino life.
where there are curves, these are made
integral to the structure. Antonio’s major Santos, Jr., who grew up in Malabon,
works include the following: Far Eastern made his first mark with the Makati
University Administration and Science Commercial Center where he introduced a
buildings; Manila Polo Club; Ideal Theater; new concept of outdoor shopping with
Lyric Theater; Galaxy Theater; Capitan Luis landscaped walks, fountains and sculptures as
Gonzaga Building; Boulevard-Alhambra (now accents. Santos, Jr.’s contribution to modern
Bel-Air)apartments; Ramon Roces Publications Filipino landscape architecture was the
Building (now Guzman Institute of seminal public landscape in Paco Park.
Electronics).
FRANCISCO T. MANOSA
LEANDRO V. LOCSIN National Artist for Architecture and
National Artist for Architecture, 1990 Allied Arts (2018) Birthday: 12 February
(August 15, 1928 – November 15, 1994) 1931

He reshaped the urban landscape with For all his more than 60 years of
a distinctive architecture reflective of architecture life, Arc. Bobby Mañosa designed
Philippine Art and Culture. He believes that Filipino. From the 1960s in his landmark
the true Philippine Architecture is ―the design of the Sulo Hotel until his retirement
product of two great streams of culture, the about 2015, he courageously and
oriental and the occidental… to produce a passionately created original Filipino forms,
new object of profound harmony.‖ It is this spaces with intricate and refined details. But
synthesis that underlies all his works, with his what is most valuable is that Mañosa was in
achievements in concrete reflecting his the heart and soul of a Philippine architectural
mastery of space and scale. movement. He has developed a legacy of
Philippine architecture, which is essential to
JUAN F. NAKPIL our Filipino identity and at the same time,
National Artist for Architecture, 1973 (May deeply appreciated and shared in our world
26, 1899 – May 7, 1986) today.

An architect, teacher, and civic leader

is a pioneer and innovator in Philippine LAMBERTO V. AVELLANA
architecture. Nakpil’s greatest contribution is National Artist for Theater and Film (1976)
his belief that there is such a thing as (February 12, 1915 – April 25, 1991)
Philippine Architecture, espousing
architecture reflective of Philippine traditions Lamberto V. Avellana, director for theater
and culture. and film, has the distinction of being called
―The Boy Wonder of Philippine Movies‖ as
Among others, Nakpil’s major works are early as 1939. He was the first to use the
the Geronimo de los Reyes motion picture camera to establish a point-of-
Building,Magsaysay Building, Rizal Theater, view, a move that revolutionized the
Capitol Theater, Captain Pepe Building, techniques of film narration.
Manila Jockey Club, Rufino Building, Philippine
Village Hotel, University of the Philippines LINO BROCKA
Administration and University Library, and the National Artist for Film and Broadcast
reconstructed Arts (1997) (April 3, 1939 – May 22,
Rizal house in Calamba,Laguna 1991)

ILDEFONSO P. SANTOS, JR. Catalino “Lino” Ortiz Brocka,

National Artist for Architecture, 2006 director for film and broadcast arts, espoused
(September 5, 1929 – January 29, 2014 the term ―freedom of expression‖ in the
Philippine Constitution. Brocka took his social
Ildefonso Paez Santos, Jr., distinguished activist spirit to the screen leaving behind 66
himself by pioneering the practice of films which breathed life and hope for the
landscape architecture–an allied field of marginalized sectors of society — slum-
architecture–in the Philippines and then dwellers, prostitutes, construction workers,
producing four decades of exemplary and etc. He also directed for theater with equal
engaging work that has included hundreds of zeal and served in organizations that offer
parks, plazas, gardens, and a wide range of alternative visions, like the Philippine
Educational Theater Association (PETA) and
5
 the Concerned Artists of the Philippines (CAP). Fernando C. Amorsolo the first National
At the same time, he garnered awards and Artist awardee. He was titled ―Grand Old
recognition from institutions like the CCP, Man of Philippine Art‖ was bestowed on
FAMAS, TOYM, and Cannes Film Festival. Amorsolo when the Manila Hilton inaugurated
its art center on January 23, 1969, with an
ISHMAEL BERNAL exhibit of a selection of his works.
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996) HERNANDO R. OCAMPO
National Artist for Visual Arts (1991) (April
Ishmael Bernal was a filmmaker of 28, 1911 – December 28, 1978)
the first order and one of the very few who
can be truly called a maestro. Critics have He is a self-taught painter and was a
hailed him as ―the genius of Philippine leading member of the pre-war Thirteen
cinema.‖Among his notable films are Moderns, the group that charted the course of
―Pahiram ng Isang Umaga‖ (1989), modern art in the Philippines. His works
―Broken Marriage‖ (1983), ―Himala‖ provided an understanding and awareness of
(1982), ―City After Dark‖ (1980), and the harsh social realities in the country
―Nunal sa Tubig‖ (1976). He was immediately after the Second World War and
recognized as the Director of the Decade of contributed significantly to the rise of the
the 1970s by the Catholic Mass Media Awards; nationalist spirit in the post-war era.
four-time Best Director by the Urian Awards
(1989, 1985, 1983, and 1977); and given the Ocampo’s acknowledged masterpiece
ASEAN Cultural Award in Communication Arts Genesis served as the basis of the curtain
in 1993. design of the Cultural Center of the
Philippines Main Theater.
FERNANDO POE, JR.
National Artist for Cinema (2006) (August 20, ABDULMARI ASIA IMAO
1939 – December 14, 2004) National Artist for Visual Arts (2006)
(January 14, 1936 – December 16, 2014)
Ronald Allan K. Poe, popularly known
as Fernando Poe, Jr., was a cultural icon of A native of Sulu, Abdulmari Asia
tremendous audience impact and cinema Imao is a sculptor, painter, photographer,
artist and craftsman–as actor, director, writer ceramist, documentary filmmaker, cultural
and producer. researcher, writer, and articulator of
Philippine Muslim art and culture. Through his
KIDLAT TAHIMIK works, the indigenous ukkil, sarimanok and
National Artist for Film (2018) Birthday: 3 naga motifs have been popularized and
October 1942 instilled in the consciousness of the Filipino
nation and other peoples as original Filipino
Kidlat Tahimik has continually invented creations.
himself through his cinema, and so his
cinema is as singular as the man. His debut Industry Brass Mural, Philippine
film, Mababangong Bangungot (1977), was National Bank, San Fernando, La Union Mural
praised by critics and filmmakers from Relief on Filmmaking, Manila City Hall
Europe, North America, Asia, and Africa and Industrial Mural, Central Bank of the
is still considered by many as a pioneering Philippines, San Fernando, La Union
postcolonial essay film. Tahimik’s intense
independence as an artist and, at the same Sulu Warriors (statues of Panglima Unaid
time, the film itself called for Filipinos to and Captain Abdurahim Imao), 6 ft., Sulu
actively live out their independence and not Provincial Capitol.
allow their culture to be imperialized by the
west. Kidlat’s ―imperfect‖ film is an exemplar GUILLERMO TOLENTINO
of what is worldwide known as ―Third National Artist for Sculpture (1973) (July 24,
Cinema,‖ a cinema that is critical of 1890 – July 12, 1976)
neocolonial exploitation and state oppression.
Guillermo Estrella Tolentino is a
FERNANDO AMORSOLO product of the Revival period in Philippine art.
The result was the UP Oblation that became
National Artist for Visual Arts (May 30, the symbol of freedom at the campus.
1892 – April 24, 1972) Acknowledged as his masterpiece and
completed in 1933, The Bonifacio

6
 Monument in Caloocan stands as an transfigurations of significant experiences as
enduring symbol of the Filipinos’ cry for revealed, in two of her much-anthologized
freedom Other works include the bronze pieces, ―The Little Marmoset‖ and ―Bonsai‖.
figures of President Quezon at Quezon As fictionist, Tiempo is as morally profound.
Memorial, life-size busts of Jose Rizal at UP Her language has been marked as
and UE, marble statue of Ramon ―descriptive but unburdened by scrupulous
Magsaysay in GSIS Building; granolithics of detailing.‖ She is an influential tradition in
heroic statues representing education, Philippine literature in English.
medicine, forestry, veterinary science, fine Together with her late husband,
arts and music at UP. He also designed the Edilberto K. Tiempo, she founded and directed
gold and bronze medals for the Ramon the Silliman National Writers Workshop in
Magsaysay Award and did the seal of the Dumaguete City, which has produced some
Republic of the Philippines. Portrait, of the country’s best writers.
Night Glows,Grand Finale, Cities of the
Past, Imaginary Landscapes. His mural BIENVENIDO LUMBERA
painting Black and White is displayed in the National Artist for Literature (2006)
lobby of the CCP’s Bulwagang Carlos V.
Francisco (Little Theater). His sculpture of a Bienvenido Lumbera, is a poet, librettist,
stainless steel cube is located in front of the and scholar. As a poet, he introduced to
Benguet Mining Corporation Building in Pasig. Tagalog literature what is now known as
LAURO “Larry” ALCALA National Artist for Bagay poetry, a landmark aesthetic tendency
Visual Arts (2018) (18 August 1926-24 June that has helped to change the vernacular
2002) His comic strips spiced up the slices of poetic tradition. He is the author of the
Filipino lives with witty illustrations executed following works: Likhang Dila, Likhang
throughout his 56 years of cartooning. He Diwa (poems in Filipino and English), 1993;
created over 500 characters and 20 comic Balaybay, Mga Tulang Lunot at
strips in widely circulated publications. Manibalang, 2002; Sa Sariling Bayan,
Alcala’s most iconic work, Slice of Life, not Apat na Dulang May Musika, 2004;
only made for decades long of widely ―Agunyas sa Hacienda Luisita,‖
circulated images of Filipino everyday life, it Pakikiramay, 2004.
also symbolically became an experiential way
for his followers to find a sense of self in the VIRGILIO S. ALMARIO
midst of an often cacophonic, raucous and at National Artist for 2003
odds environment that Filipinos found
themselves amidst. He is also known as Rio Alma, is a poet,
literary historian, and critic, who has revived
FRANCISCO ARCELLANA and reinvented traditional Filipino poetic
National Artist for Literature (1990) forms, even as he championed modernist
(September 6, 1916 – August 1, 2002) poetics. In 34 years, he has published 12
books of poetry, which include the seminal
Francisco Arcellana, writer, poet, essayist, Makinasyon and Peregrinasyon, and thE
critic, journalist, and teacher is one of the landmark trilogy Doktrinang Anakpawis,
most important progenitors of the modern Mga Retrato at Rekwerdo and Muli, Sa
Filipino short story in English. He pioneered Kandungan ng Lupa. In these works, his
the development of the short story as a lyrical poetic voice soared from the lyrical to the
prose-poetic formA brilliant craftsman, his satirical to the epic, from the dramatic to the
works are now an indispensable part of a incantatory, in his often severe examination
tertiary-level of the self, and the society.
syllabi all over the country.
RAMON L. MUZONES National
EDITH L. TIEMPO Artist for Literature (2018) (20 March
National Artist for Literature (1999) (April 1913-17 August 1992)
22, 1919 – August 21, 2011)

Ramon Muzones was a Hiligaynon poet,

A poet, fictionist, teacher and literary
essayist, short story writer, critic,
critic, Edith L. Tiempo is one of the finest
grammarian, editor, lexicographer, and
Filipino writers in English. Her works are
novelist who authored an unprecedented 61
characterized by a remarkable fusion of style
completed novels. A number of these
and substance, of craftsmanship and insight.
represent groundbreaking ―firsts’ in
Born on April 22, 1919 in Bayombong, Nueva
Hiligaynon literature such as the feminist Ang
Vizcaya, her poems are intricate verbal
Bag-ong Maria Clara, the roman a clef
7
 Maambong Nga Sapat (Magnificent (1997) (January 14, 1910 – May 20,
Brute,1940), the comic Si Tamblot (1946), 1999)
the politically satirical Si Tamblot Kandidato
Man (Tamblot is Also a Candidate, 1949), the Carlos Quirino, a biographer, has the
125- installment longest serialized novel distinction of having written one of the
earliest biographies of Jose Rizal titled The
Dama de Noche (1982-84), etc. Hailed by his
Great Malayan. Quirino’s books and articles
peers as the longest reigning (1938-1972)
span the whole gamut of Philippine history
among ―the three kings of the Hiligaynon and culture–from Bonifacio’s trial to
novel,‖ Muzones brought about its most Aguinaldo’s biography, from Philippine
radical changes while ushering in modernism. cartography to culinary arts, from cash crops
With a literary career that spanned fifty-three to tycoons and president’s lives, among so
years (1938- 1990), his evolution covers the many subjects. In 1997, Pres. Fidel Ramos
whole history of the Hiligaynon novel from its created historical literature as a new category
rise in the 1940s to its decline in the 1970s. in the National Artist Awards and Quirino was
Muzones tried his hand at a variety of types its first recipient. He made a record earlier on
when he became the very first Filipino
and proved adept in all as literary fashions. In
correspondent for the United Press
the process, he not only extended with
Institute.His book Maps and Views of Old
remarkable versatility and inventiveness the Manila is considered as the best book on the
scope and style of the Hiligaynon novel, but subject. His other books include Quezon,
he also enriched Hiligaynon literature’s Man of Destiny, Magsaysay of the
dramatis personae. Philippines, Lives of the Philippine
Presidents, Philippine Cartography, The
RAMON VALERA History of Philippine Sugar Industry,
National Artist for Fashion Design (2006) Filipino Heritage: The Making of a
(August 31, 1912 – May 25, 1972) Nation, Filipinos at War: The Fight for
Freedom from Mactan to EDSA.
The contribution of Ramon Valera, whose
family hails from Abra, lies in the tradition of FRANCISCA REYES AQUINO
excellence of his works, and his commitment National Artist for Dance (1973)
to his profession, performing his magical (March 9, 1899 – November 21, 1983)
seminal innovations on the Philippine terno.
Valera is said to have given the country its Francisca Reyes Aquino is acknowledged
visual icon to the world via the terno. In the as the Folk-Dance Pioneer. This Bulakeña
early 40s, Valera produced a single piece of began her research on folk dances in the
clothing from a four-piece ensemble 1920s making trips to remote barrios in
consisting of a blouse, skirt, overskirt, and Central and Northern Luzon. Her research on
long scarf. He unified the components of the the unrecorded forms of local celebration,
baro’t saya into a single dress with
ritual, and sport resulted into a 1926 thesis
exaggerated bell sleeves, cinched at the
titled ―Philippine Folk Dances and
waist, grazing the ankle, and zipped up at the
back. Games,‖ and arranged specifically for use by
teachers and playground instructors in public
and private schools.
SALVADOR F. BERNAL
National Artist for Theater Design
(2003) (January 7, 1945 – October 26, RAMON OBUSAN
2011) National Artist for Dance (2006) (June 16,
1938 – December 21, 2006)
Salvador F. Bernal designed more than 300
productions distinguished for their Ramon Obusan was a dancer,
originality.Sensitive to the budget limitations choreographer, stage designer, and artistic
of local productions, he harnessed the design director. He achieved phenomenal success in
potential of inexpensive local materials, Philippine dance and cultural work. He was
pioneering or maximizing the use of bamboo, also acknowledged as a researcher, archivist
raw abaca, and abaca fiber, hemp twine, and documentary filmmaker who broadened
rattan chain links and gauze cacha.As the and deepened the Filipino understanding of
acknowledged guru of contemporary Filipino his own cultural life and expressions. Through
theater design, Bernal shared his skills with the Ramon Obusan Folkloric Grop (ROFG), he
younger designers through his classes at the had affected cultural and diplomatic
University of the Philippines and the Ateneo exchanges using the multifarious aspects and
de Manila University, and through the dimensions of the art of dance. mong the full-
programs he created for the CCP Production length productions he choreographed are the
Design Center which he himself following: ―Vamos a Belen! Series‖ (1998-
conceptualized and organized. 2004) Philippine Dances Tradition―Noon Po
sa Amin,‖ tableaux of Philippine History in
CARLOS QUIRINO song, drama and dance―Obra Maestra,‖ a
National Artist for Historical Literature collection of Ramon Obusan’s dance
8
 masterpieces―Unpublished Dances of the Muslim pageants and festivals, regional
Philippines,‖ Series I-IV ―Water, Fire and variations and dances of the countryside for
Life, Philippine Dances and Music–A the Bayanihan Philippine Dance Company of
Celebration of Life. Saludo sa which she was the dance director. These
Sentenyal‖―Glimpses of ASEAN, Dances dances have all earned critical acclaim and
and Music of the ASEAN-Member rave reviews from audiences in their world
Countries‖―Saplot (Ramon Obusan Folkloric tours in Americas, Europe, Asia, Australia and
Group): Philippines Costumes in Dance. Africa. Among the widely acclaimed dances
she had staged were the following: Singkil, a
Bayanihan signature number based on a
ALICE REYES Maranao epic poem; Vinta, a dance honoring
National Artist for Dance (2014) Filipino sailing prowess; Tagabili, a tale of
tribal conflict; Pagdiwata, a four-day harvest
She is a dancer, choreographer, festival condensed into a six-minute breath-
teacher, and director, she has made a lasting taking spectacle; Salidsid, a mountain
impact on the development and promotion of wedding dance ; Idaw, Banga and Aires de
contemporary dance in the Philippines. Her Verbena.
dance legacy is evident in the dance
companies, teachers, choreographers, and ANTONINO BUENAVENTURA
the exciting Filipino modern dance repertoire
National Artist for Music (1988) (May 4, 1904
of our country today. Her biggest contribution
– January 25, 1996)
to Philippine dance is the development of a
distinctly Filipino modern dance idiom.
Utilizing inherently Filipino materials and In 1935, Buenaventura joined Francisca
subject matters expressed through a Reyes-Aquino to conduct research on
combination of movements and styles from folksongs and dances that led to its
Philippine indigenous dance, modern dance, popularization. Buenaventura composed
and classical ballet she has successfully songs, compositions, for solo instruments as
created a contemporary dance language that well as symphonic and orchestral works based
is uniquely Filipino. on the folksongs of various Philippine ethnic
groups. He was also a conductor and restored
the Philippine Army Band to its former
LEONOR OROSA GOQUINGCO
prestige as one of the finest military bands in
National Artist for Dance (July 24, 1917 – July
the world making it ―the only band that can
15, 2005)
sound like a symphony orchestra‖. This once
sickly boy who played the clarinet proficiently
Dubbed the ―Trailblazer‖, ―Mother of
has written several marches such as the
Philippine Theater Dance‖ and ―Dean of
―Triumphal March,‖ ―Echoes of the
Filipino Performing Arts Critics‖, Leonor
Orosa Goquingco, pioneer Filipino Past,‖ ―History Fantasy,‖ Second
choreographer in balletic folkloric and Asian Symphony in E-flat, ―Echoes from the
styles, produced for over 50 years highly Philippines,‖ ―Ode to Freedom.‖ His
original, first-of-a-kind choreographies, mostly orchestral music compositions include
to her own storylines. Concert Overture, Prelude and Fugue in G
Minor, Philippines Triumphant, Mindanao
These include ―TREND: Return to Sketches, Symphony in C Major, among
Native,‖ ―In a Javanese Garden,‖ others.
―Sports,‖ ―VINTA!,‖ ―In a Concentration
Camp,‖ ―The Magic Garden,‖ ―The
Clowns,‖ ―Firebird,‖ ―Noli Dance Suite,‖
―The Flagellant,‖ ―The Creation…‖ Seen
as her most ambitious work is the dance epic JOSE MACEDA
―Filipinescas: Philippine Life, Legend National Artist for Music (1997) (January 31,
and Lore.‖ With it, Orosa brought native folk 1917 – May 5, 2004)
dance, mirroring Philippine culture from
pagan to modern times, to its highest stage of Jose Maceda, composer, musicologist,
development teacher and performer, explored the
musicality of the Filipino deeply. Maceda
LUCRECIA REYES-URTULA embarked on a life-long dedication to the
National Artist for Dance (1988) (June 29, understanding and popularization of Filipino
1929 – August 4, 1999) traditional music. He wrote papers that
enlightened scholars, both Filipino and
A choreographer, dance educator and foreign, about the nature of Philippine
researcher, spent almost four decades in the traditional and ethnic music. Maceda’s
discovery and study of Philippine folk and experimentation also freed Filipino musical
ethnic dances. She applied her findings to expression from a strictly Eurocentric
project a new example of an ethnic dance mold.Usually performed as a communal
culture that goes beyond simple preservation ritual, his compositions like Ugma-
and into creative growth. Over a period of ugma(1963), Pagsamba (1968), and Udlot-
thirty years, she had choreographed suites of udlot (1975), are monuments to his
mountain dances, Spanish-influenced dances, unflagging commitment to Philippine music.
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 Other major works include Agungan, May 1954
Kubing, Pagsamba, Ugnayan, Ading,
Aroding, Siasid, Suling-suling. Mr. C is the most accomplished
composer, arranger, and musical director in
the Philippine music industry since this
bloomed beginning 1970s. His learned,
LUCRECIA R. KASILAG skillful, and versatile musical style spans a
National Artist for Music - August 31, 1918 – wide range of genres: from conservatory or
August, 2008 art compositions such as concert religious
An educator, composer, performing music, symphonic work, art song, opera, and
artist, administrator, and cultural concerto to mainstream popular idioms in the
entrepreneur of national and international music industry and in live contemporary
caliber, had involved herself wholly in multimedia shows (musical theater, dance,
sharpening the Filipino audience’s and film).
appreciation of music.
DAISY H. AVELLANA
She dared to incorporate indigenous National Artist for Theater (1999) (January
Filipino instruments in orchestral productions, 26, 1917 – May 12, 2013)
such as the prize-winning ―Toccata for
Percussions and Winds, Divertissement Daisy H. Avellana, is an actor,
and Concertante,‖ and the scores of the director, and writer. Born in Roxas City, Capiz
Filiasiana, Misang Pilipino, and De on January 26, 1917, she elevated legitimate
Profundis. ―Tita King‖, as she was fondly theater and dramatic arts to a new level of
called, worked closely as music director with excellence by staging and performing in
colleagues Lucresia Reyes-Urtula, Isabel breakthrough productions of classic Filipino
Santos, Jose Lardizabal and Dr. Leticia P. de and foreign plays and by encouraging the
Guzman and made Bayanihan Philippine establishment of performing groups and the
Dance Company one of the premier artistic professionalization of Filipino theater.
and cultural groups in the country. Her Together with her husband, National Artist
orchestral music includes Love Songs, Lamberto Avellana and other artists, she co-
Legend of the Sarimanok, Ang Pamana, founded the Barangay Theatre Guild in 1939
Philippine Scenes, Her Son, Jose, Sisa and which paved the way for the popularization of
chamber music like Awit ng mga Awit theatre and dramatic arts in the country,
Psalms, Fantaisie on a 4-Note Theme, and utilizing radio and television.
East Meets Jazz Ethnika.
ROLANDO S. TINIO
National Artist for Theater and
ERNANI J. CUENCO Literature (1997) (March 5, 1937 – July 7,
National Artist for Music (1999) (May 10, 1997)
1936 – June 11, 1988)
Rolando S. Tinio, playwright, thespian,
Ernani J. Cuenco is a seasoned poet, teacher, critic, and translator marked
musician born on May 10, 1936 in Malolos, his career with prolific artistic productions.
Bulacan. A composer, film scorer, musical Tinio’s chief distinction is as a stage director
director, and music teacher, he wrote an whose original insights into the scripts he
outstanding and memorable body of work that handled brought forth production’s notable
resonates with the Filipino sense of for their visual impact and intellectual
musicality and which embody an ingenious cogency. Subsequently, after staging
voice that raises the aesthetic dimensions of productions for the Ateneo Experimental
contemporary Filipino music. Cuenco played Theater (its organizer and administrator as
with the Filipino Youth Symphony Orchestra well), he took on Teatro Pilipino. It was to
and the Manila Symphony Orchestra from Teatro Pilipino which he left a considerable
1960 to 1968, and the Manila Chamber amount of work reviving traditional Filipino
Soloists from 1966 to 1970. He completed a drama by re-staging old theater forms like
music degree in piano and cello from the the sarsuela and opening a treasure-house of
University of Santo Tomas where he also contemporary Western drama. It was the
taught for decades until his death in 1988. excellence and beauty of his practice that
His songs and ballads include ―Nahan, claimed for theater a place among the arts in
Kahit na Magtiis,‖ and ―Diligin Mo ng the Philippines in the 1960s. Aside from his
Hamog ang Uhaw na Lupa,‖ ―Pilipinas,‖ collections of poetry (Sitsit sa Kuliglig, Dunung
―Inang Bayan,‖ ―Isang Dalangin,‖ – Dunungan, Kristal na Uniberso, A Trick of
―Kalesa,‖ ―Bato sa Buhangin‖ and Mirrors) among his works were the following:
―Gaano Kita Kamahal.‖ The latter song film scripts for Now and Forever, Gamitin Mo
shows how Cuenco has enriched the Filipino Ako, Bayad Puri and Milagros; sarswelas Ang
love ballad by adding the elements of Mestisa, Ako, Ang Kiri, Ana Maria; the
kundiman to it. komedya Orosman at Zafira; and Larawan,
the musical.

RYAN CAYABYAB WILFRIDO MA. GUERRERO

National Artist for Music (2018) Birthday: 4
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 National Artist for Theater (1997)
(January 22, 1910 – April 28, 1995)

Wilfrido Ma. Guerrero is a teacher

and theater artist whose 35 years of devoted
professorship has produced the most sterling
luminaries in Philippine performing arts
today: Behn Cervantes, Celia Diaz-Laurel, Joy
Virata, Joonee Gamboa, etc. In 1947, he was
appointed as UP Dramatic Club director and
served
for 16 years. As founder and artistic director
of the UP Mobile Theater, he pioneered the
concept of theater campus tour and delivered
no less than 2,500 performances in a span of
19 committed years of service. By bringing
theatre to the countryside, Guerrero made it
possible for students and audiences, in
general, to experience the basic grammar of
staging and acting in familiar and friendly
ways through his plays that humorously
reflect the behavior of the Filipino. His plays
include Half an Hour in a Convent,
Wanted: A Chaperon, Forever,
Condemned, Perhaps, In Unity, Deep in
My Heart, Three Rats, Our Strange Ways,
The Forsaken House, Frustrations.

HONORATA “ATANG” DELA RAMA

National Artist for Theater and Music
(1987) (January 11, 1902 – July 11,
1991)
Honorata “Atang” Dela Rama was
formally honored as the Queen of Kundiman
in 1979, then already 74 years old singing the
same song (―Nabasag na Banga‖) that she
sang as a 15-year old girl in the sarsuela’s
Dalagang Bukid. Atang became the very
first actress in the very first locally produced
Filipino film when she essayed the same role
in the Sarsuela’s film version. As early as age
seven, Atang was already being cast in
Spanish zarzuelas such as Mascota, Sueño
de un Vals, and Marina. She counts the role
though of an orphan in Pangarap ni Rosa as
her most rewarding and satisfying role that
she played with realism, the stage sparkling
with silver coins tossed by a teary-eyed
audience. Atang passionately believes that
the Sarsuela and the kundiman expresses
best the Filipino soul, and even performed
kundiman and other Filipino songs for the
Aetas or Negritos of Zambales and the Sierra
Madre, the Bagobos of Davao and other
Lumad of Mindanao.

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