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Known as Manlilikha ng Bayan Act was established in 1992 and shall mean citizen engaged in any traditional art uniquely Filipino, whose distinct skills have reached such a high level of technical and artistic excellence, and have passed it on to in his or her community with the same degree of technical and artistic competence.

The highest policy and coordinating body for culture and the arts of the state. It has to search for the finest traditional artist of the land who adopts a program that will ensure the transfer of their skills to others, undertakes measures to promote a genuine appreciation of and crafts and give pride among our people about the genius of Manlilikha ng Bayan.

These are Filipino citizen who is engaged in any traditional
art forms and has contributed to the development of cultural diversity and the creativity of humanity.

GAMABA Awardees for the year 1993

Epic Chanter and Storyteller. An outstanding master of the basal
(gong music), kulilal (highly lyrical poem) and bagit (instrumental
music played on the kusyapi), also played the aroding (mouth harp) and babarak (ring flute) and above all, he was a prolific and pre-eminent epic chanter and storyteller from Pala’wan, Palawan
Island, Region IV-B MIMAROPA

Playing Kudyapi. he achieved the highest level of excellence in the art of kutiyapi or kudyapi (two-stringed lute) playing and also proficient in kulintang, agong (suspended bossed gong with wide rim), gandingan (bossed gong with narrow rim), palendag (lip-valley flute), and tambul. he is from Mamasapano,
Maguidanao, Western Midanao Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

Surat Mangyan and Ambahan poetry. Preserve the Hanunuo Mangyan script and Ambahan (poem consisting of seven-syllable lines) and promote it on every occasion so that the art will not be lost but preserved for posterity.Panaytayan, Mansalay,
Oriental Mindoro,
Region IV-B
MIMAROPA

GAMABA Awardees for the year 1998

T’nalak Weaving
She is credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair which traditionally has three primary colors, red, black, and the original colors of abaca leave recreated by her nimble hands-the crocodiles, butterflies, and flowers .T’boli/Lake Sebu, South Cotabato, Mindanao, Region XII SOCCSKSARGEN

Inabal Weaving
She was awarded for fully demonstrating the creative and
expressive aspects of the Bagobo abaca ikat (to tie or bond) weaving called inabal (traditional textile of Bagobo) at a time when such art was threatened with extinction.Tagabawa Bagobo/
Bansalan, Davao del Sur, Region XI Davao Region

Playing Yakan Instruments. He referred to for his ability and mastery in playing different Yakan instruments (made of bamboo,
wood, and metal) and for imparting his insight to the youngsters of his locale. He keeps on performing and instruct despite his diminishing visual perception, keeping the Yakan melodic custom alive and thriving. Yakan/ Lamitan, Basilan island, Bangsamoro Autonomous Region in Muslim Mindanao (BARMM)

Chanting the Sugidanon Epic of the Panay Bukidnon he continuously works for the documentation of the oral literature, in particular the epics, of people. These ten epics, rendered in a language that, though related to Kiniray-a, is no longer spoken.Chanting the Sugidanon Epic of the Panay Bukidnon. He continuously works for the documentation of the oral literature, in particular the epics, of people. These ten epics, rendered in a language that, though related to Kiniray-a, is no longer spoken.

Playing Kalinga Musical instruments
His lifestyle work is to paint a portrait of his people to record a
tradition of opposites and dualities, a peoples’ character recorded in cadences each aggressive and gentle. Play Kalinga musical instruments dance patterns and moves related to rituals.

GAMABA Awardees for the year 2000

GAMABA Awardees for the year 2004

Mat weaving
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.

Metal Plating
He is an artist who has devoted his existence to developing religious and secular artwork in silver, bronze, and wood. His intricately detailed retablos, mirrors, altars, and carosas are in church buildings and non-public collections. A range of these works are quite large, some exceeding forty feet, whilst some are very. so
small and feature very nice and refined craftsmanship.

Pis syabit Weaving
She remained devoted and persevered with her mission to teach the artwork of pis syabit weaving. Her strokes firm and sure, her color sensitivity acute, and her dedication to the best of her products unwavering.6

Kattukong or Tabúngaw Hat Making
When he finishes fieldwork as a farmer, he focuses on the cultivation and development of tabúngaw (Ilokano term for úpo). at the age of fifteen (15) he learned the art of Kattukong or tabúngaw hat making and basket weaving from his grandfather.

Abel Weaving
She has been a master in abel weaving from Pinili, Ilocos Norte. She is not only weaving traditional Ilocano textiles but also designs new patters. One of her designs employs a difficult weaving technique called pililian meaning partially. The weave produces a one of a kind design that takes after a string of flowers thus its name, inubon a sabong. She did not formally study such traditional art. Instead, she watched closely as her aunt made and imitated the patterns.

GAMABA Awardees for the year 2012

Yakan Weaving
she is significantly respected in all of Lamitan. Her ability is regarded unique: she canbring forth all designs and actualize all textile categories ordinary to the Yakan community, who are known to be among the finest weavers within the Southern
Philippines. She can perform the suwah bekkat (cross-stitch-like embellishment) and suwah pendan(embroidery-like embellishment) techniques of the bunga sama category. 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.

B’laan Mat Weaving
Since she was a child, she was bright and careful in tangle
weaving. Her perseverance took place because of her supportive
husband. The thin strips of the pandanus romblon (Pandanus
copelandii merr. Bariu) rise matrixed through deft fingers
performing an individual rhythm, the beat guided by her eyes. 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. The arc of her torso
determines the dexterity of feet and toes. Hand/eye coordination
happens inside a frame of milliseconds.

B’laan Ikat or Tie-dye Fabric
Weaving
Yabing Masalon Dulo, called as “Fu
Yabing”, was only fourteen (14)
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.
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.

GAMABA Awardees for the year 2016