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3rd Finals > CONTEMPORARY FILIPINO ARTISTS > Flashcards

CONTEMPORARY FILIPINO ARTISTS Flashcards

1
Q

Gawad sa Manlilikha ng Bayan in English

A

National Living Treasures Award

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2
Q

National Living Treasures Award in Filipino

A

Gawad sa Manlilikha ng Bayan

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3
Q

conferred on Filipinos who are at the forefront of the practice, preservation, and promotion of the nation’s traditional folk arts

A

National Living Treasures Award or Gawad sa Manlilikha ng Bayan

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4
Q

Manlilikha ng Bayan Act other term

A

Republic Act No. 7355

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5
Q

Republic Act No. 7355 other term

A

Manlilikha ng Bayan Act

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6
Q

What year was Republic Act No. 7355, the Manlilikha ng Bayan Act formalized?

A

1992

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7
Q

oversees the implementation Republic Act No. 7355, the Manlilikha ng Bayan Act

A

National Commission for the Culture and the Arts

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8
Q
  • The main objective of the award is to honor and support traditional folk artists and to see to it that that their skills and crafts are preserved.
  • The award is tied with a program that ensures the transfer of their skills to new generations and the promotion of the craft both locally and internationally.
A

National Living Treasures Award or Gawad sa Manlilikha ng Bayan

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9
Q

aimed at recognizing the accomplishments of the country’s living treasures.

A

Senate Resolution No. (SRN) 765

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10
Q

What year did the Senate of the Philippines adopt the Senate Resolution No. (SRN) 765, which is aimed at recognizing the accomplishments of the country’s living treasures?

A

2014

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11
Q

Below the logo of the award is the phrase “________________________” written in Baybayin.

A

Manlilikha ng Bayan

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12
Q

an ancient Filipino script used in the Philippines

A

Baybayin

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13
Q

Awardee should have been engaged in the tradition and craft for a significant period of time with at least ____ years of existence and documentation.

A

50

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14
Q

Awards and Incentives:
___________ pesos and ___________ pesos lifetime stipend per month

A

100,000
14,000

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15
Q

___________ pesos medical and hospitalization benefits as well as assistance similar to those received by the National Artists

A

750,000

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16
Q

was a promoter of the Ambahan, which was an oral tradition of poetic verses of the Mangyan.

A

Ginaw Bilog

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17
Q

an oral tradition of poetic verses of the Mangyan

A

Ambahan

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18
Q

Ambahan was an oral tradition of poetic verses of the _________.

A

Mangyan

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19
Q

composed of seven-syllable lines that use metaphors to send a point or message

A

Ambahan

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20
Q

How many syllables did Ambahan have?

A

Seven

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21
Q

promotes a traditional art on every occasion so that the art will not be lost but preserved for posterity

A

Ginaw Bilog

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22
Q

covers wisdom, courtship, farewells, etc.

A

Ambahan

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23
Q

The preservation of the ambahan are mainly
due to Ginaw Bilog who recorded the poetry
in ___________________ and ___________________.

A

bamboo tubes
notebooks

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24
Q

syllabic writing system of Mangyan

A

Hanunuo

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25
Q

Where did Ginaw Bilog live?

A

Panaytayan, Oriental Mindoro

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26
Q

Panaytayan, Oriental Mindoro

A

Ginaw Bilog

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27
Q

An outstanding master of the basal, Kulilal, and Bagit, also played the Aroding and Babarak and above all, he was a prolific and preeminent epic chanter and storyteller.

A

Masino Intaray

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28
Q

Musician and Storyteller

A

Masino Intaray

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29
Q

gong music

A

Basal

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30
Q

highly lyrical poem

A

Kulilal

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31
Q

instrumental music played on the kudyapi

A

Bagit

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32
Q

mouth harp

A

Aroding

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33
Q

ring flute

A

Babarak

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34
Q

Brookes Point, Palawan

A

Masino Intaray

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35
Q

Where did Masino Intaray live?

A

Brookes Point, Palawan

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36
Q

He achieved the highest level of excellence in the art of kutiyapi or kudyapi playing and also proficient in kulintang, agong, gandingan, palendag, and tambul.

A

Samaon Sulaiman

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37
Q

Two-stringed lute

A

Kutiyapi or Kudyapi

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38
Q

suspended bossed gong with wide rim

A

Agong

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39
Q

bossed gong with narrow rim

A

Gandingan

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40
Q

lip-valley flute

A

Palendag

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41
Q

Mama sa Pano, Maguindanao

A

Samaon Sulaiman

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42
Q

Where did Samaon Sulaiman live?

A

Mama sa Pano, Maguindanao

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43
Q

credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair recreated by her nimble hands

A

Lang Dulay

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44
Q

abaca fibers as fine as hair

A

T’nalak

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45
Q

T’nalak three primary colors

A

red, black, and the original
colors of abaca leaves

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46
Q

images recreated by Lang Dulay’s nimble hands

A

the crocodiles, butterflies, and flowers

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47
Q

Where did Lang Dulay live?

A

Lake Sebu, South Cotabato

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48
Q

Lake Sebu, South Cotabato

A

Lang Dulay

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49
Q

Textile Weaver/T’nalak Weaver

A

Lang Dulay

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50
Q

Masino Intaray genre

A

Musician and Storyteller

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51
Q

Lang Dulay genre

A

Textile Weaver/T’nalak Weaver

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52
Q

Ginaw Bilog genre

A

Poet

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53
Q

Poet

A

Ginaw Bilog

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54
Q

Monon had started weaving since she was ____ years old, under the tutelage of her mother.

A

12

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55
Q
  • Her works are known for their intricate designs and quality.
  • Her works are priced high not only for their quality but also the time it takes to create a piece of garment.
A

Salinta Monon

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56
Q

A typical Bagobo tubular skirt that measures
____ meter by ____ meters takes takes about ______ to ______ months to finish.

A

3.5 m x 0.42 m
three - four

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57
Q

She was awarded for fully demonstrating the creative and expressive aspects of the Bagobo abaca ikat weaving called inabal at a time when such art was threatened with extinction

A

Salinta Monon

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58
Q

traditional textile of Bagobo

A

Inabal

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59
Q

to tie or bond

A

Ikat

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60
Q

language of Bagobos

A

Tagabawa

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61
Q

Where did Salinta Monon live?

A

Bansalan, Davao del Sur

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62
Q

Bansalan, Davao del Sur

A

Salinta Monon

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63
Q

the genius of Kalinga dance and performing arts

A

Alonzo Saclag

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64
Q

Salinta Monon genre

A

Textile Weaver

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65
Q

Textile Weaver/Inabal Weaver

A

Salinta Monon

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66
Q

He dedicated himself to the promotion and preservation of the Kalinga culture for the benefit of his tribe and others.

A

Alonzo Saclag

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67
Q

Some of his preservation efforts include the revival of the gangsa or the kalinga gong.

A

Alonzo Saclag

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68
Q

Kalinga gong

A

Gangsa

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69
Q

He successfully petitioned that the capitol building be turned into a museum where their cultural artifacts can be exhibited and preserved.

A

Alonzo Saclag

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70
Q

Musician and Dancer

A

Alonzo Saclag

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71
Q

Alonzo Saclag genre

A

Musician and Dancer

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72
Q

Lubugan, Kalinga

A

Alonzo Saclag

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73
Q

Where did Alonzo Saclag live?

A

Lubugan, Kalinga

74
Q

a Panay-Bukidnon from the mountains of Central Panay, has worked hard to document the oral literature of his people

A

Federico Caballero

75
Q

He has preserved the epics that use a language that has long been dead by working together with scholars, artists, and advocates of culture.

A

Federico Caballero

76
Q

Federico Caballero genre

A

Epic Chanter

77
Q

Epic Chanter

A

Federico Caballero

78
Q

spoken language of Bukidnon

A

Sulod

79
Q

Where did Federico Caballero live?

A

Calinog, Iloilo

80
Q

Calinog, Iloilo

A

Federico Caballero

81
Q

He referred to for his ability and mastery in playing different Yakan instruments and for imparting his insight to the youngsters of his locale.

A

Uwang Ahadas

82
Q

made of bamboo, wood, and metal

A

Yakan
instruments

83
Q

He keeps on performing and instructing despite his diminishing visual perception, keeping the Yakan melodic custom alive and thriving.

A

Uwang Ahadas

84
Q

Uwang Ahadas genre

A

Musician

85
Q

Musician

A

Uwang Ahadas

86
Q

Lamitan, Basilan

A

Uwang Ahadas

87
Q

Where did Uwang Ahadas live?

A

Lamitan, Basilan

88
Q

She was recognized as the master mat weaver. Her colorful mats with their complex geometric patterns showcased her precise sense of design, proportion, and symmetry and sensitivity to color.

A

Hajja Amina Appi

89
Q

Ungos Matata, Tandubas, Tawi-Tawi

A

Hajja Amina Appi

90
Q

Where did Hajja Amina Appi live?

A

Ungos Matata, Tandubas, Tawi-Tawi,

91
Q

recognized for his religious and secular art that uses silver, bronze and wood.

A

Eduardo Mutuc

92
Q

many of his works are in the collections of churches and other private collectors.

A

Eduardo Mutuc

93
Q

His religious and secular pieces often incorporate Spanish colonial designs.

A

Eduardo Mutuc

94
Q

Careful planning is needed with each piece since any mistake can be quite costly.

A

Metal Plating

95
Q

Eduardo Mutuc genre

A

Metal Plating
Metalcraft

96
Q

Apalit, Pampanga

A

Eduardo Mutuc

97
Q

Where did Eduardo Mutuc live?

A

Apalit, Pampanga

98
Q

one of the master weavers in the island of Jolo

A

Darhata Sawabi

99
Q

Textile Weaver

A

Darhata Sawabi

100
Q

Darhata Sawabi genre

A

Textile Weaver

101
Q

Parang, Sulu

A

Darhata Sawabi

102
Q

Where did Darhata Sawabi live?

A

Parang, Sulu

103
Q

Like most women in their tribe, she has learned the art of weaving the pis syabit from her mother.

A

Darhata Sawabi

104
Q

______________, the traditional cloth tapestry worn as head cover by the Tausug of Jolo

A

Pis Syabit

105
Q

tribes in Jolo

A

Tausug

106
Q

a traditional casque or headpiece used to shield one from the elements

A

Tabungaw

107
Q

It is traditionally found in the Northern Region of the Philippines.

A

Tabungaw

108
Q

His casques are made of hollowed and polished native gourd (upo).

A

Teofilo Garcia

109
Q

The inside is lined with fine woven rattan while the exterior is varnished with an orange sheen and brim decorated with a bamboo weave.

A

Tabungaw

110
Q

hollowed and polished native gourd

A

Upo

111
Q

When he finishes fieldwork as a farmer, he focuses on the cultivation and development of tabúngaw (Ilokano term for úpo).

A

Teofilo Garcia

112
Q

He learned the art of Kattukong or Tabúngaw hat making and basket weaving from his grandfather.

A

Teofilo Garcia

113
Q

Ilokano term for úpo

A

Tabúngaw

114
Q

At what age did Teofilo Garcia learned the art of Kattukong or tabúngaw hat making and basket weaving?

A

fifteen (15)

115
Q

Textile (inabel) Weaver

A

Magdalena Gamayo

116
Q

Magdalena Gamayo genre

A

Textile (inabel) Weaver

117
Q

San Quintin, Abra

A

Teofilo Garcia

118
Q

Where did Teofilo Garcia live?

A

San Quintin, Abra

119
Q

In her profile, it was reported that she has taught herself the traditional patterns of binakol, inuritan, kusikos, and sinan-sabong.

A

Magdalena Gamayo

120
Q

geometric design

A

Inuritan

121
Q

spiral forms similar to oranges

A

Kusikos

122
Q

flowers

A

Sinan-Sabong

123
Q

Magdalena Gamayo has learned the art of weaving from her aunt and started harnessing her innate skills at the age of ____.

A

19

124
Q

Magdalena Gamayo may be in her late ____s but she still manages to arrange threads on the loom, which is the hardest task in textile weaving.

A

80

125
Q

Pinili, Ilocos Norte

A

Magdalena Gamayo

126
Q

Where did Magdalena Gamayo live?

A

Pinili, Ilocos Norte

127
Q

an Ilokano handwoven cloth

A

Inabel

128
Q

Ambalang Ausalin genre

A

Yakan Weaving

129
Q

Yakan Weaving

A

Ambalang Ausalin

130
Q

Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

A

Ambalang Ausalin

131
Q

Where did Ambalang Ausalin live?

A

Lamitan, Basilan Island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

132
Q

She is significantly respected in all of Lamitan. Her ability is regarded as unique: she can bring forth all designs and actualize all textile categories ordinary to the Yakan community.

A

Apuh Ambalang Ausalin

133
Q

who are known to be among the finest weavers within the Southern Philippines.

A

Yakan community

134
Q

She can perform the suwah bekkat and suwah pendan techniques of the bunga sama category

A

Ambalang Ausalin

135
Q

cross-stitch-like embellishment

A

Suwah Bekkat

136
Q

embroidery-like embellishment

A

Suwah Pendan

137
Q

category of Suwah Bekkat and Suwah Pendan

A

Bunga Sama

138
Q

She has the complex knowledge of the whole weaving process, mindful at the same time as the cultural significance of each textile design or category.

A

Ambalang Ausalin

139
Q

Since she was a child, she was bright and careful in tangle weaving.

A

Estelita Tumandan Bantilan

140
Q

Her perseverance took place because of her supportive husband.

A

Estelita Tumandan Bantilan

141
Q

The thin strips of the pandanus romblon rise matrixed through deft fingers performing an individual rhythm, the beat guided by her eyes.

A

Estelita Tumandan Bantilan

142
Q

The unwoven strips are held tight at the other end of her body, as toes curl and close around, not only these strips but, as it were, the abstraction that other people call design.

A

Estelita Tumandan Bantilan

143
Q

The arc of her torso determines the dexterity of feet and toes.

A

Estelita Tumandan Bantilan

144
Q

Hand/eye coordination happens inside
a frame of milliseconds.

A

Estelita Tumandan Bantilan

145
Q

B’laan Mat Weaving

A

Estelita Tumandan Bantilan

146
Q

Estelita Tumandan Bantilan genre

A

B’laan Mat Weaving

147
Q

Upper Lasang, Sapu Masla, Malapatan, Saranggani (Region XII - SOCCSKSARGEN)

A

Estelita Tumandan Bantilan

148
Q

Where did Estelita Tumandan Bantilan live?

A

Upper Lasang, Sapu Masla, Malapatan, Saranggani (Region XII - SOCCSKSARGEN)

149
Q

Yabing Masalon Dulo was only ____ years old when she started weaving. All her
younger years were spent in sharpening her skills and imparting the knowledge to younger generations of B’laan weavers.

A

14

150
Q

Yabing Masalon Dulo other name

A

Fu Yabing

151
Q

She follows her mother’s movements back and forth. She colors the fibers, counts the thread, and observes the rhythmic dance of a weaver’s dreams woven into unique soulful pieces.

A

Yabing Masalon Dulo

152
Q

B’laan Ikat or Tie-dye
Fabric Weaving

A

Yabing Masalon Dulo

153
Q

Yabing Masalon Dulo genre

A

B’laan Ikat or Tie-dye
Fabric Weaving

154
Q

Amguo, Landan, Polomolok, South Cotabato (Region XII
- SOCCSKSARGEN)

A

Yabing Masalon Dulo

155
Q

Where did Yabing Masalon Dulo live?

A

Amguo, Landan, Polomolok, South Cotabato (Region XII
- SOCCSKSARGEN)

156
Q

Lime container

A

Apugan

157
Q

Ginaw Bilog year awarded

A

1993

158
Q

Ginaw Bilog year died

A

2003

159
Q

Masino Intaray year awarded

A

1993

160
Q

Masino Intaray year died

A

2013

161
Q

Samaon Sulaiman year awarded

A

1993

162
Q

Samaon Sulaiman year died

A

2011

163
Q

Lang Dulay year awarded

A

1998

164
Q

Lang Dulay year died

A

2015

165
Q

Salinta Monon year awarded

A

1998

166
Q

Salinta Monon year died

A

2009

167
Q

Alonzo Saclag year awarded

A

2000

168
Q

Federico Caballero year awarded

A

2000

169
Q

Uwang Ahadas year awarded

A

2000

170
Q

Hajja Amina year awarded

A

2005

171
Q

Hajja Amina Appi year died

A

2013

172
Q

Eduardo Mutuc year awarded

A

2004

173
Q

Darhata Sawabi year awarded

A

2004

174
Q

Darhata Sawabi year died

A

2005

175
Q

Teofilo Garcia year awarded

A

2012

176
Q

Magdalena Gamayo year awarded

A

2012

177
Q

Ambalang Ausalin year awarded

A

2016

178
Q

Estelita Tumandan Bantilan year awarded

A

2016

179
Q

Yabing Masalon Dulo year awarded

A

2016

180
Q

Baybayin is used in the Philippines during __________________.

A

16th Century

181
Q

Hajja Amina Appi genre

A

Master Mat Weaver

3rd Finals (6 decks)

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