December 16, 2019 Meeting the Compliance with the Directive;

NATIONAL COMMISSION FOR CULTURE AND THE ARTS Highlights of the Minutes of the Regular Commission Meeting 16 December 2019 (Monday) / 12:50 P.M.- P.M. Silid Hudhud, 7/F NCCA Bldg., Intramuros, Manila

Commissioners Present: Hon. Virgilio S. Almario, National Artist and Chairman, National Commission for Culture and the Arts and Komisyon sa Wikang Filipino Hon. Arsenio J. Lizaso, President, Cultural Center of the Philippines Hon. Rene R. Escalante, Chairman, National Historical Commission of the Philippines Hon. Jeremy R. Barns, Director-General, National Museum of the Philippines (NM) Hon. Cesar Gilbert Q. Adriano, Director, National Library of the Philippines (NLP), Hon. Victorino Mapa Manalo, Executive Director, National Archives of the Philippines (NAP) Hon. Alphonsus D. Tesoro, Head, Subcommission on Cultural Communities and Traditional Arts (SCCTA) Hon. Harold Ll. Rentoria, OSA, Head, Subcommission on Cultural Heritage (SCH) Hon. Teddy O. Co, Head, Subcommission on the Arts (SCA) Hon. Orlando B. Magno, Head, Subcommission on Cultural Dissemination (SCD) Hon. Al Ryan S. Alejandre Executive Director, NCCA

Commissioner/s Represented: Hon. Sherwin Gatchalian, Chairperson, Senate Committee on Education, Arts and Culture, represented by Hon. Maria Lourdes Nancy S. Binay Hon. Annalyn M. Sevilla Undersecretary for Finance-Budget and Performance Monitoring, Department of Education (DepED), represented by Director Bettina Aquino

Commissioner/s Not Present: Hon. Roman T. Romulo Chairperson, Committee on Basic Education and Culture, House of Representatives Hon.Edwin R. Enrile Undersecretary for Legal and Special Concerns, Department of Tourism(DOT) Secretariat Members Present: Ms. Marichu G. Tellano, Deputy Executive Director Ms. Adelina M. Suemith, Chief, Program Monitoring and Evaluation Division(PMED) Mr. Herencio Y. Llapitan, Chief, Finance-NEFCA Mr. Bernan Joseph R. Corpuz, Head, Plan/Policy Formulation and Programming Division(P/PFPD) Mr. Charles Lawrence E. Salazar, Head, P/PFPD-Cultural Heritage Section Ms. Myla T. Buan, Board Secretary, Office of the Chairman (OC) Ms. Andrea Gwen F. De Leon, Administrative Services Officer, Office of the Chairman (OC)

Other/s Present: Mr. Emmanuel De Guia, Consultant Atty. Gabriel Villanueva, Associate Solicitor, Office of the Solicitor General (OSG) Atty. Patrick Tapales, Associate Solicitor, OSG

Page 1 of 54 pages 1. CALL TO ORDER

The Chairman, Virgilio S. Almario, called the meeting to order at 12:50 P.M. after determination of a quorum.

Comm. Harold Ll. Rentoria, Head, Subcommission on Cultural Heritage, led the prayer to open the meeting.

2. ADOPTION OF THE PROPOSED AGENDA

The Chairman called attention to the proposed agenda for adoption by the Board.

Comm. Rene R. Escalante, Chairman, National Historical Commission of the Philippines, requested inclusion of his report on the Metropolitan Theater under the “Report of the Executive Director”.

Ms. Myla T. Buan, Board Secretary, informed the Board of the distribution of materials for agenda items “D.3, Inscription of the Buklog Thanksgiving Ritual to the UNESCO list”, “I, Request for Approval to Support the Launching of the 2020 National Arts Month Celebration” and “L, Update Report on Elections of the Subcommissions and National Committees for the term CY 2020-2022”

Upon made by Comm. Rentoria and duly seconded by Comm. Escalante, the Board adopted the proposed agenda as amended.

3. BUSINESS ARISING FROM THE MINUTES OF THE COMMISSION MEETINGS

Revisions to the NCCA Strategic Plan 2020-2022

The secretariat invited attention to the NCCA Strategic Plan 2020-2022 which was approved with revisions by the Board in the last meeting.

The secretariat presented the revised objectives and result statements as recommended by the Board.

On Cluster #1, Objective #5, “intensify” instead of “enrich” was suggested. The statement would read as “To intensify documentation on Philippine culture, particularly indigenous knowledge systems and practices as well as tangible and intangible cultural heritage, and encourage discourse and scholarship”.

As regards Cluster #1, Objective #7 (To intensify and further systematize coordination among affiliated cultural agencies and other institution to accomplish the goals of Chapter 7 of the PDP), the secretariat explained that Chapter 7 of the PDP would not only be undertaken by the NCCA but by the entire culture sector. Thus, for the next three years, the NCCA and its affiliated cultural agencies would have to work on an intensified collaboration.

Page 2 of 54 pages An inter-agency meeting could be convened amongst the seven cultural agencies early next year to commence the assessment of the integration and harmonization. In terms of the intent of Chapter 7 of the PDP, the NCCA and its affiliate cultural agencies need to level off. There is an observation that in setting the strategic plans of the agencies, the same are still anchored on the PIP and not the PDP organizational targets.

To indicate in the NCCA strategic plan, the SDGs being answered by the activities or programs as the same would be the basis of the budget in the coming years.

In the budget hearings, it was not about the NCCA and its affiliate cultural agencies, but the perceived lack of harmonization with the Department of Tourism (DOT) and Department of Education. To include the two departments in Cluster #1, Objective #7. Instead of a blank statement that the cultural agencies are still at some kind of zero starting point, to word the statement in such a way “to build on ongoing achievements” and then recognize the need to converge ever more with DepEd and DOT.

The need to intensify relationship with the DepEd, CHED, TESDA and DTI.

To find a word after “harmonized” as using the same would give an impression that the agencies are not “harmonized”. The term should be like “building on the gains”.

Filipino Values Project Update

The secretariat reported that following the instruction of the Board of Commissioners during its 29 August 2019 meeting, the Values research output was presented to 10 various groups and institutions from September 25 to November 4, 2019. The merits and recommendations of the study were also presented to the Board.

On the low rank of “environment”, it was suggested that the next phase intensify and further look into the environmental component because of the very strong link between culture and nature.

The values that are ranked first would be the priority agenda or focus.

On dissemination to the public, the secretariat is awaiting the Board’s acceptance before making the output accessible to the public. Copies of the study be given to the Senate, House of Representatives, Department of Education, Department of Social Welfare and Development, Office of the President and other concerned agencies. To accept the research output of the Filipino Values Formation Program. There is no need to approve the “values” but just accept the research output, disseminate the same to the public, and then proceed to the second phase. To open the second phase to the future researchers for them to research on the etymology of love of country and other researches on the sociological, historical side of the Filipino values.

With no objection, the Board accepted the research output [Exploring the Core and Sectoral Values of the Filipino People] of the Filipino Values Formation Program.

Page 3 of 54 pages [U]pon motion made and duly seconded, the Commission approved this Resolution:

Resolution No. 2019-362 Accepting the Research Output [Exploring the Core and Sectoral Values of the Filipino People] of the Filipino Values Formation Program

WHEREAS, one of the defined targets of the Philippine Development Plan (PDP) 2017-2022, Chapter 7 is“the inculcation of values to define common good”;

WHEREAS, the Commission embarked on a research to define the present core and shared values, addressing the PDP Chapter 7 target “the inculcation of values to foster the common good”;

WHEREAS, the research output “Exploring the Core and Sectoral Values of the Filipino People” was presented to the Board of Commissioners in its meeting of August 29, 2019;

WHEREAS, the Board of Commissioners gave a directive to present the research output to various stakeholders and other agencies for inputs;

WHEREAS, in compliance with the directive, the research output was presented to 10 different groups from September 25 to December 7, 2019;

WHEREAS, the Commission secretariat and research team reported to the Board of Commissioners in its December 16, 2019 meeting the compliance with the directive;

WHEREAS, theCommission secretariat and research team recommended that the suggestions and inputs be part of the next phase of the program considering that the research/study has already been exhaustive;

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, To ACCEPT the Research Output[Exploring the Core and Sectoral Values of the Filipino People]of the Filipino Values Formation Program.

4. REPORT OF THE EXECUTIVE DIRECTOR

The Board noted and approved the minutes of the Commission meeting on November 19, 2019.

The conduct of the NCCA quick response to Mindanao Quake Victims last November 23-25, 2019 by providing arts for healing sessions for the evacuees was reported to the Board.

Page 4 of 54 pages Update on the Metropolitan Theater Project

The Board discussed the best manner of procurement of Phase II– to undertake phase 2 as a contiguous project or to bid it out completely.

The Office of the Solicitor General lawyer (OSG) enumerated the following conditions for contiguous projects as stated in the implementing rules and regulations (IRR) of Republic Act (RA) No. 9184 discussed that pursuant to the IRR of RA: 1) the original contract is the result of competitive public bidding, 2) the subject contract to be negotiated has similar or related scopes work, 3) it is within the contracting capacity of the contractor, 4) the contractor uses the same prices or lower unit prices as in the original contract, less mobilization cost, 5) the amount involved does not exceed the amount of the ongoing project, 6) the contractor has no negative slippage and 7) the negotiations for the procurement are commenced before the expiry of the original contract.

5. CULTURAL HERITAGE MATTER/S FOR APPROVAL/INFORMATION

Guidelines of the 2020 NCCA Composition Prize

The secretariat presented for approval of the Board the amended guidelines of the NCCA Composition Prize as endorsed by the National Committee on Music (NCM) and the Subcommission on the Arts. The NCCA Composition Prize is a music composition award aligned with the Commission’s mandate to encourage the continuing development of a pluralistic culture.

The secretariat explained that the process and mechanics of the competition per approved General Guidelines with BR No. 2018 – 282 have not been changed and shall be followed in the next cycle of the competition in 2020. To streamline the approval process, and to be consistent with the guidelines of other NCCA Awards/Prizes, such as the Writers’ Prize, the NCM is requesting approval to adopt the following clause in the guidelines, “ any amendment/minor revision on the general guidelines, particularly on the categories to be chosen for the implementation year shall be approved by the Chairman through the Executive Director, upon review, recommendation and endorsement by the NCM through the Subcommission on the Arts (SCA).

It was recommended that approvals made by the Chairman under the guidelines be submitted to the Board for confirmation. The Board approved the recommendation.

With no objection, the Board adopted the amended guidelines of the NCCA Composition Prize.

Page 5 of 54 pages [U]pon motion made and duly seconded, the Commission approved this Resolution: Resolution No. 2019-363 “Adopting the Guidelines of the NCCA Composition Prize”

WHEREAS, the Composition Prize is a biennial award given to winning composition for each category, namely: song cycle, chamber music, rondalla ensemble, and solo instrument including Philippine indigenous musical instruments, with a corresponding cash award in each of the category;

WHEREAS, the Composition Prize is consistent with the Commission’s mandate to extend recognition of artistic achievement through awards and grants and service to artists and groups which contribute significantly to the Filipino cultural legacy [Sec. 12 (a)(4)];

WHEREAS, the National Committee on Music (NCM), upon review of the existing guidelines is submitting the guidelines for the implementation of the Composition Prize;

WHEREAS, the NCM will regularly review the guidelines and revise its corresponding categories to be chosen accordingly, which will be identified in the call for entries every implementation year;

WHEREAS, to streamline the approval process, any amendment/minor revision on the general guidelines, particularly on the categories to be chosen for the implementation year shall be approved by the Chairman through the Executive Director, upon review, recommendation and endorsement by the National Committee on Music (NCM) through the Subcommission on the Arts (SCA);

WHEREAS, the SCA reviewed the proposed guidelines of the Composition Prize, and recommended to endorse the same to the Board of Commissioners for approval;

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, ToAdopt the Guidelines of the NCCA Composition Prize, herewith attached as Annex A;

RESOLVED FURTHER, That approvals made by the Chairman under this Resolution and Guidelines shall be submitted to the Board of Commissioners for confirmation.

RESOLVED FINALLY, That Resolution No. 2018-282 is hereby rescinded.

Page 6 of 54 pages NCCA Intangible Cultural Heritage (ICH) Program

RequestRequest for Approval of the Guidelines of the Intangible Cultural Heritage (ICH) Program The secretariat presented for approval of the Board of Commissioners the Guidelines of the Intangible Cultural Heritage (ICH) Program under the Cultural Communities and Traditional Arts Section (CCTAS). In order to reinforce the working procedures of the ICH Program, the CCTAS developed the guidelines of the program. The guidelines would include the 2003 UNESCO Convention for the Safeguarding of ICH, Roles of the Philippines as a State Party to the 2003 Convention, Philippine Legislation on ICH, Working Methods of NCCA's ICH Program, NCCA's Strategies for the Safeguarding of ICH, Updated Philippine ICH Inventory (PICHI), Ethical Principles for Safegurading ICH, Inclusion of Elements to PICHI, Nominations to the UNESCO Lists and Register, ICH Panel of Experts and Membership Rules, Definition of Terms, MOU between NCCA and UNACOM and PICHI Form

With no objection, the Board adopted the guidelines of the NCCA Intangible Heritage Program.

[U]pon motion made and duly seconded, the Commission approved this Resolution: Resolution No. 2019-364 Adopting the Guidelines of the Intangible Cultural Heritage Program

WHEREAS, the Commission is empowered to formulate and implement policies and plans in pursuance of its mandate;

WHEREAS, the Commission through a Memorandum of Agreement with the UNESCO National Commission of the Philippines,was delegated with the responsibility to implement Articles 11 to 15 of the 2003 Convention for the Safeguarding of Intangible Cultural Heritage which include the roles of State Parties (Article 11), Inventories (Article 12), Other Measures for Safeguardind (Article 13), Edcaiton, Awareness-raising and Capacity-building (Article 14) and Participation of Communities, Groups and Individuals (Article 15);

Page 7 of 54 pages WHEREAS, by virtue of Office Order OC-2017-1121-236, the Intangible Cultural Heritage Unit was transferred from the Office of the Chairman to the Plan/Policy Formulation and Programming Division, particularly under the Cultural Communities and Traditional Arts Section in order to integrate the functions of the two units under one office and for a more synchronized coordination amojng various secretariat units, private and public agencies, academe, as well as local and international organizations in the interest of public service ;

WHEREAS, to reinforce the working procedures of the Intangible Cultural Heritage Program, the Cultural Communities and Traditional Arts Section developed the Guidelines of the Intangible Cultural Heritage Program for consideration of the Commision;

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, To Adopt the Guidelines of the Intangible Cultural Heritage Program, herewith attached as Annex B.

Intangible Cultural Heritage (ICH) Program Accomplishment Report

The secretariat presented for information and notation of the Board the CY 2020 accomplishment of the Intangible Cultural Heritage (ICH) Program managed by the P/PFPD- Cultural Communities and Traditional Arts Section (CCTAS). The following milestones and achievements were presented: preliminary research registry of ICH in the Philippines with 1,225 research gathered in 14 months with contributions from 51 from October 2018 to December 2019, convening of a forum on national research agenda, translation of El Folklore, international collaboration with UNESCO category 3 centers for researches and studies: Information and Networking Centre for Intangible Culturaal Heritage in the Asia –Pacific Region under the auspices of UNESCO (ICHCAP), International Research Center for ICH, and International Training Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices UNESCO (CRIHAP), documentation projects Philippine Intangible Cultural Heritage Inventory and ICH Video Documentation, information sharing: National Forum: Vital Wisdoms: Learning with Indigenous Peoples (Buhay na Dunong: Pagkatututo Kasama mga Katutubo) and Roundtable Discusison on the Role of SLTs in Safeguarding ICH, and Information Sharing and Networking at the international level, inter-agency collaboration, memorialization and creation of ICH policy.

The Board noted the report.

Inscription of the Buklugan Thanksgiving Ritual to the UNESCO Intangible Cultural Heritage List in need of Urgent Safeguarding

The secretariat informed the Board of the inscription of the “Buklog Thanksgiving Ritual” to the Intangible Cultural Heritage (ICH) in need of Urgent Safeguarding. Uncertainty was expressed whether inscription to the UNESCO Urgent Safeguarding List is a compliment or a positive or negative recognition. The secretariat explained that the list of ICH in need of urgent safeguarding is a new category. The Hudhud, Darangen and Punnuk were inscribed under a different category.

Page 8 of 54 pages With the inscription, the people would have an idea that the ritual is endangered, thus, the need to work on its safeguarding. The Commission would help through research and SLTs. The importance to be aware that almost all of country’s ICH are endangered, including languages was emphasized. The Subanen cultural community applied for the nomination, but the NCCA extended support and transmitted the nomination. The inscription of “Bukog” was not discussed in the Board. The “Buklog” has not been declared as a National Cultural Treasure (NCT), and if there was a concern, something could have been done. In comparison to built heritage, the list of ICH in need urgent safeguarding is the endangered list. It was opined that the inscription to the list should not be something to take pride of because of the impression that the ICH was not safeguarded. The challenge for the NCCA is to really intensify the research on the ICH, the community and other ICH for inscription to the UNESCO. With the guidelines approved by the Board, the commissioning of a pool of researchers to research and look for ICH to safeguard was suggested. The need to have a report on threats was raised. The threats may be restriction of the Department of Environment and Natural Resources (DENR) to cut trees which is part of the ritual, tedious work that no one wants to do the ritual anymore or the community has become so evangelized that they have ceased to believe in the practice, thus it has become a performance art rather than a ritual. “Buklog” is a dying tradition because of some of the factors mentioned. It is not about prohibition in cutting bamboo trees, but by infiltration of other religion and civilization, thus, the difficulty in forming tribal groups to manage “Buklog” as there is a need for unity of the Subanen communities to hold the festivity. Before elevation to the UNESCO, an intervention must have been done or a declaration made as there could be an impression that the NCCA is not doing its part. The secretariat recalled that “Buklog” was presented to the Board of Commissioners at the time the nomination was being prepared. The Board was informed that “Buklog” would be inscribed in the UNESCO list, but not in the urgent safeguarding list. As to measures to be taken, the secretariat said that part of the programming by the NCCA would be to continue to safeguard “Buklog”. “Buklog” is a beautiful and a very important ICH, which is the reason it was inscribed in the urgent safeguarding list. It was inscribed along with five other ICH from other countries because of their importance. The idea is to recognize the importance of the ICH and undertake measures for safeguarding. “Buklog”, although a ritual is related to the other four domains like traditional craftsmanship, social practice, knowledge, etc. It would be more of a challenge on the part of the NCCA to safeguard “Buklog”. The NCCA to have its own listing, and to come up with its own safeguarding measures and programs even before nomination for inscription to the UNESCO.

Page 9 of 54 pages Citing the importance of craftsmanship, a Memorandum of Agreement (MOA) with the DENR to allow the community to get their resources for their performance of the rituals was proposed. The NCCA conceived an ICH program only after 32 years. Part of the agenda of program is to safeguard the ICH. The need to publicize was raised. The research and list is not yet extensive. Registry on researches on ICH is currently being done and an intensified documentation of the same is part of the program. With the inscription of “Buklog”, there is better appreciation of the country’s ICH. A resolution expressing appreciation to the community because they opened their doors to the researchers was proposed. Without their consent, the research and documentation would not have been possible. With no objection, the Board approved the proposed resolution to express appreciation to the community. [U]pon motion made and duly seconded, the Commission approved this Resolution: Resolution No. 2019-365 Expressing Appreciation to the Subanen Communities, Municipalities in the Zamboanga Peninsula and Civil Society Groups for their Consent, Support and Guidance in the conduct of Research and Documentation and Nomination of the Buklog Thanksgiving Ritual of the Subanen to the UNESCO

WHEREAS, the “Buklog” is an elaborate thanksgiving ritual system of the Subanen community in Mindanao held to express gratitude to the spirits;

WHEREAS, the said ritual is noted for its elevated structure with a highly flexible platform which serves as a sacred and social space for rituals and community dance;

WHEREAS, the Commission with its mandate to preserve traditional culture, embarked on a research and documentation of the Buklog thanksgiving ritual for nomination to the UNESCO;

WHEREAS, the Buklog Thanksgiving Ritual of the Subanen was inscribed in the UNESCO Urgent Safeguarding List of Intangible Cultural Heritage during the 14th Session of Intergovermental Committee for the Safeguarding of Cultural Heritage held in Bogota, Colombia on 10 December 2019;

WHEREAS, the recognition from the UNESCO was made possible with the consent, support, guidance and effort of the Subanen communities, municipalities in the Zamboanga peninsula, namely: Municipality of Sindangan, Siayan, Aurora, Lakewood, Kumalarang, Kabasalan, Ramon Magsaysay and Naga; and civil society organizations /institutions Dumendingan Indigenous Peoples Organization, Inc., Kumalarang Cultural and Arts Council, Kumalarang Weavers Association, St. Joseph College of Sindangan, Thindegan Dlibon Subanen; Subanen community leaders and cultural masters; and the Subanen Schools of Living Traditions (SLTs);

Page 10 of 54 pages NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, to Express Appreciation to the Subanen Communities, Municipalities in the Zamboanga Peninsula namely: Municipality of Sindangan, Siayan, Aurora, Lakewood, Kumalarang, Kabasalan, Ramon Magsaysay and Naga, and Civil Society Groups/Institutions i.e. Dumendingan Indigenous Peoples Organization, Inc., Kumalarang Cultural and Arts Council, Kumalarang Weavers Association, St. Joseph College of Sindangan, Thindegan Dlibon Subanen; Subanen community leaders and cultural masters; and the Subanen Schools of Living Traditions (SLTs), for their Consent, Support and Guidance in the conduct of Research and Documentation and Nomination of the Buklog Thanksgiving Ritual of the Subanen to the UNESCO;

RESOLVED FURTHER, To express appreciation to the Research Team led by Dr. Nestor T. Horfilla for the comprehensive study and documentation of the Buklog Thanksgiving Ritual which would serve as encouragement for the conduct of more studies on intangible cultural heritage

Petition for the Removal of the Presumption on Important Cultural Property (ICP) on the Work “Sarimanok Series” of National Artist for Visual Arts, Abdulmari Asia Imao, to Grant the Request of Mr. Christoph Heinrich Ernst

The secretariat presented the petition for the removal of the presumption as important cultural property (ICP) on the “Sarimanok Series’, made by National Artist (NA) Dr. Abdulmari Asia Imao in 2013. The intention for filing the petition for removal of presumption is to facilitate the issuance of a permanent exportation permit by the National Museum. It was explained that upon careful review of the petition, public posting with no opposition to the petition, assessment of experts including a member of the NA’s family, all of whom recommended removal of the presumption considering that the artwork is part of series with many similar works of this type and is not really of exceptional value, the Cultural Heritage Section’s recommendation is to remove the presumption of ICP on the artwork petitioned by the owner, Mr. Christoph Heintich Ernst. To guide the Board, the National Museum really place a high value on NA Imao’s works from the 1970s and 1980s when he was at the height of his creative power. During the period, he developed his greatest hits [sculptural works] such as the “Sarimanok”. As regards paintings, there has been less study on the same. When he was a young man in the 60s-70s, he did many watercolors and sketches, many of which are displayed at the National Museum gallery. The NHCP representation registered objection to the removal of the presumption of important cultural Property on the ‘Sarimanok Series”, reiterating his stand that works of national artists should remain in the country.

The work is part of a series, thus, there are many copies of the same. The Board was informed that the recommendation of the National Committee on Museums was to request the heirs of the National Artist if there is an AP or original piece of the work in their collection. With a majority vote, the Board approved to Remove the Presumption of Important Cultural Property (ICP) on the “Sarimanok Series”, work of National Artist for Visual Arts, Abdulmari Asia Imao, and granted the petition of the owner Mr. Christoph Heinrich Ernst to Remove the Presumption of ICP on the said artwork.

Page 11 of 54 pages [U]pon motion made and duly seconded, the majority of the Commission approved these Resolutions:

Resolution No. 2019-366 Removing the Presumption of Important Cultural Property (ICP) on “Sarimanok Series”, Brass on Wood, 2013 by National Artist Dr. Abdulmari Asia Imao

WHEREAS, Article I Section 3 (w) of Republic Act No. 10066 and Section 6 (w) of its implementing Rules and Regulations (IRR) refers to an Important Cultural Property as a cultural property having exceptional cultural, artistic and historical significance to the Philippines;

WHEREAS, Section 5 (b) of Republic Act No. 10066 provides that for purposes of protecting cultural property against exportation, modification or demolition, the works of the National Artists shall be considered and/or presumed as important cultural property, unless otherwise declared by the Commission;

WHEREAS, Section 8 of Republic Act No. 10066 indicates the procedure for delisting of Important Cultural Property wherein the appropriate cultural agency shall have a maximum of ninety (90) days from the deadline of the submission of all the answers within which to submit its resolution and render its decision on the application;

WHEREAS, Mr. Christoph Heinrich Ernst, property owner, filed a petition for the removal of presumption of Important Cultural Property (ICP) of “Sarimanok Series”, Brass on Wood, 2013 by National Artist Dr. Abdulmari Asia Imao,for purposes of issuing the permit to permanently export the abovementioned work to Bali, Indonesia;

WHEREAS, after posting of the Petition in the official website of the Commission from 19 June 2019 to 03 July 2019, no evidence of opposition from any adverse claimant was received;

WHEREAS, after due deliberation, careful review of the petition, recommendations gathered, with no evidence of opposition from any adverse claimant received, and pursuant to the provisions of Republic Act No. 10066 and its IRR, the Commission finds that the said artwork, although by National Artist Dr. Abdulmari Asia Imao, does not bear the respective artist’s notable style and technique and is not considered to be significant in the national context;

Page 12 of 54 pages

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, based on the foregoing premises and pursuant to the provisions of Republic Act No. 10066 and its IRR, To Remove the presumption of Important Cultural Property on the said artwork:

“Sarimanok Series” Abdulmari Asia Imao Brass on Wood 30.5” x 12” x 14” 2013 Owner/Shipper: Christoph Heinrich Ernst Note: For permanent exportation

RESOLVED FURTHER, that the Certification to be issued shall not constitute as an authentication of the petitioned artwork;

RESOLVED FINALLY, the Director-General of the National Museum of the Philippines, on behalf of the Commission, shall issue the necessary export permit for permanent export of the said artwork per the attached Certification by the NCCA.

Resolution No. 2019-367 Granting the Petition of Mr. Christoph Heinrich Ernst to Remove the Presumption of Important Cultural Property (ICP) on the artwork “Sarimanok Series”, Brass on Wood, 2013 by National Artist Dr. Abdulmari Asia Imao

WHEREAS, pursuant to Board Resolution 2019-366, the Commission removed the presumption of Important Cultural Property on the artwork “Sarimanok Series”, Brass on Wood, 2013 by National Artist Dr. Abdulmari Asia Imao;

NOW, THEREFORE RESOLVED, as it is hereby RESOLVED, that the Commission pursuant to the provisions of Republic Act 10066 and its Implementing Rules and Regulations, and Board Res. No. 2019-366, hereby grants the Petition of Mr. Christoph Heinrich Ernst, property owner, to Remove the Presumption of Important Cultural Property on the artwork of National Artist Dr. Abdulmari Asia Imao described below:

Page 13 of 54 pages “Sarimanok Series” Abdulmari Asia Imao Brass on Wood 30.5” x 12” x 14” 2013 Owner/Shipper: Christoph Heinrich Ernst Note: For permanent exportation

Petition to Remove the Presumption of the Zaragoza Building, located at 102 Gamboa Street, Legazpi Village, Makati City, as an Important Cultural Property

The secretariat presented the petition to remove the presumption of important cultural property (ICP) on the Zaragoza Building located at 102 Gamboa Street, Legaspi Village, Makati City. The said building is a work of National Artist (NA) for Architecture Jose Maria Zaragoza. The secretariat discussed that some objections were raised against the petition, one of which was the fact that the building served as studio and home of the NA Zaragoza where he designed most of his works and spent time with his family. But upon closer examination, the building was built in 1971 and only four works were done by the National Artist in the said building as the Zaragozas originally lived in Quiapo. Also, upon inspection, it was observed that the building is typical of his design and of the period, thus, the Cultural Heritage Section did not find exceptional value nor a basis to the argument that it served as a home and studio because it came at a latter part of his career. Based on the list of the Cultural Heritage Section, the works that NA Zaragoza made when he moved to the Zaragoza building were Virra Mall, Saint John Bosco Church Makati, Miraculous Medal in Muntinlupa and the expansion of Quiapo Church. The petition was taken up by the NCCA-NHCP-NMP-DPWH TWC whose member agencies did not object to the removal of the presumption of ICP on the Zaragoza Building and recommended that the archive of NA Zaragoza be donated to the NCCA.

For the personal stand of the NHCP representation, he does not see anything exceptional in the building. But the building is exceptional as it was named after and identified with a national artist. An outcome of the petition was the possible donation by the family of the archive of the National Artist to the NCCA. Although most of his collections had been actually donated to a university in Tarlac, the secretariat talked about the matter to the eldest who agreed to donate the remaining collections in the National Artist’s studio to the NCCA. Similar to other countries, a marker or plaque should be installed to indicate that a building designed by or a house of a national artist once stood on the site. The NCHP installs markers but with regards to the Zaragoza building which is a work of a National Artist, the NCCA has the jurisdiction.

Page 14 of 54 pages With no objection, the Board approved to Remove the Presumption of Important Cultural Property (ICP) on the Zaragoza building located at 102 Gamboa Street, Legazpi Village, Makati City with a collatilla that a marker would be installed on the site as recommended. The Board also granted the petition of Ms. Maria Del Rosario R. Zaragoza to Remove the Presumption of ICP on the same building.

[U]pon motion made and duly seconded, the majority of the Commission approved these Resolutions:

Resolution No. 2019 - 368 Removing the Presumption of Important Cultural Property on the Zaragoza Building at 102 Gamboa Street, Legazpi Village, Makati City

WHEREAS, Republic Act No. 10066, the “National Cultural Heritage Act of 2009” specifically vested the National Commission for Culture and the Arts with the responsibility and authority of implementing pertinent provisions of the said Act;

WHEREAS, Section 8 of Republic Act No. 10066 indicates the procedure for removal of Important Cultural Property wherein the appropriate cultural agency shall have a maximum of ninety (90) days from the deadline of the submission of all the answers within which to submit its resolution and render its decision on the application;

WHEREAS, Ms. Maria Del Rosario R. Zaragoza filed a petition before the Commission on 25 July 2019 for the removal of presumption of the Zaragoza building as an Important Cultural Property;

WHEREAS, the Zaragoza Building was designed by National Artist for Architecture, Jose Maria V. Zaragoza;

WHEREAS, the Petition was posted in the official website of the Commission from 31 July 2019 to 14 August 2019;

WHEREAS, the City of Makati interposed no objection to the removal of presumption of Important Cultural Property (ICP) of the Zaragoza Building;

WHEREAS, after due deliberation, careful evaluation of the petition, assessment of the structure, rebuttal of the petitioner, and pursuant to the provisions of Republic Act No. 10066 and its IRR, the Commission finds that the Zaragoza Building 102 Gamboa Street, Legazpi Village, Makati City, designed by National Artist Jose Maria V. 'Zaragoza, is typical among NA Zaragoza’s body of works; Page 15 of 54 pages NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, based on the foregoing premises and pursuant to the provisions of Republic Act No. 10066 and its IRR, To Remove the presumption of Important Cultural Property on the Zaragoza Building at 102 Gamboa Street, Legazpi Village, Makati City;

PROVIDED, That a marker shall be installed on the site indicating that "on this site, once stood the Zaragoza Building designed by National Artist Jose Maria Zaragoza". Resolution No. 2019 - 369 Granting the Petition of Ms. Maria Del Rosario R. Zaragoza to Remove the Presumption ofImportant Cultural Property on the Zaragoza Building at 102 Gamboa Street, Legazpi Village, Makati City

WHEREAS, pursuant to Board Resolution No. 2019 - 368, the Commission removed the presumption of Important Cultural Property of the Zaragoza Building;

NOW, THEREFORERESOLVED, as it is hereby RESOLVED, that the Commission, pursuant to the provisions of Republic Act 10066 and its Implementing Rules and Regulations, and Board Resolution No. 2019 - 368, hereby grants the petition of Ms. Maria Del Rosario R. Zaragozato remove the presumption of Important Cultural Property on the Zaragoza Building at 102 Gamboa Street, Legazpi Village, Makati City.

Petition to Remove the Presumption of the Social Security System (SSS) Building located at Ayala Avenue Corner Rufino Street Makati City as Important Cultural Property (ICP)

The secretariat presented the petition of the Social Security System(SSS) to remove the presumption as Important Cultural Property (ICP) on the SSS Building built in 1965 located at Ayala Avenue Corner Rufino Street Makati City received by the NCCA last 03 September 2019.

The SSS Building formerly known as Sarmiento building, is an SSS-owned 13 storey office building acquired by the petitioner from China Banking Corporation in 1987. The subject property was designed by National Artists (NA) for Architecture Ildelfonso P. (IP) Santos and Leandro V. Locsin, thus giving it the status of a presumed ICP. There are no noticeable remains of the work of NA IP Santos. The only NA Leandro V. Locsin pattern in the structure is the thin shell concrete canopies in the façade that are in dilapidated condition and pose a public risk. There was a recommendation to retrofit the building, but it did not push through considering the prohibitive cost of retrofitting the 32 pillars.

The Board recalled a previous discussion about NA Locsin’s building to be demolished. The recommendation was to have a list of his works and what his family considered as his major works to be preserved. The secretariat was asked on the status of the list.

The secretariat has a list of all the works of NA Locsin including those provided by LV Locsin and Partners. The secretariat still write to the son of NA Locsin to get his position.

Page 16 of 54 pages The building has been renovated but the design is still recognizable. The features, the horizontal banding are NA Locsin design and the main feature of the façade, but it has been renovated. The technical people from the NCCA, NMP and NHCP who conducted the ocular inspection assessed that the building was not a major or a notable work. Hence, on 18 November 2019, the petition was deliberated upon by the NCCA-NHCP-NMP-DPWH Technical Working Council (TWC). The deliberation came down in the end to an assessment whether the building is a major enough work of NA Locsin. The TWC recommended to approve the removal of the presumption as ICP subject to the objection or non-objection of LV Locsin and Partners.

The NCCA has a listing of works of National Artists but lacking is the technical assessment of the historical or architectural significance of the works. Thus, for each petition for a work on the list, technical people are sent for assessment of the historical and architectural significance. Unfortunately, the NMP and NHCP representatives who did the technical assessment of the SSS Building in Makati, did not find any significance to the structure. With no objection, the Board adopted the recommendation of the NCCA-NHCP-NMP-DPWH TWC and approved to Remove the Presumption of Important Cultural Property on the Social Security System (SSS) Building located at Ayala Avenue corner Rufino Street, Makati City. The Board also granted the petition of the SSS to Remove the Presumption of Important Cultural Property on the same building.

[U]pon motion made and duly seconded, the Commission approved these Resolutions:

Resolution No. 2019-370 Removing the Presumption of Important Cultural Property on the Social Security System (SSS) Building located at Ayala Avenue Corner Rufino Street, Makati City as Important Cultural Property

Page 17 of 54 pages WHEREAS, the Social Security System, property owner, filed a petition to the Commission on 03 September 2019 to remove the presumption of the Social Security System Building in Makati as Important Cultural Property on the following grounds:

1. The antiquated design of the SSS Makati Building, having been built in 1965, no longer conforms to the latest structural standards. Further, being in existence for fifty-four (54) years, the building may no longer be structurally sound;

2. The SSS Makati Building is only one of the several structures designed by NA for Architecture Ildefonso Santos and Leandro Locsin. Hence, its re- development would have no exceptional impact, or at most, would only have a minimal impact on their works and contributions to culture and the arts. WHEREAS, in line with the procedure for removal of presumption of works of National Artists, this Commission called a public notice to invite opposition or support for the said petition on 05 September 2019. Moreover, this Commission requested the comments of the National Committee on Monuments and Sites, National Committee on Architecture and Allied Arts, Leandro V. Locsin Partners, and the local government unit of Makati City.

WHEREAS, last 18 November 2019, the NCCA Technical Working Council, consisting of this Commission, the National Museum of the Philippines, and the National Historical Commission of the Philippines, deliberated the said petition and agreed to grant the petition.

WHEREAS, last 16 December 2019, the Board of Commissioners adopted the decision of the Technical Working Council on the petition to remove the presumption of the Social Security System Building as Important Cultural Property.

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, based on the foregoing premises and provisions of Republic Act 10066 and its Implementing Rules and Regulations, To Remove the presumption of Important Cultural Property on the Social Security System Building located at Ayala Avenue corner Rufino Street, Makati City;

PROVIDED, That a marker shall be installed on the site indicating that "on this site, once stood the Social Security System (SSS) Building designed by National Artists Leandro V. Locsin and Ildenfonso P. Santos”.

Resolution No. 2019 - 371 Granting the Petition of the Social Security System to Remove the Presumption of Important Cultural Property on the Social Security System (SSS) Building located at Ayala Avenue Corner Rufino Street, Makati City as Important Cultural Property

WHEREAS, pursuant to Board Resolution No. 2019-370, the Commission removed the presumption of Important Cultural Property of the Social Security Building located at Ayala Avenue corner Rufino Street, Makati City;

NOW, THEREFORERESOLVED, as it is hereby RESOLVED, that the Commission, pursuant to the provisions of Republic Act 10066 and its

Page 18 of 54 pages Implementing Rules and Regulations, and Board Resolution No. 2019 - 370, hereby grants the petition of the Social Security System, property owner, to remove the presumption of Important Cultural Property on the Social Security building located at Ayala Avenue corner Rufino Street, Makati City.

Petition for the Removal of the Presumption of the Ayala Life Assurance Building in Tabuc Suba, Jaro, Iloilo City as an Important Cultural Property

The secretariat presented the petition for the Removal of Presumption of Important Cultural Property (ICP) on the Ayala Life Assurance Building in Tabuc Suba, Iloilo City, a work of National Artist Leandro V. Locsin, The building used to house an insurance company and was listed by the Iloilo City Cultural and Heritage Conservation Council (ICCHCC) as one of the city’s local cultural properties because of its architectural significance as a work of a National Artist. The recommendation of the NCCA-NHCP-NMP-DPWH Technical Working Council was to reaffirm the position of the ICCHCC and to deny the petition of the property owner, Iloilo Property Ventures, Inc.. TWC, however, however, is open to the idea of the integration of the building’s façade to a new development.

It was discussed that the technical experts from the NCCA, NHCP and NHCP who conducted an ocular inspection, found significant architectural design of the building that has to be preserved.

With no objection, the Board denied the Petition of Iloilo Property Ventures, Inc. to Remove the Presumption of Important Cultural Property on the Ayala Life Assurance Building located at Tabuc Suba, Iloilo City.

[U]pon motion made and duly seconded, the Commission approved this Resolution:

Resolution No. 2019-372 Denying the Petition of Iloilo Property Ventures, Inc. for the Removal of Presumption of the Ayala Life Assurance Building in Tabuc Suba, Jaro, Iloilo City as an Important Cultural Property

WHEREAS, Republic Act No. 10066, the “National Cultural Heritage Act of 2009” specifically vested the National Commission for Culture and the Arts (NCCA) with the responsibility and authority of implementing pertinent provisions of the said Act;

WHEREAS, Article I, Section 3 (w) of Republic Act No. 10066 and Section 6 of its Implementing Rules and Regulations (IRR) refers to an Important Cultural Property as a cultural property having exceptional cultural, artistic and historical significance to the Philippines;

WHEREAS, Section 5(b) or Republic Act No. 10066 provides that for purposes of protecting cultural property against exportation, modification or demolition, the works of the National Artists shall be considered and/or presumed as important cultural property, unless otherwise declared by the Commission;

WHEREAS, Section 8 of Republic Act No. 10066 prescribes the procedure for removal of Important Cultural Property wherein the appropriate cultural agency shall have

Page 19 of 54 pages a maximum of ninety (90) days from the deadline of the submission of all the answers within which to submit its resolution and render its decision on the application;

WHEREAS, Iloilo Property Ventures, Inc., property owner, filed a petition before the Commission on 09 July 2019 for the removal of the presumption of Important Cultural Property on Ayala Life Assurance building in Tabuc Suba, Iloilo City;

WHEREAS, the Ayala Life Assurance building was designed by National Artist for Architecture, Leandro V. Locsin;

WHEREAS, in line with the procedure for the removal of the presumption of Important Cultural Property on works of National Artists, the Commission called for a public notice to invite opposition or support to the petition of Iloilo Property Ventures last 16 July 2019;

WHEREAS, architectural and heritage conservation groups submitted positions in support of preserving the building because of its architectural and aesthetic significance and distinct character showing the architectural style of the National Artist as seen in his many other works;

WHEREAS, the Iloilo City Cultural and Heritage Conservation Council (ICCHCC), a local heritage council vested with regulatory authority through a local ordinance to oversee heritage conservation in the locality, has stated that the structure/building has an architectural significance as a work of National Artist;

WHEREAS, the Commission’s Technical Working Council deliberated on the issue and reaffirmed the position of the ICCHCC on the Ayala Life Assurance building on its local significance;

WHEREAS, the Commission’s Technical Working Council recommended to deny the petition of Iloilo Property Ventures, Inc. and to retain the presumption of the building as an Important Cultural Property, but is open to the idea of the integration of the building’s façade to a new development;

NOW, THEREFORE, be it RESOLVED, as it hereby RESOLVED, that the Commission pursuant to the foregoing premises and provisions of Republic Act 10066 and its Implementing Rules and Regulations, to deny the petition of Iloilo Property Ventures, Inc., property owner, for the removal of presumption of Important Cultural Property on the Ayala Life Assurance building located at Tabuc Suba, Jaro, Iloilo City

6. PROJECT PROPOSAL/S FOR CONSIDERATION/APPROVAL

Request for Approval to Support the Launching of the 2020 National Arts Month Celebration

The secretariat presented the request for approval of the budget for the support for the regional launchings and implementation of the 2020 National Arts Month (NAM) Celebrations to be held in the three key regions, namely: Palawan for Luzon; Agusan del Sur for Mindanao; and, Ormoc, Leyte for Visayas in the amount of PhP1,800,000.00. He explained the crucial need to commence the preparatory administrative matters for the NAM launching by NCCA’s LGU partners. Since the CY 2020 budget may not be released on time, the secretariat requested for the approval of a budget for the preparatory and administrative needs to be directly downloaded to Page 20 of 54 pages the partner LGUs as early as December 2019. The amount of PhP500,000.00 each will be given to the partner LGUs and the balance of PhP300,000.00 for other administrative expenses. The said budget shall be sourced from the accumulated savings generated from the implemented projects of CY 2019.

With no objection, the Board approved and authorized the use of savings in the amount of PhP 1,850,000.00 of the CY 2020 NEFCA project fund for CY 2020 Project. The Board also approved the budget of PhP 1,800,000.00 for the launching of the CY 2020 National Arts Month (NAM) to be sourced from the accumulated savings generated from the implemented funded projects of CY 2019.

On the proposal for a partnership for an art competition project of the National Quincentennial Committee (NCQ), a proposal was requested for consideration in the CY 2020 budget.

[U]pon motion made and duly seconded, the majority of the Commission approved these Resolutions:

Resolution No. 2019-373 Approving and Authorizing the Use of the Savings of CY 2019 NEFCA Project Fund for CY 2020 Project

RESOLVED, as it is hereby RESOLVED, To approve and authorize the use of the available Savings generated from the CY 2019 NEFCA Project Fund in the amount of One Million Eight Hundred Fifty Thousand Pesos (PhP1,850,000.00) as source for the needed preparatory fund for the CY 2020 Project, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM) and to applicable government accounting and auditing rules and regulations.

Resolution No. 2019-374 Approving the Support for the Preparatory Implementation of the CY 2020 National Arts Month Celebration in February and to Source its Fund from the 2019 Generated Savings

WHEREAS, there is a need to support the preparatory expenses for the CY 2020 National Arts Month (NAM) Celebrations in the amount of One Million Eight Hundred Thousand Pesos Only (PhP1,800,000.00), particularly for the administrative operations for the launching and implementation of the NAM;

WHEREAS, the Support shall be released to the three partner Local Government Units from Ormoc, Leyte for Visayas; Agusan del Sur for Mindanao; and Palawan for Luzon, the identified regional partners for the 2020 Celebrations;

WHEREAS, the CY 2020 budget for the said NAM has the possibility of a delay in the release beyond the control of the Commission and noting the needed expenses already by the partner LGU implementers as early as December, thus the request for the early Budget;

WHEREAS, Five Hundred Thousand Pesos (PhP500,000.00) shall be released each to the abovementioned LGU partners, and Three Hundred Thousand

Page 21 of 54 pages Pesos (PhP300,000.00) shall be for the other pre-administrative expenses as administered by the NAM Secretariat;

WHEREAS, the amount for the said preparatory expenses shall be sourced from the CY 2019 NEFCA Project Fund, particularly, the generated savings from the implemented CY 2019 projects per Board Res. No. 2019-373;

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, To approve the Support for the Preparatory Budget for the CY 2020 National Arts Month (NAM) Celebrations in the amount of One Million Eight Hundred Thousand Pesos Only (PhP1,800,000.00); likewise, To Approve to use the available generated Savings of the CY 2019 NEFCA Project Fund as source for said 2020 NAM Celebrations per Board Res. No. 2019-373.

RESOLVED FURTHER, ThatFive Hundred Thousand Pesos(PhP500,000.00) shall be released each to the identified LGU partners, and Three Hundred Thousand Pesos(PhP300,000.00) shall be for the other pre- administrative expenses as administered by the NAM Secretariat.

Request for Approval of the Budget for activities in line with the Commission’s ISO Certification

With no objection, the Board approved the budget of PhP 2,000,000.00 for the activities in line with the Commission’s ISO certification. The secretariat reported that the Commission successfully passed the third party audit last December 3 and 11, 2019 for the continued ISO certification of the administration of the NEFCA funded competitive grants process. Other processes would also be applied for ISO certification later.

[U]pon motion made and duly seconded, the majority of the Commission approved this Resolution:

Resolution No. 2020– 280 Approving Support and Budget for activities in line with the Commission’s ISO Certification

RESOLVED, as it is hereby RESOLVED, To Approve Support and Budegt for activities in line with the Commission’s ISO Certification in the amount of Two Million Pesos (PhP 2,000,000.00), chargeable to the Program , subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 22 of 54 pages Request for Approval and Confirmation of the CY 2020 Research Proposals under the NCCA Support for Research on Culture and the Arts, as endorsed by the Research Grants Program Technical Working Group

On behalf of the Members of the Technical Working Group (TWG) for the NCCA Research Program approved per Board Resolution No. 2020-221 (CY 2020 Budget), the secretariat formally presented to the Board of Commissioners’ (BOC) approval and confirmation, the nineteen (19) Research proposals endorsed for 2020 implementation as listed in the attached Annex: A [List of 19 CY 2020 Projects under the Research Program for Confirmation].

With no objection, the Board approved the 19 research proposals with funding to be sourced from the budget approved pursuant to Board Resolution No. 2020-221.

[U]pon motion made and duly seconded, the majority of the Commission approved these Resolutions: Resolution No. 2020– 281 Approving a Grant to Cagayan State University-Carig Campus for the research “Cultural-Social-Environmental Dimension of Ibatan Community of Babuyan Claro Island of Cagayan Province: A Documentary Analysis”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Cagayan State University-Carig Campus for the research “Cultural-Social- Environmental Dimension of Ibatan Community of Babuyan Claro Island of Cagayan Province: A Documentary Analysis” in the amount of Five Hundred Thousand Pesos (PhP500,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines. Resolution No. 2020– 282 Approving a Grant to Kaisahan ng mga Artista at Manunulat na Ayaw sa Development Agression (KAMANDAG) for the research “Development Agression: MgaIspesipikongProyekto ng BCDA at AngPanaganib ng TuluyangPagkaburang Kulturang Aeta sa Tarlac, Zambales at Pampanga”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Kaisahan ng mga Artista at ManunulatnaAyaw sa Development Agression (KAMANDAG)for the research “Development Agression: MgaIspesipikongProyekto ng BCDA at AngPanaganib ng TuluyangPagkabura ngKulturang Aeta sa Tarlac, Zambales at Pampanga” in the amount of Five Hundred Thousand Pesos (PhP 500,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 23 of 54 pages Resolution No. 2020– 283 Approving a Grant to the LGU of Saranggani for the research “Lbung and Dagom: Sourcebook Cloth and Textile Ornamentation of Traditional Blaan and Tagakaulo Blouses Sarangani”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to the LGU of Saranggani for the research “Lbung and Dagom: Sourcebook Cloth and Textile Ornamentation of Traditional Blaan and Tagakaulo Blouses Sarangani” in the amount of Five Hundred Thousand Pesos (PhP 500,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines. Resolution No. 2020– 284 Approving a Grant to Gracile Roxas for the research “Materials, Technique and State of Conservation of Selected Paintings of Fernando Amorsolo”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Gracile Roxas for her research “Materials, Technique and State of Conservation of Selected Paintings of Fernando Amorsolo” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 285 Approving a Grant to Levine Andro Hernandez Lao for the research “A Historico-Philosophical Critique of the Works on Intercultural Dialogue ofZeferinio Gonzales, a Spanish Catholic Philosopher Educated in a Philippine University”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Levine Andro Hernandez Laofor the research “A Historico-Philosophical Critique of the Works on Intercultural Dialogue of Zeferinio Gonzales, a Spanish Catholic Philosopher Educated in a Philippine University” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 24 of 54 pages Resolution No. 2020– 286 Approving a Grant to Axel Catapang for the research “Architectural Conservation and Management Plan of Our Lady of Caysasay Shrine and Miraculous Well of Sta. Lucia in Taal, Batangas”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Axel Catapang for the research “Architectural Conservation and Management Plan of Our Lady of Caysasay Shrine and Miraculous Well of Sta. Lucia in Taal, Batangas” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 287 Approving a Grant to Sandra Palomar-Quan for the research “Inside Out: Unboxing the Museum Experiences for the Blind”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Sandra Palomar-Quan for the research “Inside Out: Unboxing the Museum Experiences for the Blind ” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 288 Approving a Grant to Calyd T. Cerio for the research “Ethno-Medicinal Knowledge and Healthcare Practices of the Traditional Health Practitioners in the Remote East-Coastal Communities of Camarines Sur”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Sandra Palomar-Quan for the research “Ethno-Medicinal Knowledge and Healthcare Practices of the Traditional Health Practitioners in the Remote East-Coastal Communities of Camarines Sur” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 25 of 54 pages Resolution No. 2020– 289 Approving a Grant to Gerald Duagan for the research “Begnas of Sagada: Identity, Interpretations, and Intersections of Ritual”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Gerald Duagan for the research “Begnas of Sagada: Identity, Interpretations, and Intersections of Ritual” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 290 Approving a Grant to Christian LemuelMagaling for the research “La Redencion de la Imaginacion de losTabajadores: Pagbubuo at Pagmamapa sa Korpus ng KamalayangMangagawa sa Pilipinasmula 1900-1930”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Christian Lemuel Magaling for the research “La Redencion de la Imaginacion de losTabajadores: Pagbubuo at Pagmamapa sa Korpus ng KamalayangMangagawa sa Pilipinasmula 1900-1930” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 291 Approving a Grant to Rachel Peralta for the research “Abra Abel: A Tapestry of Tigguian Culture and Heritage”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Rachel Peralta for the research “Abra Abel: A Tapestry of Tigguian Culture and Heritage” in the amount of Three Hundred Thousand Pesos (PhP 300,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 26 of 54 pages Resolution No. 2020– 292 Approving a Grant to Alegria Ferrer for the research “Mitigating Disaster Trauma brought about by Typhoon Yolanda through the Production of "Lunop Han Dughan" (Voice of Yolanda), a musical on Yolanda Ground Zero: A Case Study”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Alegria Ferrer for the research “Mitigating Disaster Trauma brought about by Typhoon Yolanda through the Production of "Lunop Han Dughan" (Voice of Yolanda), a musical on Yolanda Ground Zero: A Case Study” in the amount of One Hundred Fifty Thousand Pesos (PhP 150,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 293 Approving a Grant to Ros Castelo Avila for the research “Public Works, Sanitation, Order, and Social Control in Manila in the Second Half of the 18th Century to the 19th Century”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Ros Castelo Avila for the research “Public Works, Sanitation, Order, and Social Control in Manila in the Second Half of the 18th Century to the 19th Century” in the amount of One Hundred Fifty Thousand Pesos (PhP 150,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 294 Approving a Grant to Eden Agbayani for the research “Hubaton Kang Manggub: Epiko ng mgaMandaya sa New Bataan, Compostela Valley”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Eden Agbayani for the research “Hubaton Kang Manggub: Epiko ng mgaMandaya sa New Bataan, Compostela Valley” in the amount of One Hundred Fifty Thousand Pesos (PhP 150,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 27 of 54 pages Resolution No. 2020– 295 Approving a Grant to Bea Yap Martinez for the research “Imagining the Region: Socio-Cultural Expressions in Literary Works from Carcar, Cebu”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Bea Yap Martinez for the research “Imagining the Region: Socio-Cultural Expressions in Literary Works from Carcar, Cebu” in the amount of One Hundred Fifty Thousand Pesos (PhP 150,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines. Resolution No. 2020– 296 Approving a Grant to Bonifacio Amper, Jr. for the research “Families on the Streets: Place-Making in an Urban Heritage Site”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Bonifacio Amper, Jr.for the research “Families on the Streets: Place-Making in an Urban Heritage Site” in the amount of One Hundred Fifty Thousand Pesos (PhP 150,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 297 Approving a Grant to Christian Gok-Ong for the research “Rise and Decline of Colon District as Entertainment Center (1950-2000)”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Christian Gok-Ong for the research “Rise and Decline of Colon District as Entertainment Center (1950-2000)” in the amount of Seventy Five Thousand Pesos (PhP 75,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 28 of 54 pages Resolution No. 2020– 298 Approving a Grant to Shelfa Alojamiento for the research “Guyud, Reyp at SapilitangPag-aasawa sa Punto de Vista ng mga TubongKalsada (Abduction, Rape and Forced Marriage: Street Narratives)”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Shelfa Alojamiento for the research “Guyud, Reyp at SapilitangPag-aasawa sa Punto de Vista ng mgaTubongKalsada (Abduction, Rape and Forced Marriage: Street Narratives)” in the amount of Seventy Five Thousand Pesos (PhP 75,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Resolution No. 2020– 299 Approving a Grant to Charles Sanchez for the research “Tales in the Time of Tokhang: Representation of Police and Military Personnel in Bisaya Short Stories Published in the Early Years (2017-2018) of Duterte's Presidency”

RESOLVED, as it is hereby RESOLVED, To Approve a Grant to Charles Sanchez for the research “Tales in the Time of Tokhang: Representation of Police and Military Personnel in Bisaya Short Stories Published in the Early Years (2017-2018) of Duterte's Presidency” in the amount of Seventy Five Thousand Pesos (PhP 75,000.00), chargeable to Board Resolution No. 2020-221 “Approving Support and Budget for the implementation of the Grants Program on Research”, subject to availability of funds and issuance of Notice of Cash Allocation (NCA) from the Department of Budget and Management (DBM), to applicable government accounting and auditing rules and regulations and NCCA policies and guidelines.

Page 29 of 54 pages 8. COMMISSION MATTER/S FOR COFIRMATION/INFORMATION

Update Report on the Elections of the Subcommissions (SCs) and National Committees (NCs) for the Coming Term, CY 2020-2022 and Confirmation of the Designation of the New Officers and Executive Council (ExeCon) Members

The secretariat presented as update report on the implemented and on-going elections of the different Subcommissions (SCs) and its National Committees (NCs) for the coming Term of Office, CY 2020-2022, effective January 1, 2020 until December 31, 2022. He said that the current term of office for CY 2017-2019 is until December 31, 2019, pursuant to the provisions of Republic Act No. 7356 and its Implementing Rules and Regulations (IRR). The Executive Council (ExeCon) Members shall serve for a term of three years, reckoned from 1 January 2011, and, shall not serve for more than two consecutive terms. He made a request for confirmation of the Term of Office and Membership of the Heads of the Subcommissions on Cultural Dissemination and Cultural Heritage and the Officers and Members of the Executive Councils of their respective National Committees, including the Subcommission on Cultural Communities and Traditional Arts and the Subcommission on the Arts for the term CY 2020-2022, effective 01 January 2020 until 31 December 2022.

Of the four subcommissions, he explained that Subcommission on Cultural Heritage and Cultural Dissemination have elected their heads who will sit in the Board of Commissioners for the next term. On the other hand, the Subcommission on Cultural Communities and Traditional Arts will hold the election for its Head on December 19, while the Subcommission on the Arts will conduct the election in early January 2020.

The secretariat informed the Board that the incumbent Chairman is ending his first term of office [CY 2017-2019] as Chairman by the end of this year pursuant to the NCCA Charter and its IRR. The Chairman shall also serve for a term of three years, and shall not serve for more than two consecutive terms. Thus, immediately after all the incoming Commissioners for the Arts, Cultural Communities and Traditional Arts, Cultural Dissemination, and, Cultural Heritage have been elected by its members and confirmed by the Board, the Board could already set the elections of the Chairman for the coming term of office.

The secretariat requested to confirm the term of office and membership of the Heads of the Subcommissions on Cultural Dissemination, the Arts, and Cultural Heritage and the Officers and Members of the Executive Councils of their respective National Committees, including the Subcommission on Cultural Communities and Traditional Arts and the Subcommission on the Arts for the term CY 2020-2022.

The secretariat also proposed to defer the holding of the election for the Chairman to the third week of January 2020 at the earliest or until the heads of the SCD and SCCTA have been elected and confirmed by the Board. This is to ensure the representation of the two subcommissions in the election of the Chairman.

A motion was put forward to defer the holding of the election for the Chairman to the third week of January 2020 at the earliest or until the heads of the SCD and SCCTA have been elected and confirmed by the Board

As the term of the incumbent Chairman is only until December 31, 2019, a motion was made to designate National Artist Virgilio S. Almario as Chairman on a hold-over capacity effective January 1, 2019 until a Chairman has been elected for the term 2020-2022.

Page 30 of 54 pages With no objection, the Board confirmed the term of office and membership of the Heads of the Subcommissions on Cultural Dissemination and Cultural Heritage and the Officers and Members of the Executive Councils of their respective National Committees, including the Subcommission on Cultural Communities and Traditional Arts for the term CY 2020-2022.

With no objection, the Board approved to defer the election of the NCCA Chairman to the third week of January at the earliest or until the Subcomission on the Arts and Subcommission on Cultural Communities and Traditional Arts have been elected and subsequently confirmed by the Board. The Board also approved the designation of National Artist Virgilio S. Almario as Chairman on hold-over capacity effective January 1, 2020 until a Chairman has been elected for the 2020-2022 term.

U]pon motion made and duly seconded, the majority of the Commission approved these Resolutions:

Resolution No. 2019–375 Confirming the Term of Office and Membership of the Heads of the Subcommissions on Cultural Dissemination, the Arts, and Cultural Heritage and the Officers and Members of the Executive Councils of their respective National Committees, including the Subcommission on Cultural Communities and Traditional Arts for the term CY 2020-2022, effective 01 January 2020 until 31 December 2022

WHEREAS, Section 39 of the Implementing Rules and Regulations of Republic Act no. 7356 provides for the creation of various National Committees (NCs) under each of the four Subcommissions (SCs);

WHEREAS, Section 61 of the IRR of Republic Act No. 7356 stipulates that the Executive Council (ExeCon) shall be the working group constituted for the business of each NC;

WHEREAS, Section 40 of the IRR of Republic Act No. 7356 provides that each SC and its NCs shall have a Head, a Vice Head and a Secretary who shall be elected for a term of three years reckoned from January 1, 2011, thereafter, for as long as he/she remains an ExeCon Member of the NC, and shall not serve for more than two consecutive terms;

WHEREAS, pursuant to Section 63 of the same IRR, the ExeCon of each NC shall elect its officers: a Head, a Vice-Head, and Secretary who shall be elected for terms of three years, reckoned from January 1, 2011, thereafter, for as long as he/she remains a member of the National Committee, and shall not serve for more than two consecutive terms;

WHEREAS, pursuant to Section 64 of the same IRR, the officers and members of the ExeCon shall be elected for a term of three years, reckoned from January 1, 2011, thereafter, for as long as he/she remains a member of the ExeCon, and shall not serve for more than two consecutive terms, to ensure broad representation among artists and cultural workers;

Page 31 of 54 pages WHEREAS, the election of officers and members of various NCs and SCs National Committees and Subcommissions for the next term, 2020-2022 were held from June to November 2019;

WHEREAS, the term of office and membership of the officers and members of the ExeCon of the NCs and SCs is subject to confirmation by the Commission;

NOW, THEREFORE, be it RESOLVED, as it is hereby RESOLVED, To Confirm the Term of Office and Membership of the following Officers and Members of the Subcommissions and its National Committees for the term January 1, 2020-December 31, 2022:

RESOLVED FINALLY, To Confirm the term of Office and Membership of the following Officers and Members of the Executive Council Members of the following Subcommissions and National Committees for the term January 1, 2020- December 31, 2022:

I. Subcommission on Cultural Dissemination (SCD) October 13, 2019 NCCA Building, Intramuros, Manila

SCD Officers and Members, 2020-2022

1. Dr. Vicente Handa Commissioner for Cultural Dissemination / Head, Head National Committee on Cultural Education

2. Mr. Ricardo C. Juliano Vice-Head Head, National Committee on Communication

3. Michael M. Coroza, Ph.D. Secretary Puno, PambansangKomite sa Wika at Salin

A. NATIONAL COMMITTEE ON COMMUNICATION (NCCom) - SCD September 23 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Ricardo C. Juliano Head Individual-Mindanao / Media Organization 2. Gina Angela N. Ty Vice-head Institutional-Mindanao / TV-Cable-Radio Broadcasting (Morning Star Cable TV) 3. Haidee Cortez – Estrada Secretary Individual-Luzon / Media Organization

Page 32 of 54 pages 4. Catherine C. Olog Assistant Secretary Institutional-Visayas / TV-Cable-Radio Broadcasting (Reliance CATV) 5. Mary Joyce M. Monzon ExeCon Member Institutional-Luzon / Media Organization (Sariaya Cable TV) 6. Eduardo Zafra, Ph.D. ExeCon Member Individual – Luzon / Academe (Co-opted) 7. Eng. Arturo A. Dy ExeCon Member Individual-Visayas / Media Organization

8. Joycie Alegre ExeCon Member Individual-Visayas / Academe 9. Atty. Gil Banaag ExeCon Member Individual – Mindanao / Print Media 10. Victoria R. Franco ExeCon Member Individual-Mindanao / Academe 11. Donald Lim ExeCon Member Individual-Luzon / Social Media 12. ExeCon Member Individual-Visayas / Print Media Co-opted

B. NATIONAL COMMITTEE ON CULTURAL EDUCATION (NCCEd) – SCD September 16, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Vicente C. Handa, Ph.D. Head Individual / Western Visayas 2. Carlo Ebeo Vice-head Individual / ARMM / BARMM 3. Josephine Rosos, Ph.D. Secretary Individual / Central Visayas 4. Mr. Mohamar D. Rindo Assistant Secretary Individual / Zamboanga Peninsula 5. Dan Ralph Subla ExeCon Member Individual / Page 33 of 54 pages Northern Mindanao – Iligan 6. Harold Mercurio, Ph.D. ExeCon Member Individual / Eastern Visayas 7. LevitaDuhaylungsod, Ph.D. ExeCon Member Individual / Luzon 8. Agnes Lasin ExeCon Member Individual / Bicol 9. Aida Paraguison ExeCon Member Individual / Northern Luzon 10. Lucio B. Jamero ExeCon Member Individual / Southern Mindanao 11. Mr. Rodel Bugarin ExeCon Member Individual / National Capital Region (NCR) 12. Timothy Dacanay ExeCon Member Individual / National Capital Region (NCR) 13. LinoMatalang ExeCon Member Ex-officio Member, Cultural Center of the Philippines 14. Usec. Annalyn Sevilla ExeCon Member Ex-officio Member, Department of Education

15. ExeCon Member Ex-officio Member, Commission on Higher Education

C. PAMBANSANG KOMITE SA WIKA AT SALIN National Committee on Language and Translation (NCLT) - SCD October 2, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Michael M. Coroza, Ph.D. Head Institutional Filipinas Institute of Translation, Inc. (FIT, Inc.) 2. Raquel E. Sison-Buban, Ph.D. Vice-Head Individual 3. Alvin Ringgo C. Reyes Ph.D. Secretary Institutional University of Santo Tomas (UST) – Department of Filipino 4. Romeo P. Peña, Ph.D. Assistant Secretary Institutional Kagawaran ng Filipinohiya Page 34 of 54 pages 5. Imelda P. De Castro, Ph.D. ExeCon Member Institutional Research Center on Culture, Education, andSocial Issues (RCCESI), University of Santo Tomas (UST) 6. Sandor B. Abad ExeCon Member Institutional Kapisanan ng mgaSuperbisor at Guro sa Filipino (KASUGUFIL) 7. Jimmuel C. Naval, Ph.D. ExeCon Member Individual 8. Aurora E.Batnag, Ph.D. ExeCon Member Individual 9. Ernesto V. Carandang II, Ph.D. ExeCon Member Individual 10. Jonathan V. Geronino ExeCon Member Individual 11. ExeCon Member Ex-Officio Member Komisyon sa Wikang Filipino Awaiting for the Official Representative 12. ExeCon Member Institutional Co-opted to be identified by the Committee 13. ExeCon Member Institutional Co-opted to be identified by the Committee II. Subcommission on the Arts (SCA) January 06, 2020 (Tentative Date of Elections) NCCA Building, Intramuros, Manila SCA Members, 2020-2022 1. LAr. ZenaidaGalingan Member Head, National Committee on Architecture and Allied Arts 2. Mr. Roland Tolentino, Ph.D. Member Head, National Committee on Cinema 3. Ms. Shirley Halili-Cruz, Ph.D. Member Head, National Committee on Dance 4. Mr. Felimon Blanco Member Head, National Committee on Dramatic Arts 5. Ms. Juliet C. Mallari, Ph.D. Member Head, National Committee on Literary Arts 6. Prof. Felipe de Leon, Jr., Ph.D. Member Head,

Page 35 of 54 pages National Committee on Music 7. Ms. Geraldine Araneta Member Head, National Committee on Visual Arts

A. NATIONAL COMMITTEE ON ARCHITECTURE AND ALLIED ARTS (NCAAA) - SCA November 6, 2019 The Bayleaf Hotel. Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. LAr. ZenaidaGalingan Head Institutional Philippine Association of Landscape Architects (PALA) 2. Ar. Minerva Rosel Vice-head Individual Southern Mindanao

3. EnP. Bernadette David Secretary Institutional Philippine Institute of Environmental Planners (PIEP)

4. IDr. Katherine Anne Correa Assistant Secretary Institutional Council of Interior Design Educators (CIDE) 5. IDr. Esmeralda Ayag ExeCon Member Institutional Philippine Institute of Interior Designers (PIID) 6. Ar. Robert Benedict Hermoso ExeCon Member Institutional United Architects of the Philippines (UAP) 7. Ar. Aida Cabang ExeCon Member Individual Northern Luzon 8. Ar. Chona Ponce ExeCon Member Individual Central Luzon 9. Ar. Wilfredo Sy, Jr. ExeCon Member Individual Western Visayas 10. Ar. Omar Maxwell Espina ExeCon Member Individual Central/Eastern Visayas 11. Ar. Rommel Reyes ExeCon Member Individual Western Mindanao

Page 36 of 54 pages 12. ExeCon Member Institutional Council of Deans and Heads of Architectural Schools in the Philippines (CODHASP) Awaiting for the Official Representative 13. ExeCon Member Individual Southern Luzon, Co-opted

B. NATIONAL COMMITTEE ON CINEMA (NCCinema) - SCA October 10, 2019 The Bayleaf Hotel, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Roland Tolentino, Ph.D. Head Sectoral Representative Film Journalism Sector 2. Mr. Vicente Nebrida Vice-head Sectoral Representative Film Exhibition and Distribution Sector 3. Mr. Ramon Alberto Garilao Secretary Sectoral Representative Independent Cinema 4. Mr. Michael Kho Lim Assistant Secretary Sectoral Representative Education / Academe Sector 5. Mr. Richard Bolisay ExeCon Member Sectoral Representative Education / Academe Sector 6. Mr. Bobby Benitez ExeCon Member Sectoral Representative Mainstream Sector 7. Mr. Joel Arthur Tibaldo ExeCon Member Sectoral Representative Indigenous People’s Sector 8. Mr. Benjamin Marasigan ExeCon Member Sectoral Representative Animation Sector 9. Mr. Ronald Rios ExeCon Member Sectoral Representative Film Archives Sector 10. Mr. Mahar SulaymanIbañez ExeCon Member Sectoral Representative Digital Film Distribution 11. Mr. Ryan Joseph Murcia ExeCon Member Individual Mindanao Region

Page 37 of 54 pages 12. Mr. Adrian Torres ExeCon Member Individual Visayas Region 13. ExeCon Member Individual Luzon Region, Co-opted

C. NATIONAL COMMITTEE ON DANCE (NCDance) - SCA October 17, 2019 Bai Hotel, Mandaue City, Cebu

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Ms. Shirley Halili-Cruz, Ph.D. Head Individual National Capital Region (NCR) 2. Dr. Larry A. Gabao Vice-head Individual National Capital Region (NCR) 3. Mr. Rodel M. Fronda Secretary Individual Luzon 4. Prof. Franco M. Velas Assistant Secretary Individual National Capital Region (NCR) 5. Prof. Gener A. Caringal ExeCon Member Individual National Capital Region (NCR) 6. Mr. Adonis Voltaire M. Villanueva ExeCon Member Individual Luzon 7. Ms. Rebecca M. Nulud ExeCon Member Individual, Luzon 8. Engr. Patricio “Junjet” E. Primor ExeCon Member Individual Visayas 9. Ms. Mariant E. Villegas ExeCon Member Individual Visayas 10. Mr. Randyll V. Villones ExeCon Member Individual Visayas 11. Dr. Pepito O. Mosquito ExeCon Member Individual Mindanao 12. Dr. Chiedel Joan G. San Diego ExeCon Member Individual Mindanao 13. Mr. Odysso O. Oyales ExeCon Member Individual Mindanao

Page 38 of 54 pages D. NATIONAL COMMITTEE ON DRAMATIC ARTS (NCDA) - SCA October 14, 2019 Bai Hotel Cebu City

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Felimon Blanco Head Organizational Representative Southern Mindanao 2. Mr. Eduardo Perez Vice-head Organizational Representative Central Luzon 3. Ms. Denise Aguilar Secretary Organizational Representative Northern Mindanao 4. Mr. Jerrey Aguilar Assistant Secretary Organizational Representative Central Visayas 5. Ms. MatylineCamfili-Talasta ExeCon Member Organizational Representative Northern Luzon 6. Mr. Bernardo Aguay, Jr. ExeCon Member Organizational Representative Southern Luzon 7. Mr. Roberto Mendoza ExeCon Member Organizational Representative National Capital Region (NCR) – South 8. Mr. Anthony Cruz ExeCon Member Organizational Representative National Capital Region (NCR) - North 9. Mr. Ricardo Salanap Jr. ExeCon Member Organizational Representative Western Visayas 10. Mr. Romeo Narvaez ExeCon Member Organizational Representative Western Mindanao 11. Dr, Jazmin Llana ExeCon Member Organizational Representative Designated Member / Co-opted 12. ExeCon Member Organizational Representative National Capital Region (NCR) – Western, Co-opted 13. ExeCon Member Organizational Representative Eastern Visayas, Co-opted

Page 39 of 54 pages E. NATIONAL COMMITTEE ON LITERARY ARTS (NCLA) - SCA October 17, 2019 Bai Hotel, Mandaue City, Cebu

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Dr. Juliet C. Mallari Head Organizational Representative Central Luzon 2. Mt. John Bengan Vice-head Organizational Representative Eastern and Southern Mindanao 3. Dr. Joyce Arriola Secretary Organizational Representative National Capital Region (NCR) 4. Ms. Yvonne Esperas Assistant Secretary Organizational Representative Eastern Visayas 5. Dr. Priscilla S. Macansantos ExeCon Member Organizational Representative Cordillera (Northern Luzon) 6. Mr. Neyo E. Valdez ExeCon Member Organizational Representative Northern Luzon 7. Mr. Niles Jordan D. Breis ExeCon Member Organizational Representative Southern Luzon 8. Dr. Maria Luna Sicat-Cleto ExeCon Member Organizational Representative National Capital Region (NCR) 9. Ms. Merdeka Morales ExeCon Member Organizational Representative National Capital Region (NCR) 10. Ms. May Anne T. Jaro ExeCon Member Organizational Representative Western Visayas 11. Ms. Haidee Emmie K. Palapar ExeCon Member Organizational Representative Central Visayas 12. ExeCon Member Organizational Representative Central / Western Mindanao, Co-opted 13. ExeCon Member Organizational Representative Northern Mindanao, Co-opted

Page 40 of 54 pages F. NATIONAL COMMITTEE ON MUSIC (NCMusic) - SCA October 22, 2019 The Bayleaf Hotel. Intramuros Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Prof. Felipe M. de Leon, Jr., Ph.D. Head Individual Member Research Sector 2. Mr. Eugene delos Santos Vice-Head Individual Member Education Sector 3. Ms. NenenEspina Secretary Individual Member Education Sector 4. Mr. Jose Soliman Assistant Secretary Individual Member Performance Sector 5. Mr. Lucien Letaba ExeCon Member Individual Member Composition Sector 6. Mr. Jay Sarita ExeCon Member Individual Member Performance Sector 7. Mr. Arvin Villalon ExeCon Member Individual Member Luzon 8. Mr. Diomar Abrio ExeCon Member Individual Member Visayas 9. Mr. Frank Englis ExeCon Member Individual Member Mindanao 10. ExeCon Member Individual Member Visayas, Co-opted 11. ExeCon Member Individual Member Mindanao, Co-opted 12. ExeCon Member Individual Member Industry Sector, Co-opted 13. ExeCon Member Individual Member Administration Sector, Co-opted

Page 41 of 54 pages G. NATIONAL COMMITTEE ON VISUAL ARTS (NCVA) - SCA October 28, 2019 The Bayleaf Hotel. Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Ms. Geraldine Araneta Head Individual National Capital Region (NCR) 2. Mr. Dennis Montera, Ph.D. Vice Head Individual Central Visayas 3. Ms. Moreen Austria Secretary Individual Western Visayas 4. Ms. Raquel Oyek Assistant Secretary Individual National Capital Region (NCR) 5. Mr. Patrick Chong ExeCon Member Individual Northern Luzon 6. Mr. Arnel Garcia ExeCon Member Individual Central Luzon 7. Mr. Noel Farol ExeCon Member Individual Southern Luzon 8. Mr. Jose Alberto Tañedo ExeCon Member Individual National Capital Region (NCR) 9. Mr. Valente Villanueva ExeCon Member Individual Eastern Visayas 10. Mr. Errol Balcos ExeCon Member Individual Northern Mindanao 11. Mr. Vicente Laput ExeCon Member Individual Western Mindanao 12. Mr. Joel Geolamen ExeCon Member Individual Southern Mindanao 13. Mr. Salvador Ching ExeCon Member Individual Designated Member / Co-opted

Page 42 of 54 pages III. Subcommission on Cultural Heritage (SCH) December 11, 2019 NCCA Building, Intramuros, Manila

SCH Officers and Members, 2020-2022

1. Ar. Michael F. Manalo Commissioner for Cultural Heritage / Head, Head National Committee on Monuments and Sites 2. Mr. Emmanuel F. Calairo, Ph.D. Vice-Head Head, National Committee on Historical Research 3. Mr. Arnulfo O. Junio Secretary Head, National Committee on Archives 4. Mr. Danny Rayos del Sol Assistant Secretary Head, National Committee on Art Galleries 5. Ms. Salvacion M. Arlante Member Head, National Committee on Libraries and Information Services 6. Mr. Jose Eleazar Bersales, Ph.D. Member Head, National Committee on Museums

A. NATIONAL COMMITTEE ON ARCHIVES (NCA) - SCH November 18, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022 1. Mr. Arnulfo O. Junio Head Institutional Society of Filipino Archivists (SFA) 2. Ms. Carina C. Samaniego Vice-Head Individual Specialized Archives – Academic Archives

3. Ms. Rosemarie O. Roque Secretary Institutional Society of Filipino Archivists for Film (SOFIA) 4. Ms. Gladys Joy E. Entico Assistant Secretary Individual Specialized Archives – Corporate Archives 5. Ms. Maita E. Abunales ExeCon Member Institutional, Ex-Officio Member National Archives of the Philippines (NAP) 6. Ms. Teofila Mendoza ExeCon Member Institutional Philippine Records Management Association (PRMA)

Page 43 of 54 pages 7. Ms. Jocelyn Marcos ExeCon Member Institutional Society of Ecclesiastical Archivists of the Philippines (SEAP) 8. Ms. Rosemarie L. Calaranan ExeCon Member Institutional Government Records Officers Association of the Philippines (GROAP) 9. Ms. Divina S. Medina ExeCon Member Individual Specialized Archives – Legislative Archives 10. Ms. Ma. Teresa S. Bondoc ExeCon Member Individual Specialized Archives – Sound Archives 11. Ms. Remedios E. Ballesfin ExeCon Member Individual Luzon Representative 12. Mr. Henry Tomalabcad ExeCon Member Individual Visayas Representative 13. ExeCon Member Individual Mindanao Representative Co-opted

B. NATIONAL COMMITTEE ON ART GALLERIES (NCAG) - SCH November 21, 2019 Midas Hotel, Roxas Boulevard, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Danny Rayos Del Sol Head Institutional Gallery Nine 2. Mr. Chit Asignacion Vice-Head Institutional Tam-awan Gallery 3. Ms. Flor E. Baradi Secretary Institutional Arte Pintura Gallery 4. Ms. Carla de Jesus-Teotico Assistant Secretary Institutional Gallery Francesca 5. Ms. Alyosha J. Robillos ExeCon Member Institutional The Artery Manila 6. Ms. Abigael Felix-Esguerra ExeCon Member Institutional VMEME Art Gallery

Page 44 of 54 pages 7. Mr. Manuel F. Romero ExeCon Member Institutional Renaissance Gallery 8. Ms. Christina S. Taniguchi ExeCon Member Institutional Mariyah Gallery 9. Ms. Liz Heidelle Bacalso ExeCon Member Institutional Qube Gallery

C. NATIONAL COMMITTEE ON HISTORICAL RESEARCH (NCHR) - SCH November 20, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Emmanuel F. Calairo, Ph.D. Head Institutional Philippine Historical Association (PHA) 2. Mr. Neil Martial D. Santillan, Ph.D. Vice-Head Institutional University of the Philippines, Diliman 3. Prof. George Emmanuel R. Borrinaga Secretary Individual Visayas Representative 4. Ms. Arleigh Ross D. Dela Cruz, Ph.D. Assistant Secretary Institutional De La Salle University, Manila 5. Mr. David O. Lozada III, Ph.D. ExeCon Member Institutional Ateneo de Manila University, Manila 6. Mr. Lars Raymund C. Ubaldo, Ph.D. ExeCon Member Institutional Asosasyon ng mgaDalubhasa at may Hilig sa Kasaysayan ng Pilipinas (ADHIKA) 7. Mr. Antonio C. Hila, Ph.D. ExeCon Member Institutional Philippine National Historical Society (PNHS) 8. Prof. Regan P. Jomao-as ExeCon Member Institutional Siliman University, Dumaguete 9. Prof. Adam T. Acmad ExeCon Member Institutional Mindanao State University, Marawi 10. Mr. Lino O. Dizon, Ph.D. ExeCon Member Individual Luzon Representative 11. Mr. Calbi Asain, Ph.D. ExeCon Member Individual Mindanao Representative

Page 45 of 54 pages 12. Mr. Alvin R. Alcid ExeCon Member Institutional, Ex-Officio Member National Historical Commission of the Philippines 13. ExeCon Member Institutional University of Santo Tomas, Manila Awaiting for the Official Representative

D. NATIONAL COMMITTEE ON LIBRARIES AND INFORMATION SERVICES (NCLIS) - SCH November 19, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Ms. Salvacion M. Arlante Head Individual National Capital Region (NCR) Representative 2. Ms. Nora Fe Alajar Vice-Head Individual Mindanao Representative 3. Ms. Alice Esguerra Secretary Individual Luzon Representative 4. Mr. AndreliPardales Assistant Secretary Individual Visayas Representative 5. Mr. Edgardo B. Quiros ExeCon Member Institutional, Ex-Officio Member National Library of the Philippines 6. Ms. Dolores Carungui ExeCon Member Individual National Capital Region (NCR) Representative 7. Ms. Susan Fetalco ExeCon Member Individual National Capital Region (NCR) Representative 8. Ms. Dolores Cayaban ExeCon Member Individual Luzon Representative 9. Ms. Sonia Isip ExeCon Member Individual Luzon Representative 10. Mr. Rainera C. Boholst ExeCon Member Individual Visayas Representative 11. Ms. Regina A. Maligad ExeCon Member Individual Visayas Representative 12. Ms. Mila M. Lacson ExeCon Member Individual Mindanao Representative

Page 46 of 54 pages 13. Ms. Anita C. Sornito ExeCon Member Individual Mindanao Representative

E. NATIONAL COMMITTEE ON MONUMENTS AND SITES (NCMS) - SCH November 12, 2019 NCCA Office, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022 1. Ar. Michael F. Manalo Head Individual Academe Sector 2. Ar. Jayson B. Portem Vice-Head Institutional United Architects of the Philippines (UAP) – Center for Filipino Architecture 3. Ms. Liliane R. Manahan Secretary Institutional International Council on Monuments and Sites – National Committee of the Philippines 4. Mr. Richard G. Daenos, Ph.D. Assistant Secretary Individual Luzon Representative 5. Engr. Jainab Aimee Altillero ExeCon Member Institutional, Ex-Officio Member National Museum of the Philippines (NM) 6. Ms. Kathleen D.C. Tantuico ExeCon Member Institutional Heritage Conservation Society (HCS) 7. LAr. Elizabeth Hautea-Espino ExeCon Member Institutional Philippine Association of Landscape Architects (PALA)

8. Engr. Reynaldo G. Tagudando ExeCon Member Institutional Philippine Institute of Civil Engineers (PICE) 9. Ar. Melva R. Java ExeCon Member Individual Academe Sector

10. Ar. German Janus Niño Guidaben ExeCon Member Individual Visayas Representative 11. Mr. Tirmizy E. Abdullah, Ph.D. ExeCon Member Individual Mindanao Representative 12. ExeCon Member Institutional, Ex-Officio Member National Historical Commission of the Philippines Awaiting Official Representative

Page 47 of 54 pages F. NATIONAL COMMITTEE ON MUSEUMS (NCOM) – SCH November 28, 2019 Bayleaf Hotel, Intramuros, Manila

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Jose EleazarBersales, Ph.D. Head Institutional, Regional Museum Associations Central Visayas Association of Museums (CVAM) 2. Mr. Peter John Natividad Vice-Head Institutional, Regional Museum Associations Alliance of Greater Manila Area of Museums (AGMAM) 3. Mr. Carl Jamiesimple Sanchez Bordeos Secretary Institutional, Regional Museum Associations Eastern Visayas Association of Museums (EVAM) 4. Ms. RemediosBarretto, Ph.D. Assistant Secretary Institutional, Regional Museum Associations Mindanao Association of Museums, Western Mindanao (MAM-Western) 5. Ms. Angelina Amat ExeCon Member Institutional, Regional Museum Associations Southern Luzon Association of Museums (SLAM) 6. Ms. Irene S. Magallon ExeCon Member Institutional, Regional Museum Associations Western Visayas Association of Museums (WVAM) 7. Mr. Edmundo Acaylar ExeCon Member Institutional, Regional Museum Associations Mindanao Association of Museums, Eastern Mindanao (MAM-Eastern) 8. Mr. Rasul M. Saba ExeCon Member Institutional, Regional Museum Associations Mindanao Association of Museums for Bangsamoro- Autonomous Region in Muslim Mindanao (MAM-Bangsamoro) 9. Ms. Karen Nina Lacsamana Carrera ExeCon Member Institutional, Regional Museum Associations Central Luzon Association of Museums (CLAM) 10. Ms. Marites Paz-Tauro ExeCon Member Institutional, Ex-Officio Member National Museum of the Philippines (NMP) 11. Mr. Bryan Anthony Paraiso ExeCon Member Institutional, Ex-Officio Member National Historical Commission of the Philippines (NHCP) 12. Institutional, Regional Museum ExeCon Member Associations Bicol Awaiting Official Representative 13. Institutional, Regional Museum Associations ExeCon Member Northern Luzon Association of Museums (NLAM) Awaiting Official Representative

Page 48 of 54 pages IV. Subcommission on Cultural Communities and Traditional Arts (SCCTA) December 19, 2019 (Tentative Date of Election of Officers) NCCA Building, Intramuros, Manila

A. NATIONAL COMMITTEE ON CENTRAL CULTURAL COMMUNITIES (NCCCC) - SCCTA December 4 to 12, 2019 Regional Clustering December 18, 2019 (Tentative Date of Election of Officers)

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Ms. HarlynEdenden ExeCon Member Cluster Head / Representative Molbog / Palawani / JamaMapun 2. Ms.Renila Dulay ExeCon Member Cluster Head / Representative Tagbanua / Pala’wan / Batak Cluster 3. Mr. Pablito Gonzales ExeCon Member Cluster Head / Representative Ilonggo / Hiligaynon / Kiniray-a / Aklanon Cluster 4. Mr. Rafe Laluma ExeCon Member Cluster Head / Representative Sulod / Panay Bukidnon Cluster 5. Ms. Delia Pauden ExeCon Member Cluster Head / Representative Ati of Antique / Aklan Cluster 6. Ms. Felicitas Catedrilla ExeCon Member Cluster Head / Representative Ati of Capiz / Iloilo / Guimaras 7. Ma. Lyn Magbanua ExeCon Member Cluster Head / Representative Ati/Bukidnon of Negros Island Cluster 8. Mr. Herminigildo Sanchez ExeCon Member Cluster Head / Representative Waray / Abaknon Cluster

B. NATIONAL COMMITTEE ON NORTHERN CULTURAL COMMUNITIES (NCNCC) - SCCTA December 9 to 16, 2019 Regional Clustering December 18, 2019 (Tentative Date of Election of Officers)

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Mr. Willy Sinoli ExeCon Member Cluster Head / Representative Gaddang / Isinay Cluster

Page 49 of 54 pages 2. Ms. Carina Amsiwen ExeCon Member Cluster Head / Representative Bontok / Balangao / Applai Cluster 3. Ms. Elnora Dudang ExeCon Member Cluster Head / Representative Bolinao / Pangasinense Cluster 4. Ms. Heather Dizon ExeCon Member Cluster Head / Representative Ibaloy / Kankana-ey 5. Phylis Anudon ExeCon Member Cluster Head / Representative Ifugao / Kalanguya Cluster 6. Edwin Antonio ExeCon Member Cluster Head / Representative Iloko / Bago Cluster 7. Joel Mallari ExeCon Member Cluster Head / Representative Kapampangan Cluster 8. Teresita Bulsao ExeCon Member Cluster Head / Representative Isnag Cluster

C. NATIONAL COMMITTEE ON SOUTHERN CULTURAL COMMUNITIES (NCSCC) - SCCTA December 2 to 8, 2019 Regional Clustering December 18, 2019 (Tentative Date of Election of Officers)

Executive Council (ExeCon) Officers and Members, 2020-2022

1. Fatima Kanakan ExeCon Member Cluster Head / Representative Teduray / Arumanen Cluster 2. Mr.Abubacar Datumanong ExeCon Member Cluster Head / Representative Iranun / Maguindano Cluster 3. Arthur Gulili ExeCon Member Cluster Head / Representative Sangir / B’laan Cluster 4. Michael Yambok ExeCon Member Cluster Head / Representative T’boli / Ubo Cluster 5. Mr. Ammalun Salahuddin ExeCon Member Cluster Head / Representative Yakan Cluster 6. Mr.Fat – Maheaba Edward ExeCon Member Cluster Head / Representative Sama / Bangingi / JamaMapun / Bajau Cluster 7. Mr. Hannbal Bara ExeCon Member Cluster Head / Representative Tausug Cluster Page 51 of 54 pages 8. Mr. Noel Umbac ExeCon Member Cluster Head / Representative Subanen / Chabacano Cluster

Resolution No. 2019–377 Designating National Artist Virgilio S. Almario as Chairman of the National Commission for Culture and the Arts on a hold over capacity

WHEREAS, the first term of office of the incumbent Chairman is until December 31, 2019;

WHEREAS, pursuant to the provisions of Republic Act No. 7356 and its Implementing Rules and Regulations (IRR), the Commission shall be composed of ex-officio members from six cultural agencies, representatives of the Senate of the Philippines and House of Representatives, the Department of Education, Department of Trothe Senate and House of Representatives, the Executive Director, and the Heads of the four Subcommissions, namely, Arts, Cultural Dissemination, Cultural Communities and Traditional Arts, and Cultural Heritage;

WHEREAS, under the same Act and IRR, the Chairman of the Commission shall be elected by the members from among themselves who shall serve for a term of three years, reckoned from January, thereafter, for as long as he/she remains a member of the Commission, shall not serve for more than two consecutive terms;

WHEREAS, the Subcommission on the Arts and Subcommission on Cultural Communities have not yet elected their respective heads who will represent the said subcommissions in the Commission;

WHEREAS, to ensure representation of the two Subcommissions, the Commission decided to defer the holding of the election of the Chairman at the earliest in January 2020 or until after Subcommission on the Arts and Subcommission on Cultural Communities and Traditional Arts have elected their respective heads and confirmed by the Commission;

WHEREAS, the law abhors a vacuum, and in view of the fact that the Board of Commissioners has not yet elected the Commission Chairman for the term of office (2020-2022), and more importantly, to maintain the efficiency in public service and to ensure the continuity of the operations of the National Commission for Culture and the Arts;

NOW, THEREFORE, RESOLVED, as it is hereby RESOLVED, To Designate National Artist Virgilio S. Almario as Chairman of the National Commission for Culture and the Arts on a hold-over capacity effective January 1, 2020 until the Board of Commissioners has elected the Chairman for the term 2020- 2022;

RESOLVED FURTHER, That as Chairman on a hold over capacity, National Artist Virgilio S. Almario is authorized to exercise the functions and responsibilities of a Commission Chairman as provided for in Section 23 of the Implementing Rules and Regulations of Republic Act 7356;

Page 52 of 90 pages RESOLVED FINALLY, That National Artist Virgilio S. Almario is hereby delegated the authority to decide and act on various matters, pursuant to Resolution No. 1999-93 “Authorizing the Chairman to Act on Administrative Matters Affecting the Operations of the NCCA Secretariat” and other existing rules, regulations and Board Resolutions on the authority of the Chairman.

Election Procedure for the NCCA Chairperson

Noted by the Board.

9. SECRETARIAT REPORT/S FOR INFORMATION

Update on the Status of NEFCA Project Fund and Statistical Reports on Approved Projects as of December 9, 2019 prepared by NCCA Finance – NEFCA

The Board noted the report of the NCCA Finance-NEFCA Division on the status of the NEFCA Project Fund and statistical reports on approved projects as of December 9, 2019.

Report from the International Affairs Section on the Projects approved under the Program for Culture and Diplomacy as of December 4, 2019

The Board noted the report of the International Affairs Section on projects approved under the Program for Culture and Diplomacy as of December 4, 2019.

11. ADJOURNMENT

The Chairman adjourned the meeting at 3:26 P.M.

Page 53 of 90 pages APPROVED (Minutes of the Regular Commission Meeting Held on December 16, 2019, NCCA)

VIRGILIO S. ALMARIO Chairman

SHERWIN GATCHALIAN/ ROMAN T. ROMULO MARIA LOURDES NANCY S. BINAY House of Representatives Senate of the Philippines (not present)

EDWIN R. ENRILE ANNALYN M. SEVILLA/ Department of Tourism BETTINA AQUINO (not present) Department of Education

JEREMY R. BARNS ARSENIO J. LIZASO National Museum of the Philippines Cultural Center of the Philippines

RENE R. ESCALANTE VICTORINO MAPA MANALO National Historical Commission of the National Archives of the Philippines Philippines

CESAR GILBERT Q. ADRIANO HAROLD LL. RENTORIA, OSA The National Library of the Philippines NCCA-SubCommision on Cultural Heritage

ORLANDO B. MAGNO TEDDY O. CO NCCA-SubCommission Cultural Dissemination NCCA-SubCommission on the Arts

ALPHONSUS D. TESORO AL RYAN S. ALEJANDRE NCCA-SubCommission on Cultural Executive Director, NCCA Communities and Traditional Arts

Page 54 of 90 pages Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

COMPOSITION PRIZE GUIDELINES

The National Commission for Culture and the Arts (NCCA) Composition Prize is a biennial award given to deserving composers for each category. Initiated in 2016, it is a competition on concert hall music, which calls for extended works that go beyond popular or traditional music-writing or improvisation, and thus can be better judged or evaluated if codified with acceptable standard notation that may be published and recreated later through a performance.

The NCCA, in line with its mission to “encourage the continuing development of a pluralistic culture by the people themselves,” will be creating the opportunity to have a direct hand in the development and enrichment of the genres in Philippine music literature.

1. Eligibility

The award is open to all Filipino composers, of legal age as prescribed by the law at the time of the submission, except to the officers and members of the NCCA Secretariat and the incumbent Executive Council (ExeCon) Members of the NCCA Committee on Music (NCM). Compositions that may be submitted must be unpublished and unperformed until the award is given. Likewise, these compositions should not have been awarded a prize from any award-giving body.

2. Mechanics

For the NCCA Composition Prize competition, the following are the requirements in the submission of entries:

Composers must submit an accomplished application form, which is available at the NCCA Plan/Policy Formulation and Programming Division (P/PFPD) or may be downloaded from the NCCA website: www.ncca.gov.ph; together with the following:

a) composer’s curriculum vitae b) five (5) copies of the complete full score including the composer’s notes on the submitted composition c) one 2x2 recent picture of the composer

Page 1 of 6 Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

CATEGORY FINAL OUTPUT AMOUNT

Song cycle At least five (5) songs P125,000.00 (voice & accompaniment) (combined minimum of 12 minutes) Chamber music At least three (3) P187,500.00 (minimum of two, maximum of pieces/movements* nine instruments with or without (combined minimum of 12 voice, may include Philippine minutes) indigenous instruments)

Rondalla Ensemble At least three (3) P187,500.00 pieces/movements* (combined minimum of 10 minutes) Solo instrument At least three (3) P125,000.00 (including solo rondalla pieces/movements* instruments, and Philippine (combined minimum indigenous instruments) duration of 8 minutes)

N.B.

*An extended single-movement work may be submitted provided that the composer adheres to the designated combined minimum duration of that particular category.

Compositions that utilize texts must be authored by a Philippine poet/writer in any Philippine language though other non-Philippine language may still be accepted. If the composer is not the writer of the text, then the composer is solely responsible for securing copyright clearance especially for texts that are not in the public domain.

Compositions that include electronics shall be at the composer’s expense. NCCA shall not assume responsibility for procuring neither the equipment nor software/program necessary for the composition.

All submitted compositions shall use standard conventional notation. Non- conventional notation may be employed but accompanied with convincing explanation. The manuscript must not bear the name of the applicant in any of the pages. All manuscripts received with identifying marks shall be disqualified.

Manuscripts must preferably be computer-generated. Handwritten scores may also be accepted but composers must be prepared to submit a computer-generated notation at their own expense if such scores are selected by the jury.

Page 2 of 6 Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

The Categories and prizes maybe subject for biennial review of the committee, subject to availability of funds, and auditing rules and regulations, prior to the call for submission of entries.

Applications will first be evaluated by the Project Director for compliance of completed requirements. Then, these shall be adjudicated by three (3) jurors to be assembled by the Project Director. The members of the Board of Jury shall be composed of respected and esteemed musicians and composers.

The project director shall be nominated and recommended by the incumbent ExeCon Members of the NCM; and the members of the board of jury shall be nominated and recommended by the project director to be approved by the NCM.

Composers are allowed to submit only one (1) composition in a particular category but may also apply in all other categories and must also fill up another application form for the other category.

The prize (in the gross amount stipulated in each category) shall be released during the Awarding Ceremony on a date approved by the NCCA and NCM.

Other details of the awarding shall be released on a later date.

The cash prize shall be subject to applicable government taxes, and accounting and auditing rules and regulations.

The jury may declare either one (1) winner or no winner for each category.

Allotment for prizes shall be subject to the availability of prize funds.

The winning composition must be re-submitted in two forms: Two (2) hard- bound printed copies and two (2) electronic copies each in Sibelius 6 (or higher) only and PDF formats in a USB. The winning works shall now include the name of the composer and bear the following inscription on each of the printed manuscript and in all press releases:

Winner of the Composition Prize - (name of category) from the National Commission for Culture and the Arts – National Committee on Music

Deadline of submission of application together with the curriculum vitae of applicant and other requirements shall be identified by the National Committee on Music. All applications shall be either mailed or delivered to:

NCCA Arts Prize Secretariat Arts Section – Plan/Policy Formulation and Programming Division National Commission for Culture and the Arts 633 General Luna Street, Intramuros 1002 Manila

Page 3 of 6 Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

Entries received after the designated date shall be disqualified. However, only applications sent via courier service may be accepted after the deadline provided that these are postmarked on or before the deadline. Composers shall receive an email within 72 hours to confirm the status of their submission.

Entries with still incomplete requirements after the deadline has passed shall also be disqualified.

The winning composer for each category shall also receive an email confirmation. Announcement of selected composers shall be posted on the official NCCA website and Facebook page.

Entries that were not selected shall not be returned and shall be immediately discarded. Likewise, incomplete applications shall be sufficient grounds for disqualification. Therefore, it is the sole responsibility of the composer to make certain that all requirements are complete.

Compositions may deal with any topic including those dealing with environmental issues and climate change or other relevant matters for the application year.

The criteria for selection shall be:

a) Clarity of concept and compositional creative direction b) Balance of idiomatic writing vis-à-vis desired textural colours that are difficult / impossible for the target performers to recreate

The decision of the Board of Jury is final and irrevocable. The NCCA Committee on Music, through the Project Director, also reserves the right to make any changes deemed necessary to any part of the competition at any time without any prejudice to the composers.

3. Other Mechanics

The composers hereby grant the NCCA the first option to publish the winning manuscripts. The NCCA will have the right to produce or authorize to be produced for staging, telecasting, broadcasting, or cinema, or other forms of presentation from time to time any output of the winning compositions without any additional performance or broadcast royalty to the composer for three (3) years beginning the succeeding year after the prize has been awarded. Afterwards, such royalties will have to be collected and paid to the composer. The NCCA will likewise be allowed to include the completed manuscripts in the NCCA Website. The first option of the NCCA to publish shall be within two years after the prize has been awarded. After that, publishing rights shall revert to the respective composers.

Page 4 of 6 Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

Any violation of the guidelines shall mean forfeiture of the prize and the amount paid to the composer, if any, must be returned immediately to the NCCA. The jury then reserves the right to award the prize to another composer or declare no winner for that particular category.

If there are any inquiries regarding any component of the prize, send an email to:

[email protected]

4. Public World Premier

NCCA shall organize the implementation of the public world premiere of the winning compositions subject to availability of funds. The winning composer of each category is highly encouraged to attend the performance at his/her own expense.

5. Budget Allocation

An amount of One Million Three Hundred Thousand Pesos (PhP1,300,000.00) shall be allocated, subject to availability of funds as recommended by the National Committee on Music, and approved by the Board of Commissioners. The budget shall cover the cash prizes, honoraria of resource persons, judges, secretariat, and Maintenance and Other Operating Expenses.

6. Amendment/Revision

Any amendment/minor revision on the general guidelines, particularly on the categories to be chosen for the implementation year shall be approved by the Chair through the Executive Director, upon review, recommendation and endorsement by the NCM through the Subcommission on the Arts (SCA).

Approvals made by the Chairman under Resolution No. 2019-363 and Guidelines shall be submitted to the Board of Commissioners for confirmation.

Page 5 of 6 Annex A Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the 2020 NCCA Composition”, Thereby Rescinding Resolution No. 2018-282 ”

NCCA 2020 COMPOSITION PRIZE

O F F I C I A L E N T R Y F O R M

CATEGORY:

TITLE OF COMPOSITION:

NAME OF COMPOSER:

DATE OF BIRTH: PLACE OF BIRTH:

SEX: AGE: CIVIL STATUS:

CONTACT INFORMATION: HOME WORK/BUSINESS

Address :

Tel. No./s :

Fax No./s :

E-mail :

Mobile No./s :

If entry has a writer who is not the composer, please fill out the next details below:

NAME OF WRITER:

DATE OF BIRTH: PLACE OF BIRTH:

SEX: AGE: CIVIL STATUS:

The undersigned hereby declares the submitted music composition, (title of composition), is an unpublished, unperformed work and it has not received any prize from any award-giving body. The undersigned also agrees to comply with the governing rules of the NCCA 2020 Composition’ Prize.

(Composer’s signature over printed name and date signed)

CHECKLIST: entry form manuscript composer’s curriculum vitae composer’s notes one 2x2 picture

Page 6 of 6 Annex B Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the Intangible Cultural Heritage (ICH) Program

GUIDELINES FOR THE INTANGIBLE CULTURAL HERITAGE (ICH) PROGRAM

Table of Contents

Chapter I. Background 2

Section 1. 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage (ICH) 3

Section 2. Roles of the Philippines as a State Party to the 2003 Convention 5

Section 3. Philippine Legislation on ICH 6

Chapter II. NCCA’s ICH Program 10

Section 1. Working Methods of NCCA’s ICH Program 11

Section 2. NCCA’s Strategies for the Safeguarding of ICH 12

Section 3. The Updated Philippine ICH Inventory (PICHI) 14

Section 4. Ethical Principles for Safeguarding ICH 15

Section 5. Inclusion of Elements to PICHI 16

Section 6. Nominations to the UNESCO Lists and Register 23

Chapter III. Annexes 26

Section 1. ICH Panel of Experts Membership Rules 26

Section 2. Definition of Terms 30

Section 3. Memorandum of Understanding (MOU) Between UNACOM & NCCA 33

Section 4. Philippine ICH Inventory (PICHI) Form 37

1 | P a g e Annex B Minutes of the December 16, 2019 Commission Meeting “Adopting the Guidelines of the Intangible Cultural Heritage (ICH) Program GUIDELINES FOR THE INTANGIBLE CULTURAL HERITAGE (ICH) PROGRAM

Chapter I. Background

1. The National Commission for Culture and the Arts (NCCA) is the lead policy making body, coordinating and grants giving agency for the preservation, safeguarding, development and promotion of Philippine arts and culture; an executing agency for the policies it formulates; and is tasked to administer the National Endowment Fund for Culture and the Arts (NEFCA)–fund exclusively for the implementation of culture and arts programs and projects.

2. In accordance to RA 7356, the NCCA was created by the government as a presidential inter-agency commission for the implementation of cultural policies and programs geared towards cultural development. It is also considered as the Philippine government’s de facto Ministry of Culture.

3. The following are the mandates of NCCA: To encourage the continuing and balanced development of a pluralistic culture by the people themselves; To conserve, promote and protect the nation’s historical and cultural heritage; To ensure the widest dissemination of artistic and cultural products among the greatest number of people across the country and overseas for their appreciation and enjoyment; 3.4.To preserve and integrate traditional culture and its various creative expressions as a dynamic part of the national cultural mainstream; and, 3.5.To ensure that standards of excellence are pursued in programs and activities implementing policies herein stated, it shall encourage and support continuing discussion and debate through symposia, workshops, publications, etc., on the highest norms available in the matrix of Philippine culture.

4. The NCCA has four (4) subcommissions comprised of nineteen (19) national committees composed of artists and cultural workers from both the public and the private sector, representing different cultural and non-government organizations:

Subcommission on the Arts (SCA) - architecture and allied arts, cinema, dance, dramatic arts, literary arts, music and visual arts. Subcommission on Cultural Heritage (SCH) - archives, arts galleries, historical research, libraries and information services, monuments and sites and museums.

2 | P a g e Subcommission on Cultural Dissemination (SCD) - communication, cultural education, cultural information and special events, and language and translation. Subcommission on Cultural Communities and Traditional Arts (SCCTA)- Northern, Central and Southern cultural communities

5. The government’s support for cultural development is particularly highlighted by the passage of R.A. 7356 that created the NCCA. The coordination among the cultural agencies was strengthened by the virtue of Executive Order No. 80, which placed the Cultural Center of the Philippines, the National Historical Institute (now, the National Historical Commission of the Philippines), the National Museum of the Philippines, The National Library (now, The National Library of the Philippines), and the Records, Management, and Archives Office (now, the National Archives of the Philippines) under the NCCA umbrella. Further, through Republic Act No. 9155, administratively attached the earlier aforementioned five cultural agencies to the NCCA, including now the Komisyon sa Wikang Filipino (Commission on the Filipino Language).

6. In 2013, through a Memorandum of Understanding, the UNESCO National Commission of the Philippines (UNACOM) delegated the National Commission for Culture and the Arts (NCCA) to implement Articles 11 to 15 of the 2003 Convention for the Safeguarding of the ICH which include the Role of States Parties (Article 11), (Article 12) Inventories, Other measures for safeguarding (Article 13), Education, awareness-raising and capacity- building (Article 14) and Participation of communities, groups and individuals (Article 15).

7. The NCCA created the ICH Unit in 2014 to establish and maintain the Philippine Inventory of ICH (PIICH). On November 21, 2017 through the issuance of Office Order No. OC- 2017-1121-236, the ICH Unit was transferred from the Office of the Chairman to the Plan/Policy Formulation and Programming Division (P/PFPD) particularly under the Cultural Communities and Traditional Arts Section (CCTAS) in order to integrate the functions of the two units under one office and for a more synchronized coordination with various secretariat units and private and public agencies and organizations for the interest of public service.

8. As the lead agency in the implementation of UNESCO’s 2003 Convention for the Safeguarding of ICH, the NCCA has been developing projects and programs, conducting inventorying, researching, documenting, implementing policies, carrying out awareness- raising initiatives, organizing workshops and conferences, and liaising with diverse local and international networks for the safeguarding of ICH elements in the Philippines.

3 Section 1. 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage

9. On the 17th of October 2003, the United Nations Educational, Scientific and Cultural Organization (UNESCO) adopted the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage (ICH) during the 32nd session of its General Conference in Paris, France. The Convention is the only multilateral instrument that exists for the safeguarding of ICH.

10. According to Article 1, the following are the objectives of the 2003 Convention: To safeguard the ICH; To ensure respect for the ICH of the communities, groups and individuals concerned; To raise awareness at the local, national and international levels of the importance of the ICH, and of ensuring mutual appreciation thereof; To provide for international cooperation and assistance.

11. ICH is defined by the 2003 Convention as the “practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This ICH transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.”

12. UNESCO recognized the impacts of globalization and social transformations to the endangerment and extinction of ICH thus deeming the urgency for the safeguarding of ICH around the world. The 2003 Convention defines ‘safeguarding’ as “measures aimed at ensuring the viability of the ICH, including the identification, documentation, research, preservation, protection, promotion, enhancement, transmission, particularly through formal and non-formal education, as well as the revitalization of the various aspects of such heritage.”

13. In accordance to Article 2 of the 2003 Convention, UNESCO grouped the ICH elements into five general domains: (1) Oral traditions and expressions, including language as a vehicle of the ICH; (2) Performing arts; (3) Social practices, rituals and festive events; (4) Knowledge and practices concerning nature and the universe; (5) Traditional craftsmanship

4 14. Taking into account the complexity of ICH, there can be circumstances when a single element can be manifested into various domains.

15. Likewise, the Convention underscores the roles of communities in the identification and safeguarding of ICH elements that are significant to their lineage since they are the cultural bearers and practitioners who create and nurture the ICH elements.

16. Moreover, the Convention also established the Representative List of the ICH of Humanity as a means to recognize the diversity of ICH elements around the world and to raise awareness about good safeguarding practices and the elements that are in urgent need of safeguarding. Every year States Parties who want to inscribe their country’s ICH elements to the Representative List prepare nomination dossiers that will be evaluated by the UNESCO Committee for inscription.

17. Furthermore, UNESCO recognized the pivotal role of ICH as a driver of sustainable development and impetus of cultural diversity. According to the Operational Directives for the Implementation of the 2003 Convention, ICH can be a contributor to the achievement of the United Nations’ 2030 Agenda for Sustainable Development particularly through the following goals: inclusive social development, health care, quality education, gender equality, access to clean and safe water, inclusive economic development, income generation and sustainable livelihoods, productive employment and decent work, environmental sustainability, community-based resilience to natural disasters and climate change, social cohesion and equity, preventing and resolving disputes, restoring peace and security and achieving lasting peace.

Section 2. Roles of the Philippines as a State Party to the 2003 Convention

18. The Philippines ratified the 2003 Convention and became a State Party on 18 August 2006. As a State Party, the Philippines was mandated by the 2003 Convention to take the necessary measures to ensure the safeguarding of ICH present in its territory, identify and define the various ICH elements, with the participation of communities, groups and relevant non-governmental organizations through the following strategies: In line with the identification of ICH elements as a prerequisite for safeguarding, the Philippines shall draw up inventories that will be regularly updated; Adopt a general policy aimed at promoting the function of the ICH in society, and at integrating the safeguarding of such heritage into planning programs; Designate or establish one or more competent bodies for the safeguarding of the ICH present in its territory;

5 Foster scientific, technical and artistic studies, as well as research methodologies, with a view to effective safeguarding of the ICH, in particular the ICH in danger; Adopt appropriate legal, technical, administrative and financial measures aimed at: Fostering the creation or strengthening of institutions for training in the management of the ICH and the transmission of such heritage through forums and spaces intended for the performance or expression thereof; Ensuring access to the ICH while respecting customary practices governing access to specific aspects of such heritage; Establishing documentation institutions for the ICH and facilitating access to them. Ensure recognition of, respect for, and enhancement of the ICH in society, in particular through: Educational, awareness-raising and information programs, aimed at the general public, in particular young people; Specific educational and training programs within the communities and groups concerned; Capacity-building activities for the safeguarding of the ICH, in particular management and scientific research; and non-formal means of transmitting knowledge; Keep the public informed of the dangers threatening such heritage, and of the activities carried out in pursuance of this Convention; Promote education for the protection of natural spaces and places of memory whose existence is necessary for expressing the ICH; Shall endeavor to ensure the widest possible participation of communities, groups and, where appropriate, individuals that create, maintain and transmit such heritage, and to involve them actively in its management.

Section 3. Philippine Legislation on ICH

19. The safeguarding of ICH in the Philippines is reinforced by Republic Act (RA) No. 10066 or also known as the “National Cultural Heritage Act of 2009,” a law stipulating for the protection and conservation of the national cultural heritage, strengthening the National Commission for Culture and the Arts (NCCA), and its affiliated cultural agencies. According to the Declaration of Principles and Policies of RA 10066, in the efforts of cultural protection as a measure for strengthening the identity of the Filipinos, the Act has the following objectives: Protect, preserve, conserve and promote the nation's cultural heritage, its property and histories, and the ethnicity of local communities; Establish and strengthen cultural institutions; and

6 Protect cultural workers and ensure their professional development and well-being.

20. The law further states that the Philippine government “shall likewise endeavor to create a balanced atmosphere where the historic past coexists in harmony with modern society. It shall approach the problem of conservation in an integrated and holistic manner, cutting across all relevant disciplines and technologies. The State shall further administer the heritage resources in a spirit of stewardship for the inspiration and benefit of the present and future generations.”

21. RA 10066 also draws attention to Section 19 on National Inventory of ICH under Article V with regard to the Registration and Conservation of Cultural Property. Rule IV, Section 14 (c) on Cultural Property of the Implementing Rules and Regulations (IRR) of RA 10066 specifically elaborates that the NCCA shall monitor and administer the protection of intangible cultural property. The material recordings of intangible property shall be closely monitored. Recordings of intangibles save for indigenous design shall require written permits from the Commission when taken out of the country. Rule VIII of the similar IRR sustains the visitorial power of the NCCA to conduct a periodic on-site monitoring of intangible cultural property and may therefore enter into communities to fulfill such purpose, subject to the jurisdiction of government agencies such as the National Museum and National Commission for Indigenous Peoples.

22. Additionally, Article XIV specifically Sections 14, 15, 16 and 17, of the 1987 Constitution of the Republic of the Philippines uphold that the Philippine government will take the lead in the protection and development of Philippine culture:

1987 Constitution of the Republic of the Philippines (Article XIV: Arts and Culture)

Section 14. The State shall foster the preservation, enrichment, and dynamic evolution of a Filipino national culture based on the principle of unity in diversity in a climate of free artistic and intellectual expression.

Section 15. Arts and letters shall enjoy the patronage of the State. The State shall conserve, promote, and popularize the nation’s historical and cultural heritage and resources, as well as artistic creations.

Section 16. All the country’s artistic and historic wealth constitutes the cultural treasure of the nation and shall be under the protection of the State which may regulate its disposition.

Section 17. The State shall recognize, respect, and protect the rights of indigenous cultural communities to preserve and develop their cultures, traditions, and institutions. It shall consider these rights in the formulation of national plans and policies.

7 Section 18. (1) The State shall ensure equal access to cultural opportunities through the educational system, public or private cultural entities, scholarships, grants and other incentives, and community cultural centers, and other public venues. (2) The State shall encourage and support research and studies on the arts and culture.

23. The State’s role in protecting the rights of culture bearers and practitioners is further enunciated in Chapter VI on Cultural Integrity of the RA 8371 also known as the Indigenous Peoples Rights Act (IPRA) of 1997, a law which recognizes, protects and promotes the rights of indigenous cultural communities/indigenous people (ICCs/IPs). The IPRA Law also adopted the “free and prior informed consent” (FPIC) as an instrument to protect and uphold the rights and interests of indigenous peoples. According to Section 3, Chapter 2 of RA 8371, FPIC is the consensus of all members of the ICCs/IPs to; be determined in accordance with their respective customary laws and practices, free from any external manipulation, interference and coercion, and obtained after fully disclosing the intent and scope of the activity, in a language and process understandable to the community.

RA 8371 (Chapter VI: Cultural Integrity) Section 29. Protection of Indigenous Culture, traditions and institutions. - The state shall respect, recognize and protect the right of the ICCs/IPs to preserve and protect their culture, traditions and institutions. It shall consider these rights in the formulation of national plans and policies.

Section 30. Educational Systems. - The State shall provide equal access to various cultural opportunities to the ICCs/IPs through the educational system, public or cultural entities, scholarships, grants and other incentives without prejudice to their right to establish and control their educational systems and institutions by providing education in their own language, in a manner appropriate to their cultural methods of teaching and learning. Indigenous children/youth shall have the right to all levels and forms of education of the State.

Section 31. Recognition of Cultural Diversity. - The State shall endeavor to have the dignity and diversity of the cultures, traditions, histories and aspirations of the ICCs/IPs appropriately reflected in all forms of education, public information and cultural- educational exchange. Consequently, the State shall take effective measures, in consultation with ICCs/IPs concerned, to eliminate prejudice and discrimination and to promote tolerance, understanding and good relations among ICCs/IPs and all segments of society. Furthermore, the Government shall take effective measures to ensure that State- owned media duly reflect indigenous cultural diversity. The State shall likewise ensure the participation of appropriate indigenous leaders in schools, communities and international cooperative undertakings like festivals, conferences, seminars and workshops to promote and enhance their distinctive heritage and values.

Section 32. Community Intellectual Rights. - ICCs/IPs have the right to practice and revitalize their own cultural traditions and customs. The State shall preserve, protect and develop the past, present and future manifestations of their cultures as well as the right to

8 the restitution of cultural, intellectual, religious, and spiritual property taken without their free and prior informed consent or in violation of their laws, traditions and customs.

Section 33. Rights to Religious, Cultural Sites and Ceremonies. - ICCs/IPs shall have the right to manifest, practice, develop teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect and have access to their religious and cultural sites; the right to use and control of ceremonial object; and the right to the repatriation of human remains. Accordingly, the State shall take effective measures, in cooperation with the burial sites, be preserved, respected and protected. To achieve this purpose, it shall be unlawful to: a. Explore, excavate or make diggings on archeological sites of the ICCs/IPs for the purpose of obtaining materials of cultural values without the free and prior informed consent of the community concerned; and

b. Deface, remove or otherwise destroy artifacts which are of great importance to the ICCs/IPs for the preservation of their cultural heritage.

Section 34. Right to Indigenous Knowledge Systems and Practices and to Develop own Sciences and Technologies. - ICCs/IPs are entitled to the recognition of the full ownership and control and protection of their cultural and intellectual rights. They shall have the right to special measures to control, develop and protect their sciences, technologies and cultural manifestations, including human and other genetic resources, seeds, including derivatives of these resources, traditional medicines and health practices, vital medicinal plants, animals and minerals, indigenous knowledge systems and practices, knowledge of the properties of fauna and flora, oral traditions, literature, designs, and visual and performing arts.

24. Furthermore, RA 7355 also known as the Manlilikha ng Bayan Act, is a legislation that honors and supports traditional folk artists for their contribution to the national heritage by ensuring that the artistic skills which they have painstakingly cultivated and preserved are encouraged and passed on to future generations of Filipinos. The recognition of national living treasures is in congruence to the State’s policy to preserve and promote its traditional folk arts whether visual, performing, or literary.

9 Chapter II. NCCA’s ICH Program

25. Currently, the Cultural Communities and Traditional Arts Section (CCTAS) manages NCCA’s ICH Program in partnership with local government units, academic institutions, international organizations, cultural bearers and practitioners, nongovernment organizations and various stakeholders.

26. According to RA No. 7356, the general mandate of SCCTA is to preserve and to integrate traditional culture and its various creative expressions as a dynamic part of the national cultural mainstream, through the following measures: Help set up or encourage, monitor and subsidize companion systems at the regional, provincial and local levels, intended to develop traditional cultures such as arts/crafts centers, preferably in community settings apart from the usual museums settings, where exponents of living arts and crafts can practice and teach their art and enrich contemporary designs;

Encourage and subsidize cultural research and the retrieval of cultural research information (e.g. folklore, dance, music, crafts) through the training of students, teachers, and cultural researchers, and their revitalization by practice and performance;

Ensure that the ultimate beneficiaries of all research efforts, tourism programs and other activities affecting cultural communities are the people and cultural communities that are the subject of research, and that their cultures are nurtured rather than violated, damaged, or exploited;

Ensure that relevant information is made available to legislators who introduce laws with cultural implication;

Encourage and support the continuous training of cultural workers and administrators by qualified trainers.

e) To ensure that standards of excellence are pursued in programs and activities implementing policies herein stated, it shall encourage and support continuing discussion and debate, through symposia, workshop, publications, etc., on the highest norms available in the matrix of Philippine culture.

27. A panel of ICH experts will be invited and convened to serve as an advisory body in the implementation of NCCA’s ICH program and the provisions of the 2003 ICH Convention. The panel will be composed of ICH experts specializing in any of the five (5) ICH domains.

10 Experts who are part of the Gawad sa Manlilikha ng Bayan (GAMABA) Panel of Experts, the Subcommission on Cultural Communities and Traditional Arts (SCCTA) and the Subcommission on Cultural Heritage (SCH) may also be tapped or recommended to be a member of the ICH Panel. Among others, the panel of experts shall be tapped to provide substantial inputs and advices in policy formulation, implementing, monitoring and evaluation of projects, establishment of competent bodies, attendance to meetings and conducting research regarding the safeguarding ICH.

Section 1. Working Methods of NCCA’s ICH Program 28. NCCA’s ICH Program under SCCTA shall spearhead the policy development, regulation, operationalization and implementation of all activities, projects and programs related to ICH in the Philippines as vested upon by NCCA’s Memorandum of Understanding with the UNESCO-Philippine National Commission (UNACOM). 29. NCCA’s ICH Program shall serve as the clearinghouse of all the information regarding ICH. 30. NCCA’s ICH Program shall oversee the data gathering and registry of all ICH elements in the Philippine ICH Inventory (PICHI). 31. NCCA’s ICH Program may seek the expertise of consultative bodies necessary for the development and implementation of ICH activities, projects and programs.

Section 2. NCCA’s Strategies for the Safeguarding of ICH 32. Research and Publication National Research Agenda A national strategy on the safeguarding of ICH through a five-year research agenda which will map out all the research conducted on the five (5) domains of ICH in the Philippines. It will create an ecosystem which encourages community-initiated research that will be published and included in the Directory of ICH Research in the Philippines.

33. Education School of Living Traditions (SLT) The SLTs are non-formal learning centers where cultural masters and specialists transmit their knowledge and skills on a particular art, craft and tradition to young members of the community for their appreciation, learning and safeguarding of ICH elements present in their communities. Since its inception in 1993, the SLT has become a viable tool for cultural awareness, cultural conservation and cultural cohesion. Currently, there are 28 SLTS around the Philippines.

11 Development and Publication of SLT Learning Guides The learning guides are developed as a multi-disciplinary study on the contribution of ICH to sustainable development particularly on education. Through the integration of ICH in the learning guides, an organized instruction from cultural masters is organized which leads to a more effective transmission and acquisition of the knowledge on ICH elements present within the cultural communities. Thus, ensuring the sustainable development of the community, and more importantly the implementation of successful community-led safeguarding measures for ICH.

Institute of Living Traditions (ILT) The Institute of Living Traditions (ILT) / Traditional Village, also called Linangan ng Likhang Bayan, will be an institute for technical, basic and higher education, both formal and non-formal, in the traditional or indigenous knowledge systems, practices and skills of multi-cultural Philippines. It will be an important center and laboratory for the protection, promotion and development of Philippine communal traditions. The project will involve the enhancement of an existing structure converted into a Traditional Center which includes learning space, work area, gallery, library or weaving center, performance venue and shop.

34. Documentation Philippine Intangible Cultural Heritage Inventory (PICHI) A community-based approach in the identification of ICH elements in the Philippines. Research and identification of ICH elements are the initial steps in the implementation of PICHI. The culture bearers and practitioners have active and central roles in the identification and definition of ICH elements that will be included in the inventory. The elements inventoried in PICHI can be nominated to the Lists of the 2003 Convention (List of ICH in Need of Urgent Safeguarding, Representative List of the ICH of Humanity and Register of Good Safeguarding Practices.) The inventory is updated regularly to document the dynamic evolution of ICH elements.

Audio-visual Documentation Video documentations promote and raise the visibility of ICH elements not only in the Philippines but also around the world. The videos also serve as accessible educational resources on ICH for culture bearers, practitioners, students, researchers and the general public.

35. Recognition Celebration of Indigenous Peoples’ Month

12 Proclamation No. 1906 declared the month of October of every year as “National Indigenous Peoples Month” in the context of Philippine Indigenous Peoples’ rights as the month of people’s participation in the celebration and preservation of indigenous cultural communities as part of the life of the nation. Awareness raising activities are held to educate the public on IP culture. Contributions of non- IPs in solidarity with the IPs through different activities that showcase inter- connectedness, inter-cultural exchange and inter-ethnic relations are also highlighted in the celebration.

36. Capacity-building Workshops, Conferences and Roundtable Discussions Workshops, conferences and roundtable discussions are held as instruments to provide technical assistance on ICH inventory-making, cultural mapping and strategies for safeguarding in general and in emergencies in particular to culture bearers, practitioners and individuals working in the field of ICH.

37. Immediate Assistance Assistance to Filipino Artisans (ATA) Board Resolution No. 2019-217 approved the support and budget for the implementation of the Assistance Program for the Cultural Communities and Traditional Artists. The project provides opportunities for local communities to improve the production of their traditional crafts. It also promotes their crafts to generate enough income to meet the expenses and needs brought about by modern life while still having their freedom to carry out their traditional way of life–a life tied to their land and heritage. The assistance covers production and marketing support, product development and capacity building to target beneficiaries.

Assistance Program for Cultural Communities (APCC) The program provides immediate assistance to the vulnerable sector of society, particularly the cultural communities who can hardly avail the NCCA assistance through competitive grants. It covers assistance to community driven projects such as cultural community organizing, planning workshop for cultural advocacy projects, cultural industries, specialized workshops for indigenous people, engagement in social enterprise development, consultative-assemblies or workshops on indigenous peoples’ engagements in crafting local government units’ heritage development plans, community workshops for culture-tourism/heritage tourism project development, community celebrations and safeguarding of other forms of expressions of ICH.

13 Section 3. The Updated Philippine Intangible Cultural Heritage Inventory

38. The establishment of an ICH inventory is a precursor to any safeguarding strategy. By drawing up an inventory, awareness can be raised on ICH and its significance to the shared heritage and collective identities of cultural bearers and practitioners of States Parties to the 2003 Convention.

39. As the Philippines’ contribution to the implementation of the 2003 Convention at the national level, it has updated the Philippine Intangible Cultural Heritage Inventory (PICHI). The primary objectives of PICHI are: to identify ICH elements in the Philippines to draw up inventories that will be regularly updated to develop safeguarding strategies particularly for elements that are in urgent need of safeguarding to strengthen the capacities of cultural communities and of individuals who are engaged in the inventorying practice to build a network of experts among the 17 regions in the Philippines to identify ICH elements that can be nominated to the Lists of the 2003 Convention (List of ICH in Need of Urgent Safeguarding, Representative List of the ICH of Humanity and Register of Good Safeguarding Practices)

40. Research and identification of ICH elements are the initial steps in the implementation of PICHI. The cultural bearers and practitioners have active and central roles in the identification and definition of ICH elements that will be included in the inventory. Documentation becomes the next step towards knowing the essential features that the ICH have which is both significant for the cultural bearers and to safeguarding itself. By understanding its specific features, concrete documentation methods can be adopted and developed in relation to the typology or domain that a particular ICH belongs to. Through the process of documentation, significant information can be collected, stored and produced as audiovisual materials, texts, graphics, audio, images, objects and replicas.

41. The implementation of the PICHI is not merely to enumerate all the ICH elements present in the territory of the Philippines but primarily, it serves as the groundwork in devising effective strategies in safeguarding ICH elements in the country.

42. The PICHI is also integral for the inscription of ICH elements in the Philippine territory to the Lists of the 2003 Convention such as the List of ICH in Need of Urgent Safeguarding, Representative List of the ICH of Humanity and Register of Good Safeguarding Practices. Pursuant to the 2003 Convention, the three lists were created to ensure better visibility of

14 ICH and awareness of its significance, encourage dialogue that respects cultural diversity and take appropriate measures in safeguarding endangered ICH elements.

Section 4. Ethical Principles for Safeguarding ICH 43. The following Ethical Principles for Safeguarding ICH was adopted by the ICH Committee of UNESCO during its 10th session in 2015. The following set of principles can serve as a guidance in the preparation of a community-based inventory:

Communities, groups and, where applicable, individuals should have the primary role in safeguarding their own ICH.

The right of communities, groups and, where applicable, individuals to continue the practices, representations, expressions, knowledge and skills necessary to ensure the viability of the ICH should be recognized and respected.

Mutual respect as well as a respect for and mutual appreciation of ICH, should prevail in interactions between States and between communities, groups and, where applicable, individuals.

All interactions with the communities, groups and, where applicable, individuals who create, safeguard, maintain and transmit ICH should be characterized by transparent collaboration, dialogue, negotiation and consultation, and contingent upon their free, prior, sustained and informed consent.

Access of communities, groups and individuals to the instruments, objects, artefacts, cultural and natural spaces and places of memory whose existence is necessary for expressing the ICH should be ensured, including in situations of armed conflict. Customary practices governing access to ICH should be fully respected, even where these may limit broader public access.

Each community, group or individual should assess the value of its own ICH and this ICH should not be subject to external judgements of value or worth.

The communities, groups and individuals who create ICH should benefit from the protection of the moral and material interests resulting from such heritage, and particularly from its use, research, documentation, promotion or adaptation by members of the communities or others.

15 The dynamic and living nature of ICH should be continuously respected. Authenticity and exclusivity should not constitute concerns and obstacles in the safeguarding of ICH.

Communities, groups, local, national and transnational organizations and individuals should carefully assess the direct and indirect, short-term and long- term, potential and definitive impact of any action that may affect the viability of ICH or the communities who practice it.

Communities, groups and, where applicable, individuals should play a significant role in determining what constitutes threats to their ICH including the decontextualization, commodification and misrepresentation of it and in deciding how to prevent and mitigate such threats.

Cultural diversity and the identities of communities, groups and individuals should be fully respected. In the respect of values recognized by communities, groups and individuals and sensitivity to cultural norms, specific attention to gender equality, youth involvement and respect for ethnic identities should be included in the design and implementation of safeguarding measures.

The safeguarding of ICH is of general interest to humanity and should therefore be undertaken through cooperation among bilateral, sub regional, regional and international parties; nevertheless, communities, groups and, where applicable, individuals should never be alienated from their own ICH

Section 5. Inclusion of Elements to the PICHI

44. Criteria: For the inclusion of elements to the PICHI, submitting communities, individuals and groups are requested to manifest that an element falls under the following domains in reference to the UNESCO 2003 Convention for the Safeguarding of ICH:

Domain 1: Oral traditions and expressions, including language as a vehicle of the Intangible Cultural Heritage The oral traditions and expressions domain encompasses an enormous variety of spoken forms including proverbs, riddles, tales, nursery rhymes, legends, myths, epic songs and poems, charms, prayers, chants, songs, dramatic performances and more. Oral traditions and expressions are used to pass on knowledge, cultural and social values and collective memory. They play a crucial part in keeping cultures alive.

The following are the sub-domains under oral traditions and expressions:

16 A. Poetry 1. proverbs 2. riddles 3. nursery rhymes 4. epic songs and poems 5. balagtasan 6. others

B. Prose narratives 1. tales 2. legends 3. myths 4. others

C. Songs 1. epics and chants 2. songs 3. lullabies 4. popular songs 5. kundiman 6. charms 7. prayers 8. pasyon 9. others

D. Drama 1. sarsuwela 2. komedya 3. duplo 4. others

E. Linguistic ethnography 1. dictionary 2. grammar 3. word lists 4. orthography (scripts) 5. morphemes 6. glottochronology 7. others

17 Domain 2: Performing arts The performing arts range from vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond. They include numerous cultural expressions that reflect human creativity and that are also found, to some extent, in many other intangible cultural heritage domains.

The following are the sub-domains under performing arts: A. vocal music B. instrumental music C. dance D. theatre E. pantomime F. sung verse G. mimicry Domain 3: Social practices, rituals and festive events Social practices, rituals and festive events are habitual activities that structure the lives of communities and groups and that are shared by and relevant to many of their members. They are significant because they reaffirm the identity of those who practice them as a group or a society and, whether performed in public or private, are closely linked to important events. Social, ritual and festive practices may help to mark the passing of the seasons, events in the agricultural calendar or the stages of a person’s life. They are closely linked to a community’s worldview and perception of its own history and memory. They vary from small gatherings to large-scale social celebrations and commemorations. Each of these sub-domains is vast but there is also a great deal of overlap between them.

The following are the sub-domains under social practices, rituals and festive events: A. Conflict resolution processes (conflict and conflict resolution) B. Governance and leadership C. Justice System D. Cooperation (e.g. labor, trade, etc.) E. Life cycle and afterlife (e.g. child rearing, courtship and marriage, rites of passage [e.g. pagtuli, pagsunnat, pagtimbang, paggunting] burial practices) F. Conversations (e.g. Kapihan, Salamyaan, Pagtulam, kwentuhan) G. food cultures (e.g. gastronomy, food processing [patis, suka, wine, etc.], food aesthetics, etc.) H. Food Cultures I. Body Modification (e.g. tattoo, dental filing and coloration,pagtobbok) J. Indigenous teaching and learning systems K. Thanksgiving L. Religious festivals M. Secular festivals N. Agricultural festivals O. Fishing festivals

18 P. Tourism-driven festivals Q. Commemorative celebrations R. Thanksgiving S. Religious festivals T. secular festivals U. Agricultural festivals V. Fishing festivals W. Tourism-driven festivals X. Commemorative celebrations

Domain 4: Knowledge and practices concerning nature and the universe Knowledge and practices concerning nature and the universe include knowledge, knowhow, skills, practices and representations developed by communities by interacting with the natural environment. These ways of thinking about the universe are expressed through language, oral traditions, feelings of attachment towards a place, memories, spirituality and worldview. They also strongly influence values and beliefs and underlie many social practices and cultural traditions. They, in turn, are shaped by the natural environment and the community’s wider world. This domain includes numerous areas such as traditional ecological wisdom, indigenous knowledge, knowledge about local fauna and flora, traditional healing systems, rituals, beliefs, initiatory rites, cosmologies, shamanism, possession rites, social organizations, festivals, languages and visual arts.

The following are the sub-domains under knowledge and practices concerning nature and the universe:

A. Ethnoscience 1. traditional ecological wisdom 2. knowledge about local fauna and flora 3. astronomy and meteorology 4. atmospheric knowledge 5. oceanography 6. maritime knowledge 7. geology 8. food cultures (e.g. gastronomy) 9. others

B. Traditional healing systems C. Primary care, well-being and preventive medicine D. Rituals E. Beliefs 1. pamahiin 2. others 19 F. initiatory rites G. cosmologies H. shamanism I. possession rites J. social organizations K. festivals L. languages M. visual arts

Domain 5: Traditional craftsmanship Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. However, the 2003 Convention is mainly concerned with the skills and knowledge involved in craftsmanship rather than the craft products themselves. Rather than focusing on preserving craft objects, safeguarding attempts should instead concentrate on encouraging artisans to continue to produce craft and to pass their skills and knowledge onto others, particularly within their own communities. There are numerous expressions of traditional craftsmanship: tools; clothing and jewelry; costumes and props for festivals and performing arts; storage containers, objects used for storage, transport and shelter; decorative art and ritual objects; musical instruments and household utensils, and toys, both for amusement and education. Many of these objects are only intended to be used for a short time, such as those created for festival rites, while others may become heirloom that are passed from generation to generation. The skills involved in creating craft objects are as varied as the items themselves and range from delicate, detailed work such as producing paper votives to robust, rugged tasks like creating a sturdy basket or thick blanket.

The following are the sub-domains under traditional craftsmanship: A. Tools B. Clothing (e.g. head gears) C. Jewelry D. costumes and props for festivals and performing arts E. storage containers F. objects used for (e.g. storage, transport, shelter) G. decorative art H. body modification (e.g. tattoo, dental filing and coloration, pagtobbok) I. ritual objects J. musical instruments K. household items and utensils L. toys, both for amusement and education M. Weaving (e.g. textiles, mats, baskets) N. Metalwork (e.g. gold, silver, brass, etc.)

20 O. Pottery P. Carving (e.g. wood, ice, fruits, bamboo) Q. Embroidery R. Beadworks S. Applique T. Dyeing U. Transport (Boat-making, kalesa-making, jeep-making, Hammock) V. Shell Inlay W. Hammock X. Shell Inlay

45. Procedure The following are the procedures for inventorying and for the inclusion on an element to the PICHI:

Consent from the communities According to the definition provided in the UNESCO 2003 Convention for the Safeguarding of ICH (Article 2.1), ICH must be recognized by the communities, groups or individuals concerned. Nobody else can decide for them whether or not a given expression or practice belongs to their heritage. If the community(ies) concerned do not agree to their ICH– or part of it – being inventoried, this should be respected. The free, prior and informed consent of communities, groups and/or individuals shall be sought at various stages of the inventorying process. First of all, they must give their consent to the principle of having some or all of their ICH inventoried, then to the way in which the process will be conducted, how the information collected will be archived, which materials will be included in the inventory and how they will be updated.

Planning and Identification of ICH elements Planning and mapping ICH elements shall involve the proactive participation of local communities in identifying the elements that are present within their territories. During this process, communities and stakeholders shall gather through consultations so they can discuss their levels and types of involvement in the inventory-making. Communities and stakeholders shall also identify the most conducive research methodology and instruments that they can all agree upon.

Data gathering Significant information and data shall be collected particularly the ICH element’s descriptions, characteristics, history, culture bearers and practitioners, frequency of practice, functions, viability and safeguarding measures.

21 Documentation The ICH elements’ current state and form shall be documented through the collection, storage and production of audiovisual materials, texts, graphics, audio, images and replicas.

Analysis of gathered information The collected data and information shall be evaluated and analyzed for the purpose of collecting the most significant information that shall be used to fill the inventory forms.

Filling of inventory forms The analyzed data and information shall then be filled in the ICH inventory forms.

(Digital) Archiving/Publishing of inventoried ICH elements Once the inventory forms have been filled with the necessary data and information, the inventoried ICH element shall then be digitally archived and or published depending on the consent of the local communities.

Updating of inventory The inventory of ICH elements shall be updated on a regular basis taking into account that inventory-making is a work-in-progress since an element is a heritage that constantly evolves with the influence of several external factors such as but not limited to the surrounding environment and culture bearers.

Periodic reporting As a State Party to UNESCO’s 2003 Convention for the Safeguarding of ICH, the Philippines through the NCCA shall submit a periodic report on the implementation of the Convention and on the status of elements inscribed on the Representative and Urgent Safeguarding Lists respectively. UNESCO’s Committee defines the modalities of the regional cycle’s reporting and the deadlines applicable to each State Party.

Section 6. Nominations to the UNESCO Lists and Register

46. Submission Community members composed of culture bearers and practitioners of ICH elements can submit the nomination files for inscription to UNESCO’s Urgent Safeguarding List, Representative List of the ICH of Humanity and Register of Good Safeguarding Practices with the assistance of NCCA. The nomination dossiers will be coursed through the Permanent Delegation of the Republic of the Philippines to UNESCO for submission to the UNESCO Headquarters.

22 47. Criteria for inscription on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding: In accordance to the Operational Directives for the Implementation of the 2003 Convention for the Safeguarding of ICH, the following are the criteria for inscription on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding:

The element constitutes intangible cultural heritage as defined in Article 2 of the Convention.

(a) The element is in urgent need of safeguarding because its viability is at risk despite the efforts of the community, group or, if applicable, individuals and State(s) Party(ies) concerned; or (b) The element is in extremely urgent need of safeguarding because it is facing grave threats as a result of which it cannot be expected to survive without immediate safeguarding.

A safeguarding plan is elaborated that may enable the community, group or, if applicable, individuals concerned to continue the practice and transmission of the element.

The element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent.

The element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention.

In cases of extreme urgency, the State(s) Party(ies) concerned has (have) been duly consulted regarding inscription of the element in conformity with Article 17.3 of the Convention.

48. Criteria for inscription on the Representative List of the ICH of Humanity: In accordance to the Operational Directives for the Implementation of the 2003 Convention for the Safeguarding of ICH, the following are the criteria for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The element constitutes intangible cultural heritage as defined in Article 2 of the Convention.

Inscription of the element will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide and testifying to human creativity.

Safeguarding measures are elaborated that may protect and promote the element.

The element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent.

The element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention.

49. Criteria for the selection of proposals for the Register of Good Safeguarding Practices: In accordance to the Operational Directives for the Implementation of the 2003 Convention for the Safeguarding of ICH, the following are the criteria for the selection of proposals for the Register of Good Safeguarding Practices:

The programme, project or activity involves safeguarding, as defined in Article 2.3 of the Convention.

The programme, project or activity promotes the coordination of efforts for safeguarding intangible cultural heritage on regional, subregional and/or international levels.

The programme, project or activity reflects the principles and objectives of the Convention.

The programme, project or activity has demonstrated effectiveness in contributing to the viability of the intangible cultural heritage concerned.

The programme, project or activity is or has been implemented with the participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent.

The programme, project or activity may serve as a subregional, regional or international model, as the case may be, for safeguarding activities.

The submitting State(s) Party(ies), implementing body(ies), and community, group or, if applicable, individuals concerned are willing to cooperate in the dissemination of best practices, if their programme, project or activity is selected.

The programme, project or activity features experiences that are susceptible to an assessment of their results.

The programme, project or activity is primarily applicable to the particular needs of developing countries.

24 50. Amendments Amendments may be proposed to these guidelines through a written communication addressed to the Chairman of NCCA. The amendments shall be deliberated during the meetings of the Board. Proposed amendments shall only be adopted if more than one half of the Board of Commissioners will be in favor of the proposal.

51. Effectivity These guidelines shall take effect immediately upon the approval of the NCCA Board of Commissioners. The effectivity of these guidelines is coterminous to the duration of the Memorandum of Understanding between UNACOM and NCCA.

Chapter III: Annexes

Section 1. ICH Panel of Experts Membership Rules

Resolution No. 2001-387 (see Annex A) dated December 6, 2001 of the National Commission for Culture and the Arts (NCCA) approved the creation of an Intangible Heritage Committee (IHC) and designation of five (5) Executive Committee members who were members of the Gawad sa Manlilikha ng Bayan (GAMABA) Committee and the Head of the Subcommission on Cultural Communities and Traditional Arts (SCCTA), namely:

(1) Felipe M. de Leon, Jr., Head of the GAMABA Committee (1997-2008); (2) Dr. Jesus T. Peralta, member of the GAMABA Committee (1997-2008); (3) Susan Calo Medina, member of the GAMABA Committee (1997-2008); (4) Dr. David B. Baradas, member of the GAMABA Committee (1997-2008); (5) Romeo B. de la Cruz, Head of the SCCTA (2001-2003).

The IHC was an added committee function of the GAMABA. It was formed to implement action plans for projects concerning United Nations Educational, Scientific and Cultural Organization’s (UNESCO) “Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity”.

In 2009, per Resolution No. 2009-480 (see Annex B), Dr. Norma A. Respicio, also a GAMABA Committee member from 2007-2016 and an expert in the field of traditional craftsmanship, was designated to be a member of the IHC to fill in a position vacated due to the cessation of term of Mr. de la Cruz, and to complete the five (5) ExeComm positions.

However, after the passing away of Dr. Baradas and Mrs. Calo-Medina, there are a total of only three (3) IHC members left at present—Prof. de Leon, Dr. Peralta and Dr. Respicio. The two (2) vacated positions have not been filled in since then.

29 The Committee has continued functioning with the same members—Prof. de Leon and Dr. Peralta have been members for more than 16 years, and Dr. Respicio for more than 8 years— despite the end of their terms in the GAMABA Committee in 2008 (Prof. de Leon and Dr. Peralta) and 2016 (Dr. Respicio).

With that, it was then noted that there are no existing Committee membership rules that shall set the policy in selecting the members, determining their duties and responsibilities, and setting their terms of office, among others. Currently, a need for additional experts in the ICH field has arisen due to the obligations of the Philippines as a State Party to the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (ICH). Noting the vast range of the ICH domains, the task to document the elements in an inventory form and to plan and implement safeguarding measures would require an appropriate number of experts, thus, the formation of the Intangible Cultural Heritage Panel of Experts.

Guided by the GAMABA Committee Membership Rules, Order of National Artist Guidelines, and the 19 National Committee Membership Rules of four Subcommissions, the following rules are formulated.

General Qualifications

To qualify for the Panel of Experts membership, the individual shall: • Be a Filipino citizen of legal age and good standing in the community; • Have substantial interest, experience and/or service to the intangible heritage sector; • Have achieved a high level of expertise in intangible cultural heritage (ICH); • Have a broad grasp of the Philippine arts and culture in general, and intangible cultural heritage in particular; • Be an active cultural professional/practitioner in the intangible heritage field; • Be willing to devote sufficient time and effort for ICH work.

Composition of The Panel of Experts The Intangible Cultural Heritage Panel of Experts is individual in nature. It shall be composed of experts in any of the five domains of Intangible Cultural Heritage (ICH), namely: • oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; • performing arts; • social practices, rituals, and festive events; • knowledge and practices concerning nature and the universe; and • traditional craftsmanship.

30 Experts who are part of the Gawad sa Manlilikha ng Bayan (GAMABA) Panel of Experts, the Subcommission on Cultural Communities and Traditional Arts (SCCTA) and the Subcommission on Cultural Heritage (SCH) may also be tapped or recommended to be a member of the ICH Panel. From among the ICH Panel of Experts, ICH Committee/s shall then be constituted depending on the need of expertise or on the presence of activities that deal with a certain ICH domain. The ICH Ad Hoc Committee members shall hold office for a period of one (1) year and/or may be extended to accomplish the tasks of the Committee were accomplished. Their term may also be extended upon recommendation of the NCCA Board of Commissioners. The SCCTA Secretariat shall work closely with the said Committee.

Duties and Responsibilities of The Panel of Experts The Intangible Cultural Heritage Panel of Experts particularly those designated as member of the ICH Committee shall be convened and invited by the NCCA to render their service and expertise every time a meeting is called and/or a task concerning the obligations to the Convention comes up. The ICH Committee shall designate from among themselves a Head who shall preside during a particular meeting.

The Panel of Experts shall be tapped to provide substantial inputs on the following: • Formulating of rules and regulations affecting the policy formulation, composition, and operations concerning ICH; • Adopting or constructing a policy that aims to promote the function of ICH in society; • Authorizing or establishing competent body/ies for the safeguarding of the ICH in a particular community; • Making recommendations, planning and coordinating implementation of safeguarding measures for the ICH elements with concerned communities and organizations; • Monitoring the implementation of safeguarding measures of ICH elements in the communities concerned; • Devising measures that will improve the system of data collection on ICH elements; • Facilitating the conduct of ICH elements’ inventory; • Conducting various studies concerning the documentation and safeguarding of ICH; • Being a clearing house of information on studies and documentations of ICH in the country; • Identifying ICH elements that can be inscribed in UNESCO’s List of Intangible Cultural Heritage; • Reviewing the documents concerning the nominations to UNESCO’s Representative List of Intangible Cultural Heritage of Humanity and List of Elements in Need of Urgent Safeguarding; and • Representing the NCCA or the Intangible Cultural Heritage Panel of Experts in various types of gatherings and meetings.

Designation of Members of Experts’ Panel The final review, approval and confirmation of the recommended members of the Intangible Cultural Heritage Panel of Experts shall come from the NCCA Board of Commissioners. The NCCA Secretariat shall officially notify, in writing, the approval and confirmation of the individuals’ membership to the ICH Panel of Experts.

Membership Process Flowchart

Recommendation of/Invitation by the NCCA for experts to be part of the ICH Panel of Experts

Review, approval and confirmation of the membership to the ICH Panel of Experts by the NCCA Board

Organization of the ICH Panel of Experts

Formation of the ICH Committee/s depending on the expertise needed

Designation of ICH Committee Head

32 Section 2. Definition of Terms

a. Intangible Cultural Heritage “Traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts”.

b. UNESCO “UNESCO is the United Nations Educational, Scientific and Cultural Organization. It seeks to build peace through international cooperation in Education, the Sciences and Culture. UNESCO's programmes contribute to the achievement of the Sustainable Development Goals defined in Agenda 2030, adopted by the UN General Assembly in 2015.”

c. Convention The Convention for the Safeguarding of ICH was adopted in 2003 by the UNESCO General Conference. The convention works toward the safeguarding of cultural communities, groups, and individuals’ uses, representations, expressions, knowledge and techniques as an integral part of their cultural heritage.

d. Domains According to UNESCO’s 2003 Convention, the ICH has five broad domains which may be found in forms of:

1. Oral traditions and expressions, including language as a vehicle of the ICH variety of spoken forms including proverbs, riddles, tales, nursery rhymes, legends, myths, epic songs and poems, charms, prayers, chants, songs, dramatic performances and more; used to pass on knowledge, cultural and social values and collective memory;

2. Performing arts Range from vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond;

30 3. Social practices, rituals and festive events 3.1 habitual activities that structure the lives of communities and groups and that are shared by and relevant to many of their members;

4. Knowledge and practices concerning nature and the universe; 4.1 traditional healing, knowledge about herbs and their application, water management systems, star-guided navigation, or astrology

5. Traditional Craftsmanship 5.1 knowledge and skills involved in crafts, from pottery to mask-making and vernacular architecture e. Inventory An inventory is the list of enumerated ICH elements existing in the country. The Philippine Intangible Cultural Heritage Inventory (PICHI) aims to identify the vast and diverse ICH elements which considered integral to raise awareness about ICH through documentation. It will be classified according to the five (5) domains of the UNESCO 2003 Convention and shall be regularly updated. f. Elements An element is a form of ICH manifested through traditions and practices that are created, maintained, and transmitted by the cultural communities, groups or individuals – without their recognition, an element cannot be considered as heritage. g. Cultural Community A cultural community is a group of people who have shared history, shared experience, shared practice, shared knowledge, shared values, and shared aesthetics. h. Documentation Recording the history of each element, the full process of performing the techniques and artistries involved, and the current state of transmission. i. Safeguarding The Register of Good Safeguarding Practices allows State Parties, communities and other stakeholders to share successful safeguarding experiences and examples of how they surmounted challenges faced in the transmission of their living heritage, its practice and

31 knowledge to the future generation. These methods and approaches should be useful as lessons and models that can be adapted to other circumstances, including those in developing countries j. Entry An ICH element that is included in Philippine Intangible Cultural Heritage Inventory (PICHI). k. Consent A form of formal or non-formal agreement done to officially ask permission from the community to conduct the inventory-making. l. Inventory Form A document used to record the ICH elements in a state party’s territory and to identify which elements are in need of urgent safeguarding. m. Listing A record or catalog of the inventory of ICH elements.