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CPAR finals > lesson 7-8 Modify T or F > Flashcards

lesson 7-8 Modify T or F Flashcards

1
Q

MODIFY TRUE OR FALSE

In April 1993, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through Republic Act No. 7355.

A

1993 should be 1992

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2
Q

MODIFY TRUE OR FALSE

In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through Republic Act No. 7345.

A

RA NO. 7345 should be RA NO. 7355

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3
Q

MODIFY TRUE OR FALSE

As envisioned under R.A. 7355, “Manlilikha ng Bayan” shall mean a
citizen engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high level of technical and artistic excellence and have been passed on to and widely practiced by the present generation in his/her community with the same degree of technical and artistic competence.

A

True

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4
Q

MODIFY TRUE OR FALSE

The presence of Gawad ng Manlilikha ng Bayan Awardees is required in the events under the international programs and projects of the NCCA such as the Philippine National Arts Month, the National Heritage Month, and other
important national and regional cultural celebrations and similar future events.

A

INTERNATIONAL should be INSTITUTIONAL

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5
Q

MODIFY TRUE OR FALSE

First awarded in 1993 to three outstanding artists in music and poetry, the Gawad sa Manlilikha ng Bayan has its roots in the 1988 National Folk Artists Award organized by the Rotary Club of Makati-Ayala.

A

True

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6
Q

MODIFY TRUE OR FALSE

As a individuals, these folk and traditional artists reflect the diverse heritage and cultural traditions that
transcend their beginnings to become part of our national character.

A

INDIVIDUALS should be GROUP

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7
Q

MODIFY TRUE OR FALSE

As Filipinos, they bring age-old customs, crafts and ways of living to the attention and appreciation of foreign life.

A

FOREIGN should be FILIPINO

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8
Q

MODIFY TRUE OR FALSE

GAMABA provide us with a vision of ourselves and of our nation, a vision we might be able to realize someday, once we are given
the opportunity to be true to ourselves as these artists have remained truthful to their art.

A

True

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9
Q

MODIFY TRUE OR FALSE

The Award shall be given in each, and limited to the following
categories of traditional folk arts, viz.: folk architecture, maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic expressions of traditional
culture.

A

LIMITED should be NOT LIMITED

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10
Q

MODIFY TRUE OR FALSE

As candidate of GAMABA, He/she 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 syncretized whatever external
elements that have influenced it.

A

True

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11
Q

MODIFY TRUE OR FALSE

As candidate of GAMABA, He/she must not have any engaged in a folk art tradition that has been in
existence and documented for at least fifty (50) years.

A

MUST NOT HAVE should be MUST HAVE

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12
Q

MODIFY TRUE OR FALSE

As candidate of GAMABA, He/she must have consistently performed or produced over a significant period, works of superior and distinctive quality.

A

True

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13
Q

MODIFY TRUE OR FALSE

As candidate of GAMABA, He/she must possess a mastery of tools and materials needed by the
art, and must have an established reputation in the art as a master and maker of works of extraordinary technical quality.

A

True

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14
Q

MODIFY TRUE OR FALSE

As candidate of GAMABA, He/she must have passed on and/or will pass on to other members of
the community their skills in the art for which the community is
traditionally known.

A

ART should be FOLK ART

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15
Q

MODIFY TRUE OR FALSE

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her incapable of teaching further his/her craft, may still be recognized if, He/she had created a significant body of works and/or has consistently displayed excellence in the practice of his/her art, thus achieving important contributions for its development.

A

True

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16
Q

MODIFY TRUE OR FALSE

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her incapable of teaching further his/her craft, may still be recognized if, He/she has been instrumental in the revitalization of his/her community’s artistic tradition.

A

True

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17
Q

MODIFY TRUE OR FALSE

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her incapable of teaching further his/her craft, may still be recognized if, He/she has passed on to the other members of the community skills
in the folk art for which the community is traditionally known.

A

True

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18
Q

MODIFY TRUE OR FALSE

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her incapable of teaching further his/her craft, may still be recognized if, His/her country has recognized him/her as a master and teacher
of his/her craft.

A

COUNTRY should be COMMUNITY

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19
Q

MODIFY TRUE OR FALSE

A Manlilikha ng Bayan awardee receives a specially designed bronze medallion, an initial grant of P100,000 and a P10,000 monthly stipend for life.

A

BRONZE should be GOLD

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20
Q

MODIFY TRUE OR FALSE

the NCCA board approved an additional monthly personal allowance of P14,000 for the awardees as well as a maximum cumulative amount of P850,000
medical and hospitalization benefits annually similar to that received by the National Artists and funeral assistance/tribute fit for a National Living Treasure.

A

P850,000 should be P750,000

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21
Q

MODIFY TRUE OR FALSE

NCCA described the national living treasures as artists who “reflect the
diverse heritage and cultural traditions that transcend their beginnings to become part of our national character.”

A

True

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22
Q

MODIFY TRUE OR FALSE

Lang Dulay steeped in the wisdom that the ambahan is a key to the understanding of the
Mangyan soul

A

LANG DULAY should be GINAW BILOG

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23
Q

MODIFY TRUE OR FALSE

Ginaw took it upon himself to continually keep scores of ambahan poetry recorded, not only on bamboo tubes but on old, dog-eared notebooks passed on to him by friends.

A

True

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24
Q

MODIFY TRUE OR FALSE

Ginaw shares old and new
ambahans with his fellow Tausug and promotes this poetic form in every occasion

A

TAUSUG should be MANGYAN

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25
Q

MODIFY TRUE OR FALSE

Federico Caballero known for his work on the documentation of the oral literature, particularly the ten epics, rendered in an extinct language related to Kinaray-a.

A

True

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26
Q

MODIFY TRUE OR FALSE

Federico Caballero is also called Nong Pedring, he learned about novels from his mother and his grandmother, Anggoy Omil who would chant these to him and his siblings as a lullaby.

A

NOVELS should be EPICS

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27
Q

MODIFY TRUE OR FALSE

Federico Caballero worked with the Bureau of Nonformal Education, to teach people how to read and write and would promote the tradition
of epic chanting despite the initial objection of his children.

A

True

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28
Q

MODIFY TRUE OR FALSE

Samaon Sulaiman is an outstanding master of the basal, kulilal and bagit, a gifted poet, bard artist, and musician.

A

SAMAON SULAIMAN should be MASINO INTARAY

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29
Q

MODIFY TRUE OR FALSE

Masino Intaray has the creative memory, endurance, clarity of intellect and spiritual purpose that enable him to chant all through the night, for successive nights, countless tultul (epics), sudsungit (narratives), and tuturan (myths of
origin and teachings of ancestors).

A

True

30
Q

MODIFY TRUE OR FALSE

Samaon Sulaiman achieved the highest level of excellence in the art of kutyapi playing.

A

True

31
Q

MODIFY TRUE OR FALSE

Aside from kutyapi, Samaon is also proficient in kulintang, agong (suspended bossed gong with wide rim), gandingan (bossed gong with narrow rim), palendag (lip-valley flute), and tambul.

A

True

32
Q

MODIFY TRUE OR FALSE

Masino Intaray has the creative memory, endurance, clarity of intellect and spiritual purpose that enable him to chant all through the night, for successive nights, countless tultul (epics), sudsungit (narratives), and tuturan (myths of
origin and teachings of ancestors).

A

True

33
Q

MODIFY TRUE OR FALSE

Samaon was a popular barber in his
community and serve as an Imam in the Libutan mosque.

A

True

34
Q

MODIFY TRUE OR FALSE

Gangsa, a type of string instrument,
he lobbied for two years to the provincial government to grant funds to convert the
abandoned Capitol Building into a museum.

A

STRING INSTRUMENT should be KALINGA GONG

35
Q

MODIFY TRUE OR FALSE

Alonzo Saclag learned how to play traditional Kalinga
musical instruments and Kalinga ritual dance movements without formal or informal instruction

A

True

36
Q

MODIFY TRUE OR FALSE

Alonzo Saclag formed the Kalinga Budots Dance Troupe with the intent of promoting Kalinga dance to a wider audience

A

BUDOTS should be BUDONG

37
Q

MODIFY TRUE OR FALSE

Alonzo Saclag established a village within his town, named Awichon which aims to promote Kalinga culture to tourists.

A

True

38
Q

MODIFY TRUE OR FALSE

Uwang Ahadas first learned how to play the gabbang, a
metal instrument similar to the xylophone then learned how to play the agung, an instrument traditionally played by Yakan men

A

METAL should be WOODEN BAMBOO

39
Q

MODIFY TRUE OR FALSE

By age 20, Ahadas had already mastered the kwintangan which is considered as the most important Yakan musical instrument despite the instrument traditionally reserved for women

A

True

40
Q

MODIFY TRUE OR FALSE

Tuntungan, an instrument traditionally played by Yakan men.

A

TUNTUNGAN should be AGUNG

41
Q

MODIFY TRUE OR FALSE

Salinta Monon is credited with preserving her people’s
tradition of weaving T’nalak, a dyed fabric made from refined abaca fiber.

A

SALINTA MONON should be LANG DULAY

42
Q

MODIFY TRUE OR FALSE

Lang Dulay is known for maintaining the use of
traditional motifs in T’nalak weaving amidst the commercialization of the craft

A

True

43
Q

MODIFY TRUE OR FALSE

Lang Dulay notably had a mental repertoire of around 100 patterns and designs: some of these were based on her dreams, hence her description as a “dreamweaver”

A

True

44
Q

MODIFY TRUE OR FALSE

Salinta Monon watched her mother weave ikat, a traditional abaca fabric when she was a child.

A

True

45
Q

MODIFY TRUE OR FALSE

T’nalak, a traditional abaca fabric

A

T’NALAK should be IKAT

46
Q

MODIFY TRUE OR FALSE

Salinta Monon’s favorite design is the binuwaya or crocodile which is said to be among the most difficult to weave.

A

True

47
Q

MODIFY TRUE OR FALSE

Darhata Sawabi is one of those who took to heart the art of makingpis syabit, the traditional cloth tapestry worn as a head covering by the Tausug of Jolo.

A

True

48
Q

MODIFY TRUE OR FALSE

Makingpis syabit is the traditional cloth tapestry worn as a skirt by the Tausug of Jolo.

A

SKIRT should be HEAD COVERING

49
Q

MODIFY TRUE OR FALSE

Darhata Sawabi’s art pieces was accepted in Parang

A

True

50
Q

MODIFY TRUE OR FALSE

With Darhata Sawabi’s dedication to her art, generations of traditional Tausug designs have been preserved and are available for
contemporary appreciation and future study.

A

True

51
Q

MODIFY TRUE OR FALSE

Eduardo Mutuc is an artist who has
dedicated his life to creating religious and secular art in silver, bronze, and wood.

A

True

52
Q

MODIFY TRUE OR FALSE

One of Eduardo Mutuc’s first commissions came from
Monsignor Fidelis Limcauco, who asked him to create a tabernacle for the parish of Bagbag, Quezon City

A

BAGBAG, QUEZON CITY should be FAIRVIEW, QUEZON CITY

53
Q

MODIFY TRUE OR FALSE

Haja Amina Appi is recognized as the master mat weaver among the Sama indigenous community of Apalit.

A

APALIT should be UNGOS MATATA

54
Q

MODIFY TRUE OR FALSE

Haja Amina Appi’s colorful mats with their complex geometric patterns exhibit her precise sense
of design, proportion and symmetry and sensitivity to color.

A

True

55
Q

MODIFY TRUE OR FALSE

The art of mat weaving is a long and tedious process, which requires much patience and stamina and an eye for detail, an unerring color instinct, and a genius for applied mathematics.

A

True

56
Q

MODIFY TRUE OR FALSE

Teofilo Garcia is recognized for his craft in making tabungaw

A

True

57
Q

MODIFY TRUE OR FALSE

Tabungaw, a casque made of the
native gourd, hollowed out, polished, and varnished to a bright green sheen to improve its weather resistance and with the inside is lined with finely woven rattan matting, and the brim sports a subtle bamboo weave for accent

A

GREEN should be ORANGE

58
Q

MODIFY TRUE OR FALSE

Teofilo Garcia innovated with the materials using bamboo as an alternative to nito.

A

True

59
Q

MODIFY TRUE OR FALSE

Magdalena Gamayo is an Bicolano textile weaver of the abel, the traditional blanket.

A

BICOLANO should be ILOCANO

60
Q

MODIFY TRUE OR FALSE

Magdalena Gamayo uses a sturdy wooden frame with three-foot pedals with wide horizontal beams to support the warp and an even
longer lengthwise frame to keep the threads in place

A

True

61
Q

MODIFY TRUE OR FALSE

Magdalena Gamayo taught herself the traditional patterns of binakol, inuritan (geometric design), kusikos (spiral forms similar to oranges), and sinan-sabong (flowers), which is the most challenging pattern.

A

True

62
Q

MODIFY TRUE OR FALSE

inuritan are geometric design

A

True

63
Q

MODIFY TRUE OR FALSE

sinan-sabong are geometric design

A

SINAN-SABONG should be INURITAN

64
Q

MODIFY TRUE OR FALSE

Ambalang Ausalin, is highly esteemed in all of Lamitan

A

True

65
Q

MODIFY TRUE OR FALSE

suwah bekkat are embroidery-like embellishment

A

SUWAH BEKKAT should be SUWAH PENDAN

66
Q

MODIFY TRUE OR FALSE

Ambalang Ausalin’s artistry and craftsmanship are best
expressed in the bunga sama, sinalu’an, and seputangan.

A

True

67
Q

MODIFY TRUE OR FALSE

suwah pendan are embroidery-like embellishment

A

True

68
Q

MODIFY TRUE OR FALSE

Estelita Bantilan weaves intricate mats using a pandan variety called romblon

A

True

69
Q

MODIFY TRUE OR FALSE

Yabing Masalon Dulo is an active Blaan weaver who is a master of the Mabal Tabih technique

A

True

70
Q

MODIFY TRUE OR FALSE

Haja Amina Appi served as the Cultural Master for the Blaan Weaving School of Living Tradition Project implemented back in
2005 at Sitio Lamlifew, Datal Tampal, Malungon, Sarangani Province. This SLT was funded by National Commission for Culture
and the Arts (NCCA).

A

HAJA AMINA APPI should be YABING MASALON DULO

71
Q

MODIFY TRUE OR FALSE

Yabing Masalon Dulo became a partner for the cultural preservation in Sarangani under the Indigenous Peoples Development Program
(IPDP) of former Governor Migs Dominguez.

A

True

CPAR finals (2 decks)

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