Cultural Mapping of Intangible Cultural Heritage of Tsinelas in Liliw, Laguna

A Thesis Proposal Presented to the faculty of the College of Hospitality Management and Tourism

Laguna State Polytechnic University ̵ Los Baños Campus, Los Baños, Laguna

In Partial Fulfillment of the Requirements for the degree

BACHELOR OF HOSPITALITY MANAGEMENT AND TOURISM

Researchers

ANGELES,JOHN ANGELO S.

JIMENEZ,ALEXA MARIE H.
 Chapter 1

Introduction

Liliw, a quaint town nestled in the heart of Laguna, Philippines, is not merely a picturesque

destination; it is a living repository of rich cultural traditions. Among its cherished heritage

practices is the art of Tsinelas making—an ancient craft that has woven itself into the fabric of local

identity. Tsinelas, or traditional Filipino slippers, are not just footwear in Liliw; they are the

embodiment of a cultural legacy that has withstood the test of time.

The craft of Tsinelas making in Liliw encapsulates the essence of Filipino ingenuity and resilience.

From the rhythmic sounds of artisans at work to the vibrant colors and intricate designs adorning

the final products, every step in the process tells a story—a narrative of craftsmanship passed down

through generations. This craft is more than an economic pursuit; it is a living testament to the

community's commitment to preserving its cultural roots in an ever-evolving world.

In this exploration of Tsinelas making in Liliw, we embark on a journey to unravel the layers of

heritage woven into the soles of these slippers. This study seeks to document and understand the

historical, social, and economic dimensions of Tsinelas making in Liliw, providing a

comprehensive view of its significance within the local community. From the dusty workshops

where skilled hands transform raw materials into wearable art to the communal gatherings where

Tsinelas play a role in rituals and ceremonies, we delve into the heart of this cultural practice to

appreciate its impact on the town's identity.

As globalization and modernization reshape cultural landscapes, the preservation of traditional

crafts becomes an imperative. Tsinelas making in Liliw stands at the crossroads of tradition and

change, presenting both challenges and opportunities. Through this exploration, we aim to not only

celebrate the artistry and cultural heritage embedded in each pair of Tsinelas but also to contribute

insights that can inform strategies for the sustainable preservation and promotion of this age-old
craft. Join us on this odyssey through the cobblestone streets of Liliw, where each pair of Tsinelas

carries not just the weight of its wearer but the weight of generations past, present, and future.

窗体底端

Background of the Study

Liliw, known for its vibrant culture and charming landscapes, has a history that dates back

to the Spanish colonial period. The town's historical roots are deeply intertwined with the broader

narrative of Philippine history, making it an intriguing subject for cultural exploration. Throughout

the years, Liliw has been a melting pot of various influences, including indigenous practices,

Spanish colonialism, and contemporary innovations. Understanding and documenting these

influences is essential for appreciating the unique cultural tapestry that Liliw embodies.

Furthermore, the preservation of cultural heritage is not merely a matter of historical significance; it

also has economic, social, and educational implications. By recognizing and safeguarding its

cultural heritage, Liliw can capitalize on its distinctiveness to boost tourism, support local artisans

and craftsmen, and instill a sense of pride and belonging among its residents. Additionally, the

study of cultural heritage can serve as an educational tool to connect the younger generation with

their roots and traditions.

This study seeks to accomplish these objectives by conducting comprehensive research,

engaging with local communities, and collaborating with cultural institutions and experts. By

shedding light on the cultural heritage of Liliw, we aim to contribute to its sustainable development,

enhance its cultural tourism potential, and ensure that this unique heritage continues to enrich the

lives of its residents and visitors alike.

In summary, the cultural heritage of Liliw, Laguna, is a subject of great significance, both

for the preservation of its history and the promotion of its future. This study embarks on a journey

to explore, document, and celebrate the cultural heritage that defines Liliw, contributing to the
broader understanding of heritage conservation and the role it plays in fostering community identity

and well-being.

Theoretical

Economic development has been considered not as an end in itself but instead as a catalyst

for other social aspects of growth. Likewise, Gunnar Myrdal (1968) considered non-economic

conditions and societal conditions as factors affecting total production and income. Thus, it is in

this perspective that cultural heritage is seen as another form of development. Hence this paper

follows the framework provided by the UNESCO suggesting that cultural heritage contributes to

development. The framework was expounded by Van Der Borg and Russo (2005) in a model of

economic development called Culture-Oriented Economic Development (COED), that rests on

three assumptions: (1) the development of the cultural sector serves as the leverage for the

development of a widespread creative production sector; (2) a creative economy improves the

competitiveness of the urban environment; and (3) a culture-oriented urban economy is sustainable

if spatial balance, social permeability, and cultural identity are preserved in the growth process.
Figure 1: How Culture Contributes to Development. Source: UN System Task Team on the Post

2015 UN Development Agenda (May 2012). Culture a driver and enabler of sustainable

development, p. 8. Logically, cultural heritage constitute an essential tool for economic

development since it provides possibility for employment generation and household income, city

center revitalization, heritage tourism, stimulates enterprise development, rural development,

property value improvement and small business incubation (Baycan and Girard, 2011). Graham et

al. (2000) argued the same reiterating three economic dimensions of cultural heritage namely: (1)

cultural heritage as an economic industry in itself due to the economic functions it generates; (2) a

crucial factor in the economic development due to its capacity to attract economic activities; and (3)

as an instrument in the management of economies at various spatial scales. Accordingly, cultural

heritage promotes sustainability through cultural tourism, cultural and creative industries, and

culture-based urban revitalization not only fosters growth inclusiveness but also results in economic
benefits thru employment generation, local development stimulation, and entrepreneurship.

Moreover, it contributes non-monetized benefits as well such as fostering social values and cultural

capital development (UNESCO 2012).

The framework also supports the idea developed by Bandarin et al. (2011), suggesting a

cycle composed of culture promoting development and in return development fostering culture,

then leading to development. The principle is anchored on the idea that the two variables do not

necessarily impinge on one another. It has been established by UNESCO that culture contributes

directly to development such that World Heritage Sites are powerful drivers of incentives to

economic growth, both directly as sources of employment and revenues for communities and

indirectly through spin off income from sales of cultural products (Bandarin et al., 2011). Joan

Henderson (2012) further insisted that cultural tourism as a whole contributes to urban development

and provides an avenue for sustainable development. The strategy is to provide a balance between

the aspects of built heritage conservation in the course of urban development.

Interview

Cultural
Significance of
Tsinelas
Making
Observed Tsinelas Maker

Figure 2. The process of mapping cultural heritage is an effective way to demonstrate ownership of

assets, how they are used, and preserved. It is also used as an inventory of cultural heritage that

encourages learning between generations and cultures.

Statement of the problem

This study aims to identify the Intangible Cultural Heritage (ICH)-Tsinelas of Liliw, Laguna:

This research seeks to answer the following question:

Significance of the study

This study helps to identify, document and preserve the intangible cultural heritage of

Tsinelas in Liliw, Laguna, which is an important part of the town's identity. Second, it promotes the

intangible cultural heritage of Liliw, making it more accessible to the public. Third, it can help to

raise awareness of the importance of intangible cultural heritage and the need to preserve it. Lastly,

it can serve as a model for other communities that are interested in documenting and preserving

their own intangible cultural heritage.

Hypothesis

The cultural mapping of intangible cultural heritage in Tsinelas of Liliw, Laguna will reveal a

diverse and dynamic tapestry of traditions, practices, and knowledge systems, showcasing the rich

and multifaceted cultural heritage of the community. This mapping process will not only document

and preserve these intangible cultural assets but also serve as a catalyst for community

empowerment, tourism development, and the safeguarding of cultural identity, ultimately

contributing to the sustainable growth and well-being of Liliw, Laguna.

Scope and Limitation

The scope of the study of "Cultural Mapping of Intangible Cultural Heritage of Tsinelas in

Liliw, Laguna" is to identify, document and preserve the intangible cultural heritage of Liliw,
Laguna. This will be done through the creation of a cultural map of the town, which will showcase

the various intangible cultural heritage elements that exist there.

The limitations of the study include the fact that it is only focused on the intangible cultural

heritage of Liliw, Laguna, and does not include the tangible cultural heritage of the town.

Additionally, the study is limited by the availability of resources and time, which may limit the

scope of the project.

Definition of Terms:

Cultural mapping - a process of identifying, documenting, and visualizing the cultural heritage of

a particular place.

Heritage - anything of value from the past that provides identity to the present and inspires the

future generation

Intangible cultural heritage: the sum total of the practices, representations, expressions,

knowledge, skills, and techniques that communities, groups, and individuals recognize as part of

their cultural heritage. This includes oral traditions, performing arts, social practices, rituals, festive

events, knowledge and practices concerning nature and the universe, traditional craftsmanship, and

other cultural practices.

Tradition - the transmission of customs or beliefs from generation to generation, or the fact of

being passed on in this way

UNESCO - United Nations Educational, Scientific and Cultural Organization. It contributes to

peace and security by promoting international cooperation in education, sciences, culture,

communication and information. UNESCO promotes knowledge sharing and the free flow of ideas

to accelerate mutual understanding and a more perfect knowledge of each other's lives. UNESCO's

programmes contribute to the achievement of the Sustainable Development Goals defined in the

2030 Agenda, adopted by the UN General Assembly in 2015.

Review of the Review of the Related Literarture

This literature review provides a thorough overview of the research conducted on Tsinelas making

as an intangible cultural heritage of Liliw, Laguna” highlighting its historical and cultural

significance.

The literature emphasizes the importance of traditional knowledge and abilities being passed down

through the generations. The artisans of Tsinelas in Liliw use traditional tools and locally sourced
materials to create these slippers, demonstrating their distinct techniques and expertise. Cultural

legacy is preserved in part because this expertise is frequently passed down through apprenticeships

or within families.

National Cultural Heritage Act

The National Cultural Heritage Act of 2009 (NCHA), Republic Act No. 10066, is a practice

of combining and restoring all of the disparate preservation-related laws that had been enacted over

the past hundred years. Nevertheless, the NCHA has a list for preserving built environment with

some new policy goals and several new practicable tools. However, NCHA focuses not only on

built heritage preservation but also on all areas of cultural heritage including art and intangible

cultural property (Tankersley, 2014).

This law will further provide proper conservation of the heritage and culture of Liliw,

Laguna. The protection of the natural, built and intangible environment and the efforts made by

local government agencies, cultural organizations, and community members to preserve and

promote Liliw's intangible cultural heritage. It discusses initiatives such as cultural festivals,

workshops, and educational programs aimed at raising awareness and ensuring the continuity of

these traditions.
Intangible Cultural Heritage Tourism Concepts

According to Asuncion in 2022, cultural mapping is an ‘action journey’ to identify,

document and safeguard the intangible strength of oneself. It then delves into the specific case of

Liliw, Laguna, a town known for its vibrant cultural traditions and practices.

Heritage is defined as anything of value from the past that provides identity to the present and

inspires the future generation. Traditionally, it is classified as intangible or tangible, movable or

immovable, natural or cultural, personal or communal. Usually, heritage is perceived as something

without use or practical value and has no return of investment. Moreover, some view its

preservation as something contrary to modernization, westernization or globalization, which are

concepts equated with development.

Intangible cultural heritage refers to the practices, representations, expressions, knowledge,

skills, as well as the instruments, objects, artifacts, and cultural spaces associated with the

communities (UNESCO, 2003).

Cultural Mapping

Cultural mapping focuses on describing the community's assets and resources and their

relationships which can be used to inform the stakeholders, develop plans and solve problematic

issues (Cultural Mapping Toolkit, n.d).

Cultural Heritage Mapping is the method of determining natural and cultural heritage

resources of a specific site for conservation and development purposes (Commonwealth

Department of Communication and the Arts, 1995). Cultural heritage mapping consists of the

following objectives: (i) distinguishing the difference between the heritage resources of a

community and another community; (ii) apprehending carefully and establishing correct document

of heritage resource for future reference; 15 (iii) creating inquisitiveness among users and non-users
of heritage-on-heritage resources; last, producing essential heritage conservation charters,

legislations, bills and guidelines.

Chapter 3

RESEARCH METHODOLOGY

This chapter presents the research design, respondents of the study, the sampling procedure,

the research instrument, the data gathering procedures, and the statistical treatment of data.

Research Design

This study aims to identify the intangible cultural significance of Tsinelas in Liliw, Laguna. The

researchers will gather information and interview the maker of the tsinelas and ask them some

questions about their family background history of making tsinelas.

Sampling Techniques

This thesis can affect the generalizability and reliability of the study's findings. In the

context of cultural mapping, where the goal is to capture the diverse cultural practices and beliefs of

a specific community, a well-designed sampling technique becomes even more important.

Research Instrument

In this study, the researcher will use a semi-structured interview in the participants

responses recorded by audio and video in person. The observations allowed for a deeper

understanding of the intended meaning behind participant’s statements.

1. Can you share how you started with Tsinelas making in your family?

2. What is the step-by-step procedure/process in Tsinelas making?

3. Are there belief associated with Tsinelas making?

4. What is the cultural meaning of Tsinelas to Liliw?

6. How were you able to learn the process of Tsinelas making?

Data Collection

The researchers utilized purposive sampling when identifying the participants to be

interviewed in the study. Data was collected through semi-structured interviews. Semi-structured

interviews are more like natural conversations than written questionnaires (Duranti, 2011). In semi-

structured interviews, the interviewer uses open-ended questions “to discuss some topics in more

detail” (Hancock et al., 2007, p.16). Open-ended questions empower the interviewer to collect

related data from the interviewee(s) in detail (Brinkman & Kvale, 2005) with personal feelings,

emotion, ideas, and with less self-censorship. The interviewer should have general questions related

to their research, or topic guide (Hancock et al., 2007). A semi-structured interview is quite flexible

(Neergaard & Leitch, 2015), and most of the questions are crafted during the interview.

The researchers will submit letter to the CHMT Department and Municipality of liliw,

Laguna Tourism Office for approval of conducting an interview. After the approval, the letter will

be process distributed in the participants. The interview will be conducting face to face and the

researchers will be use Tagalog transmission to the interview. The interview will be recorded in

audio and video and the researchers will translate the participants answer in English.

QUESTIONNAIRE

1.Can you share how you started with Tsinelas making in your family?

2. What is the step-by-step procedure/process in Tsinelas making?

3. Are there belief associated with Tsinelas making?

5. Who are the cultural bearers of Tsinelas making?

6. How were you able to learn the process of Tsinelas making?

References:

Commonwealth Department of Communication and the Arts (1995). Mapping culture: a guide for

cultural and economic development in communities. Canberra

Cultural Mapping Toolkit. (2010). Vancouver: Creative City Network of Canada, and 2010

Legacies Now. Retrieved from http://www.creativecity.ca/

database/files/library/cultural_mapping_toolkit.pdf

Tankersley, C. (2014). National Cultural Heritage Act. Historic Preservation in the Philippines.

http://preserv

UNESCO (2003). Convention for the safeguarding of the intangible cultural heritage. Sixth session

of the intergovernmental committee for the safeguarding of the intangible cultural heritage.

https://ich.unesco.org/ doc/src/15164-EN.pdf