LESSON 1: GAMABA In case when a manlilikha ng bayan candidate

(Gawad sa Manlilikha ng bayan) is incapable of teaching further his/her craft

and skill due to age or infirmity:
Gamaba or National living treasures
1. He/she should have created a significant body
*Institutionalized through Republic Act No. 7355 of work and has contributed to the development
in April 1992 known as the Manlilikha sa Bayan of the tradition and craft
Act. 2. He/ she should have played a role in the
*Administration and Implementation is the NCCA preservation & revitalization of the artistic tradition
-GAMABA committee & ad hoc panel of experts in the community
-conducts the search for the finest traditional artist
of the land The Awards and Incentives:
-Adopts a program that will ensure the transfer of
their skills to others undertakes measures to 1. Designed medallion and plaque, with a
promote a genuine appreciation of the arts duplicate set that should be donated to and
-Instill pride among our people about the genius displayed in a provincial museum or the largest
of the Manlilikha sa Bayan cultural center in the awardee’s community
*Is conferred to Filipinos who are at the forefront 2. The awardee is given an initial grant of
of the practice , preservation and promotion of the Php100,000 and a Php14,000 lifetime stipend per
national’s traditional folk arts month
*Main Objective 3. The awardee is granted a maximum cumulative
-To honor & support traditional folk artist and to amount of Php 750,000 medical and
see to it that their skills & crafts are preserved. hospitalization benefits as well as funeral
assistance similar as those received by the
Emblem National Artists.

AWARD LOGO TRADITIONAL ART IN BICOL:

Bikol Art:
-is the representation of the human form used in - Is defined by a rich folk tradition that
traditional cloth incorporates vibrant elements from indigenous,
-below the logo is the phrase colonial and contemporary sources.
“ MANLILIKHA NG BAYAN” written in Baybayin - Some Bikol artists are formally trained in the
traditional Western paradigms of art but most are
CRITERIA self-trained.
1. Should be a Filipino citizen or group of citizens - Techniques and themes are refined through
belonging to an indigenous or traditional personal experimentations and innovations rather
community anywhere in the Phil; and engage in than formally prescribed methodologies.
Filipino traditional art in the ff categories:
a. folk architecture f. literature Four Core Ideas of Bikol art
b. maritime architecture g.graphic and plastic arts ( in terms of its essential aesthetic principles)
c. weaving h.ornament
d. carving i.textile and fiber art 1. ORAG- refers to the principle of quite self-
e. performing arts j. pottery confidence and a penchant for excellence with
which the artist pursues his craft.
2. Should have been engaged in the tradition and - the art object reflects the stature and confidence
craft for the significant period of time with at least of the artist.
50 years of existence and documentation. 2. GAYON- refers to the care and beauty with
which the artist creates his piece. An art object is
3. Should have produced and performed of considered to be magayon if it showcases the
artistic, distinctive and superior quality patience and the nurturing hands of the artist
3. UGAY- is the grace with which the artist
4. Should possess mastery of tools and materials surrenders himself fully to his craft. A Bikolnon
that are needed for the art and must have a artist pursues his art without presuppositions of
reputation of an art master & craft maker in the recognition or reward.
community where he/she belongs - implies perseverance and humility
- an art piece displays this quality when it mirrors
5. Should have passed on and/or will pass on the the natural growth of the artist
traditional crafts and skills to other members of 4. BANSAY- refers to the seamless ordering of
the community by virtue of teaching things that lead to the evocation of pleasure.
- an object is said to contain the trait of
Kabansayan if its components are thoughtfully BAAO BURDA INITIATIVES
assembled to express a credible whole - Bernadette delos Santos “Bidibidi”started
making fashion accessories out of recycled
BAMBOO BASKETS INDUSTRY IN NABUA, materials such as buttons and beads, patchwork
CAMSUR and painting.
- Her small projects hit, so she had to train
THE NABUA HOME INDUSTRIES CENTER women and out- of- school youth to make them.
(NCHIC) - “Swatchpatch Totes” – first product of bags
- Founded in the late 1960’s by Crispin Brina Sr. made by community of women
- Now called as NABUA HOME INDUSTRIES - Flowers, leaves, trees, and butterflies.
(NHI)
- The bamboo baskets from Nabua was a KARAW CRAFTVENTURES AND
response to the growing global interest in “tropical ENCANTURES
giftware” which opened up within the export-
oriented policies of the American period & which - Is a social enterprise founded by young
further boosted during the Marcos dictatorship entrepreneur Paul Andrew Orpiada of Naga City.
- Graduated BS Entrepreneurship from AdNU in
*Kararaw- a typical sun-dried bamboo basket. 2011
- He started Karaw in 2009 and continued it in
-was typically used for storing food and 2012 as a college graduate through funding
transporting harvested products. support from the British Council, The Do School,
- used during special events as a Watson Institute PH, and BPI Foundation.
server of steamed rice, after being - Was thus born, a social enterprise to produce
lined with heated banana leaves. souvenir items and plush toys using upcycled
discarded rags as materials.
NATURAL CARPET INDUSTRIES - Vision was to use art as a tool in empowering its
stakeholders, the women inmates of Naga City
(NAPA HANDICRAFTS) District Jail and provide them career and training
opportunities.
-started out in 1979 as a backyard - the name Karaw, is the Bikol word for play
industry engaged in weaving - Orpiada wanted the stakeholders to play with
traditional abaca handicraft. their imagination and express their creativity in
-Socorro Morin Napa, his mother is designing and actual presentation.
one of Camalig’s popular - They initially produce “ragpets” mainly designed
“abakalera” by Orpiada, which they sold in fairs, fiestas, and
-in 2016, they employs 120 skilled weavers and selected stores
artisans - had a collaboration with artist Pen Prestado’s
-and more than 200 indirect workers from other “Encantures”, Filipino and Bikol mythological
provinces creatures as plush toys, souvenirs and fun but
-They work 7,300 square meter production area functional items.
to cater to orders from Australia, Canada, Middle - The Bakunawa- moon-eating eclipse- causing
East,Europe and China ancient Bikol monster- coin purse
-Felipe Noe Morin Napa Jr. , barangay captain of - manananggal- wings opened in flight, hides a
Sumlang in Camalig, Albay USB in its belly once its other half is lifted.
-His family own Napa Handicrafts now called as
Natural Carpet Industries ( NCI)- a maker of world TINAGO WATER HYACINTH HANDICRAFT
class abaca carpets, furniture, baskets and bags DEVELOPMENT ASSOCIATION
-they supplies international designer home stores
such as Crate and Barrel, The Pottery Barn, The - A social enterprise of mostly women
Gap, and Muji in Japan - they gather the water hyacinth which infest the
- Handcrafted placemats, carpets, rugs, ottomans, river near them, dry the stems, and then process
sofas and beds, garden and beach sets made them to create boxes, bags, frames, and other
from abaca in five-star hotels in Manila décor
-displayed in the 2014 United Nations World -These are sold at barangay hall and at trade fairs
Tourism Organization conference and the 2015
Asia Pacific Economic Cooperation Summit in
Manila.
 - Rope, slippers, bag

SCULPTURE 2. COCONUT SHELLS/ BAO

- Used for wood carving, Improvised cooking
Headless Monument in Legaspi utensils and myriads of other uses.
- The headless monument was allegedly built by 3. BAMBOO/ KAWAYAN
Don Buenaventura de Erquiaga, a Spanish - Classified as a plant of the grass family
philanthropist who founded Legazpi College (now 4. CAPIZ/KAPIS
Aquinas Univerity), in memory of the Bicolanos - Windowpane oyster, a bivalve marine mollusk.
who suffered atrocities during the Japanese Commonly found along the coastal waters.
occupation. - Windows, lanterns and wallings
5. RATTAN
*The Statue of General Ola - Naturally renewable palm of climbing palms.
at the Bicol Heritage Park Furniture, handicrafts, and building materials
6.COWRIE SHELLS/ SIGAY
- Often used in shell jewelry and shell craft work.
*Oragon Monument - Popular for their vibrant color
7. JUNK
- was unveiled on the 18th day of June 2010, - Useless or of little value
during the 62nd Charter Anniversary of Naga - Junk art
CITY - Discarded materials stored or hidden away
- Located near the Naga City People’s Mall. inside homes or thrown in garbage bins are
- It is a two-part display that captures the heroism usually made up of plastic, wood and metal
of Naguenos and portraying bravery 8. DRIED LEAVES
- Crafted by the artist Jose Barcena Jr. who also - Falling off from branches of trees and plants.
carved the Quince Martires Ranging from pale yellow to dark brown dried
leaves.
LESSON 2: LOCAL MATERIALS USED IN 9. PLANT SEEDS
CREATING AN ART - Can be acquired from farms and rural areas.
-Choosing the appropriate kind and amount of art Others can be bought commercially
materials that will be used in executing the 10. ROCKS AND SAND
artwork are CRUCIAL for the success of the - Abundant
artist’s effort. - Varies in size and color allowing for varied art
forms
DIFFERENCE BETWEEN INDIGENOUS AND
LOCAL ART MATERIALS LOCAL ART MATERIALS:
1. Traditional
INDIGENOUS ART MATERIALS 2. Non- Traditional
- Naturally comes from the place
- Not introduced to the place or imported from Traditional art materials
somewhere else - Available locally are those that are usually
- Has been there right from the start bought from department stores and bookstores.
Non- Traditional Materials
LOCAL ART MATERIALS - Not usually used in creating art like coffee,
- Comes from the place or locality but may or may plastic bottles and recyclable materials.
not be originally part of that place.
- It could have been introduced to the place or LESSON 3: Critiquing Available Materials and
locality by colonists or settlers from other places. Appropriate Techniques

KINDS OF LOCAL ART MATERIALS - In creating art, the artist has to check the art
- The use of local art materials in creating various materials necessary for the conceived artwor
types of arts has become the showcase of Filipino
creativity, resourcefulness and artistry. CRITIQUE vs. CRTICIZE
CRITIQUING:
I. ABACA
- Manila hemp - Taking note of the process of creation, paying
- Extracted from the leaf sheath around the trunk attention to the kind of art materials and the way
of the abaca plant known scientifically as MUSA they were used and considers the art technique
TEXTILIS which is related to the banana plant. applied.
- Kritike tekhne “the critical art”
- Detailed analysis and assessment of something

CRITICIZING:
- Relying on feelings for evaluation, depending
heavily on the visual appeal of artwork.
- Either beautiful or ugly; nice or not.
- Sharp disapproval of something

CRITIQUIING:
- Thought more than felt
- Concerned with the process of creating art
- Considered the artist’s technique
- More objective than subjective

CRITICIZING:
- Felt more than thought
- Concerned with what is perceived through the
senses
- Considered the artist as good ornot good
- More subjective than objective

CRITIQUING AVAILABLE ART MATERIAS:

- They have to undergo evaluation for them to be
deemed really useful.
- Each art material has to be examined.
*AVAILABILITY
*ACCESSIBILITY
*AFFORDABILITY

1. AVAILABILITY
- Art material has to be obtainable, ready for use
and at hand.
2. ACCESSIBILITY
- Art material has to be within the artist’s reach
- Easily acquired without much effort
3. AFFORDABILITY
- Art material has to be within the financial
capacity of the artist to be purchased.

CRITIQUING APPROPRIATE ART

TECHNIQUE:
- The manner and ability by which an artist
employs the technical skills of a particular art.
*APPROPRIATENESS
*MASTERY
*PRACTICALITY

1. APPROPRIATENESS
- The manner by which the artist is going to apply
in creating an artwork should be suited to the kind
of art materials that will be used as well as suited
to the kind of art technique.
2. MASTERY
- It is expected that the artist is skilled and highly
knowledgeable of the art technique.
3. PRACTICALITY
- It should be functional and sensible for the
objectives or purpose set by the artist for the
creation of the artwork.