CPAR Exam Flashcards
(58 cards)
aims to preserve these living traditions by awarding the finest Filipino traditional artists, who possess not only the skill but the folk knowledge, as bearers of intangible cultural heritage.
It highlights and brings awareness to these art forms, ensuring their survival and enhancing the understanding of contemporary artists about the identity and essential values of our own art.
GAMABA
GAMABA
Gawad sa Manlilikha ng Bayan
has been named Manlilikha ng Bayan “one who creates for the country” or National Living Treasure
Garcia
Twelve individuals have received this distinction from the time of the establishment of the award in 1992 through Republic Act No. ____ until ____.
7355 and 2012
as defined by UNESCO, these are practices, representations, expressions, knowledge and skills that communities, groups, and in some cases, individuals recognized as part of their cultural heritage and unique identity.
Intangible
refers to objects or concepts shared among members of a community or group.
Communal
He and his siblings were encouraged to play instruments, and he developed a passion for them, training himself by observing older members of the community.
he broke tradition by reaching excellence in playing the kwintangan, an instrument typically played by a woman.
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.
Uwang Ahadas, musician
Lamitan, Basilan
took up weaving when she was 16, guided by her aunt’s patterns
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).
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.
Magdalena Gamayo, textile weaver
Pinili, Ilocos Norte
a farmer at the same time, became an apprentice to furniture carvers to earn additional income
He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of varying sizes: altars, mirrors, retablos, and even carosas. _____ is based in Apalit, Pampanga. He was awarded in 2004.
Eduardo Mutuc, metalsmith and artist
She was a Filipino traditional weaver who was a recipient of the National Living Treasures Award. She is credited with preserving her people’s tradition of weaving T’nalak, a dyed fabric made from refined abaca fibre.
Lang Dulay, textile weaver
(Traditional T’boli design)
He was a Filipino musician who is a recipient of the National Living Treasure award. The Maguindanaon is known for his mastery of the indigenous kutyapi instrument. Born on March 3, 1953, _________ first learned playing kutyapi at around 13 years old from his uncle.
Samaon Sulaiman
Filipino musician
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.
_______________created intricate mats that boast beautiful geometric designs, vibrant colors, and fine symmetry. She was awarded National Living Treasure in 2004.
Haja Amina Appi, pandan mat weaver
Epic chanter _____________ 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.
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
Federico Caballero, chanter and educator
The Mangyan script is one of the four remaining syllabic scripts in the country, and ______________ 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. _____, who was awarded in 1993, passed away in 2003.
Ginaw Bilog, poet
was 12 when she began learning to weave the inabal, a traditional Bagobo textile
Bansalan, Davao del Sur,
Her favorite pattern, despite or because of its difficulty, was the binuwaya (crocodile), and she continued weaving until her death in 2009.
She was awarded in 1998
Salinta Monon, textile weaver -Inabal
A member of the Pala’wan tribe, musician and epic chanter __________ 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 Para
Masino Intaray
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.
Darhata Sawabi
_____ 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
Teofilo Garcia, gourd hatmaker
San Quintin, Abra
mastered local musical instruments, along with dance patterns associated with rituals.
_____ 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
Alonzo Saclag, traditional dancer and musician
Lubuagan, Kalinga
Lands areas are converted into sites for tourist consumption. Ecological domains become more context, the works are transformed susceptible to damage with the combined forces of natural disasters and tourist mobility.
Dances and rituals are staged for an external audience rather than for the community’s observance of traditions. Art forms native to the community tend to diminish in quality. Removed from their original context, the works are transformed into mass produced souvenirs in order to meet the demands of the tourist trade.
Tourism
The construction of dams and the establishment of oil and companies evict people from their dwellings and severely damage the environment.
Deprived of the bounty of land, indigenous groups are prompted to seek short-term employment from these industries in order to make ends meet in a money economy.
Mining and Infrastructure projects
The insecurity and tensions brought 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.
Militarization
The influence of Christianity and the conversion of the natives to foreign religion has 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.
Christianization
Sculptor, best known for the Oblation (1935), a symbol of freedom and sacrifice.
Guillermo Tolentino (awarded 1973)
