CONTEMPORARY

PHILIPPINE ARTS FROM

THE REGIONS
mr. Darren Louie g. estomo
ROXAS NATIONAL HIGH SCHOOL
ROXAS, TAPAZ, CAPIZ
 GAMABA AWARDEES
Form Manlilikha Year of Ethnicity/ Expertise
ng Bayan Conferment Location
Weaving Lang Dulay 1996 T’boli / Lake Tinalak
Sebu, South weaving
Cotabato,
Philippines
Salinta 1998
Monon Inabal weaving

Tagbanua /
Bagobo / Bansalan,
2004 Davao del Sur,
Philippines Pis siyabit weaving
Darhata Sawabi
(d. 2005) Tausug / Parang,
2004
Sulu, Philippines Mat weaving
Haja Amina (ARMM)
 Magdalena 2012 Ilocano / Pinili, Inabel weaving
Gamayo Ilocos Norte,
Philippines (R. 1)

Literature and Ginaw Bilog (d. 1993 Hanuno / Mangyan Surat Mangyan and
Performing Arts 2003) / Mansalay, ambahan poetry
Mindoro Oriental (R.
IV B)

Masino Intaray 1993 Brooke’s Point, Lyrical poems

Palawan, Philippines (kulilal , basal, and
(R. IV B) bagit) and playing
their
accompanying
instruments; epic
chanting and
storytelling
Samaon Sulaiman 1993 Magindanao, Playing the
(d. 2011) Mamasapano, kudyapi
Maguindanao,
Philippines
(ARMM)

Alonzo Siclag 2000 Kalinga / Playing Kalinga

Lubuagan, musical
Kalinga, instruments;
Philippines (CAR) dance patterns
and movements
associated with
rituals

Federico 2000 Sulod Bukidnon / Chanting the

Caballero Calinog, Iloilo (R. sugidanon epic of
VI) Panay Bukidnon

Uwang Sandas 2000 Yakan / Lamitan, Playing Yakan

Basilan (ARMM) musical
instruments
Plastic Arts Eduardo 2004 Kapampang Silver plating
Mutuc an / Apalit, of religious
Pampanga, and secular
Philippines (R. art
III)

Teofilo Garcia 2012 Ilocano / San Gourd

Quintin, Abra casque
(CAR) making
The Production Process and the Changing
Environment

The traditional artists mode of production continues

to be affected with the dynamic change.
Environmental degradation ushered in by calamities,
modernization, and capitalistic endeavors the
indigenous peoples from their ancestral land. As their
home base, it is considered of paramount importance-
this is where resources are gathered and shared, and
where culture is performed.
The following factors affect the traditional artists’
production process:
1. Tourism – Land areas are converted into sites for tourist
consumption. Ecological domains become more susceptible to
damage with the combined forces of natural disasters and
tourist mobility. Dance and rituals are staged for an external
audience rather than for the community’s observance of
tradition. Art forms tend to diminish in quality.

Ex. The dance presentation of the last binukot in Tapaz, Capiz before
the crew of ABS-CBN’s Rated K in 2006 was a reminder of how the
person was forced to betray her ‘code’ of supposedly not to be
seen by strangers.
2. Mining and infrastructure projects – The construction
of dams and the establishment of oil and mining
companies evict people from their dwellings and
severely damage the environment . Deprived of the
bounty of the land, indigenous groups are prompted to
seek short-term employment from these industries in
order to make ends meet in a money economy.
Ex. The mega dam construction in Calinog and the
another proposed mega dam site in Tapaz will deprived
the Panay-Bukidnon of their ancestral land resulting to
tribal exodus.
3. Militarization – The insecurity and tensions brought
about by militarized zones arrest the people’s ability to
create art. It prevents people from having communal
gatherings, where exchanges and passing of
knowledge can take place.

Ex. The Lumads are caught in the middle of armed

conflict between the government forces and the
communist rebels.
4. Christianization – The influence of Christianity and the
conversion of the natives to a foreign religion have caused
members of the community to forsake their indigenous rituals
and traditions. At worse, people are led to believe that the
latter are primitive and therefore their practice has no place in
contemporary culture.
Ex. The Spanish colonization of the Philippines resulted to the
massive conversion of natives into Christianity, thus, forcing
some natives to evacuate their lands and moved to secluded
areas to protect and preserve their cultural and ritual practices.
Others fought to death, like Muslims in Mindanao.
Difficulties in the Selection Process

The archipelagic orientation of the Philippines makes

some locations challenging to reach by land, sea, air,
or sea. Places that pose security risks, particularly
militarized zones prevent the sustained entry of
researchers and possibly diminish reception of outside
locality. This is partly why the awarding does not follow
a regular pattern, as the column on Year of Conferment
on the table of GAMABA awardees shows.
 The award-giving body, through its cultural workers is
entrusted with an equally significant and difficult responsibility of
being critical, transparent, and judicious in the process entailed
by the GAMABA, from the selection, awarding and even
beyond.

Effects of the GAMABA in the communities

Since the artists are very much entrenched in their localities,
the award system might create a division within the
communities wherein one person is elevated to the status of
national awardee. The attention and the entry of outsiders may
create a disruption that may also change, not just the social
and economic relationships, but also the people’s attitudes,
concepts, and definitions of the art forms and the processes.
Reference:

Datuin, Florette May, et al. 2016. Contemporary

Philippine Arts from the Regions. Rex Book Store.
 TMLSS (To Make long Story Short)
The GAMABA recognizes artists who are engaged in
traditional arts. With the latter, we refer to forms which are
produced or performed within the context of community. The
traditional arts are strongly grounded in culture, spirituality and
religion, and also the environment. Thus, forms produced by
GAMABA, while having a high aesthetic value, are also
functional and accessible in everyday settings. The changing
times continue to pose major challenges to the environment
and the traditional artist’s production process. As culture
bearers, the role of the GAMABA is to pass on their artistic
knowledge to the community, to inspire them, and to ensure
that aspects of their cultural identity continue to thrive.