The GAMABA Artists
Ginaw Bilog
Manlilikha ng Bayan Ginaw Bilog was recognized for the preservation of the surat Mangyan, or Mangyan script, and the ambahan, a metaphoric poem with seven-syllable lines etched on bamboo tubes used in conveying messages among the Hanunuo Mangyan of southern Mindoro. The ambahan is recited during social gatherings and accompanied by musical instruments such as guitars, fiddles, flutes, and Jewish harps. According to Ginaw Bilog, ambahan is the key to the Mangysoul,oul and this was his motivation to continue keeping its scores that were both written on bamboo nodes and in his notebook for this purpose. One of the four remaining syllabic scripts in the country, the surat Mangyan, is instrumental in perpetuating the use of ambahan. The Philippine syllabic scripts were declared a National Cultural Treasure in 1997 by the National Museum of the Philippines and officially inscribed in the UNESCO Memory of the World Register in 1999.
January 3, 1953 - June 3, 2003
Origin: Panaytayan, Oriental Mindoro
Ethnicity: Hanunuo Mangyan
Occupation: Poet
Ambahan by Ginow Bilog
Masino Intaray
Masino Intaray, a Palawan native, was a master musician and storyteller who played a vital role in preserving the artistic heritage of his people. His expertise spanned various instruments like the basal (gongs), played music reflecting nature (bagit), and even vocal traditions like kulilal (lyrical poems). But his influence went beyond music. Intaray was also a repository of oral traditions, reciting epics (tultul), narratives (sudsungit), and ancestral myths (tuturan) for extended periods. This deep well of knowledge and his connection to nature earned him the prestigious Gawad sa Manlilikha ng Bayan award in 1993. Though he is no longer here, his dedication to his community and the Filipino culture continues to inspire.
April 10, 1943 - November 30, 2013
Origin: Brookes Point, Palawan
Occupation: Musician, Storyteller
Basal of Masino Intaray
Masino Intaray Playing an Insturment
Samaon Sulaiman
Samaon Sulaiman, a musician from the Magindanao tribe, became exceptionally skilled in playing the kutyapi. The kutyapi, a type of musical instrument with two strings that are plucked, is considered one of the most challenging instruments to master in Filipino music. In Magindanao culture, the kutyapi is particularly tough to learn, which is why many young people aren't interested in it. Despite this lack of interest, Sulaiman mastered its difficult techniques and different playing styles such as dinaladay, linapu, and binalig. His remarkable skill made him known as the best kutyapi player in Libutan and nearby areas. He also influenced other respected kutyapi players in the region, like Esmael Ahmad, Bitul Sulaiman, Nguda Latip, Ali Ahmad, and Tukal Nanalon. Sulaiman's dedication ensured that the music and traditions of playing the kutyapi continued within the Magindanaon community.
March 3, 1953 - May 21, 2011
Origin: Mamasapano, Maguindanao
Ethnicity: Magindanaon
Occupation: Musician
Kutyapi of Samaon Sulaiman
Samaon Sulaiman Playing a Kudyapi
Lang Dulay
"dreamweaver”
Lang Dulay, a master T'boli weaver, meticulously preserves her people's heritage through intricate t'nalak weaving. Using fine abaca fibers, she creates designs reflecting the natural beauty of Lake Sebu. Despite the laborious nature of t'nalak weaving, Lang Dulay persists, knowing a hundred unique designs passed down through generations. She refuses to compromise on traditional techniques, even as commercialization threatens indigenous practices. Her commitment to preserving the integrity of T'boli designs earns her recognition as an excellent weaver. She was only 12 when she first learned how to weave. Through the years, she has dreamed that, someday she could pass on her talent and skills to the young in her community. Observing sacred taboos, she upholds the purity of her art. Lang Dulay's contributions not only safeguard T'boli traditions but also inspire future generations to cherish and perpetuate their cultural heritage.
August 3, 1928 - April 30, 2015
Origin: Lake Sebu, South Cotabato
Ethnicity: T’Boli
Occupation: Textile Weaver
T'nalak Weaving by Lang Dulay
Salinta Monon
A Tagabawa Bagobo weaver, she has dedicated her life to preserving her community's traditional textiles. From a young age, she learned the craft from her mother and quickly developed expertise. Despite facing challenges such as managing a farm and raising six children alone after her husband's passing, Salinta continued weaving, relying on it for income and pride. She is a revered Manlilikha ng Bayan (National Living Treasure) and has gained acclaim for her exceptional woven textiles, particularly her intricate "binuwaya" (crocodile) design. Her keen eye allowed her to recognize weaving styles and weavers instantly. Awarded the Gawad sa Manlilikha ng Bayan in 1998, she was driven to preserve this cultural heritage, founding the School of Living Tradition in Bansalan, Davao del Sur. Her dedication was further honored in 2021 by former President Rodrigo Duterte, who declared a centennial year in her honor. Despite the threat to the tradition of Bagobo "inabal" weaving, her legacy endures, with her work showcased in national museums and her backstrap loom featured in exhibitions. Salinta Monon's commitment to her craft continues to inspire, ensuring the preservation and appreciation of indigenous weaving traditions for future generations.
December 12, 1920 - June 4, 2009
Origin: Bansalan, Davao del Sur
Ethnicity: Tagabawa Bagobo
Occupation: Textile Weaver
Inabal by Salinta Monon
Alonzo Saclag
Alonzo Saclag, recognized as a Manlilikha ng Bayan for his expertise in Kalinga dance and performing arts. He is an expert at playing different musical instruments of the Cordillera in Northern Luzon. such as the gangsa (flat gongs) and tongali (four-holed nose flute), has mastered traditions, and has dedicated his life to promoting and preserving his culture. Despite historical misrepresentations and challenges faced by the Kalinga people, Saclag strives to raise awareness and appreciation for their heritage. His passion for Kalinga traditions fuels his efforts to educate younger generations and safeguard cultural practices. Saclag advocates for the preservation of artifacts, the revival of disappearing crafts like gong-making, and the establishment of museums to showcase Kalinga artistry. Through initiatives like the Kalinga Budong Dance Troupe and school engagements, he ensures the transmission of traditional knowledge to future generations. He is instrumental in establishing the practice of children wearing traditional Kalinga clothing for important school events as well as the teaching of Kalinga folk songs in school. Despite obstacles and skepticism, Saclag remains steadfast, driven by his vision of establishing a vibrant Kalinga village and cultural center. His unwavering commitment inspires others to embrace and celebrate their indigenous identity, ensuring the enduring legacy of Kalinga culture for generations to come.
Born: August 14, 1942
Origin: Lubuagan, Kalinga
Ethnicity: Tagabawa Bagobo
Occupation: Musician and Dancer
Alonzo Saclag Playing Tongali
Alonzo Saclag Introducing His Craft
Federico Caballero “Nong Pedring”
Federico Caballero, hailing from Central Panay, plays a pivotal role in safeguarding his people's oral literature, notably their epics. His fascination with these tales dates back to childhood, when enchanting chants from his mother and great-great-grandmother sparked his passion. Eager to learn, he bartered tasks for storytelling sessions, mastering all ten epics and other oral traditions. One of his works, Tikum Kadlum, black dog when translated to English, is an epic about the hunting escapade of Datu Paiburong, the cutting of the priced ‘buriraw nga kawayan’ (a yellow-colored variety of bamboo), the hefty payment demanded by the man-eating monster, and Makabagting, from Datu Paiburong for the crashing of his burgsak (golden bell). Collaborating with researchers, Caballero diligently documented these narratives, advocating for indigenous education and literacy among elders to ensure cultural preservation. Despite familial disapproval and community apathy towards their heritage, he persists, even serving as "manughusay," or an arbiter of conflicts, who helps in resolving disputes at the local level. He believes that this practice prevents people from being alienated from each other and preserves the social fabric of their community. Caballero's endeavors have not only enlightened scholars but also instilled pride in his family's ancestry, marking a significant triumph in his mission to protect his people's cultural legacy.
December 25, 1938 - Present
Origin: Panay, Bukidnon
Ethnicity: Sulod-Bukidnon
Occupation: Epic Chanter
Tikum Kadlum by Federico Caballero
Uwang Ahadas
Manlilikha ng Bayan Uwang Ahadas is gifted with a talent for music and he learned his craft through observation of Yakan elder community members. His expertise spans various instruments like the agung, gabbang, and kwintangan kayu, traditionally associated with specific genders but mastered by him regardless. Awarded the Gawad sa Manlilikha ng Bayan (GAMABA) in 2000, he is recognized for preserving Yakan's musical heritage. Uwang Ahadas imparts his knowledge to his children and younger community members, ensuring the continuity of Yakan music. The construction of a dedicated GAMABA Cultural Center highlights the efforts by the National Commission for Culture and the Arts (NCCA) to conserve Yakan culture.
February 15, 1945 - October 29, 2022
Origin: Lamitan, Basilan
Ethnicity: Yakan
Occupation: Musician
Uwang Ahadas Playing an Instrument
Teofilo Garcia
Teofilo Garcia was renowned as the last Tabungaw hat maker, crafting traditional headgear from the bottle gourd, known locally as "Tabungaw" or "Upo." He learned the art of Kattukong or Tabungaw hat making from his grandfather at the age of 15 and dedicated most of his life to this craft while working as a farmer to support his family. He spent days meticulously crafting each hat, utilizing only simple hand tools he designed himself. Despite his humble background, Teofilo's expertise garnered him invitations to give talks and demonstrations both locally and abroad.Beyond his craftsmanship, Teofilo exhibited a commitment to passing down his knowledge, opening his home to showcase his creations and teaching local schoolchildren the art of Tabungaw making. His innovative designs, inspired by his travels and rooted in traditional patterns learned in his youth, reflect his continuous dedication to his craft and his community.
March 27, 1941 - Present
Origin - San Quintin, Abra
Ethnicity - Ilocano
Occupation - Farmer and Hatter
Tabungaw by Teofilo Garcia
Estelita Bantilan
Estelita, formerly known as Labnai Tumndan, is a master mat weaver from the montane hamlet of Mlasang in the Mindanao provinces of Sarangani and South Cotabato, Philippines. Born 72 years ago, Estelita’s craftsmanship in mat weaving earned her the nickname “Princess” among her community. She learned the art of weaving from a young age and continued despite transitioning to a foreign faith after marrying. Estelita’s dedication to mat weaving, even amid domestic and farming responsibilities, resulted in the creation of intricately beautiful mats that reflect her personal aesthetic cultivated over half a century. Her precise handiwork and mathematical precision are evident in her weaving technique, using strips of pandanus romblon with deft fingers and a rhythmic beat guided by her eyes.
October 17, 1940 - Present
Origin - Malapatan, Sarangani
Ethnicity - B’laan
Occupation - Mat Weaver
Weaving Inspired by Estelita Banatin
Haja Amina Appi
Haja Amina Appi of Tawi-Tawi is celebrated as the master mat weaver among the Sama indigenous community. Renowned for her colorful mats adorned with intricate geometric patterns, she demonstrates exceptional skill in design, proportion, and color sensitivity. Using a meticulous process passed down through generations of women, she harvests wild pandan leaves, strips them, dyes them with vibrant colors, and weaves them into complex designs. Despite the traditional techniques, she incorporates modern elements, experimenting with commercial dyes and developing her own hues to achieve her desired palette.Her artistry extends beyond technique; she possesses a remarkable ability to visualize and execute intricate designs with precision and symmetry. Respected throughout her community, she shares her expertise generously, inspiring her female descendants to carry on the tradition.
June 25, 1925 - April 2, 2013
Origin - Tandubas, Tawi-Tawi
Ethnicity - Sama
Occupation - Mat Weaver
Woven Mat by Haja Amina Appi
Magdalena Gamayo
Magdalena Gamayo, a Gawad sa Manlilikha ng Bayan awardee, is a master weaver from Ilocos Norte, Philippines, known for her exceptional skill in crafting abel blankets. Despite the challenges of sourcing quality cotton threads and the labor-intensive nature of the craft, Magdalena's dedication to weaving has resulted in finely crafted textiles that exhibit intricate designs and impeccable craftsmanship. She meticulously arranges threads on her loom, ensuring precise tension and alignment to create uniform patterns. With decades of experience passed down through generations, Magdalena continues to preserve and teach traditional weaving techniques to her students, maintaining the rich cultural heritage of abel weaving in her community. Her handiworks, characterized by high thread count, intricate designs, and delicate patterns, stand as a testament to the enduring beauty and artistry of handmade textiles, unmatched by machine-made products.
August 13, 1924 - Present
Origin - Ilocos Norte
Ethnicity - Ilocano
Occupation - Textile Weaver
Blanket by Magdalena Gamayo
Ambalang Ausalin
Ambalang Ausalin is revered for her exceptional skill in creating intricate textiles that embody the rich cultural heritage of the Yakan people. Known as "Apuh Ambalang" by her community, she has mastered all categories of Yakan weaving, including bunga sama, sinalu’an, and seputangan. Ambalang's expertise lies in her ability to execute complex techniques such as suwah bekkat and suwah pendan, as well as her intricate designs featuring floral motifs, diamond twill patterns, and geometric shapes. Using the back strap tension loom, Ambalang meticulously weaves each textile, paying careful attention to detail and tension to ensure the quality of the finished product. She utilizes specialized tools such as the sud dendam comb to create embossed designs and selects threads with precision to achieve the desired colors and patterns. Ambalang's artistry extends beyond technical skill; her designs are imbued with cultural significance, with motifs representing rice grains, wealth, and nature.
March 4, 1943 - February 18, 2022
Origin - Basilan
Ethnicity - Yakan
Occupation - Textile Weaver
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Ambalang Ausalin's weaves
Eduardo Mutuc
Eduardo Mutuc also known as “Tatang Eddie '' is a Filipino artist, specializes in creating religious and secular art in silver, bronze, and wood. Despite humble surroundings, his studio produces intricate retablos, altars, and carosas for churches and private collections, ranging from small pieces to massive installations exceeding forty feet. Mutuc’s journey into sculpture and metalwork began at 29 as a woodcarving apprentice, driven by economic necessity. Over time, he mastered silver plating, refining his craft and establishing his own studio. Inspired by traditional religious designs, Mutuc infuses his own creativity into each piece, whether commissioned or secular. His process involves meticulous planning, detailed drawing, and expert metalwork techniques, resulting in finely crafted artworks that add character and splendor to their surroundings. Mutuc emphasizes the importance of craftsmanship, teaching his students to respect their tools and medium while prioritizing skill development over easy monetary gain.
Born - October 12, 1949 - August 10, 2018
Origin - Apalit, Pampanga
Ethnicity - Kapampangan
Occupation - Metalsmith and Sculptor
Eduardo Mutuc's Metal Decorated Crucifix
Fu Yabing Masalon Dulo
Fu Yabing of Sitio Amgu-o, Polomolok, South Cotabato, started weaving at the age of 14 and was a teacher and cultural elder. She preserved the Blaan traditional ‘mabal tabih’ art of ikat weaving and dyeing. Her exemplary oeuvre brought pride to her community, animating the interest of many young Blaan in their remarkable cultural heritage.
Ikat is one of the oldest textiles in the world. The term ‘ikat’ refers to the dyeing technique used to create the designs on the fabric. ‘Mabal tabih’ or ikat weaving is an almost extinct form of art in the Philippines. ‘Mabal’ is a Blaan term for the weaving process using abaca fibers while ‘tabih’ refers to the finished handwoven cloth and also the traditional Blaan tubular skirt. The mabal tabih can be used to decorate interiors or be fashioned into ‘albung ansif,’ an embroidered blouse, or ‘dafeng,’ a malong or tubular skirt.
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Yabing dedicated her life to teaching people about the craft. She was recognized by the national government for her commitment to the safeguarding and promotion of the indigenous craft, thus she was among three traditional weavers from Mindanao who were declared as “Living National Treasures” and conferred with the Gawad sa Manlilikha ng Bayan im 2016.
Born - August 8, 1914
Origin - Polomok, South Cotabato
Ethnicity - B’laan
Occupation - Textile Weaver and Dyer
Fu Yabing Masalon Dulo's weave
Darhata Sawabi
Darhata Sawabi of Barangay Parang, Jolo, Sulu, was awarded the Gawad Manlilikha ng Bayan in 2005 for her dedication to preserving the art of weaving "pis syabit" through her continuous creation and teaching to younger Tausug individuals. The pissyabit is the traditional cloth tapestry worn as a head covering by the Tausug of Jolo, woven by women and passed down to their daughters.
Weaving the pis syabit is a challenging task, taking three days just to prepare the frame of the tapestry by threading black and red threads onto a frame made of banana and bamboo. Sawabi's creations, measuring 39 x 40 inches, take three months to weave. Despite the mechanical challenges, Sawabi's expertise in blending various colors, meticulous weaving, and fidelity to traditional designs set her work apart, commanding a higher price compared to others.
Facing displacement twice during the 1970s conflict, Sawabi supported her family by weaving, selling her pieces to combatants passing through their village. She also opened her life and home to teach weaving to women in her community.
March 4, 1943 - March 12, 2005
Origin - Parang, Sulu
Ethnicity - Tausug
Occupation - Textile Weaver
Darhata Sawabi weaving cloth tapestry
Adelita Romualdo Bagcal
Adelina Romualdo Bagcal, also known as Nanay Lita, is a significant figure in preserving the traditional Ilocano oral art form known as the dallot. She learned the dallot from her grandmother and started performing at the age of 15, despite the practice already being rare in her community. Now, at 77, she continues to perform and is one of the few remaining practitioners of this art form. In addition to the dallot, she also performs other traditional forms such as duayya, pasyon, dung-aw, and common folksongs. Bagcal's dedication and efforts have helped keep these important cultural traditions alive.
January 16, 1946 - Present
Origin: Banna, Ilocos Norte
Ethnicity: Ilocano
Occupation: Master of oral traditions (Dallot)
Adelita Romualdo Bagcal performing the "dallot"
Abina Tawide Coguit
Abina Tawide Conguit is a multi-talented artisan and cultural practitioner from the Agusan Manobo community in the Philippines. Her most renowned craft is the suyam, a traditional embroidery technique of the Agusan Manobo. She learned this art form from her grandmother starting at the age of 15. Conguit's mastery of suyam is considered a divine blessing, as she was chosen by the spirit of Tuma to become a matugo, or a creative expert, in traditional tools and knowledge. Through her intricate embroidery, Conguit preserves and celebrates her cultural heritage, depicting designs inspired by the natural surroundings and stories of her people. Her work serves as a testament to the rich cultural traditions of the Agusan Manobo and their deep connection to their ancestral practices and beliefs.
1952 - Present
Origin: La Paz, Agusan del Sur
Ethnicity: Agusanon Manobo
Occupation: Embroiderer (Suyam)
The "Suyam"
Sakinur-ain Mugong Delasas
Delasas has contributed significantly to the preservation and promotion of Sama culture through her performances and teachings. As the artistic director of the Tambuli Cultural Dance Troupe, she trained and inspired many dancers. She also founded the Tarduguk Sama Cultural Troupe to continue teaching the art to younger generations. Her dedication to igal has been recognized through her inclusion in the short documentary "Igal: Traditional Dance of the Sama of Tawi-Tawi." Delasas stands as a symbol of cultural pride and a guardian of the rich heritage of the Sama people, ensuring that their traditional dance and cultural identity continue to thrive.
September 2, 1954 - Present
Origin: Bongao, Tawi-Tawi
Ethnicity: Sama-Bajau
Occupation: Master of traditional dance (Igal)
Bundos Bansil Fara
Bundos Fara is a master of the T'boli art of brass casting, known as "Temwel," which was gifted to his people by the deity of metalwork, Ginton. Throughout his life, Bundos has dedicated himself to this craft, using traditional techniques to create exceptional pieces that blend traditional designs with more innovative works. His creations are highly valued within his community for their traditional yet remarkable artistry, often enveloped in an enigmatic aura. Working with fire and unyielding metals, Bundos shapes diverse forms using clay models, showcasing his mastery of the craft. Despite the challenges posed by modern times, Bundos remains committed to preserving and passing on the art of T'boli metalwork to the younger generation, ensuring its continuity and cultural significance.
1966 - Present
Origin: Lake Sebu, South Cotabato
Ethnicity: T’boli
Occupation: Brasscaster (Kem Tau Temwel)
A Bundos Fara branded brass accessory
Marife Ravidas Ganahon
Marife Ravidas Ganahon is a skilled weaver from the Higaonon Manobo community in Malaybalay, Bukidnon, known for her expertise in weaving the intricate ikam mats made from sodsod, a type of sedge. Weaving mats from sodsod is a laborious process, from gathering and preparing the sedge to the actual weaving, requiring patience and skill. Despite the challenges, Ganahon has become highly regarded among the mat weavers in her community, with knowledge of several traditional designs. She takes pride in her perseverance and strives to empower the women in her community through this traditional craft, ensuring that the art of Higaonon Manobo mat weaving is preserved and celebrated for generations to come.
1967 - Present
Origin: Malaybalay, Bukidnon
Ethnicity: Higanon Manobo
Occupation: Matweaver
Higaonon Manobos weaving a mat from sodsod
Amparo Balansi Mabanag
As a member of the Ga'dang ethnic group, Amparo Balansi Mabanag is deeply rooted in the rich cultural heritage of the Igorot people. Mabanag is recognized for her commitment to safeguarding and promoting the Ga'dang tradition of manu'bak and ameru. She serves as an inspiration to her community and beyond, shining a spotlight on the importance of preserving and celebrating the unique heritage of indigenous groups like the Ga'dang. Mabanag's artistry is a call to action, encouraging others to embrace and protect their cultural identity.
Birthdate: 1956 (Age 68)
Origin: Paracelis, Mountain Province
Ethnicity: Ga’dang
Occupation: Beadworker and Embroiderer (Manu’bak and Ameru)
Amparo Balansi Mabanag's works
Samporonia Pagsac Madanlo
Samporonia Pagsac Madanlo is a highly respected figure known for her mastery of various traditional crafts and practices. She excels in embroidery, beadwork, dance, basketry, chanting, and healing, but her expertise in weaving dagmay, the traditional textile of the Mandaya people, is particularly renowned. Madanlo's dedication to preserving and promoting the art of dagmay weaving is vital for maintaining the cultural heritage of the Mandaya people. Her skills and knowledge contribute to the cultural richness and identity of her community, ensuring that these traditions are passed down to future generations.
1956 - Present
Origin: Paracelis, Mountain Province
Ethnicity: Ga’dang
Occupation: Beadworker and Embroiderer (Manu’bak and Ameru)
Madanlo weaving dAgmay
Barbara Kibed Ofong
Barbara Fanuy Kibed Ofong is a revered figure in her community for her exceptional skill and dedication to the art of weaving the t'nalak, a traditional cloth of the T'boli people. As the community's best weaver, she has spent nearly her entire life honing her craft and upholding the integrity and quality standards of t'nalak. In addition to her weaving prowess, Ofong is a respected community leader who actively promotes the love and practice of t'nalak weaving as a crucial marker of their ethnic identity. Her efforts have helped preserve and promote this important aspect of T'boli culture. Ofong's contributions to t'nalak weaving were recognized when she was declared a ‘Manlilikha ng Bayan’, an esteemed title given to masters of traditional Filipino arts and crafts. She is only the second t'nalak weaver to receive this honor, following in the footsteps of the legendary Lang Dulay.
September 2, 1954 - Present
Origin: Bongao, Tawi-Tawi
Ethnicity: Sama-Bajau
Occupation: Master of traditional dance (Igal)
Barbara Kibed Ofong weaving using the T'nalak style
Rosie Godwino Sula
Rosie Ungkal Godwino Sula is a performer of T'boli songs and chants, particularly the lingon hololok or epic chant Tudbulul, which is central to the T'boli cultural heritage. Born into a family of traditional musicians and community leaders, she learned the art of storytelling and chanting from her father and began performing at the young age of seven. Sula's knowledge of T'boli traditions and customs surrounding these chants is extensive, making her a valuable keeper of her people's cultural heritage. In addition to preserving these traditions, she also creates her own songs, contributing to the ongoing creative expressions and storytelling traditions of the T'boli. Despite working as a teacher and in government service, Sula's passion lies in keeping the T'boli cultural heritage alive and passing it on to the younger generation. Her dedication and expertise in T'boli music and storytelling are vital in ensuring that these rich traditions continue to thrive.
May 21, 1968 - Present
Origin: Lake Sebu, South Cotobato
Ethnicity: T’boli
Occupation: Chanter (Lingon/Lomingon)