UNIT I – THE CONTEMPORARY ART

LESSON 1 – The Contemporary Art

Objectives:
 Enumerate the characteristics of contemporary art;
 Learn about the different art movements;
 Learn about the different techniques and materials used in contemporary art; and
 Identify the different functions or purposes of art.

LESSON PROPER:

What is Art?
 Etymologically speaking: from the Latin word ars (plural - artes) meaning “skill” or “craft”

Focus of Art:

 Up until the 17th century, the word ars (plural of which is artes) was used as the mastery over skill in metal
works, carpentry, and pottery
 Later in the 18th-century, this word “ars" in the Latin language was used to describe the mastery over the
literary skills, like grammar and the art of expression etc.
 Around the 19th-century, the art philosophers had taken birth. Since then the term "aesthetics" has emerged
and the word art is being used to describe something that gives you an aesthetic experience.

“Life is short, art endures.” – Hippocrates, Greek philosopher

“Art washes away from the soul and dust of everyday life.” – Pablo Picasso, Spanish artist and Father of Modern Period

Two Important Parties in Art:

1. The Maker – the maker of the art is called an artist. There are artists who are schooled, who learn the basics of
art-making and then develop their style in making art. Some emerge as abstract artists while some stick to
making art in the traditional styles.
2. The Viewer – the human being who receives the meaning being communicated through an artwork. Some
people call the viewer “the gazer”, “onlooker,” or “audience”. A viewer takes the role of an art critic who examines
the artwork from historical, social, biographical, critical, or other points of view. This requires more knowledge,
experience, and articulation.

What is Contemporary Art?

• the art of today, produced by artists who are living in the twenty-first century.
• provides an opportunity to reflect on contemporary society and the issues relevant to ourselves, and the world
around us.
• contemporary artists work in a globally influenced, culturally diverse, and technologically advancing
world. Their art is a dynamic combination of materials, methods, concepts, and subjects that challenge
traditional boundaries and defy easy definition.
• diverse and eclectic, as a whole it is distinguished by the very lack of a uniform, organizing principle, ideology,
or ‘ism.’
• part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity,
family, community, and nationality.

Description Applied to Contemporary Art

 SUBJECT MATTER is what you see that is depicted in the artwork. It may be a human form where the figures are
engaged in an activity, or combination of texture and color. It may also be a figure made from found objects put
together or assembled into a coherent whole.
 MATERIAL is what the artwork is made of. It can also be a combination of objects used in the artwork.
  THE ART FORM is the medium or form of expression. Art can be in the form of dance, painting, sculpture, drama,
etc.
 ART ELEMENTS AND PRINCIPLES refer to the physical qualities of the image.
 AESTHETICS is the branch of philosophy that deals with nature, beauty, and value of art objects and experiences.
 ART ANALYSIS starts with a description of an artwork.
 ANALYSIS requires an understanding of the content by separating the parts of the subject matter.
 ART INTERPRETATIONS is employed by the viewer after describing and analyzing an artwork.

Functions of Art:
 Personal or Individual - For the artist, art may mean many things. It is a form of enjoyment. The making of the
artwork itself is an enjoyable thing for its maker. It is a way of expressing man’s feelings, ideas, and other things
that can be conveyed through a selected medium. Most art works are works of passions expressed, others for
various personal reasons. Sometimes, art borne out of passion are usually offered for free – free readings, free
concerts, free workshops and trainings, etc.
 Socio-Political Commentary - For the artist, art may Artists belong to a society, and they see themselves as
catalysts of change. Their artwork is the statement they make about certain issues or circumstances that affect
them and other human beings.
 Human Existence Meaning – art helps validate the existence of a human being. Art allows a being to create their
own world. Art also serves as proof of the truth and the reality of the being of the human person
 Tool of Communication - Without the use of words, art heavily relies on images that connect to the viewer as
he/she relives the moment captured in the artwork. Psychologists and guidance counselors also rely on art to
peek through the mind and experiences of people who have difficulty in language expression and articulation.
 Cultural Expression - Culture comprises our artifacts and ways of life. It includes the social attitudes, needs,
values, and images and codes that make up who we are and the ways we respond to the world. Through art, we
assimilate culture and contest it, and so give shape and definition to our existence and ourselves.
 Social Reality - It serves as a record of actual events experienced by man such as social chaos, poverty, political
crisis, and so forth. It also records man's experiences, aspirations and ideals. However, this is a contrary to the
"art for art's sake", a slogan translated from the French l'art pour l'art. The French philosopher Victor Cousin
coined this in the early 19th century. The phrase expresses the belief held by many writers and artists, especially
those associated with Aetheticism, that art needs no justification, that it need serve no political, didactic, or other
end.

Art Movement:
There were art movements and styles that dominated contemporary art through the decades since the 1950s. These are
abstract expressionism, kinetic art, Op art, performance art, environmental art, feminist art, post-minimalism, video art,
graffiti art, postmodern art, body art, and digital art.

 Abstract expressionism is a painting style in which the artist applies paint in a manner that expresses emotions
and feelings in a spontaneous way. The figures may be heavy in lines and color without solid mass.
 Kinetic art is a sculpture that moves with the wind or is powered by a machine or electricity.
 Op art uses lines or images repeatedly to create an optical illusion.
 Performance art combines a variety of media and the human body to execute an artistic theatrical expression
before a live audience.
 Environment art involves the artistic creation or manipulation of space such as landscape or architectural
design that may enclose its audience. Earthworks, or art using stones, leaves, trees, grass or other natural
elements are included in his category.
 Feminist art emerged from concerns of female artists expressed through art. They tackle issues of identity,
sexuality, gender roles, equality, and the ways in which the female is treated in society, among others.
 Minimalist had a stripped-down, pre-fabricated look, free of details and often with flat surface but expresses a
specific content or statement. An example is electric wire emerging from the wall that coils to form a particular
shape. Not to be confused with Scandinavian. The main difference between the two comes down to materials.
Minimalism makes use of metals like steel and chrome, while Scandinavian design relies on wood alongside
woven and softer textures.
 Graffiti art is a drawing, inscription or sketch done hastily on a wall or other surface made to be seen by the
public.
  Postmodern art carries modern styles to extreme practices, often expressing an idea through a mix of materials
such as found objects welded together.
 Body art is an art form that uses the body as the medium or main material. It can be painted or clothed and used
to perform artistic act in public. Tattooing and piercing are examples of body art.
 Digital art is done with the aid of computer to create an image or design composed of bits and bytes. The image
can be printed on paper, tarpaulin, or other mediums.
 Video art consists of images that are recorded through a video and viewed through television, computer, or
projection screen.

Art Techniques:
 Collage - made by adhering flat elements such as newspaper or magazine cut-outs, printed text, illustrations,
photographs, cloth, string, etc. to a flat surface to create a thick layer that is almost like a relief sculpture
 Decalcomania - the process of applying gouache or prepared designs to paper or glass then transferring a
reversal of that image onto canvas or other flat materials
 Decoupage - done by adhering cut-outs of paper and then coating these with one or more coats or transparent
coating or varnish
 Frottage - the technique of rubbing with crayon or pencil on a piece of paper which has been placed over an
object or image. The impression of the image can be created using leaves, wood, wire screen, or metal with
embossed images or words.
 Montage - used for photography or film where a pictorial image is juxtaposed or placed overlapping to make
another picture or design
 Trapunto painting - technique used by artist Pacita Abad where her canvases are padded and/or sewn, and
often filled with sequins, beads, shells, buttons, tiny mirrors, bits of glass, rickracks, swatches of precious
textiles, and other things that she picks up from her travels and journeys
 Digital Applications - another technique for art viewing where technology augments reality and transforms
artworks into immersive and interactive experiences which are carefully curated.

LESSON 2 – The National Artists

Objectives:
 Recognize the National Artists of the Philippines;
 Analyze the different works of art of the national artists;
 Conclude the importance of their contributions to the Philippine contemporary art

The Order of the National Artists:

 established by virtue of Presidential Proclamation No. 1001, s. 1972, which created the Award and
Decoration of National Artist, “to give appropriate recognition and prestige to Filipinos who have distinguished
themselves and made outstanding contributions to Philippine arts and letters,” and which posthumously
conferred the award on the painter Fernando Amorsolo, who had died earlier that year.
 a rank, a title, and a wearable award that represents the highest national recognition given to Filipinos who have
made distinct contributions in the field of arts and letters.
 jointly administered by the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the
Philippines (CCP), and is conferred by the President of the Philippines upon recommendation by both
institutions.

Features of the Grand Collar:

 Grand Collar featuring circular links portraying the arts
 Sampaguita wreath in green and white enamel
 Eight-pointed conventionalized sunburst
 Red, white, and blue colors as an homage to the Philippine flag
 KKK – Katotohanan, Kabutihan, at Kagandahan – CCP’s motto, also coined by former First Lady Imelda Marcos,
the CCP’s founder
 Made out of silver gilt bronze

Criteria for the National Artists:

 Living artists who are Filipino citizens at the time of nomination, as well as those who died after the
establishment of the award in 1972 but were Filipino citizens at the time of their death;
 Artists who, through the content and form of their works, have contributed in building a Filipino sense of
nationhood;
  Artists who have pioneered in a mode of creative expression or style, thus earning distinction and making an
impact on succeeding generations of artists
 Artists who have created a substantial and significant body of work and/or consistently displayed excellence in
the practice of their art form thus enriching artistic expression or style; and
 Artists who enjoy broad acceptance through:
o prestigious national and/or international recognition, such as the Gawad CCP Para sa Sining, CCP
Thirteen ArtistsAward and NCCA Alab ng Haraya;
o critical acclaim and/or reviews of their works;
o respect and esteem from peers.

Honors and Privileges:

 The rank and title of National Artist, as proclaimed by the President of the Philippines;
 The insignia of a National Artist and a citation;
 A lifetime emolument and material and physical benefits comparable in value to those received by the highest
officers of the land such as:
o Cash award of one hundred thousand pesos (P 100,000) net of taxes, for living awardees;
o A monthly life pension, medical, and hospitalization benefits;
o A state funeral and burial at the Libingan ng mga Bayani
o A cash award of Seventy Five Thousand Pesos (P 75,000) net of taxes, for posthumous awardees,
payable to legal heir/s
o Life insurance coverage for Awardees who are still insurable;
o A place of honor, in line with protocular precedence, at national state functions, and recognitions at
cultural events

Seven Categories for National Artists:

1. Music - singing, composition, direction, and/or performance;
2. Dance - choreography, direction and/or performance;
3. Theater – direction, performance and/or production design;
4. Contemporary Arts – painting, sculpture, printmaking, photography, installation art, mixed media works,
illustration, graphic arts, performance art and/or imaging;
5. Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism;
6. Film and Broadcasting/Broadcast Arts – direction, writing, production design, cinematography, editing, camera
work, and/or performance; and
7. Architecture, Design and Allied Arts– architecture design, interior design, industrial arts design, landscape
architecture and fashion design.

New National Artists (as of 2018)

 Larry Alcala – National Artist for Visual Arts Aug. 18, 1926-June 24, 2002
o Aug. 18, 1926-June 24, 2002, from Daraga, Albay.
o He obtained a Bachelor of fine Arts degree in painting from UP in 1950, taught at the UP from 1951 to
1981.
o He began his career as a cartoonist in 1946, while he was still a student. He created his first comic
strip, Islaw Palitaw, carried by Liwayway magazine, after World War II. He created the comic
strip Kalabog en Bosyo in 1947, using Taglish as his characters’ medium of communication.
o His body of work includes 500 cartoon characters, 20 comic strips, six movies, two murals and 15,000
published pages of cartoon strips across a 56-year career. His best known cartoon strip was called
“Slice of Life” for Weekend Magazine.
 Amelia Lapena Bonifacio – National Artist for Theatre
o born April 4, 1930
o an author, educator, and puppeteer
o Lapeña-Bonifacio graduated from the University of the Philippines with a literature degree.
o While on a Fullbright scholarship in Wisconsin two of her plays won awards, were produced and
published: Sepang Loca (1957) and Rooms (1958).
o she founded Teatrong Mulat ng Pilipinas in 1977
o She is also known as “The Grande Dame of Southeast Asian Children’s Theatre.”
o Her literary outputs consist of 20 books, 40 plays, 130 stories, and several essays that include the
results of her research on theatre.
 o She is a professor emeritus of the UP, where she also chaired the university’s creative writing program
and was director of the Creative Writing Centre from 1986 to 1995.
 Ryan Cayabyab – National Artist for Music
o (born Raymundo Cipriano Pujante Cayabyab on May 4, 1954 in Manila, Philippines)
o Mr. C is a musician, composer and conductor. His works range from commissioned full-length ballets,
theater musicals, choral pieces, a Mass set to unaccompanied chorus, and orchestral pieces, to
commercial recordings of popular music, film scores and television specials.
o graduated with a bachelor’s degree in music composition from the University of the Philippines College
of Music, where he taught music theory and composition for almost two decades.
o He was a recipient of the TOYM (Ten Outstanding Young Men) of the Philippines award in 1978, and he
was the only winner from Asia in the 2001 Onassis International Cultural Competition in Greece with
his MISA 2000.
 Francisco Manosa – National Artist for Architecture
o born in Manila on February 12, 1931
o He is known for his modern interpretation of Philippine architectural design and use of indigenous
materials is behind the Coconut Palace, world-famous Amanpulo Resort in Palawan, Pearl Farm in
Samal Island, Shangri-La Hotel in Mactan, and the San Miguel building in Mandaluyong, among others.
o He has devoted his life’s work to creating a Filipino identity in architecture that is inspired by
the bahay kubo and the bahay na bato.
o Mañosa melded the use of traditional forms and indigenous materials with modern building technology
to create structures that are best suited to the Philippines’ tropical climate.
 Resil Mojares – National Artist for Literarture
o (born on September 4, 1943)
o is a literary critic and Filipino historian.
o His prolific writings focus mainly on Philippine history and literature—and he is the foremost scholar
on prominent Filipino politician, writer and labor activist and founder of the Aglipayan Church, Isabelo
de los Reyes.
o Mojares has won several National Book Awards from the Manila Critics Circle for works in fields of
literary criticism, urban and rural history, and political biography
o His works include Origins and Rise of the Filipino Novel, The War Against the Americans, and books
about eminent Filipinos, such as Vicente Sotto, Pedro Paterno, Isabelo delos Reyes, and Trinidad Pardo
de Tavera.
 Ramon Muzones – National Artist for Literature
o March 20, 1913 – August 17, 1992
o He was born in Iloilo City
o He finished his pre-law studies at the Far Eastern University in Manila and completed his law degree at
the Central Philippine University in Iloilo City.
o He wrote 62 novels, of which were serialized in magazines, including Hiligaynon, Yuhum and Kasanag.
o He is best known for his Hiligaynon novel Margosatubig: The Story of Salagunting, about a fictional
Muslim state in Mindanao and the struggles of its hero, Salagunting, to wrest it from the clutches of
usurpers. A tale that combines intrigue, romance, pre-colonial lore, fantasy, and adventure, it unfolded
as a series in the Hiligaynon magazine Yuhum.
o He is considered as the first regional writer to become a National Artist.
o His proclamation as National Artist is posthumous as Muzones died in 1992.
 Kidlat Tahimik – National Artist for Cinema
o Born Eric Oteyza de Guia on October 3, 1942 in Baguio City, Philippines
o better known as Kidlat Tahimik (a Tagalog translation of "silent lightning")
o Tahimik earned an MBA from Pennsylvania’s Wharton Business School, and worked in Paris for the
Organization of Economic Cooperation and Development.
o Widely regarded as the father of independent Philippine cinema
o He is known for creating films that humorously but evocatively critique neocolonialism
o His first, Perfumed Nightmare (1977), won the International Critics Award at the Berlin Film Festival.
LESSON 3 – Gawad sa Manlilikha ng Bayan

Gawad ng Manlilikha sa Bayan:

 an act institutionalized on April 2, 1992 under the Republic Act no. 7355 stating, “An Act Providing For The
Recognition Of National Living Treasures, Otherwise Known As The Manlilikha Ng Bayan, And The Promotion And
Development Of Traditional Folk Arts, Providing Funds Therefore, And For Other Purposes”
 “…the highest Presidential recognition given to individuals who excel in various indigenous arts, customs, and
traditional practices which may include, but are not limited to,
o folk architecture,
o maritime transport,
o weaving,
o carving,
o performing arts,
o literature,
o graphic and plastic art,
o ornament,
o textile and fiber art,
o pottery,
o and other artistic expressions of traditional culture,”
 Qualifications:
o is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that has
preserved indigenous customs, beliefs, rituals and traditions and/or has syncretised whatever external
elements that have influenced it.
o must have engaged in a folk art tradition that has been in existence and documented for at least 50
years.
o must have consistently performed or produced over a significant period, works of superior and
distinctive quality.
o must possess a mastery of tools and materials needed by the art, and must have an established
reputation in the art as master and maker of works of extraordinary technical quality.
o must have passed on and/or will pass on to other members of the community their skills in the folk art
for which the community is traditionally known.
 Exceptions:
o A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or
infirmity has left them incapable of teaching further their craft, may still be recognized if:
 had created a significant body of works and/or has consistently displayed excellence in the
practice of their art, thus achieving important contributions for its development.
 has been instrumental in the revitalization of their community's artistic tradition.
 has passed on to the other members of the community skills in the folk art for which the
community is traditionally known.
 community has recognized them as master and teacher of their craft.

Awardees:

1993

 Samaon Sulaiman, musician

Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed lute that requires highly technical skill to
play. The Maganoy, Maguindanao native learned from his uncle, Pinagunay, at age 13, developing and learning
different forms and styles of playing the instrument. The sound is melodic and rhythmic, its effect meditative
and captivating.He was also proficient in playing instruments such as the kulintang, agong (a suspended gong
 with a wide rim), gandingan (a gong with a narrow rim), and tambul. Sulaiman’s fascination for his craft led him
to become an influential teacher. He was awarded in 1993, and passed away in 2011.
 Ginaw Bilog, poet
The Mangyan script is one of the four remaining syllabic scripts in the country, and Ginaw Bilog’s work has been
crucial to its preservation. Based in Mansalay, Oriental Mindoro, the poet was known for writing ambahan (a
metaphoric poem comprising seven-syllable lines), first in a notebook, then on traditionally used bamboo tubes.
The poems, often recited with music at social gatherings and used to convey messages among the Hanunuo
Mangyan, had topics like advising the young, bidding a friend goodbye, and asking for a place to stay. Bilog, who
was awarded in 1993, passed away in 2003.
 Masino Intaray, chanter and musician
A member of the Pala’wan tribe, musician and epic chanter Masino Intaray was a master of the basal, a gong
music ensemble played during rice cooking (tambilaw) and sharing (tinapay) rituals, which gather the
community as they serve offerings to Pala’wan rice god Ampo’t Paray. Intaray also performed the kulilal, a
lyrical poem expressing love, accompanied by two-stringed lute and bamboo zither, and the bagit, an
instrumental piece about nature. His memory and determination guided him in chanting through many
successive nights, reciting epics, stories, myths of origin, and the teachings of ancestors. Intaray, who was
awarded in 1993, passed away in 2013.

1998
 Lang Dulay, textile weaver
In Lang Dulay’s family, the weaving of the t’nalak (a fine abaca cloth) took place before or after farm work, when
the weather was cool and the conditions were better for the product. Dulay, who grew up in Lake Sebu, South
Cotabato, was taught to weave by her mother when she was 12. As demand grew for new designs, she persisted
and kept working with traditional patterns, even though they were harder to complete — she knew around a
hundred, including bulinglangit (clouds), kabangi (butterfly), crocodiles, and flowers. She valued purity, so much
so that she never washed her t’nalak with soap. She was awarded in 1998, and passed away in 2015
 Salinta Monon, textile weaver
Salinta Monon was 12 when she began learning to weave the inabal, a traditional Bagobo textile. In her home in
Bansalan, Davao del Sur, Monon would isolate herself from family to be able to concentrate on creating her
cloths and skirts, which took three to four months and a month to finish, respectively. Her favorite pattern,
despite or because of its difficulty, was the binuwaya (crocodile), and she continued weaving until her death in
2009. For her, not only was it a source of income, it was a source of pride as well. She and her younger sister
were the only Bagobo weavers left in their community, and she dreamt of having a structure built for teaching
new would-be weavers. She was awarded in 1998.

2000
 Uwang Ahadas, musician
Yakan musical instruments aren’t the easiest or most affordable to maintain, but Uwang Ahadas of Lamitan,
Basilan made it his life’s work to master them. From an early age, he and his siblings were encouraged to play
these instruments, and he developed a passion for them, training himself by observing older members of the
community.At age 20, he broke tradition by reaching excellence in playing the kwintangan, an instrument
typically played by a woman. The instrument, made up of logs arranged beneath a tree near a rice field, is used
to call for abundant grains and rice growth. He is also dedicated to sharing his knowledge to younger folk; his
teaching style is hands-on and supportive, giving his students his full attention. He was awarded in 2000.
 Federico Caballero, chanter and educator
Epic chanter Federico Caballero of Calinog, Iloilo was best known for his expertise in the Sugidanon, a Central
Panay epic traditionally chanted while lying on a hammock, and his work in the preservation of oral literature,
documenting 10 Panay-Bukidnon epics in an extinct language with close ties to Kinaray-a. His love of folklore
began when he was young, hearing tales of grand adventures as bedtime stories, and his mother taught him to
recite epics in lieu of doing household chores. In his spare time, he also works with the Department of
Education’s Bureau of Non-Formal Education, teaching elders to read and write. He was awarded in 2000.
 Alonzo Saclag, traditional dancer and musician
 It was through observation, time, and experience — rather than education or training or any kind — that Alonzo
Saclag of Lubuagan, Kalinga mastered local musical instruments, along with dance patterns associated with
rituals. Some of these are rarely performed, but done so with special purposes, whether it’s preparing for
retaliation, a victorious vindication for the community, or forging successful peace pacts. Saclag understands the
importance of his practice and is a strong advocate of passing on his knowledge and continuing the use of
traditional dress and adornments. His efforts have included formal education, reaching radio stations, and the
formation of the Kalinga Budong Dance Troupe. He was awarded in 2000.

2004
 Eduardo Mutuc, metalsmith and artist
Having finished up to elementary school, Eduardo Mutuc, a farmer at the time, became an apprentice to
furniture carvers to earn additional income. He had no prior knowledge of the work he was getting into, but this
didn’t stop him from expanding his experience and becoming one of the most respected creators of religious and
secular art today. He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of varying
sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He was awarded in 2004.
 Haja Amina Appi, pandan mat weaver
Weaving pandan mats is a long and difficult process that is handed down from woman to woman across
generations: Pandan leaves are harvested and made into narrow, long strips, sun-dried, pressed, and dyed
before finally becoming suitable for weaving. The resulting mats are used for sleeping and saying prayers, or
given as gifts to newlyweds. Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that
boast beautiful geometric designs, vibrant colors, and fine symmetry. She was awarded National Living Treasure
in 2004. She experimented with her work and developed her own tints to create the hues she had in mind. Appi
passed away in 2013, but her art lives on through her children and other young women in her community.
 Darhata Sawabi, textile weaver
Darhata Sawabi’s mission was to lead young women towards making a living out of her craft. The Parang, Sulu-
based textile weaver’s primary creation was the headpiece pis siyabit — pis stands for the pattern, which is said
to be derived from India’s mandala, depicting spirituality through geometric forms, and siyabit refers to the
hook and technique. She gained recognition for the precision of her work and her passion for preserving
traditional designs, as well as teaching the youth and was awarded in 2004. She passed away in 2005.

2012
 Magdalena Gamayo, textile weaver
Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving when she was 16, guided by her aunt’s
patterns. She received her first loom from her father three years later, which she would end up using for 30
years. She taught herself traditional patterns, such as kusikus (whirlwind), marurup (Milky Way), and sinan
paddak ti pusa (cat’s pawprint), building on the more common inuritan (geometric design) and sinan-sabong
(flowers). Gamayo’s skill and instinct are none more apparent than they are in her ability to replicate designs
she’s only seen once. Her binakol, or woven cloth, continues to draw praise and awe for its above-average thread
count and uniform weave. To keep Ilocos’ abel weaving tradition alive, she teaches her practice to her cousin’s
daughter-in-law and sister-in-law. She was awarded in 2012.
 Teofilo Garcia, gourd hatmaker
In San Quintin, Abra, Teofilo Garcia would often walk around town wearing his gourd casques. Through word of
mouth and his participation in the annual local harvest festival, Garcia was able to introduce the tabungaw plant
as a good and sturdy material for functional, elegant, and protective hats. He produces everything he needs —
planting and harvesting the gourds, splitting and refining rattan for the lining, and weaving nito and bamboo for
accents himself — and usually takes seven days to finish a hat. Awarded in 2012, he continues to experiment
and work on new designs.

2018
 Ambalang Ausalin, master weaver
75, hails from Lamitan, Basilan and is a known magtetenun or weaver having served two generations of the
royal family. According to the NCCA, she was the weaver of traditional attires and costumes for the royalties and
 the community. She mastered two of the most intricately designed textiles of the Yakans—seputangan and
sinaluan.
 Estelita Tumandan Bantilan, master weaver
Bantilan, 78, is from Sarangani and has been weaving igem or mats since she was six. At 15, she has mastered
the craft of mat-making using naturally dyed romblon leaves.
 Yabing Masalon Dulo, master weaver
Dulo, now 104 years old, on the other hand, lives in Polomolok, South Cotabato. At 14, she has weaved two
masterpieces of tabih or dyed abaka—one is displayed at the National Museum, the other is kept in her
possession.