Heritage Notes

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The exhibit will present challenges to conservation of how the Philippines along with the

international community resolves to continuously in finding sustainable means to conserve its


heritage.
The World Heritage Convention celebrates the interdependence of cultural and natural
diversity, testaments of human skill and the wonders of nature's gifts.
The Philippines context embodies the convergence of cultural and natural patrimony
considering its pre-colonial history. periods of colonization, ethno-linguistic diversity and its
ecological and biological rich surroundings.
HERITAGE LIST IN THE PHILIPPINES:
1.The Saint Augustine Church (Iglesia de San Agustín de Paoay), commonly known as the Paoay
Church, is a Roman Catholic church in the Municipality of Paoay, Ilocos Norte. Completed in 1710,
the church is famous for its distinct architecture and its enormous buttresses on the sides and
back of the building.

It is declared as a National Cultural Treasure by the Philippine government in 1973; and a UNESCO
World Heritage Site under the collective group of Baroque Churches of the Philippines in 1993.
History: The earliest historical record of the area dates back to 1593 and it became an
independent Augustinian parish in 1686. Building of the present church was started in 1694 by
Augustinian friar Father Antonio Estavillo, completed in 1710 and rededicated in 1896. Some
portions of the church were damaged in the 1865 and 1885 earthquakes but was later restored
under the initiative of former First Lady Imelda Marcos.
Restorations: Several projects for the restoration of Paoay Church were sought by government
and non-government organizations due to possible question on its structural integrity.
The local government of Ilocos Norte through resolution seeks the reconstruction of the church
convent presently in ruins and retrofitting of the church. Restoration of the church's buttresses,
walls, tower, and interior was announced in 2018.
Architectural characteristics:

• Buttresses- The most striking feature of Paoay Church is the 24 huge buttresses of about
1.67 meters (5.5 ft) thick at the sides and back of the church building extending from the
exterior walls. It was designed in solving the possible destruction of the building due to
earthquakes. Its stair-like buttresses (known as step buttresses) at the sides of the church
is possibly for easy access of the roof.
• Walls- Its walls are made of large coral stones on the lower part and bricks at the upper
levels. The mortar used in the church includes sand and lime with sugarcane juice boiled
with mango leaves, leather and rice straw. Its walls suggest Javanese architectural styles.
• Facade: The stone façade appears as massive pediment rising from the ground and is built
leaning towards the front. Square pilasters and stringed cornices divide the facade
vertically and horizontally respectively. Its bottom part is plain. Gothic features are also
present through the use of finials while the triangular pediment shows Chinese elements
and Oriental strokes. The façade is made of brick on the lower level and coral stones on
the upper level.
• Bell tower: Adjacent to the façade is a three- storey coral bell tower constructed
separately from the church building on the right side resembling a pagoda. It was in 1793
when the cornerstone of the bell tower was laid. It stands at some distance from the
church as a protection against earthquake. It served as observational post for Filipino
revolutionaries against the Spaniards in 1898 and by Filipino guerrillas against Japanese
soldiers during World War II. According to historians, the bell tower also served as a status
symbol for the locals. It is said that the bell would ring more loudly and more times during
the wedding of a prominent clan than during the wedding of the poor.
2. Church of San Agustin:
The Church of Saint Augustine Filipino: Simbahan ng San Agustin, (Iglesia de San Agustín), also
known as the Archdiocesan Shrine of Our Lady of Consolation and Cincture (Spanish: Santuario
Arquidiocesano de Nuestra Señora de la Consolación y Correa) or the Immaculate Conception
Parish (Filipino: Parokya ng Imakulada Conception, Spanish: Parroquia de la Inmaculada
Concepción)
It is a Roman Catholic church under the divine order of Saint Augustine located inside the historic
walled city of Intramuros in Manila, Philippines.
Completed in 1607, it is the oldest stone church in the country. In 1993, San Agustin Church was
one of four Philippine churches constructed during the Spanish colonial period to be designated
as a World Heritage Site by UNESCO, under the collective title Baroque Churches of the
Philippines. It was named a National Historical Landmark by the Philippine government in 1976.
History: San Agustin Church is located in General Luna St., Metro Manila. The present structure
is actually the third Augustinian church erected on the site. The first San Agustin Church was the
first religious structure constructed by the Spaniards on the island of Luzon.
Made of bamboo and nipa, it was completed in 1571, but destroyed by fire in December 1574
during the attempted invasion of Manila by the forces of Limahong. The Augustinians decided to
rebuild the church using stone, and to construct an adjacent monastery. Construction began in
1586, based on a design by Juan Macías. The structure was built using hewn adobe stones
quarried from Meycauayan, Binangonan and San Mateo, Rizal. The work proceeded slowly due
to the lack of funds and materials, as well as the relative scarcity of stone artisans. San Agustin
Church is currently administered by the Augustinian friars of the Province of the Most Holy Name
of Jesus of the Philippines.
Architectural Style:
The San Agustin Church is patterned after some of the magnificent temples built by the
Augustinians in Mexico. The present edifice was built in 1587, and completed, together with the
monastery, in 1604. The atmosphere is medieval since "both church and monastery symbolize
the majesty and equilibrium of a Spanish golden era."[according to whom the massive structure
of the church is highlighted by the symmetry and splendor of the interiors (painted by two Italians
who succeeded in producing trompe l'oeil) the profile of the mouldings, rosettes and sunken
panels which appear as three-dimensional carvings, a baroque pulpit with the native pineapple
as a motif, the grand pipe organ, the antechoir with a 16th-century crucifix, the choir seats carved
in molave with ivory inlays of the 17th century and the set of 16 huge and beautiful chandeliers
from Paris.

Heritage Threats:
The Binondo-Intramuros Bridge opened in 2022. Although the bridge is about 550 meters (1,800
ft) away from San Agustin Church, it is believed to have encroached on the buffer zone prescribed
for church, which includes the walls of Intramuros and the immediate areas outside. However,
the national government argues that the bridge will have no direct physical or visual impact to
the San Agustin Church, owing to its remote distance and the number of taller structures between
the bridge and the church. So far, the World Heritage Convention (WHC) has identified several
potential indirect and long-term impacts to the church. WHC noted that the church could be
impacted by more ground vibration due to vehicular traffic, and air and noise pollution. Moreover,
the bridge would have a direct visual impact on the overall setting and sense of place of the
property, including Intramuros' fortified wall, as well as the Maestranza strip and Plaza México,
the visual corridor of the Pasig River, and the underlying remains of Baluarte de Santo Domingo.
To mitigate the situation, it was recommended to the national government to reconsider the
bridge's and location, convert the surrounding roads of the church into pedestrian areas, conduct
structural assessment of the church, and adapt the design of the bridge to the character of
Intramuros.
San Agustin Church was collectively declared as a UNESCO World Heritage Site in 1993, together
with Paoay Church in Ilocos Norte, Santa Maria Church in Ilocos Sur, and Miag-ao Church in Iloilo.
If it will be delisted, the three other churches would also be removed from UNESCO's heritage
list.

3. Church of Sto. Tomas de Villanueva:


The Santo Tomas de Villanueva Church is the fourth oldest parish in the Roman Catholic Diocese
of Pasig, following in the senior status of the churches of the Pasig Cathedral in Pasig, Santa Ana
Shrine in Taguig and San Roque Parish in Pateros, Philippines. Santolan's 200- year-old patron
saint is Thomas of Villanova. The saint was a great Augustinian bishop and man of charity but
unknown in the Manila area.
The jurisdiction of the parish is as follows: Santolan (North), Marikina River (West), Maybunga
San Miguel (South), Cainta, Rizal (East).
The church enshrines the 19th century Virgin Mary, said to be different among others, for she has
a moon underneath her feet. The parish is one of the three other parishes in the Diocese of Pasig
that has been granted the special papal blessing to mark its Diamond Jubilee Year in connection
with its 60th anniversary.
History: In 1798, the first chapel made of wood and cogon was built in Santolan by siblings Don
Luis and Antonio Victorino. A second chapel made of stone, chalk and tiles was built in the year
1808 by the siblings. It was the biggest chapel built in Pasig.
The parish was then established on November 8, 1953, after more than 100 years by Conrado
Arciaga. The first parish priest was Alejandro Vermorel who served from 1953 to 1956. In 1956,
he proposed the construction of a bigger church and convent. The church was then built with the
help of this parish priest's fund-raising activity. By the year 1959, Archbishop Rufino Santos
blessed the new church.
Architecture of the present church:
The church at present, is a modernized structure with art deco design. Walls are made of
concrete. The roofing at the entrance door is made of tiles.
4. Santa Maria Church (Ilocos Sur):
The Church of Our Lady of the Assumption (Nuestra Señora de la Asunción), commonly known as
the Santa Maria Church, is the parish church of Santa Maria in Ilocos Sur province, Philippines.
The church was designated as a UNESCO World Heritage Site on December 11, 1993, as part of
the Baroque Churches of the Philippines, a collection of four Baroque Spanish-era churches.
The Santa Maria Church is an attraction to tourists and Catholics in Ilocos Sur.
It is a reminder of the four centuries of Spanish domination of that area and a unique structure
with a diversified architectural design of bricks and mortar. It was built on top of a hill a lookout
and a citadel as well as a religious center during the early administration of the region by friars
and soldiers of Spain.
History: The parish of Santa Maria started as a chapel-of-ease (visita) of Narvacan, its neighboring
town to the north, in 1567. The influx of the settlers after the full conquest of the Ilocos Region
by the Spaniards greatly increased the population of Santa Maria. The chapel became an
independent ministry in 1769 and was dedicated to the Virgin Mary under the title of Our Lady
of the Assumption. Besides economic progress, evangelical missions were expanded. The mission
at Santa Maria, located on a narrow flat plain between the sea and the central mountain range of
Luzon, close to the interior settlements, made Santa Maria as the center of both the religious and
commercial activities.
According to the legend, before the Santa Maria Church was built on its present site, the Virgin
Mary was enshrined at a different place called Bulala. The frequent disappearance of the Virgin
Mary from her previous place of enthronement only to be found perched on a guava tree that
grew where the present church is located, had led the townspeople to move the church to its
present location. The church was listed as one of the most endangered monuments in the world
by World Monuments Fund in the 2010 World Monuments Watch, along with the Rice Terraces
of the Philippine Cordilleras and San Sebastian Church (Manila). All of the sites were taken off the
list in 2011 after the passage of the National Cultural Heritage Act.
Design: Unlike other town churches in the Philippines, which conform to the Spanish tradition of
sitting them on the central plaza, the Church and Convent of Our Lady of the Assumption in Santa
Maria are situated on a hill surrounded by a defensive wall on all sides like a fortress. The church
is reached by climbing an 85- step stairway of granite rock. The grand three- flight stairway leads
to a courtyard in front of the church doorway where a sweeping view of the lower plains and the
town of Santa Maria is beheld. A narrow roadway coming from the back of the church also leads
up to the courtyard but only used on special occasions.
Facade: The church brick façade has one large portal with three windows. The recessed arched
entrance is flanked by a pair of rectangular pilasters dividing the facade into three well- defined
planes. The whole facade is then framed on the sides by heavy circular buttresses topped by urn-
like finials.
An open pediment in the upper façade is topped by a small cupola. The curvilinear shape of the
pediment serves as a graceful finish to the upward movement of the pilasters and the arch
entrance. The blind niche, urn-shaped pinnacles and even proportions-overlooking at the top are
decorative devices of the upward movement.
Nave: The church follows the standard Philippine layout with the facade fronting a long single
nave rectangular building. The church measures about 99 meters (325 ft) long and 22.7 meters
(74 ft) wide. The thick outer walls have delicately carved side entrances with few openings. The
eastern and western side of the outer walls are reinforced by thirteen huge rectangular buttresses
each typical of Earthquake Baroque architecture. The first buttress from the front is adorned by
a huge relief retelling how the statue of Our Lady of Assumption was found on top of a tree. The
relief is visible as one ascends the front stairway.
Bell tower: The bell tower is freestanding, constructed separate from the church and not parallel
to the facade but situated about a third of the wall from the front. The octagonal four- story tower
was built wide, with each level narrowing till it reaches the top, typical of earthquake baroque
church towers. The top floor is covered by a dome that is capped by cupola. A cross above the
cupola tops the structure. Blank walls are arranged alternately with open windows. Other
decorative devices, like single pilasters, finials and balustrades indicate that this form is of later
vintage. A clock on the third level faces the stairway for the churchgoers to see.
6. The Historic Town of Vigan:
Established in the 16th century, Vigan is the best-preserved example of a planned Spanish colonial
town in Asia. Its architecture reflects the coming together of cultural elements from elsewhere in
the Philippines, from China and from Europe, resulting in a culture and townscape that have no
parallel anywhere in East and South-East Asia. Vigan is the most intact example in Asia of a
planned Spanish colonial town, established in the 16th century. Its architecture reflects the
coming together of cultural elements from elsewhere in the Philippines and from China with
those of Europe and Mexico to create a unique culture and townscape without parallels anywhere
in East and South- East Asia. The total area of the inscribed property is 17.25 hectares. The urban
plan of the town closely conforms with the Renaissance grid plan specified in the Ley de la Indias
for all new towns in the Spanish Empire. There is, however, a noticeable difference between Vigan
and contemporary Spanish colonial towns in Latin America in the Historic Core (known as the
Mestizo district), where the Latin tradition is tempered by strong Chinese, Ilocano, and Filipino
influences. As its name implies, this district was settled by affluent families of mixed Chinese-
llocano origin.
The area contains the historic footprint of the entire town and consists of a total of 233 historic
buildings tightly strung along a grid of 25 streets. The two storey structures are built of brick and
wood, with a steeply pitched roof reminiscent of traditional Chinese architecture. The exterior
walls of the upper storey are enclosed by window panels of Capiz shells framed in wood which
can be slid back for better ventilation. Vigan is unique for having preserved much of its Hispanic
colonial character, particularly its grid street pattern and historic urban lay out. Its significance
also lies on how the different architectural influences are blended to create a homogenous
townscape.
WORLD HERITAGE SITES IN THE PHILIPPINES
NATURAL HERITAGE
1. Tubbataha Reef National Marine Park: The Tubbataha Reefs Natural Park or in Filipino:
Bahurang Tubbataha, is a protected area of the Philippines located in the middle of the Sulu Sea.
The marine and bird sanctuary consists of two huge atolls (The North Atoll and South Atoll) and
the smaller Jessie Beazley Reef covering a total area of 97,030 hectares (239,800 acres; 374.6 sq
mi). It is located 150 kilometres (93 mi) southeast of Puerto Princesa, the capital of Palawan. The
uninhabited islands and reefs are part of the island municipality of Cagayancillo, located roughly
130 kilometers (81 mi) to the northeast of the reef.
In December 1993, the UNESCO declared the Tubbataha Reefs National Park as a World Heritage
Site as a unique example of an atoll reef with a very high density of marine species. The North
Islet serving as a nesting site for birds and marine turtles. The site is an excellent example of a
pristine coral reef with a spectacular 100-m perpendicular wall, extensive lagoons and two coral
islands. In 1999, Ramsar listed Tubbataha as one of the wetlands of international importance. In
2008, the reef was nominated at New 7 Wonders of Nature. The Tubbataha Reef Marine Park
covers 96,828 ha, including the North and South Atolls and the Jessie Beazley Reef.
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2. Rice Terraces of the Philippine Cordilleras: (Filipino: Mga Hagdan-Hagdang Palayan ng
Kordilyera ng Pilipinas or in Ifugao: Payyo)
A world heritage site consisting of a complex of rice terraces on the island of Luzon in the
Philippines. They were inscribed on the UNESCO World Heritage List in 1995, the first-ever
property to be included in the cultural landscape category of the World Heritage List. This
inscription has five sites:
1. The Batad Rice Terraces
2. Bangaan Rice Terraces (both in Banaue),
3. Mayoyao Rice Terraces (in Mayoyao),
4. Hungduan Rice Terraces (in Hungduan) and
5. Nagacadan Rice Terraces (in Kiangan), all in Ifugao Province
The Ifugao Rice Terraces reach a higher altitude that were built on steeper slopes than many other
terraces. The Ifugao complex of stones, mud walls and the careful carving of the natural contours
of hills and mountains to make terraced pond fields. It is coupled with the development of
intricate irrigation systems which harvesting water from the forests of the mountain tops and an
elaborate farming system.
3. Puerto Princesa Subterranean River National Park: Is a protected area in the Philippines.
The park is located in the Saint Paul Mountain Range on the western coast of the island of Palawan
about 80 kilometers (50 mi) north of the city of Puerto Princesa. The park is also known as The
Puerto Princesa Underground River. It has been managed by the Puerto Princesa city government
since 1992.

It was listed as a UNESCO World Heritage Site in 1999 and voted as a New7Wonders of Nature in
2012.
It also became a Ramsar Wetland Site in 2012.
A major tourist destination that is mostly accessed through road trips to the seaside village of
Sabang where one of the many Bangkas (Kayaks) take visitors to the park.
History: In 2010, a group of environmentalists and geologists discovered that the underground
river has a second floor. Which means that there are small waterfalls inside the cave. They also
found a cave dome measuring 300 m (980 ft) above the underground river, rock formations, large
bats, a deep water hole in the river, more river channels, and another deep cave, as well as marine
creatures and many more.
Deeper areas of the underground river are almost impossible to explore due to oxygen
deprivation.
On November 11, 2011, Puerto Princesa Underground River was provisionally chosen as one of
the New 7 Wonders of Nature and officially confirmed on January 28, 2012.
4. Mount Hamiguitan Range Wildlife Sanctuary:
is a mountain located in the province of Davao Oriental, Philippines. It has a height of 1,620
metres (5,315 ft). The mountain and its vicinity have one of the most diverse wildlife populations
in the country. Among the wildlife found in the area are Philippine eagles and several species of
Nepenthes. Such as the Nepenthes peltata and Nepenthes micramphora that are endemic to the
area. The mountain has a protected forest area of approximately 2,000 hectares. This woodland
is noted for its unique pygmy forest of century-old trees in ultramafic soil with many endangered,
endemic and rare species of flora and fauna.
In 2003, The Mount Hamiguitan range with an area of 6,834 hectares (68.34 km2) was declared
a national park and a wildlife sanctuary.
In 2014, the park was inscribed as a UNESCO World Heritage Site becoming the first in Mindanao
and the sixth in the Philippines.
The Mount Hamiguitan is part of the Eastern Mindanao Biodiversity Corridor. Conservation of the
mountain range is a multisectoral effort done involving the provincial government of Davao
Oriental, Department of Environment and Natural Resources, Local Communities and Indigenous
People.
IMPORTANCE OF HERITAGE CONSERVATIONS
(Dick Netzer) The importance of conservation and heritage preservation proves its value in the
affirmation of the uniqueness of a place. When cultural heritage is appreciated, enhance and
enriched. The socio-cultural, religious, political and economic gains are manifested.
(Justice William Brennan) Structure with special historic, cultural or architectural significance
enhances the quality of life for all. Not only do these buildings and their workmanship represent
the lesson of the past and embody previous features of one's heritage, they serve as examples of
quality for today. Enhancing perhaps developing for the first time and the quality of life for the
people.
UNESCO has been instrumental in propagating the notion of the universal responsibility for the
conservation of the World Heritage Council from 1972-1973.
IMPORTANCE OF HERITAGE CONSERVATIONS
➢ Heritage sites reflect the anthropological, historical, and cultural values of a people (De la
Torre 2013). These include human behavior, beliefs, art and relations. Therefore, it is vital
to conserve heritage sites and properties as a platform for teaching or learning the past
way of life of a given group of people (Embaby, 2014). Some of these sites serve as a
significant reminder of the origin or occurrence of a given phenomenon.
➢ The rich historical social delineations associated with a given heritage site or property play
a significant role in reminding members of the society of the social values that governed
the ancestors of a particular group of people in the past (Jones, 2017).
This way, it is possible to comprehend and even gain from the social values of such people
for the betterment of society. Furthermore, the cultural identities associated with certain
heritages help to enhance a sense of belonging to a particular group or clan of people
(Shinbira, 2012).
➢ With proper conservation, it is possible that a particular heritage property or site can
become a tourist attraction due to its architectural beauty as well as its historical
significance (García-Hernández et al., 2017). In such a manner the heritage can provide
economic benefits not only to the government but also the community living within the
vicinity of such a heritage.
➢ Retaining Our Identity. Heritage precincts are focal points for community gatherings and
events. The importance of their preservation stretches beyond their history, attributing
more to the unique character and sense of belonging they evoke in our hearts.
Furthermore, these heritage architectural elements also contribute to the aesthetics of
our streetscapes.
➢ Promotes Cultural Tourism. Heritage tourism is often deeply rooted in historic buildings.
These intriguing and tangible connections to our past spur interest for tourists to soak in
its distinct ambiance and this alone helps attract business.
➢ Statistics have also shown that heritage visitors have a greater economic impact as they
tend to stay for a longer duration and spend more than a day.
➢ Reduction of Demolition Waste. Conservation and restoration of heritage buildings are
the ultimate forms of recycling. Research has shown that the demolition of a typical brick
house results in an average of 60-100 tons worth of waste. To top it off, restoration is also
proven to be a massive energy saver. The energy required to demolish an old building and
erect a new one is estimated to be equivalent to the energy needed to operate it for 40
years. Imagine the number of invaluable resources and savings that could be put to better
use.
PRIMARY THREATS TO HERITAGE
WHAT ARE THE THREATS TO OUR CULTURAL HERITAGE?
Globalization causes rapid flow of people, products and information. Which menaces the
minority society, particularly their cultural heritage. Study shows that many indigenous languages
and cultures are on the verge of becoming extinct due to globalization. Heritage is often lost or
damaged in conflict as a consequence of development (both buildings and agricultural
expansion). It's important to note that the loss of heritage from illegal development is common
problem in a peacetime.
The standard list of threats affecting the Outstanding Universal Value of World Heritage
properties consists of a series of primary factors, encompassing each a number of secondary
factors:
THESE ARE THE PRIMARY THREATS TO CULTURAL HERITAGE
1. Buildings and Development
➢ Housing
• Urban high rise or urban sprawl
• Encroachment/ changes to skyline
➢ Commercial development
• Skyscrapers
• Large shopping malls
➢ Industrial areas
• Individual factories
• Industrial parks
➢ Major visitor accommodation and associated infrastructure
• Hotels, restaurant, golf courses, ski resort.
• Major/permanent high-cost tourism facilities (pontoons, jetties,
observatories, cable cars, chalets, fully serviced camping areas, etc.)
➢ Interpretative and visitation facilities
• Visitor center
• Site museum
• Signages
• Trail hardening (trail markers etc.)
• Information booth etc.
• Minor picnic facilities
• Moorings/markers buoys

2. LOCAL CONDITIONS AFFECTING LOCAL FABRIC


➢ Wind ➢ Micro-organism
➢ Dust ➢ Vibration
➢ Erosion ➢ Relative Humidity
➢ Water ➢ Temperature
➢ Pest ➢ Radiation/Light
3. SOCIAL/ CULTURAL USES OF HERITAGE
Social factors that contribute to deterioration processes of the fabric of heritage sites.
Some uses might have a positive impact as they enhance certain values (e.g. ritual,
religious) while others might compromise ascribed values and could lead to the
deterioration of the heritage site.
➢ Ritual/ spiritual and associative uses
• festival/ performances
➢ Society's valuing of heritage
• Changes in values to new uses of heritage
• Expansions/ additions to current uses of heritage resources.
• Conflicting values
• Abandonment
➢ Indigenous hunting/ gathering and collecting
➢ Changes in the traditional ways of life and knowledge system
• Loss of traditional knowledge and practices linked to heritage.
➢ Identity, social cohesion, changes in local population and community
• Changes in identity and local cohesion
• Changes in livelihood
• Migration to or from site
• Changes in local population community
➢ Impacts of tourism/visitor/recreation
• High levels of visitation
• Increase of vendors inside/outside site
• Building community support, sustainable livelihoods

4. UTILITIES OR SERVICE INFRASTRUCTURE
➢ Water infrastructure
• Dams
• Locks
• Weirs
• Water tanks
• Pumping stations
• Introduction of new system/infrastructure
➢ Renewable energy facilities
• Thermal
• Wave
• Solar
• Wind
➢ Non- renewable energy facilities
• nuclear power plants
• coal power plants
• oil / gas facilities
➢ Localized Utilities
• Incinerators
• cell phone towers
• sewerage works
• radio towers
➢ Major linear utilities
• Power lines / easements
• Pipelines etc.
• Channels
5. OTHER HUMAN ACTIVITIES
➢ Illegal activities
• Illegal extraction of biological resources (poaching)
• Blast fishing, cyanide fishing
• Illegal extraction of geological resources (mining fossils)
• Illegal trade
• Illegal occupation of space
• Illegal extractions
• Looting
• Theft
• Treasure hunting
• Ghost nets (discarded fishing gear)
➢ Deliberate destruction of heritage
• Vandalism
• Graffiti
• Politically motivated acts
• Arson
6. Physical Resource Extraction
7. Sudden Ecological or Geological Events
➢ Volcanic Eruption
➢ Earthquake
➢ Tsunami / Tidal Wave
➢ Avalanche / Landslide
➢ Erosion and Siltation / Deposition
➢ Fire (wildfires)
8. Pollution
All types of pollution (residential or commercial) as well as garbage, solid waste.
➢ Pollution of marine waters
• Ocean dumping
• Bilge water discharge
• Solid debris in marine environments
• Ground water pollution
• Oil/chemical spills
• Industrial effluent
• Agricultural runoff
• Household sewage/waste
➢ Surface water pollution
• Acid rain
• Mine / Tailings runoff
• Agricultural runoff
➢ Air pollution
• Excessive smoke or other airborne particulates
• Dust
• Local effects of emissions from use of fossil fuels
➢ Solid waste
• Mine tailings • Industrial waste
• Litter • Household rubbish
9. Management and Institutional Factors
➢ Management System/Management Plan
➢ Legal framework
➢ Low impact research/monitoring activities
• Visitor surveys
• Water sampling
• In-situ surveys
➢ Governance
➢ High Impact Research / Monitoring Activities
• Sampling using destructive techniques
• Research involving removal of features or species (i.e. extraction)
• Management activities
• Financial resources
• Human resources
10. Climate Change and Severe Weather Event
➢ Storms
• Tornadoes
• Hurricanes/cyclones
• Gales
• Hail damage
• Lightning strikes
• River/stream overflows
• Extreme tides
➢ Flooding
➢ Drought
➢ Desertification
➢ Changes to oceanic waters
• Changes to water flow and circulation patterns at local, regional or global
scale
• Changes to pH
• Changes to temperature
➢ Temperature change
➢ Other climate change impacts
INTERNATIONAL ORGANIZATIONS ON HISTORICAL PRESERVATION
1. UNESCO- "Heritage is our legacy from the past, what we live with today and what we pass on
to future generations. Our cultural and natural heritage are both irreplaceable sources of life and
inspiration."
The United Nations Educational, Scientific and Cultural Organization (UNESCO) seeks to
encourage the identification, protection and preservation of cultural and natural heritage around
the world considered to be of outstanding value to humanity.
This is embodied in an international treaty called the Convention concerning the Protection of
the World Cultural and Natural Heritage, adopted by UNESCO in 1972.
2. International Charter for the Conservation and Restoration of Monuments and Sites
UNITED NATIONS Educational, Scientific, Cultural Organization
(The Venice Charter 1964) - Imbued with a message from the past, the historic monuments of
generations of people remain to the present day as living witnesses of their age-old traditions.

People are becoming more and more conscious of the unity of human values and regard ancient
monuments as a common heritage. The common responsibility to safeguard them for future
generations is recognized. It is our duty to hand them on in the full richness of their authenticity.
3. ICOMOS- (International Council on Monuments and Sites) has pioneered the way since Athens
Charter 1931. ICOMOS works for the conservation and protection of cultural heritage. It is the
only global non-government organization of this kind which is dedicated on promoting application
of theory , methodology, And scientific techniques to conservation of architectural and
archeological heritage. Its work is based on the principles enshrined in the 1964 International
Charter on the Conservation and Restoration of Monuments and Sites (the Venice Charter).
ICOMOS is a network of experts that benefits from the interdisciplinary exchange of its members,
among which are Architects, Historians, Archaeologist, Geographers, Engineers and Urban
planners. The members of ICOMOS contribute to improving the preservation of heritage. The
standards and the techniques for each type of cultural heritage property: buildings, historic cities,
cultural landscapes and archaeological sites.
4. ICCROM-(International Charter for the Conservation and Restoration of Monuments)
ICCROM is an intergovernmental organization working in service to its Member States to promote
the conservation of all forms of cultural heritage in every region of the world. It operates in the
spirit of the 2001 UNESCO Universal Declaration on Cultural Diversity which states that "Respect
for the diversity of cultures, tolerance, dialogue and cooperation in a climate of mutual trust and
understanding are among the best guarantees of international peace and security." For more than
six decades, ICCROM has partnered with Member States to support them in safeguarding
heritage within their borders and beyond. The organization engages and informs new generations
of professionals and the general public with an interest in heritage.
ICCROM is small and agile enabling it to respond swiftly to the needs of its Member States. As an
intergovernmental organization with a vast network of conservation experts. ICCROM relies on
formal institutional collaborations with organizations such as UNESCO, ICOMOS, ICOM, ICA and
IIC.
Those working on the front lines of heritage preservation, including scientists, conservators,
museum curators, site managers, archivists, researchers and archaeologists, rely on ICCROM for
its world-class initiatives in conservation training, information, research, cooperation and
advocacy.
5. BURRA CHARTER- The Burra Charter is a document published by the Australian ICOMOS which
defines the basic principles and procedures to be followed in the conservation of Australian
heritage places. The Charter was first endorsed in 1979 as an Australian adaptation of the Venice
Charter but with the introduction of a new analytical conservation model of heritage assessment
that recognized forms of cultural heritage beyond tangible and physical forms. The Charter was
the first national heritage document to replace the Venice Charter as the basis of national heritage
practice.
6. NARA DOCUMENT ON AUTHENTICITY- The Nara Document on Authenticity is a document that
addresses the need for a broader understanding of cultural diversity and cultural heritage in
relation to conservation in order to evaluate the value and authenticity of cultural property more
objectively. It was drafted by 45 representatives from 28 countries after their deliberation on the
definition and assessment of authenticity during the Nara Conference held in Nara, Japan in
November 1994.

GOVERNMENT AGENCIES ON HERITAGE CONSERVATION


1. NHCP (National Historical Commission of the Philippines)
The National Historical Commission of the Philippines (NHCP), by virtue of Republic Act 10086, is
responsible for the conservation and preservation of the country's historical legacies. Its major
thrusts encompass an ambitious cultural program on historical studies, curatorial works,
architectural conservation, Philippine heraldry, historical information dissemination activities,
restoration and preservation of relics and memorabilia of heroes and other renowned Filipinos.
The NHCP undertakes the commemoration of significant events and personages in Philippine
history and safeguard the blazoning of the national government and its political divisions and
instrumentalities. Its five divisions are
1. Finance and Administrative;
2. Historic Preservation;
3. Historic Sites and Education;
4. Research,
5. Publications and Heraldry;
6. Materials Research Conservation.
It "aims to inculcate awareness and appreciation of the noble deeds and ideals of our heroes and
other illustrious Filipinos, also to instill pride in the Filipino people and to rekindle the Filipino
spirit through the lessons of history.
History of NHCP
* Philippine Historical Research and Markers Committee (PHRMC 1933) - The Philippine
Historical Research and Markers Committee was created by U.S. Governor General and mark
"historic antiquities General Frank Murphy by Executive Order 451, to in Manila as a first step
towards their preservation. Church of San Agustin, Fort Santiago, Plaza McKinley, Roman Catholic
Cathedral of Manila, San Sebastian Church, Concordia College, Manila Railroad Company, Dr.
Lorenzo Negrao, and University of Santo Tomas (Intramuros site) were among the first structures
to be granted markers.
The installation of markers was first limited to identify antiquities in Manila; however, the
commission's mandate was later expanded to cover the whole of the Philippines. Unfortunately
many markers were destroyed or lost due to World War II, along with the structures they
represent, and many have been replaced by post-war markers.
* Philippines Historical Committee (PHC 1935) - With the establishment of the Philippine
Commonwealth in 1935, the PHRMC was replaced by the Philippines Historical Committee (PHC),
which took over the functions as its predecessor, as well as the tasks of repairing government-
owned antiquities and acquiring antiquities owned by private individuals. While there are extant
historical markers issued in 1941 (e.g. Magellan's Cross, Basilica del Santo Niño, First shot of the
Philippine- American War, Colegio de San Juan de Letran, & Malacañan Palace), there are no
known records of the activities of the committee during the Japanese occupation of the
Philippines during World War II, as the Committee closed in protest.
* National Historical Commission (NHC 1965) - In July 1965, Congress passed Republic Act No.
4368 that created the National Historical Commission (NHC) and effectively abolished the
Philippine Historical Committee and the National Heroes Commission whose functions were
delegated to the NHC. Among the functions of the NHC are the following: to publish or cause to
have written or published the works of our national heroes and other great and good Filipinos; to
compile from various sources here and abroad data on Philippine history and prepare and publish
there from source books on Philippine history; to identify, designate and approximately mark
historic places in the Philippines and to cause the construction or reconstruction and to maintain
and care for national monuments, shrines and of all historical activities or projects not otherwise
undertaken by any entity of the government; to gather data on historical dates, personages,
events, and documents presented for evaluation, and to acquire through purchase, donation,
exchange or otherwise, important historical documents and materials; and to encourage
researches in Philippine history and the writing and publication of textbooks on the subject, the
research and writing of biographies of heroes, accounts of historical events, translations of
important scholarly works of Filipinos and foreigners by providing appropriate or adequate
incentives.
* National Historical Institute (1972) -
In 1972, President Ferdinand Marcos' declaration of martial law resulted in a reorganization of
government and the renaming of the NHC as the National Historical Institute.
* National Historical Commission of the Philippines (2010) -
On May 12, 2010, President Gloria Macapagal-Arroyo signed Republic Act No. 10086, or the law
reverting the National Historical Institute into its original form as the National Historical
Commission of the Philippines.
PHILIPPINE GOVERNMENT Agencies on Cultural Heritage Conservation
1. National Museum of the Philippines
(Pambansang Museo ng Pilipinas) is an umbrella government organization that oversees a
number of national museums in the Philippines including ethnographic, anthropological,
archaeological, and visual arts collections. From 1973 until 2021, the National Museum served as
the regulatory and enforcement agency of the government of the Philippines in the restoring and
safeguarding of significant cultural properties, sites, and reservations throughout the Philippines.
The mandate has since been transferred to the National Commission for Culture and the Arts.
National Museum operates the National Museum of Fine Arts, National Museum of
Anthropology, and the National Museum of Natural History, all located in the National Museum
Complex in Manila. The institution also operates branch museums throughout the country.
History: 1887
The National Museum of the Philippines can trace its history to the establishment of the Museo-
Biblioteca de Filipinas, established by a royal order of the Spanish government on August 12,
1887.
1891 - 1901
The Museo-Biblioteca opened on October 24, 1891 at the Casa de la Moneda on Calle Cabildo in
Intramuros, then home of the Philippine Mint, later moving to Calle Gunao in Quiapo. It was
abolished in 1900 at the onset of the American occupation of the Philippines, and what is
considered the direct precursor of the National Museum, the MUSEUM Insular Museum of
Ethnology, Natural History and MUSEO Commerce, was soon afterwards established under the Pl
Department of Public Instruction by the Philippine Commission on October 29, 1901.
One of the reasons for the creation of the Insular Museum was to complement the Bureau of
Non-Christian Tribes, and it was subsequently integrated with the Bureau of Ethnological Survey
under the Department of the Interior.
1904-1916
In 1904, after the Louisiana Purchase Centennial Exposition Exposition at St. Louis, Missouri, the
name of the Museum was changed MUSEUM to Philippine Museum. At the same time, the
Bureau of Ethnological Survey became the Division of Ethnology under PILL the Department of
Public Instruction in 1905 and then under the Bureau of Science, which housed considerable
natural history collections, in 1906.
A decade later, in 1916, the Fine Arts Division of the Philippine Museum was merged with the
Philippine Library (precursor of the National Library and National Archives) to create the
Philippine Library and Museum under the Department of Justice. The Natural History Division and
Division of Ethnology were maintained in the Bureau of Science.
1928-1939
In 1928, the National Museum of the Philippine Islands was created and placed under the
Department of Agriculture and Natural Resources, and housed in a building in the Port Area
adjacent to the Manila Hotel.
The National Library was also established as a separate institution. The Museum consisted of the
Ethnology Division and the Division of History and Fine Arts (the Division of Natural Science was
not included in the organization). However, this was reversed in 1933, when the Division of Fine
Arts was transferred to the National Library, and the Division of Ethnology and the Division of
Anthropology, which included archaeology, ethnography and physical MUSEUM anthropology,
were combined with the sections of natural history of the Bureau of Science and organized into
the National Museum Division of the Bureau of Science. In 1939, the National Museum Division
was renamed the Natural History Museum Division of the Bureau of Science under the office of
the Secretary of Agriculture and Commerce.
1945
During the Battle of Manila in February 1945, virtually the entire national collections were
destroyed when the Legislative Building, where most items were placed for safekeeping, as well
as the Bureau of Science building, were. reduced to ruins. After the war, the Natural History
Museum Division in 1945 was reunited with the National Library's Fine Arts Division to become
the National Museum – its final change of name – under the Office of the Executive Secretary.
1951-1975
In 1951, the National Museum was placed under the Department of Education. Regulatory
functions were added to the National Museum, starting in 1966 with the passage KOMISY of
Republic Act No. 4846, which provided for the protection and preservation of Philippine cultural
properties, and continuing through the 1970s, including management of important cultural sites
around the country. In addition, the National Planetarium in Rizal Park was established under the
PI National Museum in 1975. During this time, the National Museum was housed in one floor of
the Legislative Building, as well as in a government building in Ermita, Manila. The establishment
of the National Historical Institute in 1972 led to the transfer of diverse historical collections from
the National Museum.
1996
In 1996, President Fidel V. Ramos established a presidential committee to oversee the creation of
a National Museum complex. Earlier in 1994, he had instructed the Secretaries of Finance and
Tourism to prepare for the eventual transfer of their neo-classical buildings in Rizal Park to the
National BILL Museum, and in 1995, the Finance Building was turned over. The Department of
Tourism was scheduled to transfer custody of the Tourism building by the end of 1997, but this
initiative was delayed. In a historic move, the Senate of the Philippines also vacated its chambers
in the Executive House to allow for the landmark building to be incorporated into the National
Museum precinct.
1998
On February 12, 1998, Republic Act No. 8492, The National Museum Act of 1998, was approved
as the new charter of NG MUSEO the National Museum that reestablished the institution as an
autonomous government trust instrumentality under the Board of Trustees, and which
designated the President of the Philippines as the Honorary Chairman and Patron of the National
Museum. Later that year, the first stage of the National Museum complex was realized with the
formal inauguration of the Museum of the Filipino People in the converted Old Finance Building,
a key part of official commemoration of the centennial of Philippine independence that
culminated on June 12, 1998.
Under the administration of President Benigno S. Aquino III, MUSEUM the vision for the National
Museum complex in Manila as formulated in the 1990s was revived, with the turnover of the
Tourism Building that will allow for the establishment of the permanent home of the national
natural history collections, in line with the housing of the History was initially launched through
a ceremonial turnover of the Tree of Life with its unveiling by then President Benigno Aquino III
with his cabinet secretaries as representatives. Finally, on May 18, 2018, highlighting the
International Museum Day celebration, is the public opening of the National Museum of Natural
History.
With the growth and expansion of the National Museum's scope and functions, on April 26, 2019,
the Republic Act 11333, also known as the National Museum of the PIL Philippines Act, was signed
by President Rodrigo Duterte.
The law was enacted to strengthen the mandate of the institution in the management and
development of museums and collections of national importance in field of arts, cultural heritage,
and natural history making the museum more responsive to the 21st century and needs and
demands of its stakeholders.
THE PHILIPPINES NATIONAL MUSEUMS
NATIONAL MUSEUM CATEGORY
1. National Museum of Fine Arts
The National Museum of Fine Arts is home to 29 galleries and hallway exhibitions comprising of
19th century Filipino masters, National Artists, leading modern painters, sculptors, and
printmakers. Also on view are art loans from other government institutions, organizations, and
individuals.
Along Padre Burgos Street heading southwest, the monumental Old Legislative Building is
presently the National Museum of Fine Arts. The building designed by Ralph Harrington Doane,
Antonio Mañalac Toledo and Juan M. Arellano was built between 1918-1926. Done with the
assistance of Toledo, designed the building originally as the National Library. The building began
its construction in 1918, was delayed for lack of funds, and was decided to become the Legislative
Building. Arellano revised the plan by adding the fourth floor and the chambers for legislators,
changing the central façade and incorporating ornamentation and sculptural work.

2. National Museum of Anthropology

The National Museum of Anthropology stages the Philippine ethnographic and terrestrial and underwater
archaeological collections narrating the story of the Philippines from the past, as presented through
artifacts as evidences of its pre- history.

3. National Museum of Natural History

The National Museum of Natural History houses 12 permanent galleries that exhibit the rich biological and
geological diversity of the Philippines. It includes creatively curated displays of botanical, zoological, and
geological specimens that represent our unique natural history. Situated at the center of the museum is a
"Tree of Life" structure that proudly connects all the unique ecosystems in the Philippines, from our
magnificent mountain ridges to the outstanding marine reefs.

4. Regional, Area and Site Museums

The National Museum of the Philippines maintains regional, area and site museums all over the country.
There are 16 NMP-run museums outside of the National Capital Region (NCR). Republic Act 11333 or the
National Museum Act of the Philippines mandates the establishment of regional museum and satellite
office in each administrative region outside of NCR, and area and site museums and offices whenever
necessary. The regional, area and site museums have outstanding national artistic, cultural and natural
heritage significance.

5. National Planetarium

The National Planetarium was established to disseminate astronomical information through various
platforms and technology, such as full-dome digital and mobile planetarium shows, lectures,
demonstrations, exhibitions, and actual celestial observations.

The gallery at the National Planetarium entitled “Filipino Life Guided by Skies” focuses not only in modern
astronomy but primarily in ethnoastronomy practices used by our Filipino cultural communities. This
ethnoastronomy exhibition is divided into six sections, namely: The Cosmic Timeline, Cultural Astronomy,
Philippine Night Sky, Time Reckoning, Farming and Hunting, and Seafaring and Navigation.
THE PHILOSOPHY OF REPAIR

Traditional or vernacular building is concerned with utilizing indigenous materials and with local
knowledge of climate and topography. The geology and topography of a region determine the character
of its building. (William Smith the "father of geology") The essential and distinctive character of each
region always starts with landscape and the earth (granite, sand, slate, chalk, clay etc.) followed with
illustrations of hills and fields which gives each region and its buildings their character.

How ever regional character is quickly eroded by unsympathetic repair and alteration using
materials imported into the region by "renewal" rather than repair, consolidation and effective ongoing
maintenance.

The key to appropriate historic building repair is "awareness" of the fundamentals difference
between modern construction and traditional building.

Modern Construction is based around impermeability and thinness. Et al. Cavity Wall Construction, Rain
Screen Principle = capillary action.

Traditional Building by contrast is based around very different principles: thermal mass; breathability;
flexibility and the use of a protective or sacrificial skin. Thick walls provide thermal mass sustaining warmth
in cold season and coolness in hot season. Walls and floors are breathable and admit moisture which
evaporates freely. Masonry construction, lime mortar is softer than the structural material which allows
the building to move and settle without cracking. Also breathable compared to impermeable Portland
cement.

It is essential that traditional buildings are repaired sympathetically. Historic building repair embraces a
spectrum of interventions from routine maintenance and the "do nothing" option, through a
comprehensive repair programme, to restoration, the replacing of lost features or entire rebuilding,
provided there is precise evidence of what was there. Replacement is never acceptable when it is
conjectural.Sir Bernard Feilden listed the seven degrees:

1. Prevention of Deterioration
2. Preservation of the Existing State
3. Consolidation of the Fabric
4. Restoration
5. Rehabilitation
6. Reproduction
7. Reconstruction

THE PREFERRED OPTION IS ALWAYS MINIMAL INTERVENTION AND THE GENERAL PRINCIPLE IS
TO USE TRADITIONAL MATERIALS AND TECHNIQUES WHEREVER POSSIBLE.
THE BASIC WELL KNOWN GOLDEN RULE OF CONSERVATION, MINIMAL INTERVENTION,
CONSERVE AS FOUND, LIKE FOR LIKE REPAIRS, REVERSIBILITY
PHILIPPINE GOVERNMENT AGENCIES ON CULTURAL HERITAGE CONSERVATION
NATIONAL COMMISSION FOR CULTURE AND THE ARTS (NCCA)
National Commission for Culture and the Arts is the overall policy making body, coordinating and
grants giving agency for the preservation, development and promotion of Philippine arts and
culture.
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
1. Cultural Center of the Philippines,
2. National Historical Commission of the Philippines
3. National Museum of the Philippines
4. The National Library of the Philippines
5. 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).
The Commission together with the six cultural agencies works with the principle of
partnership, collaboration and shared responsibility in achieving effectively and efficiently the
implementation of cultural programs as well as maximizing of resources.
VISION
A Filipino people with a strong sense of nationhood and deep respect for cultural diversity.
MISSION
NCCA is the prime government agency that safeguards, develops, and promotes Filipino
culture through the formulation and implementation of enabling policies and programs as well as
the administration of endowment funds for culture and arts.

According to Sections 8 and 12 of RA No. 7356, the NCCA is created and mandated to formulate
and implement policies and plans in accordance with the principles stated in Title I of RA No.
7356:
• To formulate policies for development of culture and the arts;
• To implement these policies in coordination with affiliated cultural agencies;
• To coordinate implementation of programs of these affiliated agencies;
• To administer the National Endowment Fund for Culture and the Arts (NEFCA);
• To encourage artistic creation within a climate of artistic freedom;
• To develop and promote the Filipino national culture and arts; and,
• To preserve Filipino cultural heritage.
MANDATE
• 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;
• To preserve and integrate traditional culture and its various creative expressions as a
dynamic part of the national cultural mainstream; and,
• 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.
CORE VALUES
• Nationalistic
• Committed to Service
• Competent
• Artistic and Culture Sensitive

➢ Nationalistic. We strive to uphold the interest of the peoples of the Philippines and the
country, which shall have priority over all other considerations.
➢ Committed to Service. We commit to serve all people and institutions in conformity with
the highest standards of excellence.
➢ Competent. We believe in the continuous enhancement of the skills, competence, and
expertise of our personnel as a basic right of every member of the organization to self-
development and well-being.
➢ Artistic and Culture Sensitive. We discharge our mandate with respect for the peoples'
cultural wisdom which defines their identity.

Republic Act No. 7356 (April 3, 1992)


An Act Creating the National Commission for Culture and the Arts (NCCA), Establishing a National
Endowment Fund for Culture and the Arts (NEFCA), and for Other Purposes.
1. Proclamation No. 683 (January 28, 1991), designating NCCA as the lead agency for the
annual celebration of National Arts Month every February;
2. Proclamation No. 798 (September 12, 1991), designating NCCA as the lead agency for the
annual celebration of Museums and Galleries Month every October;
3. Proclamation No. 837 (November 19, 1991), designating NCCA as the lead agency for the
annual celebration of Libraries and Information Services Month every November;
4. Republic Act No. 7355 (April 3, 1992), designating NCCA as the implementing agency of
the Gawad Manlilikha ng Bayan;
5. Proclamation No. 154 (March 19, 1993), designating NCCA as the implementing agency
of the annual celebration of National Dance Week every Fourth Week of April;
6. Executive Order No. 131 (October 26, 1993), designating the NCCA to conduct the
necrological and interment services for deceased National Artists.
7. Executive Order No. 80 (March 5, 1999), Transferring the CCP, KWF, NM, NHI, TNL, and
RMAO to the NCCA for Policy Coordination
8. Republic Act No. 9155 (August 11, 2001), (Governance of Basic Education Act of 2001]
Section 8: Administratively attaching the KWF, NHI, RMAO and TNL to the NCCA
9. Proclamation No. 439 (August 11, 2003), designating NCCA as the lead agency in the
annual celebration of National Heritage Month every May;
10. Proclamation No. 1262 (March 21, 2007), designating NCCA as the lead agency for the
annual celebration of UNESCO-ITI World Theatre Week every March 21-27;
11. Republic Act No. 10066 (March 26, 2010), (National Cultural Heritage Act of 2009], An Act
Providing 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, and for other Purposes
12. Proclamation No. 1906 (October 5, 2009), designating NCCA as the lead agency for the
annual celebration of Indigenous Peoples Month every October.
13. Proclamation No. 933 (December 19, 2014), designating NCCA as the lead agency for the
annual celebration of Linggo ng Musikang Pilipino every last week of July;
14. Proclamation No. 968 (February 10, 2015), designating NCCA as the lead agency for the
annual celebration of National Literature Month every April
15. Proclamation No. 469 (April 13, 2019), designating the NCCA and the Department of
Agriculture as the lead agencies for the annual celebration of Filipino Food Month
16. Republic Act No. 11333 (April 26, 2019), transferring the regulatory functions of the
National Museum to the NCCA. The transfer of the National Museum of the Philippines'
regulatory functions to the Commission pursuant to Section 30 of Republic Act No. 11333
encompasses the following laws and issuances:

BOARD of COMMISSIONERS

As governed by RA 7356, The National Commission for Culture and the Arts is governed by a Board
of Commissioners composed of 15 members namely:
**List of Board of Commissioners updated as of September 1, 2023

1. HON. VICTORINO MAPA MANALO, NCCA Chair (Executive Director, National Archives of
the Philippines)
2. HON. LOREN B. LEGARDA, Commissioner (Chairperson, Committee on Culture and the
Arts - Senate of the Philippines)
Alternate: SEN. MARIA LOURDES NANCY S. BINAY, (Vice Chairperson, Committee on
Culture and the Arts - Senate of the Philippines)
3. HON. ROMAN T. ROMULO, Commissioner (Chairperson, Committee on Basic Education
and Culture, House of Representatives)
4. HON. GINA O. GONONG, Commissioner (Undersecretary for Curriculum and Teaching,
Department of Education)
5. HON. SHEREEN GAIL C. YU-PAMINTUAN, Commissioner (Undersecretary for
Administration and Finance, Department of Tourism) or HON. MAE ELAINE T. BATHAN
(Undersecretary for Legal and Special Concerns, Department of Tourism)
6. HON. MICHELLE NIKKI M. JUNIA, Commissioner (President, Cultural Center of the
Philippines)
7. HON. EMMANUEL F. CALAIRO, Commissioner (Chairman, National Historical Commission
of the Philippines)
8. HON. JEREMY R. BARNS, Commissioner (Director-General, National Museum of the
Philippines)
9. HON. CESAR GILBERT Q. ADRIANO, Commissioner (Director IV, National Library of the
Philippines)
10. HON. ARTHUR P. CASANOVA, Commissioner (Chairman, Komisyon sa Wikang Filipino)
11. HON. OSCAR G. CASAYSAY, Commissioner (Executive Director, National Commission for
Culture and the Arts)
12. HON. REDEN S. ULO, Commissioner for Cultural Communities and Traditional Arts (Head
Sub-commission on Cultural Communities and Traditional Arts)\
13. HON. IVAN ANTHONY S. HENARES, Commissioner for Cultural Heritage (Head Sub-
commission on Cultural Heritage)
14. HON. ARVIN MANUEL R. VILLALON, Commissioner for the Arts (Head Sub-commission on
the Arts)
15. HON. CARLO B. EBEO, Commissioner for Cultural Dissemination (Head Sub-commission on
Cultural Dissemination)
The NCCA has four (4) Sub commissions made up of national committees composed of artists
and cultural workers from both the public and the private sector, representing different cultural
and non-government organizations.
1. Sub-commission on the Arts (SCA): Committees on Architecture & Allied Arts, Cinema,
Dance, Dramatic Arts, Literary Arts, Music, and Visual Arts.
2. Sub-commission on Cultural Heritage (SCH): Committees on Archives, Art Galleries,
Historical Research, Libraries and Information Services, Monuments and Sites, and
Museums.
3. Sub-commission on Cultural Dissemination (SCD): Committees on Communication,
Cultural Education, and Language and Translation.
4. Sub-commission on Cultural Communities and Traditional Arts (SCCTA): Committees on
Northern Cultural Communities, Central Cultural Communities, So Cultural Communities.
PHILIPPINE GOVERNMENT Agencies on Cultural Heritage Conservation (CCP)
• Cultural Center of the Philippines
(Filipino: Sentrong Pangkultura ng Pilipinas, or CCP) is a government-owned and
controlled corporation established to preserve, develop and promote arts and culture in the
Philippines. The CCP was established through Executive Order No. 30 s. 1966 by President
Ferdinand Marcos. Although an independent institution of the Philippine government, it receives
an annual subsidy and is placed under the National Commission for Culture and the Arts for
purposes of policy coordination. The CCP is headed by an 11- member Board of Trustees.
The CCP provides performance and exhibition venues for various local and international
productions at the 62-hectare Cultural Center of the Philippines Complex located in the cities of
Pasay and Manila.
Its artistic programs include the production of performances, festivals, exhibitions,
cultural research, outreach, preservation, and publication of materials on Philippine art and
culture.
It holds its headquarters at the Tanghalang Pambansa (English: National Theater) a
structure designed by National Artist for Architecture, Leandro V. Locsin. Locsin would later design
many of the other buildings in the CCP Complex.
History of NHCP
Before the turn of the 20th century, artistic performances were primarily held in plazas
and other public places. The Manila Grand Opera House, constructed in the mid-19th Century,
served as the primary venue for many stage plays, operas and zarzuelas and other events of
national significance. Conditions improve with the construction of the Metropolitan Theater in
1931 and smaller but adequately equipped auditoriums in institutions like Meralco, Philam Life,
Insular Life, Ateneo de Manila University and Far Eastern University.
1961
The Philippine-American Cultural Foundation started to raise funds for a new theater.
The structure, designed by Leandro Locsin, was to be built in Quezon City.
1965
Imelda Marcos expressed her desire to build a national theater. She works on the
theater started with the issuance of Presidential Proclamation No. 20 on March 12, 1966. The
First Lady persuaded the Philippine-American Cultural Foundation to relocate and expand plans
for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila. To
formalize the project President Marcos issued Executive Order No. 30 establishing the Cultural
Center of the Philippines and appointing its board of directors with Imelda as chairperson
1970
The center was in the red mainly due to the costs of constructing the Theater of
Performing Arts. The board of the CCP asked Members of Congress to pass House Bill 4454 which
would convert the center to become a non-municipal public corporation and allow it to use the
principal of the CCP Trust Fund to pay off some of its debt.
1972
With the declaration of Martial Law on September 23, 1972. Congress was dissolved
and President Marcos signed Proclamation No. 15. A modified version of the proposed bill that
expanded the center's role from that of being a performance venue to an:

• Agency promoting arts and culture throughout the country.


• The institution of the National Artist Awards
• The foundation of the CCP Philharmonic Orchestra that would later become the Philippine
Philharmonic Orchestra
During this period of the Marcos Presidency, the CCP Complex played host to major local
and international events which would mark the start of a series of major construction projects in
the area.
1973
Filipino Margie Moran won the 1973 Miss Universe Pageant.
1981
One addition to the center was the Manila Film Center for the Manila International Film
Festival. Designed by Froilan Hong the structure was built on a strict critical path. An accident
occurred on November 17, 1981 when scaffolding collapsed and sent construction workers into
quick-drying cement. Despite this construction proceeded and finished some 15 minutes before
opening night of the Film Festival. 1986
The building's ownership would be transferred to the CCP. Straying from the brutalist
style typical of the buildings in the CCP is the Coconut Palace. A showcase on the versatility of
coconut as an export product and construction material designed by Francisco Mañosa.
The CCP underwent a period of reform and "Filipinization." In the post-Marcos era. The
new leadership consulted with various stakeholders to formulate a new direction for the CCP and
officially redefine its mission and objectives in pursuit of "a Filipino national culture evolving with
and for the people." To set about decentralization, the Center formulates guidelines for setting-
up local arts councils in local government units and establishes the CCP Exchange Artist Program
to provide opportunities for regional groups to showcase their talents across the country.
1987
Three groups joined the roster of the Cultural Center's resident companies as part of its
outreach and research programs:
1. The Philippine Ballet Theatre
2. The Ramon Obusan Folkloric Group
3. Tanghalang Pilipino
The CCP produced a number of notable publications:
1. Ani (English: Harvest) (1987)
2. An arts journal; the Tuklas Sining (English: Discover Arts) (1989)
3. Series of monographs and videos on Philippine arts and the landmark 10-volume
CCP Encyclopedia of Philippine Art (1994).
PH. GOV. AGENCIES ON CULTURAL HC - (NLP)
National Library of the Phillippines

• The National Library of the Philippines was established as the Museo-Biblioteca de Filipinas
through the royal decree of August 12, 1887.
• The library was revived with the donation made by the American Circulating Library
Association of its Circulating Library to the government formalized through Public Act No. 96
passed on March 5, 1901. Public Law Act No. 1935, provided for the "the consolidation of all
libraries belonging to any branch of the Philippine government for the creation of the
Philippine Library", and for the maintenance of the same, and other purposes. To carry out
the provisions of this law, a Library Board was constituted consisting of the Secretary of the
Public Instruction, the Secretary of Interior, the Secretary of Finance and Justice, and the other
members to be appointed annually by the Governor General.
In 1916, The Philippine Library, Division of Archives, Patents, Copyrights and Trademarks
of the Executive Bureau and the Law Library of the Philippine assembly were merged into one
entity, called the Philippine Library and Museum. Twelve years later, the Philippine Legislature
separated the museum from the library. Public Law No. 3477 (1928) established the National
Museum under the Department of Agriculture and Natural Resources and changed the name of
the Philippine Library and Museum to The National Library.
The President of the Philippines changed the name of The National Library to Bureau of
Public Libraries in accordance with Executive Order No. 94, series 1947. This order was followed
by Republic Act No. 411, otherwise known as the Municipal Libraries Law, authored by the then
Senator Geronima T. Pecson. Republic Act No. 3873 passed in 1964 brought back to the Bureau
of Public Libraries its old name, The National Library. Currently, the library is known as the
National Library of the Philippines (NLP) pursuant to Republic Act No. 10087 enacted in May 13,
2010. The NLP is located at T.M. Kalaw Street, Manila.
VISION
By 2027, the National Library of the Philippines shall be the premier library in the country,
with an extensive collection of library resources available in different forms and media, providing
excellent customer service experience through automated library facilities and online services,
driving the intellectual, social, and cultural progress of the Filipino society.
MISSION
The National Library of the Philippines is an ISO certified national repository of printed
and recorded cultural heritage in the country that acquires, organizes, conserves, and preserves
Filipiniana resources and provides equitable access to information resources on various
platforms, and delivers world-class customer service for Filipinos.
MANDATE
The National Library of the Philippines (NLP) is the repository of the printed and recorded
cultural heritage of the country and other intellectual, literary resources and information sources.
Quality Policy
We, at NLP, as a repository of cultural heritage, commit to acquire, conserve and preserve all
printed and recorded Filipiniana resources, ensure equitable access @and provide inclusive and
resilient services to support, intellectual, cultural and national development in accordance with
the applicable requirements while continually improving our quality management system.
To uphold this commitment, we shall:
• Espouse human resource welfare and development and values formation programs to
harness the fullest potential of our people;
• Implement responsive policies, programs and initiatives;
• Acquire and generate the best-available library resources; and,
• Integrate risk and quality management systems into the processes across the organization
particularly in policy formulation, decision making, planning, service provision,
performance evaluation and improvement processes.
DIVISIONS
The National Library of the Philippines is currently being reorganized following the approval of its
Rationalization Plan in September 26, 2007. The new organization structure comprises the
following Divisions:
• Filipiniana
• Reference
• Public Libraries
• Collection Development
• Catalog
• Bibliographic Services
• Information Technology
• Finance and Administrative
• Research and Publications
• Office of the Director
DEFINITION OF TERMS
• CULTURE
- Ways of living that include behavioral patterns, arts, beliefs, institution and all products of human
work and thought shared that reflect the identity of a group.

• HERITAGE
- Legacies from the past, what we live with today, and what we individually or collectively pass on
to future generations.

• TANGIBLE HERITAGE
- A category of heritage that encompasses cultural heritage such as works of man like craft,
mountains, buildings and sites, and natural heritage, which are works of nature such as physical,
biological, geological and physiological formations, and natural sites.

• INTANGIBLE HERITAGE
- A category of heritage that encompasses practices, representations, expressions, knowledge and
skills of communities, groups, or in some cases, individuals.

• SIGNIFICANCE
- Pertains to the importance, relevance and the meaning of a heritage resource to an individual or
group of people. Heritage may have different levels of significance like individual, family, band,
community, province, region, country or world.

• VALUE
- An aspect worth ascribed by people to a heritage resource, that is used to justify the heritage
resource’s significance. A heritage may have a range of values for different individuals or groups.

• HISTORICAL VALUE
- Refers to a value that deals with past events, personage, groups and associations, trends and
movements.

• AESTHETIC VALUE
- Refers to a value that appeals to a sense of beauty based on the aspects of sensory perception,
such as from, scale, color, texture and material of fabric, as well as the smell and sounds associated
with the place and its use.

• ARCHITECTURAL VALUE
- Refers to a value that deals with the art and science of designing and building structures or open
spaces following aesthetic, functional, and technical criteria.

• SCIENTIFIC VALUE
- Refers to a value that measures the importance of data on its rarity, quality or characteristic
contributing to substantial information about the place.

• ARCHAEOLOGICAL VALUE
- Refers to a value that provides important resource of historic and other scientific information
based on the presence of cultural or physical remains in historical places.

• SOCIAL VALUE
- Refers to the sentimental value that a group or community attaches to a place.
• STRUCTURE
- The organization of arrangement of the aesthetic and technical framework of the building that
provides stability to its parts or elements.

• ENSEMBLE
- A group of individuals built and/or natural elements put together to form a whole, which
manifests in varying forms.

• BUILDING
- An Edifice of one of the physical end products of Architecture and Engineering works intended
for occupancy.

• MONUMENT
- A Site or Structure that is erected and/or preserved because of its historical, cultural, or aesthetic
importance.

• STREETSCAPE
- The overall appearance of street elements that make up the street scenery and may include
natural and man-made physical elements found within and along the street, as well as its activities
carried out on it.

• LANDSCAPE
- A visually distinct area whose character is the result of the action and interaction of
nature(natural landscape) or between nature and man (cultural landscape).

• VISTA
- A distant view of a natural and/or built environment, e.g. One seen through an opening. A
pleasing view, especially one seen through a long, narrow opening.

• BASIS
- Principal reference for establishing the significance of a heritage resource.

• AUTHENTICITY
- The measure of a heritage resource belongs truly to what it is claimed to be. Authenticity is to
be based on the cultural context/s to which the heritage resource belongs to.

• INTEGRITY
- A measure of the wholeness and intactness of a heritage resource and its attributes to secure,
sustain, and convey its significance. It pertains to the physical fabric, its risks in its environment
and the ability of the values of a resource to be respected and communicated.

• MATERIAL
- A physical attribute of a heritage resource that refers to the physical elements, constituents, or
substance it is composed of.

• FORM
- A physical attribute of a heritage resource that refers to its shape and structure.

• SCALE
- The ratio of the actual measurements of something and those of a drawing, map or model.
• FUNCTION
- An attribute of a heritage resource that refer to its natural purpose or intended to it.

• SETTING
- The immediate and extended environment that is part of, contributes to, its significance and
distinctive character.

• CONTEXT
- An attribute of a heritage resource that refers to the wider framework within which the values
of a place should be considered.

• CONSERVATION
- All the processes of looking after a heritage resource so as to sustain its values and its cultural
significance.

• PRESERVATION
- A process of maintaining the existing state of the heritage resource to retard deterioration and
prolong its existence.

• MAINTENANCE
- A continuous process of caring for heritage resource to retard its deterioration.

• REPAIR
- A process of putting together what is torn broken or replacing any part to keep the heritage
resource in good condition.

• RESTORATION
- A form of repair that returns a heritage resource to a previously known state, done without the
introduction of new materials to the existing fabric.

• REINSTATEMENT
- A form of restoration that refers to the returning of a component of a heritage resource to its
former condition or position.

• RECONSTRUCTION
- A form of repair that refers to the accurate rebuilding of a vanished or irreversibly deteriorated
heritage resource from a known earlier state and with the introduction of new materials.

• REPLACEMENT
- A form of reconstruction that refers to the substitution of a new material, preferably using an
equivalent material, to a damaged, depleted, deteriorated, or lost components of a formerly
known state of a heritage resource.

• RENOVATION
- A process of repair to increase the value, utility, and/or improve the aesthetic quality of a heritage
resource.

• CONSOLIDATION
- A process of renovation to secure or strengthen a building or structure by combining material,
use, form, size, or shape.
• RETROFITTING
- A drastic from of repair that entails furnishing the heritage resource with new or modified parts
or equipment not available or considered necessary at the same time of its creation. May involve
adding new materials, like mechanical, plumbing, fire safety or electrical equipment or other
elements and components often to meet the current code.

• CHANGE
- A process of drastic alteration or transformation of the material and/or form of a heritage
resource to make it radically different form the original.

• REFURBISHMENT
- A process of change that involves upgrading the material and/or form of a heritage resource,
often primarily for aesthetic purposes. May involve installing new equipment, fixtures, furnishings
ad finishes.

• REDEVELOPMENT
- A process of drastically changing the material and/or form of a heritage resource, in effect
renewing a heritage resource often without much regard to it heritage values.

• REPRODUCTION
- The process of copying to make a representation, counterpart, image, or copy of an original work.
It can be same form of material and size (replica), or same form but different size and material, or
same form and material but of different size.

• REPLICA
- Exact copy of an original work in all details that is same material, size, and form.

• REHABILITATION
- Modification of resource to meet various functional requirements such as safety, property
protection and access while preserving the historic character of the structure.

• ORIGINAL USE
- Refers to the initial intended function of a heritage resource.

• COMPATIBLE USE
- Being consistent to the original intended function of an existing heritage resource. It is a use that
involves no or minimal on the nature, fabric, and values of a heritage resource.

• ADAPTIVE RE-USE
- A new or modified function of an existing heritage resource achieved after making it fit through
modification or extensive modification.

• HISTORICAL MARKERS
- Historical markers are installed by the National Historical Commission of the Philippines (NHCP)
in the Philippines and places abroad that signify important events, persons, structures, and
institutions in Philippine national and local histories.

• HERITAGE SITES
- A historical site, a building, or an area of the unspoilt natural environment, considered to be
important to a country or area's heritage

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