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SH1721

Contemporary Arts in the Philippines 2


I. Traditional Folk Arts
A. Folk Architecture
These are simple structures built of local materials and
available tools to provide shelter for its inhabitants.
1. Bahay Kubo or Nipa Hut
Also known as kamalig, it serves as an icon to
Filipino lowland and rural culture. It is a stilt house
with walls usually made up of bamboo rods and
bamboo mats or sawali, and a thatched roof made up
of anahaw or nipa. Source: http://house-garden.eu/house-pictures/Pictures-of-native-houses-in-the-
philippines.html

3. Ivatan House in Batanes


Most of the Ivatan houses are built with
limestone walls, and cogon roofs, strong enough to
withstand the typhoons and earthquakes that visit the
province. It has narrow doors and windows with
wooden shutters and often secured by wooden bars.

Source: https://www.pinterest.com/pin/405886985138172193/

2. Bale or Ifugao House


It is a one-room house with an attic for storage.
Located at the contour of the rice terraces, the
exterior of the house looks like a pyramid resting on
four posts, while the interior is enclosed by slanting
walls and ceiling that appears to be spherical that are
formed by the loft.
Source: http://lagalag.ph/batanes/

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4. Torogan or Maranao House corals.


Literally means “a place for sleeping,” torogan is
a stately house for the elite members of the Maranao
tribe in Mindanao. As the house of the datu or sultan,
it is a symbol of status and leadership. It also serves
as a courthouse, hall for community meetings, and its
courtyard as ritual areas for weddings.

Source: http://www.gettyimages.com/detail/news-photo/bajaus-houseboat-near-stilt-
houses-news-photo/526990674#bajaus-houseboat-near-stilt-houses-picture-id526990674

B. Maritime Transports
These are simple marine vessels made for the
transport of goods and people by sea and other
waterways in the surrounding regions.
Source: http://historyofarchitecture.weebly.com/islamic1.html 1. Wooden Banca
The outrigger canoe is a small wooden boat used
5. Badjao’s Stilt Houses and Houseboats for transport in daily activities by people near the
Badjao, the sea gypsies of the Philippines, cruise coast. It is sometimes highly decorated.
along the islands of Sulu. Their unique ecological
setting and fishing economy compel the Badjao to
adjust to the limited space of their lepa or floating
homes. Strong platforms are made on both ends of
the boat for the fish, kitchen utensils and fishing
gadgets with the kitchen area usually found at the
back.
There are also Badjaos who prefer to live in stilt
houses built out of driftwood and debris from the
coastal cities around Southeast Asia. Its foundations
are carefully placed in between coastal rocks and Source: http://www.travelphil.com/internet_eng/fotos/fotos_boracay.html

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2. Vinta when mixed with abaca it is called “piña jusi.”


It is a traditional boat made by Sama-Bajau
(Badjao) and Moros living in the Sulu Archipelago,
Zamboanga peninsula, and southern Mindanao. The
assorted vertical colors in its sail represent the
colorful culture of the Muslim community. These
boats are used for inter-island transport of people and
goods.

Source: http://www.ecossar.com/

2. T’nalak woven cloth


Woven by the T’boli women of Lake Sebu, South
Cotabato, Mindanao, it represents the tribe’s culture
and tradition. According to them, the unique designs
and patterns on the cloth are bestowed upon them
through dreams.
Source: https://plus.google.com/105581836857351130722/posts/CK1Bb1aY4Wm

C. Weaving, Textile making, and Fabric Art


Early Filipinos weaved using fibers from abaca,
cotton, pineapple and, bark. Before the final garment or
fabric is produced, the fibers were first knotted, boiled,
dyed, and dried and weaved using hands and a wooden
platform. This tedious process spans from a week up to
months.
1. Piña fabric
Piña weaving is the oldest industry of Aklan.
Piña cloth is soft and looks delicate but it is durable
and long-lasting. It is often used to our national
costumes, the baro’t saya and barong. If the piña
fiber is blended with silk, it is called “piña silk” and Source: http://www.ffwn.org/epahayagan/1359085

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3. Tingkep baskets
It serves both practical and spiritual purposes in
the Pala’wan community life. It is used as a storage
container for rice, salt, and personal belongings. It is
also used to house the powerful female spirit Linamin
et Kundu during a healing ritual called Kundu. It is
handcrafted by the women from fine bamboo strips
and made in natural colors.

Source: http://www.rmp-nmr.org/campaigns/2013/09/22/support-indigenous-women-
weavers

5. Yakan-weaved cloth
Made by the Yakan tribe from Basilan, it features
elaborate geometric designs and patterns that are
inspired by nature. The fabrics produced by the
weavers are used for religious and ritual purposes,
bartered for daily necessities, given as gifts, and used
for peace offerings in times of conflict.
Source: http://www.cmcrafts.org/likhang-palawan

4. Hinabol
Weaving is a happy activity for the Higaonon
hinabol weavers of Bukidnon. Their ancestors have
used abaca as a raw material for their clothing,
footwear, blankets, and for their fishing gear.
The production of textile was considered to be
sacred to the tribe. The cloth reflects the moods and
feelings of the weaver. It is woven as offering to the
spirits and also given as a gift, as a dowry, and is used
to bring peace during tribal conflicts.
Source: http://zamboangasfinest.blogspot.com/2013/01/yakan-village-weaving-
association.html

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6. The Tapis of the Kalinga Tribe


For them, weaving is a sacred tradition passed on
from mother to daughter. The tapis is a costume
indigenous to the Kalinga and Apayao. It is a
rectangular cloth woman wear as a wraparound skirt.
The garment was woven using a backstrap loom and
was embroidered with nature-inspired patterns.
Source:
http://www.newsflash.org/2004/02/be/be004601.htm
http://www.gmanetwork.com/news/news/photo/57800/stone-carving-in-maragondon-cavite/photo/

E. Performing Art
These may be folk dances and music which are
developed by an individual or groups of people that
reflect their traditions and culture.

Source: http://www.actaonline.org/blog_tags/1095

D. Carving
From the northern part of the country down to the
south, there is always a wood carving province that will
amaze us. One of those is Paete in Laguna, the
woodcarving capital of the Philippines. Wood is the
common material that is widely used in the country.
Other materials such as stone and metals such as silver
and bronze are used in regions where there is an
abundance of the mineral.
Source: https://www.flickr.com/photos/18228804@N00/3280535377

F. Literature
It refers to the traditional oral literature of various
ethnic groups of the country. It includes the story of
“Malakas at Maganda” and epics such as “Hudhud ni
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Aliguyon,” “Darangan,” and the likes. 1. Manunggul Jar


It is a secondary burial jar found in the early
G. Graphic and Plastic Arts 1960’s in Manunggul Cave, Lippun Point, Palawan.
Graphic arts are mainly two-dimensional (2D), like The upper portion of the jar is incised with
sketching, painting, photography, and calligraphy. curvilinear scroll designs and painted with natural
Plastic arts include sculpture or ceramics which have iron or hematite. On top of the lid is a boat with two
three dimensions (3D). human figures representing two souls on a voyage to
the afterlife. The boatman is seated behind a figure
H. Ornament whose hands are crossed on the chest. The position
It is used to embellish parts of a building or object. of the hands is a traditional Filipino practice
The Ifugaos have carved Anito figures or Bulul which observed when arranging the corpse.
represent their ancestral spirit and granary gods. The
bulul is placed in the rice granaries to guard their harvest.
On the other hand, the Kapampangans are famous in
their parol, an iconic symbol of the Filipino Christmas.

Source: http://sining101.weebly.com/aralin-2.html

Sources:
2. Maitum Anthropomorphic Potteries
http://wowbatangas.com/wp-content/uploads/2012/11/?C=M;O=A Earthenware pots resembling human figures
http://www.metmuseum.org/art/collection/search/626371
I. Pottery were found in Ayub Cave in Pinol, Maitum,
Native Filipinos created pottery since 3500 years Saranggani Province. The pots were dated to the
ago. These potteries serve as a secondary burial jars to Metal Age (5 BC – 225 AD) and were used for
hold the deceased. Some of these were decorated with secondary burial. There were 29 jars discovered and
anthropomorphic designs. each of head-shaped covers portrays different kinds
of expressions: sadness, joy, contentment. The heads
were either plain or coated with red or black paints.
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Some have earrings, others are tattooed. Some covers traditional folk artists and to see to it that their skills and
depict teeth while others have arms, female breasts, crafts are preserved. The award is tied to a program that
and male genitalia. ensures the transfer of their skills to new generations and the
promotion of the craft both locally and internationally.

A. Categories
The Award shall be given in each, but not limited to
the following categories of traditional folk arts, namely:
folk architecture, maritime transport, weaving, carving,
performing arts, literature, graphic and plastic arts,
ornament, textile or fiber art, pottery and other artistic
expressions of traditional culture. Consideration shall be
given to geographical distribution and balance of artistic
categories.

B. Criteria for Selection (Source: ncca.gov.ph, 2015)


To become a “Manlilikha ng Bayan,” the candidate
Source: http://masterpieces.asemus.museum/masterpiece/detail.nhn?objectId=12399 must possess the following qualifications:
II. Gawad sa Manlilikha ng Bayan (GAMABA) or National 1. He/she is an inhabitant of an
Living Treasures Awards indigenous/traditional cultural community
Institutionalized through R.A. No. 7355, GAMABA is anywhere in the Philippines that has preserved
awarded to a citizen engaged in any traditional art uniquely indigenous customs, beliefs, rituals and,
Filipino whose distinctive skills reached such a high level of traditions and/or has syncretized whatever
technical and artistic excellence and have been passed on to external elements that have influenced it.
and widely practiced by the present generation in his/her 2. He/she must have engaged in a folk art tradition
community with the same degree of technical and artistic that has been in existence and documented for at
competence. The National Commission for Culture and the least 50 years.
Arts (NCCA) was tasked with the administration and 3. He/she must have consistently performed or
implementation of the award. The NCCA, through the produced over a significant period, works of
Gawad sa Manlilikha ng Bayan Committee, and an Ad Hoc superior and distinctive quality.
Panel of Experts. 4. He/she must possess a mastery of tools and
The main objective of the award is to honor and support materials needed by the art, and must have an
established reputation in the art as master and
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maker of works of extraordinary technical National Artists and funeral assistance/tribute fit
quality. for a National Living Treasure.
5. He/she must have passed on and/or will pass on 2. The NCCA has also formulated “Guidelines on
to other members of the community their skills in Inviting a GAMABA Awardee” which states the
the folk art for which the community is honorarium and other benefits that an awardee
traditionally known. should receive whenever he/she is invited to a
A traditional artist who possesses all the qualities of private event.
a Manlilikha ng Bayan candidate, but due to age or 3. Befitting their national status, the presence of
infirmity has left him/her incapable of teaching further Gawad sa Manlilikha ng Bayan Awardees are
his/her craft, may still be recognized if: required in the events under the institutional
1. He/she had created a significant body of works programs and projects of the NCCA such as the
and/or has consistently displayed excellence in Philippine National Arts Month, the National
the practice of his/her art, thus achieving Heritage Month, and other important national
important contributions for its development. and regional cultural celebrations and similar
2. He/she has been instrumental in the revitalization future events.
of his/her community’s artistic tradition.
3. He/she has passed on to the other members of the D. Manlilikha ng Bayan Awardees
community skills in the folk art for which the (Source: ncca.gov.ph, 2015)
community is traditionally known. 1. Ginaw Bilog (1993)
4. His/her community has recognized him/her as Poet, Hanunuo Mangyan
master and teacher of his/her craft. Panaytayan, Oriental Mindoro
Ginaw Bilog contributed in the preservation
C. Honors and Privileges and promotion of ambahan – a poetic literary
1. An awardee receives a specially designed gold form composed of seven-syllable lines used to
medallion, an initial grant of P100,000 and a convey messages through metaphors and images.
P10,000 monthly stipend for life but according to
R.A. No. 7355 “the monetary grant may be 2. Masino Intaray (1993)
increased whenever circumstances so warrant.” Musician and Storyteller, Pala’wan
The NCCA board approved an additional Brookes Point, Palawan
monthly personal allowance of P14,000 for the Masino Intaray is a productive and leading
awardees as well as a maximum cumulative epic chanter and storyteller recognized for his
amount of P750,000 medical and hospitalization outstanding mastery of the musical instruments
benefits annually similar to that received by the basal, kulilal, and bagit.
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He has the creative memory, endurance, one special for the stories it tells. Using red and
clarity of intellect and spiritual purpose that black dyes, she spins her stories with grace. Her
enable him to chant all through the night, for textiles reflect the wisdom and the visions of her
successive nights, countless tultul (epics), people.
sudsungit (narratives), and tuturan (myths of Ironically modern designs get a better price
origin and teachings of ancestors). than the traditional ones. Despite this, and the
fact that those modern designs are easier to
3. Samaon Sulaiman (1993) weave, Lang persists in doing things the old, if
Musician, Maguindanao harder, way, to give voice, in effect, to the songs
Mamasapano, Maguindanao that were her elders’ before her. Her textiles are
Samaon Sulaiman learned to play the kutyapi judged excellent because of the “fine even
from his uncle when he was about 13 years old. quality of the yarn, the close interweaving of the
At 35, he becomes the most acclaimed kutyapi warp and weft, the precision in the forms and
master and teacher of his instrument in Libutan patterns, the chromatic integrity of the dye, and
and other barangays of Maganoy town, deeply the consistency of the finish.”
influencing the other acknowledged experts in
kutyapi in the area, such as Esmael Ahmad, Bitul 5. Salinta Monon (1998)
Sulaiman, Nguda Latip, Ali Ahmad and Tukal Textile Weaver, Tagabawa Bagobo
Nanalon. Bansalan, Davao del Sur
Aside from kutyapi, Samaon is also proficient As young as 12 years old, Salinta Monon
in kulintang, agong (suspended bossed gong with presented herself to her mother, to be taught how
wide rim), gandingan (bossed gong with narrow to weave herself. Her ardent desire to excel in the
rim), palendag (lip-valley flute), and tambul. art of her ancestors enabled her to learn quickly.
Samaon was a popular barber in his She developed a keen eye for the traditional
community and serve as an Imam in the Libutan designs, and now, at the age of 65, she can
mosque. identify the design as well as the author of a
woven piece just by a glance.
4. Lang Dulay (1998) She has built a solid reputation for the quality
Textile Weaver, T’boli of her work and the intricacies of her designs.
Lake Sebu, South Cotabato There is a continuing demand for her fabrics.
Lang Dulay knows a hundred designs,
including the bulinglangit (clouds), the bankiring
(hair bangs), and the kabangi (butterfly), each
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6. Alonzo Saclag (2000) 7. Federico Caballero (2000)


Musician and Dancer, Kalinga Epic Chanter, Sulod-Bukidnon
Lubugan, Kalinga Calinog, Iloilo
Alonzo Saclag is a Kalinga master of dance Federico ceaselessly works for the
and the performing arts whose mission is to documentation of the oral literature particularly
create and nurture a greater consciousness and the epics Labaw Dunggon, and Humadapnon. He
appreciation of Kalinga culture among the tribe works with the Bureau of Nonformal Education,
and beyond their borders. traveling from barangay to barangay, trying to
He received no instruction, formal or convince the older folk of the necessity and
otherwise, in the performing arts. Yet he has benefits of learning to read and write. He is
mastered the Kalinga musical instruments and considered as a bantugan, a person who has
dance patterns. He intends to pass his skill to attained distinction and he strives to dispense
other members of the community, particularly justice in the community through his work as a
the younger generation. Much of his energy is manughusay – an arbiter of conflicts.
channeled towards different preservation efforts.
He has for years urged the members of his 8. Uwang Ahadas (2000)
community to preserve their artifacts and Musician, Yakan
archaeological sites. While the unwritten laws Lamitan, Basilan
and epics chronicle their victories as a people, Uwang Ahadas is a talented musician from
their artifacts afford us a glimpse into their day- the Yakan tribe of Basilan. Instrumental music is
to-day existence. One such artifact is the Kalinga significant to the Yakan because it is connected
gong or the gangsa, the making of which is a both in their agricultural and social realm. He is
disappearing trade. He has endeavored to revive a hands-on teacher to interested individuals who
this dying craft. And to hold these and other wants to learn kwintangan, kayu, and tuntungan.
treasures, he lobbied for two years with the
provincial government to grant funds to convert 9. Darhata Sawabi (2004)
the abandoned Capitol Building into a museum. Textile Weaver, Tausug
His persistence was finally rewarded when, with Parang, Sulu
support from the provincial government and Darhata Sawabi is a Tausug weaver of pis
other patrons, the Lubuagan branch of the syabit – the traditional cloth tapestry worn as a
National Museum was established. head cover.
Sawabi remains faithful to the art of pis syabit
weaving. Her strokes are firm and sure, her color
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sensitivity acute, and her dedication to the quality 11. Haja Amina Appi (2004)
of her products unwavering. She recognizes the Mat Weaver, Sama
need for her to remain in the community and Tandubas, Tawi-Tawi
continue with her mission to teach the art of pis She is recognized as a master mat weaver
syabit weaving. She had, after all, already been among the Sama indigenous community for her
teaching the young women of Parang how to unique designs, straightness of her edging or
make a living from their woven fabrics. Some of tabig, and fineness of her sasa, and kima-kima.
her students are already teachers themselves. She The whole process, from harvesting to
looks forward to sharing the tradition of pis stripping down the pandan leaves to the actual
syabit weaving to the younger generations execution of design, is exclusive to women. It is
(Tobias, 2014). a long and tedious process which requires
patience, stamina, eye for detail, unerring color
10. Eduardo Mutuc (2004) instinct, and a genius for applied mathematics.
Metalsmith, Kapampangan
Apalit, Pampanga 12. Teofilo Garcia (2012)
He is an artist who has dedicated his life to Casque Maker, Ilocano
creating religious and secular art in silver, San Quintin, Abra
bronze, and wood. His intricately detailed A master artisan of gourd casques or
retablos, mirrors, altars, and carosas are in kattukong - an all-weather traditional headgear
churches and private collections. made of tabungaw or gourd. Teofilo takes pride
According to him, craftsmanship begins with on his works by wearing it always. He is a
respect for one’s tools and the medium. The first complete craftsman who executes all the phases
thing he teaches his students is how to hold the of his craft production from the planting of his
chisel and hammer properly to promote ease of raw materials to the finishing of the
use and prevent fatigue and mistakes because of manufactured form. He makes his indigenous
improper handling. He also cautions against tools.
working with an eye towards easy money. The His kattukong exhibits the finest
only way to improve one’s skills, he says, is to workmanship. The outer nito weave on the edges
immerse oneself, learn the technique, and to as well as the inner lining of the casque is highly
practice. Only in perfecting one’s craft can there refined and excellently crafted. The designs he
be real reward (Tobias, 2014). uses show mastery of traditional form and his
ability to creatively innovate from within the
tradition.
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13. Magdalena Gamayo (2012)


Textile Weaver, Ilocano
Pinili, Ilocos Norte
A weaver of inabel, an Ilocano woven cloth,
she exhibits her mastery and exceptional skill by
producing abel which is finer than the others. Her
blankets have a very high thread count and her
designs are the most intricate and can sometimes
take up to five (5) colors.

References:
Anthropomorphic Pots. (2014). Retrieved on July 31, 2017 from
http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/
Pots.html.
Briefer: Gawad sa Manlilikha ng Bayan. (n.d.). Retrieved on August 2, 2017 from
http://www.officialgazette.gov.ph/briefer-gawad-sa-manlilikha-ng-bayan/.
Manunggul Jar. (2014) Retrieved on July 31, 2016 from
http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/
Manunggul.html.
National Living Treasures Guidelines (2015). Retrieved from
http://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-
living-treasures-guidelines/ on July 25, 2017
Jacobson, J. (2015). 5 Architectural Secrets of the Badjao: 21st Century Sea People.
Retrieved on July 26, 2017 from http://www.archdaily.com/638523/5-
architectural-secrets-of-the-badjao-21st-century-sea-people.
Panisan, W., Gazzingan, L., Samar, G., & Boongaling, C (2017). Contemporary
Philippine Arts from the Regions.Malabon: Mutya Publishing House, Inc.
Piccio, B. (2016). Aklan’s Piña Fabric: The Queen of Philippine Textiles. Retrieved
from http://www.choosephilippines.com/specials/products/3943/aklans-pinya-
cloth-jusi on July 27, 2017.
Perez, A. (2016). Philippine Contemporary Arts. Quezon City: Brilliant Creations
Publishing Inc.
Ramirez, V. (2016). Contemporary Philippine Arts from the Regions. Quezon City:
Vibal Group Inc.
Traditional Filipino Houses (2016). Retrieved on July 26, 2017 from
http://wanderingbakya.com/traditional-filipino-houses/
Typology of Traditional Ivatan Culture and Architecture. (n.d.). Retrieved on July 26,
2017 from http://www.batanes.gov.ph/traditional-ivan-shelter/.

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