A

Cultural Mapping Toolkit:

B A Guide for Participatory Cultural Mapping in Local Communities
CULTURAL
MAPPING
TOOLKIT
A Guide for Participatory Cultural Mapping
in Local Communities

National Commission for Culture and the Arts

i
 © National Commission for Culture and the Arts, 2019

All rights reserved. This work is protected by Copyright. You are permitted to
reproduce this work in unaltered form only and must always retain this notice for non-
commercial purposes. Requests and inquiries concerning reproduction by any process
and rights must be addressed to:

ISBN 978-621-432-023-3

NATIONAL COMMISSION FOR CULTURE AND THE ARTS

633 General Luna Street, Intramuros, Manila
E-mail: info@ncca.gov.ph
Trunkline: (02) 5272192

The publisher gratefully acknowledges the people and organizations that have given
permission to reproduce the illustrations in this book. Every reasonable effort has
been made to contact copyright owners of materials reproduced in this publication.
The publisher welcomes communication from any copyright owners from whom
permission was inadvertently not obtained.

Technical Working Group for the creation of the Cultural Mapping Toolkit:

Fr. Harold Rentoria, OSA

Earl Jude Cleope
Cecille Gelicame
Nestor Horfilla
Lutgardo Labad
Atty. Lucille Karen Malilong
John Delan Robillos
Alphonsus Tesoro
Arvin Manuel Villalon

Toolkit Writers: Nestor Horfilla, Lutgardo Labad, Arvin Manuel Villalon

Editing by Rolando Borrinaga, PhD

Lay-out Design by Ryan Arengo

Project Management Team:

Divine Arawiran, Program Manager

Gladys Argonza, Project Coordinator
Prince John Catumber, Project Coordinator
Analou Iradiel, Project Assistant

Cultural Mapping Toolkit:

ii A Guide for Participatory Cultural Mapping in Local Communities
Message

M abuhay!

It is with great pride and enthusiasm to present this valuable guide in conducting cultural
mapping across the country especially for local government units and stakeholders of their
community.

Publishing this reference material called Cultural Mapping Toolkit: A Guide for Participatory
Cultural Mapping in Local Communities is a significant milestone for the National
Commission for Culture and the Arts to continuously serve its mission towards promotion,
preservation and protection of Philippine culture and arts.

Since 2015, the NCCA has been helping local government units from the different regions,
through Technical Assistance for Cultural Mapping, to empower them in making a significant
contribution to the Philippine Registry of Cultural Property (PRECUP). The forged
partnerships through cultural mapping are opportunities for NCCA to promote and nurture
a culture of empowerment in equipping the local communities in recognizing their wealth of
cultural assets.

The guidelines and frameworks provided in the toolkit will serve as tools for raising awareness
among local government units, community stakeholders, advocates, educators, and youths
about the importance of safeguarding living heritage, of inventory making through the
identification and documentation of cultural practices, while underlining the crucial role
of cultural heritage for sustainable development. More importantly, launching this toolkit
provides the occasion to preserve intangible heritage that encompasses a diverse array of
practices and expressions including dance, music, literature and language that are yet to be
properly documented from the grassroots level.

It is vital to put our commitment to protect our cultural heritage as they continue to remind
us of our past and mold us to be the Filipinos we are today. With sustainability in mind,
this valued tool aims to transfer the knowledge of cultural mapping for the benefit of our
community and our future generations.

Muli, mabuhay ang pamana, mabuhay tayong lahat.

VIRGILIO S. ALMARIO
National Artist for Literature
Chairman

iii
 Preface

T
he Cultural Mapping Toolkit is a project of the Subcommission for Cultural
Heritage of the National Commission for Culture and the Arts. Its purpose is to
guide local government units (LGUs), teachers, students, indigenous peoples,
and other stakeholders in identifying, recording, and documenting cultural heritage.

Specifically, the Toolkit aims to help LGUs fulfill their mandate under Republic
Act 10066, otherwise known as the Heritage Law, to conduct the inventory of their
cultural properties and to empower Filipino communities in their pursuit to protect,
conserve and promote their local and national heritage. Also, this instrument is
community-centered. Its approach is participatory, as it allows the community to elect
which properties must be included in their local heritage profile. Once accomplished,
this important profile can be used by both the LGU and the local communities to
conserve and promote their heritage as a people of Philippines, while also making
their localities fertile to better livelihood projects, such as responsible tourism.

This Toolkit is a product of hard work. Its contents are not only based on theories
and principles, for it provides useful insights from the actual practice of experienced
facilitators of cultural mapping in various provinces, cities, and municipalities. To cite,
the core group for this project consists of members who have expertise on cultural
work, research, and art management, carrying with them years of engagement with
LGUs and communities. Their experiences in immersion in the grassroots level give
this book a unique and practical dimension to cultural mapping.

The heritage, discussed in the Toolkit, includes natural, tangible, intangible heritage;
significant community personalities; and cultural institutions. Community resources,
such as programs, activities, ordinances, resolutions, and provision of funds for the
conservation and promotion of heritage, are likewise found in the book. Discussing
these can bring us to the understanding that the determination of community heritage
significantly depends on the people. Cultural workers and experts can of course help.
But it has become our realization, after many years of facilitating cultural mapping,
that the people will have to be the primary conservator of cultural properties, if
heritage conservation is aimed to be effective.

Cultural Mapping Toolkit:

iv A Guide for Participatory Cultural Mapping in Local Communities
The principles on how to conduct cultural mapping activities in the communities of
indigenous peoples are a useful item in this publication. Complementing these are the
discussions of programs and activities, which have been implemented by a number of
LGUs and non-governmental organizations. This part shows that the cultural profile
of a locality is not the end of the mapping project. Rather, it is the beginning of the
formulation and rethinking of a cultural development plan for the community.

Being the first Cultural Mapping Toolkit published by the NCCA, this material
should be considered as a work in progress. There may be new trends on research
and better models of engagement with the LGUs and communities in the future
that can be integrated in this Toolkit. Since the framework used for this is the RA
10066, amendments or revision in law or new laws on heritage in the future might
necessitate for the revision of this material.

It is also desired that a formal cultural mapping of the indigenous peoples’

communities be conducted. The experiences from that effort can be included as well
in the future revised edition of this book, or on a separate toolkit for cultural mapping
of IPs. The partnership with NCIP is recommended so that pertinent laws and
guidelines on engagement with the IPs are followed and properly documented.

For this project, I wish to express my gratitude to the members of the NCCA
Subcommission for Cultural Heritage for the years 2015 to 2019 for their inputs
and support and to the members of the NCCA Board of Commissioners headed
by National Artist and Chairman Virgilio Almario. I thank former Senator and
currently Congresswoman of Antique, Hon. Loren Legarda for supporting the
cultural mapping project of NCCA and for being the champion of culture and arts
in the country. I salute the Project ‘Busilak’ Team for their dedication in facilitating
cultural mapping projects in the country and in working for the realization of this
toolkit. The team is composed of volunteers in the NCCA, who dedicated their time
and unselfishly shared their expertise so heritage conservation and promotion can be
embraced by the local community through cultural mapping.

To date, NCCA has received many requests from the LGUs for cultural mapping. The
project ‘Busilak’ team is certain that this Toolkit will be of great help to everyone.

FR. HAROLD LL. RENTORIA, OSA

Head, Subcommission on Cultural Heritage

v
 How the cultural mapping toolkit was developed

T
he development of this toolkit spanned more than four years of consultation,
meetings, discussions, workshops, fieldwork, and research of the different models and
frameworks of doing cultural mapping in communities. It initially aimed to create a
“standard” cultural mapping model however, the processes evolved. Instead of establishing a
standard, it was more appropriate to establish the scope and limitation of a cultural mapping
project due to the diversity of methods and concepts involved. The first consultative meeting
started in 2014 with different resource persons and consultants of the NCCA on cultural
mapping sharing their expertise on how they have done cultural mapping projects in the past.
An unpublished cultural mapping tool by Jaime B. Antonio Jr., NCCA consultant and Gender
Equality, Diversity, Culture and Sustainable Development Specialist was the initial basis in
developing a research instrument and guide for cultural mapping. It was used in the Pilot
Cultural Mapping Project of the Province of Capiz in 2015. Later on, changes in the research
instrument and guide were made considering the lessons from the pilot project which later
on became the cultural mapping data gathering forms. Cultural mapping processes and
instrument continuously underwent refinement as it was being used to give assistance to
other LGU sites. Additionally, cultural mapping toolkits from other countries, documentation
forms for cultural properties from cultural agencies, previous cultural mapping projects
commissioned by the NCCA, and the PRECUP forms were reviewed so that the resulting
format of the data gathering forms will be in harmony with the existing ones.

While the toolkit along with the Program was being conceptualized, the NCCA was also
developing the Philippine Registry of Cultural Properties (PRECUP). RA10066 specifically
places the responsibility of establishing and maintaining a registry of cultural properties of the
country deemed important to cultural heritage to the NCCA. The Cultural Mapping Program
was envisioned then to help Local Government Units (LGUs) identify and account its cultural
properties especially those of heritage value with the intent of having them included in
the PRECUP thus RA10066 became the guiding framework for cultural mapping projects.
Because LGUs have an explicitly stated responsibility in heritage conservation in the law, they
became the primary recipients of the program in order to institutionalize heritage awareness
and conservation in local governments and ensure its continuity.

After consolidating and considering all lessons learned from different LGU partners and
recommendations from the different cultural mapping practitioners, it was determined that
the approach to cultural mapping should be (a) Participatory: Cultural Mapping processes
ensure the participation of the different sectors of the community; (b) Multidisciplinary:
convergence and collaboration of many related areas of research from the social sciences,
natural sciences, the humanities, cultural and art studies; and (c) Cultural diversity and
uniqueness of local communities as well as particular heritage practices, structures or objects
are given recognition and respect. The Cultural Mapping Program Policy got approved by
the NCCA Board of Commissioners Resolution no. 2018-321 last December 13, 2018 and
continues to assist local communities in implementing their cultural mapping project.

Cultural Mapping Toolkit:

vi A Guide for Participatory Cultural Mapping in Local Communities
Acknowledgment

T
he NCCA would like to express profound gratitude to all experts, professionals,
resource persons, and Local Government Unit Partners on helping us conceptualize the
processes of doing cultural mapping in order to help our local communities document
and promote the cultural heritage of our country. We are continuously trying to improve the
design, processes, and implementation of the program in order to be of greater service to all
communities in the country. Efforts started in 2014 and are still continuing up to the present
as more methodological, conceptual, policy, and technological advancements are continuously
being developed.

We are especially grateful for sharing their expertise during our various consultation meetings:
Jaime Antonio Jr. • Nestor Horfilla • Prof. Aurea Lopez • Alphonsus Tesoro • Lutgardo Labad
• Dr. Jesus Peralta • Cecil Picache • Carlo Ebeo • Dr. Patrick Flores • Patricia Maria Santiago
• Prof. Eric Zerrudo • John Delan Robillos • Silverio Ambrosio • Dr. Earl Jude Cleope • Dr.
Rolando Borrinaga • Fr. Harold Rentoria, OSA • Lulu Del Mar • Remedios Ballesfin • Nora
Fe Alajar • Florita Cabato • Atty. Lucille Karen Malilong-Isberto • Cecille Gelicame • Liana
Melissa dela Rosa • Arvin Manuel Villalon

We warmly recognize Our LGU partners:

Provincial Government of Capiz • Municipal Government of Cuartero, Capiz • Municipal
Government of Dao, Capiz • Municipal Government of Dumalag, Capiz • Municipal
Government of Dumarao, Capiz • Municipal Government of Ivisan, Capiz • Municipal
Government of Jamindan, Capiz • Municipal Government of Maayon, Capiz • Municipal
Government of Mambusao, Capiz • Municipal Government of Panay, Capiz • Municipal
Government of Panitan, Capiz • Municipal Government of Pilar, Capiz • Municipal
Government of Pontevedra, Capiz • Municipal Government of President Roxas, Capiz •
City Government of Roxas, Capiz • Municipal Government of Sapian, Capiz • Municipal
Government of Sigma, Capiz • Municipal Government of Tapaz, Capiz • City Government
of Pasay • City Government of Masbate • Municipal Government of New Corella, Davao
del Norte • City Government of Santa Rosa, Laguna • Municipal Government of Limasawa,
Southern Leyte • Provincial Government of Nueva Vizcaya • Municipal Government of
Camalig, Albay • Municipal Government of San Pascual, Masbate • Municipal Government of
Barcelona, Sorsogon

vii
 Table of Contents
What is Cultural Heritage? 1

What is Cultural Mapping? 13

Cultural Mapping Research Methods, 29

Appreciating Participatory Resource
and Ethical Principles in Cultural Mapping

Mapping Culturally Significant Natural Heritage 51

Mapping Tangible-Immovable 61
Cultural Heritage

Mapping Tangible-Movable Cultural Heritage 81

Mapping Intangible Cultural Heritage 97

Mapping Significant Personalities and 119

Cultural Institutions

Mapping Civic Heritage and Cultural Programs of 137

Local Government Units

The Initial Local Culture Profile and Validation of 143

Cultural Mapping Output

Guiding Principles in Cultural Mapping in the 149

Indigenous Peoples’ Territories

Results and Applications of Cultural Mapping 157

GLOSSARY 169

BIBLIOGRAPHY 173

Mapping Forms 177

Cultural Mapping Toolkit:

viii A Guide for Participatory Cultural Mapping in Local Communities
The Concept of Cultural Heritage and its Categories
W
e take pride in our heritage that
manifest the wisdom, knowledge
and skills that sustains us today.
Jaime Antonio, in an unpublished toolkit on
cultural mapping, has expressed that “the
door to the future is the past, but the present
holds the key and, knowing our current
cultural resources, therefore is an important
step to map out our future as a nation.”
This Toolkit introduces some significant
guidelines on the conduct of cultural
mapping and profiling as well as its
applications to institute a Heritage
Management Program of a particular
community. As a guiding framework, it
places emphasis on both the natural and
cultural resources that exist in a particular
area. Likewise, it shall raise one’s appreciation
on the tangible and the intangible cultural
properties that define a community’s identity.
Correspondingly, the toolkit shall help in the
generation of data on cultural institutions
and prominent personalities as well as the
cultural programs of Local Government Units
(LGUs).
Purpose and Usage
Cultural mapping is especially important
to Local Government Units (LGUs) in
the pursuit of their role in protecting and
promoting the heritage of a community. And,
this toolkit offers a way on how LGUs can
recognize the vastness of cultural properties
that exist within their political jurisdictions,
and how these resources can be enriched not
only for cultural development but also for
social, economic and political development.
Primarily, this toolkit is intended for cultural
workers and community educators who
are conducting or are planning to conduct
Local Culture Profiling in partnership with
Local Government Units in the country. It
shall serve as a reference manual for local
facilitators to guide them in the conduct
of cultural mapping workshops with LGU
personnel and community volunteers. The
end-goal of which is to produce the LGU
Local Culture Profile.
Primary and Secondary Users
With this toolkit as a guide, local cultural
mapping facilitators can handle an intensive
training workshop using participatory
approaches in learning. The training
provides time and space for local mappers
to understand the framework and concepts
on culture, heritage and the local culture
mapping process. The learning process
is designed as hands-on and experiential
activity with the end view of transferring
the technology as presented in this toolkit.
Likewise, the toolkit encourages community
immersion as an important process of the
training methodology in as much as local
cultural knowledge resides for the most part
in the community.
On the other hand, cultural workers who
engaged themselves in the programs
and projects of cultural Institutions and
artists’ organizations can use this toolkit
as they advance a range of culture-focused
interventions and programs. Likewise,
researchers, teachers and students can be
tapped as volunteer-members the local
cultural mapping team.
Lastly, the General Public can benefit on this
toolkit as it provides them an overview of
the cultural mapping process and encourage
them to be involved in the sustainable
development and management of cultural
resources of their respective communities.
The various publics, as stakeholders are also
encouraged to participate in any phase or
activity of the mapping process.
ix
 What is Cultural Mapping and Profiling?
Essentially, cultural mapping and resource profiling is one of the systematic approaches in identifying,
recording and classifying all existing cultural properties or resources of the particular community in order
to record, describe, visualize, and understand them. It is an ongoing process and many of its benefits can be
achieved through the sustained efforts in generating and updating a cultural database over time.

-Jaime B. Antonio Jr., Specialist Gender Equality, Diversity, Culture and Sustainable Development

Structure of the Toolkit guidelines that need to be observed in the

I. Introduction
This introductory section provides a common
understanding of culture and emphasizes the
need to safeguard local cultural heritage of a
community. It presents a working definition of
the various domains of cultural heritage based
on the provisions of the Republic Act No.
10066, or the “National Cultural Heritage Act
of 2009”. This is followed by a brief description
of various cultural agencies and their functions
related to heritage conservation.
II. The Cultural Mapping Process
This section substantiates the importance
 forms; and conceptual and practical guidelines
of cultural mapping and profiling in the
community. It presents a framework of cultural
resources and identifies the cultural data to
gather. The section also describes the data
fields and the sources of data as well as clarifies
the criteria used in the process of determining
the significance of a cultural property. The
need to identify potential partners and their
respective responsibility in all phases of the
project are discussed in the end of the chapter.
III. Cultural Mapping Research Methods and
Ethics
The third section discusses mapping as a
form of cultural research drawn from an emic
perspective. Various research methods used
in cultural mapping such as ethnography,
historiography, quantitative approaches and
participatory research are presented. The
section ends with a discussion of ethical
conduct of cultural mapping. There is a
separate chapter devoted to guiding principles
in cultural mapping with regard to indigenous
peoples’ territories.
IV. Mapping the Domains of Cultural
Heritage
The main focus of the toolkit is on how to
map the various domains of cultural heritage:
natural heritage, tangible immovable and
movable heritage; intangible cultural heritage;
personalities and cultural institutions; and
civic heritage and cultural programs of LGUs.
The chapters include a definition of the various
data fields to be mapped; examples of mapped
for the mapping of each domain. A chapter
is devoted on how to conduct community
validation of cultural mapping output and the
steps in preparing the cultural profile.
V. Applications of the Cultural Mapping
Output
The last section presents how mapping
output can be applied in three areas: heritage
protection, community development, and
heritage education. This is substantiated from
experiences and case studies from Vigan,
Bohol and NCCA on how mapping outputs
can empower communities towards protection
of their heritage resources.
References
Antonio, Jaime Jr. 2014. Culture Profiling and Mapping
Tool. Unpublished Manuscript.

Cultural Mapping Toolkit:

x A Guide for Participatory Cultural Mapping in Local Communities
PART 1
What is Cultural Heritage?

Introduction to Cultural Heritage

The Rice Terraces of Philippine Cordillera, a declared

World Heritage Site. (Photo by Stephen Pamorada)
 What is Cultural Heritage?

E
nshrined in the 1987 Philippine Constitution is the commitment
of the State to promote, enrich, and conserve the country’s artistic
and historic wealth that constitute the cultural treasure of the
nation. These properties shall be under the protection of the State which
may regulate its disposition (1987 Constitution of the Republic of the
Philippines).

Thus, in the year 2009, the Philippine Congress passed into a law Republic
Act No. 10066, also known as the “National Cultural Heritage Act of 2009,”
which underscores a Vision for Cultural Heritage aptly stated as:

• A balanced atmosphere where the historic past coexists in harmony with

modern society;
• The use of an integrated and holistic approach to the problem of
conservation, cutting across all relevant disciplines and technologies;
and,
• Administration of heritage resources in a spirit of stewardship for the
inspiration and benefit of the present and future generations.

The objectives of the National Cultural Heritage Act are to:

• Protect, preserve, conserve and promote the nation’s cultural heritage, its
property and histories, and the ethnicity of local communities;
• Establish and strengthen cultural institutions;
• Protect cultural workers and ensure their professional development and
well-being.

Furthermore, R.A No. 10066 stipulates the principles, policies and

guidelines for cultural agencies, government institutions and the citizens
of the country in raising the levels of people’s appreciation of our shared
heritage as well as to strengthen and advance the various interventions in
safeguarding the nation’s cultural wealth.

The 1987 Philippine Constitution, under Article XIV on “Arts and Culture,” declared that:

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

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

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

Cultural Mapping Toolkit:

2 A Guide for Participatory Cultural Mapping in Local Communities
The Concept of Cultural Heritage arts; (3) social practices, rituals and festive
events; (4) knowledge and practices
and its Categories concerning nature and the universe; and (5)
traditional craftsmanship.
R.A. No. 10066 provides the working
definition of the key concepts related to
Moreover, R.A. No. 10066 (in Sec. 3 (i))
national cultural heritage (Article II, Section
describes the various categories of significant
3 - Definition of Terms), as follows:
cultural properties of the country as
explained in the following definition of terms:
Cultural heritage refers to the totality of
cultural property preserved and developed
Nationally significant refers to historical,
through time and passed on to posterity.
aesthetic, scientific, technical, social and/
or spiritual values that unify the nation by
Cultural property refers to all products of
a deep sense of pride in their various yet
human creativity by which a people and
common identities, cultural heritage and
a nation reveal their identity, including
national patrimony.
churches, mosques and other places of
religious worship, school and natural history
Important cultural property refers to
specimens and sites, whether public or
a cultural property having exceptional
privately-owned, movable or immovable, and
cultural, artistic and historical significance
tangible or intangible.
to the Philippines, as may be determined by
the National Museum and/or the National
Tangible cultural property refers to
Historical Institute (now the National
cultural property with historical, archival,
Historical Commission of the Philippines).
anthropological, archaeological, artistic and
architectural value, and with exceptional or
National cultural treasure refers to a unique
traditional production whether of Philippine
cultural property found locally, possessing
origin or not, including antiques and natural
outstanding historical, cultural, artistic and/
history specimens with significant value.
or scientific value which is highly significant
and important to the country and nation,

Heritage
Intangible cultural property refer to the
and officially declared as such by pertinent
peoples’ learned processes along with the
cultural agency.
knowledge, skills and creativity that inform
and are developed by them, the products
they create and the resources, spaces and
Historical shrines refer to historical sites
or structures hallowed and revered for
Heritage?
to Cultural
other aspects of social and natural context
their history or association as declared by
necessary for their sustainability.
the National Historical Commission of the
Philippines.
Intangible cultural heritage refers to the
practices, representations, expressions,
What is Cultural

Historical monuments refer to structures

knowledge and skills, as well as the
that honor illustrious persons or
instruments, objects and artifacts associated
Introduction

commemorate events of historical value

therewith, that communities, groups and
as declared by the National Historical
individuals recognize as part of their cultural
Commission of the Philippines.
heritage. These include: (1) oral traditions,
languages and expressions; (2) performing
 Historical landmarks refer to the sites or
structures that are associated with events
or achievements significant to Philippine
History as declared by the National Historical
Commission of the Philippines.
Natural property of cultural significance
refer to areas possessing outstanding
ecosystem with flora and fauna of national
scientific importance under the National
Integrated Area Protected System (NIPAS).
Presumed Important Cultural Property.
For purposes of protecting a cultural
property against exportation, modification
or demolition, the following works are
considered important cultural property,
unless declared otherwise by the pertinent
cultural agency:
Unless declared by the NCCA,
a) Works by a Manlilikha ng Bayan;
b) Works by a National Artist;
Unless declared by the National Museum,
c) Archaeological and traditional
ethnographic materials (unless
declared by the National Museum);
Unless declared by the National Historical
Commission of the Philippines,
d) Works of national heroes;
e) Marked structure;
f) Structures dating at least fifty (50)
years old; and
Unless declared by the National Archives,
g) Archival material/document dating at
least fifty (50) years old.
Cultural Mapping Toolkit:
4 A Guide for Participatory Cultural Mapping in Local Communities
The property owner may petition the
appropriate cultural agency to remove the
presumption of important cultural property,
which shall not be unreasonably withheld.
Heritage zone refers to historical,
anthropological, archaeological, artistic
geographical areas and settings that are
culturally significant to the country, as
declared by the National Museum and/or
the National Historical Commission of the
Philippines.
World Heritage Site. A place listed by the
UNESCO (United Nations Educational,
Scientific, and Cultural Organization) as
having outstanding universal value. In the
Philippines these include:
• Puerto Princesa Subterranean River
National Park;
• Tubbataha Reefs National Park;
• Mt. Hamiguitan (protected);
• Rice Terraces of the Cordillera (a living
cultural landscape);
• Historic Town of Vigan (cultural site);
• Four (4) Baroque Churches in the
Philippines: Paoay in Ilocos Norte, Santa
Maria in Ilocos Sur, Miag-ao in Iloilo, San
Agustin in Manila.
Built heritage refers to architecture and
engineering structures such as, but not
limited to, bridges, government buildings,
houses of ancestry, traditional dwellings,
quartels, train stations, lighthouses, small
ports, educational, technological and
industrial complexes, and their settings,
and landscapes with notable historical and
cultural significance.
Conservation of cultural property refers to
all the processes and measures of maintaining
the cultural significance of a cultural property
including, but not limited to, preservation,
restoration, reconstruction, protection,
adaptation or any combination thereof.
Manila Hotel (Photo courtesy of the NHCP)
Manila Hotel: A National
Cultural Treasure of the
Philippines
The Manila Hotel or, for that matter, 51%
of the Manila Hotel Corporation (MHC),
is not just any commodity to be sold to
the highest bidder solely for the sake
of privatization. This is not an ordinary
piece of property in a commercial
district located in Manila, Philippines.
We are talking about a historic relic that
has hosted many of the most important
events in the short history of the
Philippines as a nation. We are talking
about a hotel where heads of states
would prefer to be housed as a strong
manifestation of their desire to cloak the
dignity of the highest state function to
their official visits to the Philippines.
Thus, the Manila Hotel has played and
continues to play a significant role as
an authentic repository of 20th-century
Philippine history and culture. In this
sense, it has become truly a reflection of
the Filipino soul - a place with a history
of grandeur; a most historical setting
that has played a part in the shaping of
a country.
How much of national pride will vanish if
the nation’s cultural heritage is entrusted
to a foreign entity? On the other hand,
how much dignity will be preserved and
realized if the national patrimony is safe-
kept in the hands of a qualified, zealous
and well-meaning Filipino? This is the
plain and simple meaning of the Filipino
First Policy provision of the Philippine
Constitution.
Manila Prince Hotel vs. Government Service
Insurance System, G. R. No. 122156. February 3,
1997
National Commission for Culture and the Arts
The Cultural Agencies and their Functions
related to Heritage Conservation
Pertinent to the intent of the provisions of R.A.
No. 10066, the cultural agencies and other national
line agencies are mandated to assume specific
responsibilities (Article VIII) in the categorization
and conservation of the various significant cultural
properties of the nation.
The National Commission for Culture and the
Arts (NCCA) has the power to “regulate activities
inimical to preservation/conservation of national
cultural heritage/properties.”
The National Museum (NM) shall take the lead
Introduction to Cultural Heritage
in the study and preservation of the nation’s rich
artistic and cultural heritage, in the reconstruction
and rebuilding of our past, and the development
of the national cultural wealth. At the same time,
it shall implement and enforce Presidential Decree
Nos. 260, 374, 756, 1109, 1492, 996, 1683 and
1726-A and supervise restoration, preservation,
reconstruction, demolition, alteration, relocation
and remodeling of immovable properties and
archaeological landmarks and sites.
The National Historical Commission of the
Philippines (NHCP) shall approve the declaration
of historic structures and edifices such as national
shrines, monuments and landmarks or heritage
houses and shall regulate activities pertaining to
the preservation, restoration and conservation of
historical property or resources.
 Cultural Agencies and their functions

National Historical Commission of the Philippines

T.M. Kalaw Street, Ermita, Manila
http://nhcp.gov.ph
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

Komisyon ng Wikang Filipino

Gusaling Watson, 1610 Kalye J.P. Laurel,
San Miguel, 1005 Maynila
http://kwf.gov.ph
Upang magsagawa, mag-ugnay, at magtaguyod ng mga pananaliksik para sa
pagpapaunlad, pagpapalaganap, at preserbasyon ng Filipino at ng iba pang mga wika sa
Filipinas

National Museum of the Philippines

Padre Burgos Drive, City of Manila, Philippines
http://www.nationalmuseum.gov.ph
The National Museum (NM) is tasked with the preservation, conservation and protection
of movable and immovable cultural properties and for the enjoyment of present and
future generations. The National Museum has three major goals: To disseminate scientific
and technical knowledge in more understandable and practical forms; To conduct basic
research programs combining integrated laboratory and field work in anthropology and
archaeology, botany, geology, and zoology; and To guide in the study and preservation of
the nation’s rich artistic, historical and cultural heritage

National Library of the Philippines

T.M. Kalaw St., Ermita, Manila, Philippines, 1000
http://web.nlp.gov.ph/nlp/
The National Library of the Philippines (NLP) serves as the country’s premier repository of
printed and recorded materials which reflect the intellectual, literary and cultural heritage
of the Philippines as well as the knowledge and wisdom of peoples elsewhere in the
world. The NLP aims to acquire and preserve all Filipiniana materials; provide national and
international bibliographic services; organize, supervise and develop the public libraries
and information centers throughout the country; and provide information, reference, and
research resources to the public.

Cultural Center of the Philippines

CCP Complex, Roxas Boulevard, Pasay City, Manila
https://culturalcenter.gov.ph
The Cultural Center of the Philippines (CCP) is the national center for the performing arts. It
is mandated to promote excellence in the arts through the initiation and implementation
of activities that aim to improve and elevate standards among cultural workers, artists, and
audiences and to recognize the multiplicity and differences of aesthetic experiences and
standards encompassing the arts from grassroots to those formulated by academy-trained
artists.

National Archives of the Philippines

1st & 6th Floor, PPL Building, 1000, United Nations Avenue cor. San Marcelino Street, Manila
http://nationalarchives.gov.ph
The National Archives of the Philippines (Pambansang Sinupan ng Pilipinas) is the official
repository of the nation’s permanent records and records of archival and historical value. It
is mandated to plan, develop and coordinate government-wide programs, policies, rules,
and regulations governing the use, storage and disposition of current and non-current
records as well as to render assistance to government agencies for the retrieval of vital
documents.

Cultural Mapping Toolkit:

6 A Guide for Participatory Cultural Mapping in Local Communities
The NHCP and the National Museum, in
consultation with the NCCA and the Housing
and Land Use Regulatory Board (HLURB)
or other concerned agencies, shall designate
heritage zones to protect the historical and
cultural integrity of a geographical area.
The Cultural Center of the Philippines
(CCP) shall be responsible for the significant
cultural property pertaining to the
performing arts.
The National Archives of the Philippines
(NAP) shall be responsible for significant
archival materials.
The National Library of the Philippines
(NLP) shall be responsible for rare and
significant contemporary Philippine books,
manuscripts such as but not limited to
presidential papers, periodicals, newspapers,
singly or in collection, and libraries and
electronic records.
The Komisyon Ng Wikang Filipino (KWF)
shall be responsible for the dissemination,
development and the promotion of
the Filipino national language and the
conservation of ethnic languages.
The cultural agencies and other national
government agencies shall consult, coordinate
and work closely with the NCCA in the
implementation of their respective programs
and projects and as a way of dealing with
conservation of cultural heritage in a more
holistic manner.
The NCCA, the Department of Trade and
Industry (DTI) and other government
agencies involved directly or indirectly in
the production of goods shall assist the
local government units in protecting their
traditional and contemporary arts and crafts,
making them viable for current and future
markets, with a view to encouraging and
promoting the unique heritage and identities
of the said communities.
Incorporation of National Cultural
Treasures and Important Cultural
Property in the Basic Education
System
The Department of Education (DepEd), in
coordination with the NCCA’s Philippine
Cultural Education Program, shall formulate
the cultural heritage education programs
both for local and overseas Filipinos to be
incorporated into the formal, alternative and
informal education, with emphasis on the
protection, conservation and preservation of
cultural heritage property (R.A. No. 10066,
Sec. 38 and Sec. 39).
The Department of Education, the Technical
Education and Skills Development Authority
(TESDA), and the Commission on Higher
Education (CHEd), in consultation with
the NCCA, shall set forth in its teaching
Introduction to Cultural Heritage
programs nationwide the following cultural
heritage education programs with emphasis
at the provincial, city and municipal levels:
• Protection, conservation and preservation
of cultural heritage properties;
• Instructional materials in print, film
and broadcast media on the cultural
and historical significance of cultural
properties; and,
• Visitation, public accessibility and
information dissemination on designated
local cultural properties.
 Shared Responsibilities in cultural property; and appearance of
streets, parks, monuments, buildings,
Governance and Heritage and natural bodies of water, canals, paths
Management and barangays within a locality shall be
maintained as close to their appearance at
In the areas of responsive governance of the time the area was of most importance
the cultural resources of the community, to Philippine history as determined by the
R.A. No. 10066 has likewise recognized the National Historical Commission of the
roles and functions of the Department of Philippines.
Interior and Local Government (DILG) and
the Local Government Units (LGUs) in the
conservation and safeguarding of the nation’s
The Domains of Cultural Heritage
cultural heritage.
As signified, all cultural properties and other
sets of cultural assets that are understood as
The DILG shall coordinate with the national
products of human creativity by which people
cultural agencies on matters pertaining to
and a nation reveal their identity constitute
cultural properties within their jurisdiction,
the cultural heritage of the community. These
and ensure that the provisions of R.A.
properties include churches, mosques and
No. 10066 (in Articles IV, V and VIII) are
other places of religious worship, schools and
properly executed by Local Government
natural history specimens and sites, whether
Units.
movable or immovable and tangible or
intangible.
The Local Government Units:
And, as highlighted, R.A. No. 10066 (Article
• Within their respective territorial
VII) requires that all cultural properties of
jurisdictions, shall ensure and support,
the country deemed important to cultural
among other things, the preservation and
heritage shall be registered in the Philippine
enrichment of culture;
Registry of Cultural Property (PRECUP).
• Shall likewise maintain an inventory of
cultural property under its jurisdiction
The NCCA, through the appropriate cultural
and shall furnish the National
agencies and local government units, shall
Commission for Culture and the Arts a
establish and maintain this Registry. And
copy of the same;
the LGUs are obliged to identity, document,
• Shall document and sustain all socio-
protect and conserve the shared cultural
cultural practices such as, but not limited
heritage of the community.
to, traditional celebrations, historical
battles, recreation of customs, and the
The schematic diagram illustrates a
reenactment of battles and other local
framework for classifying the significant
customs that are unique to a locality; and,
cultural properties found in the community
• Shall maintain the declared or delineated
that shall be included in the inventory and
Heritage Zones and shall ensure the
documentation process. It is emphasized that
implementation of adaptive reuse of

Cultural Mapping Toolkit:

8 A Guide for Participatory Cultural Mapping in Local Communities
 Categorization of the Significant Cultural Properties of the Community
the cultural significance of a cultural property
is centrally positioned because this is what
makes a heritage item profoundly valuable.
This toolkit classifies the cultural properties
or heritage resources according to their
inherent nature and functions:
Natural property of cultural significance
comprise the unique land formations and
water bodies situated in an outstanding
ecosystem of the locality that includes the
iconic flora and fauna which are considered
as having scientific and aesthetic importance;
Tangible cultural property, both movable
and immovable, with historical, archival,
anthropological, archaeological and artistic or
architectural value; and,
Intangible cultural property such as oral
traditions and expressions, performing
arts; social practices, rituals and festive
events; knowledge and practices concerning
nature and the universe and traditional
craftsmanship that are found in the locality.
In addition, and for the purpose of
expounding the shared and valued cultural
resources of the community, the toolkit
incorporates other categories and other sets
Introduction to Cultural Heritage
of community cultural assets which may
be controlled or held by public or private
sectors, or by civil society organizations:
Prominent personalities, to include
outstanding men and women who are known
for their significant contribution in the
history and development of the community;
Cultural Institutions refer to public or
private organizations or institutions that
work for the preservation or promotion of
culture, including, but not limited to schools,
museums, libraries and archives, churches,
art galleries, among others.
 Civic heritage encompasses the history
and development of the LGU, including its
historical landmarks and archives, inventory
of prominent government officials as well as
the significant programs and projects that
enhance the cultural life of the community
toward the enrichment of their local heritage.
As emphasized, the fundamental concern
for the inventory of cultural properties is
the statement of cultural significance. This
is judged in four (4) fields or criteria that
are valuable for the past, present and future
generations. Likewise, it is implied that
significance shall incorporate the content
of a heritage item: context, history, uses
and its social and spiritual prominence. As
illustrated in the figure below, these values
are articulated as the primary criteria in
The Four (4) Fields of Value of Important Cultural Property
Cultural Mapping Toolkit:
10 A Guide for Participatory Cultural Mapping in Local Communities
determining the significance of a cultural
property in order to:
• Maintain consistency with the criteria of
the UNESCO and other heritage agencies;
• Minimize ambiguity during the
assessment process; and,
• Avoid the legal misinterpretation of the
completed assessments of the listed items
(UNESCO Memory of the World).
All heritage items therefore, whether tangible
or intangible, movable or immovable, shall
be documented and their inherent cultural
significance -- historical, aesthetic, scientific,
technical, social and/or spiritual values -- shall
be highlighted. Moreover, it is not necessary
to find significance in all fields – one is
sufficient for UNESCO (Ibid.).
National Laws Protecting Cultural
Heritage
• Republic Act No. 10066 or the National
Cultural Heritage Act of 2009.
• Republic Act No. 4846 or the Cultural
Properties Protection and Preservation
Act.
• Presidential Decree No. 260 that
declared specific culturally significant
sites, places and structures as National
Cultural Treasures or as National Shrines,
Monuments, and/or Landmarks.
Some Important International Declarations,
Conventions, Agreements, Protocols,
Recommendations and Action Plans Ratified
by the Philippines
• Convention Concerning the Protection of
the World Cultural and Natural Heritage
(Paris, November 1972).
• World Conference on Cultural Policies
(MONDIACULT) (Mexico, 1982).
• Intergovernmental Conference on Cultural
Policies for Development (Stockholm, 1998).
• Convention for the Safeguarding of the
Intangible Cultural Heritage (Paris, 2003).
• UNESCO Universal Declaration on Cultural
Diversity (Paris, 2001).
Introduction to Cultural Heritage
 References

“1987 Constitution of the Republic of the Philippines.” Accessed December 1, 2016. https://www.lawphil.net/
consti/cons1987.html.

Convention Concerning the Protection of the World Cultural and Natural Heritage. UNESCO. Accessed December
December 1, 2016. https://whc.unesco.org/en/conventiontext/.

“Intergovernmental Conference on Cultural Policies for Development: Final Report”. UNESCO. Accessed
December 1, 2016. http://unesdoc.unesco.org/images/0011/001139/113935eo.pdf.

Presidential Decree No. 260. Accessed December 1, 2016. https://www.lawphil.net/statutes/presdecs/pd1973/

pd_260_1973.html.

Republic Act No. 10066, the “National Cultural Heritage Act of 2009”. Accessed December 1, 2016. https://www.
lawphil.net/statutes/repacts/ra2010/ra_10066_2010.html.

Republic Act No. 4846, the “Cultural Properties Protection and Preservation Act”. Accessed December 1, 2016.
http://www.chanrobles.com/republicacts/republicactno4846.html#.W1siXNIzbIU.

Text of the Convention for the Safeguarding of the Intangible Cultural Heritage. Accessed December 1, 2016.
https://ich.unesco.org/en/convention.

UNESCO Universal Declaration on Cultural Diversity. Accessed December 1, 2016. http://unesdoc.unesco.org/

images/0012/001271/127162e.pdf.

UNESCO Memory of the World. Accessed December 1, 2016. http://www.unesco.org/new/en/communication-

and-information/memory-of-the-world/resources/meeting-documents/3rd-international-memory-of-the-
world-conference/.

World Conference on Cultural Policies (MONDIACULT). Accessed December 1, 2016.

http://unesdoc.unesco.org/Ulis/cgi-bin/ulis.pl?catno=52505&gp=0&lin=1.

Cultural Mapping Toolkit:

12 A Guide for Participatory Cultural Mapping in Local Communities
PART 2
What is Cultural Mapping?

What is Cultural Mapping?

Dagupan cultural mapping team was assisted by the lead facilitator

in documenting a Gabaldon school. (Photo by Gladys Argonza)
 What is Cultural Mapping?

A
s discussed in the previous chapter, the National Cultural
Heritage Act of 2009” (Republic Act No. 10066) requires all Local
Government Units to conduct an inventory of significant cultural
properties within their respective jurisdictions and submit the same to the
concerned cultural agencies of the government.

An inventory of significant cultural properties can only be comprehensively

achieved by conducting a participatory cultural mapping in the community.
Basically, cultural mapping is regarded as “an approach used to identify,
record, and use cultural resources and activities for building communities”
(Cook and Taylor 2013).

Furthermore, the mapping of the cultural resources plays a critical role in

Municipal Development Planning since it “effectively achieves a first step
in the cultural planning process: to identify and understand a community’s
resources. Correspondingly, cultural resource mapping allows a community
to: identify “where they are?”, “what resources they have?” and can play a
significant role in assessing “where they want to be?” (Municipal Cultural
Planning … 2011).

The National Commission for Cultural and the Arts (NCCA) considers
cultural mapping as a systematic approach in identifying, recording and
classifying the cultural properties or resources of the community in order to
describe, visualize and understand them. It is an ongoing process and many
of its benefits can only be achieved through the sustained efforts to update
the database over time.

“Cultural Mapping is a process of collecting, recording, analyzing and

synthesizing information in order to describe the cultural resources,
networks, links and patterns of usage of a given community.”

- Stan Hagen, Minister of Tourism and the Arts, Canada.

Cultural Mapping Toolkit:

14 A Guide for Participatory Cultural Mapping and Profiling in Local Communities

Local cultural mappers of Ivisan in Capiz encoding the
data they have gathered from the fieldwork during the
cultural mapping training in 2015. (Photo by Divine
Arawiran)
The Objectives of a Cultural
Mapping Project
1. To understand the basic frameworks
on culture and heritage in the context
of R.A. No. 10066 and other laws and
mandates;
2. To appreciate the value of the various
cultural resources of the community;
3. To apply the different tools and methods
for gathering, classifying, and analyzing
local cultural data and information
through the conduct of cultural
mapping;
4. To consolidate local culture profile
and generate baseline data for cultural
statistics;
5. To recommend mechanisms to integrate
profiles and baseline statistics in LGU
development plans, programs and
activities.
Why is Local Cultural Mapping
Important?
Cultural mapping is especially important to Local
Government Units (LGUs), being the lead in
the development journeys of local communities.
Through the mapping project, the LGUs can
recognize the vastness of cultural properties
that exist within their political jurisdictions, and
how these resources can be enriched not only
for cultural development but also for social,
economic and political development.
Essentially, a cultural map is a visualized
“database”. Cultural mapping begins by
identifying the cultural resources of the
community and building and maintaining a
comprehensive database that helps to organize
and communicate information on culture and
heritage.
Through the conduct of cultural mapping and
profiling, the Local Government Unit (LGU)
and other stakeholders can identify the distinct
cultural resources of their community and at the
same time they can properly record a heritage
resource for future reference.
Moreover, the process can generate interest on
heritage resources among users and non-users of
cultural properties. Eventually, they can develop
or establish necessary heritage conservation
councils, who shall lead in the conservation of the
local cultural heritage as well as develop policies
and guidelines for safeguarding the cultural
What is Cultural Mapping?
heritage of the community.
Consequently, the cultural mapping project is
implemented with the end view of mobilizing the
community members in the conservation and
safeguarding of their shared cultural resources
and heritage. The conservation of cultural
resources denotes the processes and measures
of maintaining the significance of tangible
CHAPTER 1
cultural resources that encompasses preservation,
restoration, reconstruction, protection,
adaptation or any combination.
 Mayor Rowena Tuason addresses the participants of the community validation
of the cultural mapping output of Masbate City. (Photo by Mayumi Camba)

Building and Maintaining a On the other hand, there may be several

organizations in the community that have
Database already been maintaining and managing
substantial information on local cultural
A consolidated local culture profile implies
database. Hence, it is likewise important to
generating baseline data on local cultural
know who has it. If major gaps appear, then
statistics. Hence, local cultural mapping
collecting primary data must be done.
is essentially a process of building and
maintaining the cultural resource database of
The first step in generating data on cultural
a particular community.
properties is to come up with an initial list of
existing cultural properties, suggested by the
The cultural database is essentially the
key informants, as well as the various sources
bedrock of the participatory cultural mapping
of information and other important reference
and profiling project. Databases allow
materials. The list would be expanded as
us to collect, organize, store and retrieve
the mapping process builds up. It is also
information in a consistent and useful
worthwhile to consider how these data can
manner.
be consolidated into a larger database that is
tailored to the needs of the communities and
Experiences in the field show that the use of
the cultural mapping project.
a prescribe template or forms that show how
information is typically organized is indeed
Remember that the focus of cultural mapping
helpful. This is pursued with the end view
and profiling is the shared community
that the data can be integrated into the LGU’s
heritage. The project team shall endeavour
overall framework for data management
to build a database of the cultural properties
system. Examples of data formats and
in the area, to include the tangible and
templates of cultural data forms are appended
intangible cultural properties, culturally
in this toolkit.
significant natural resources, civic heritage
as well as information on prominent
In some cases, data on significant cultural
personalities, cultural institutions and
properties that exist in the given area may
organizations and the local cultural industry
not be readily available. However, there are
in the area. The members of the mapping
numerous key informants in the area who
team must strive to gather as much data
can be sources of information. Hence, it is
about the cultural property, in order to
imperative for the project team to gather
describe its nature, value, history and
primary data from the elders and local
significance.
cultural experts in the area utilizing the most
appropriate methods of research and data
gathering.

Cultural Mapping Toolkit:

16 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
Objective-Driven Data Fields
This toolkit enumerates the essential data that must be collected and described
in course of mapping in of cultural properties in local communities. Detailed
below are data fields and contents that are recommended to be gathered by the
members of the project team. At the same time, several samples of the formatted
profile are also provided below for reference.

A. Background Information

Data Fields Content

NAME Common or local name and other names that refer
to the cultural property
PHOTO A photographic image of the cultural property
TYPE/NATURE What is the nature cultural property?
LOCATION Place where the cultural property is located and/
or the area where the property has been found or
sighted.

B. Description

Data Fields Content

SUB-CATEGORY UNESCO has identified for most of the categories
and sub-categories of significant cultural resources.
This will be especially useful for assessing the
value of the resource and in performing economic
analysis.
DESCRIPTION This descriptive text should expand on the category
and sub-categories fields, providing a basic
explanation of what the resource is; its purpose and

DIMENSION/S
background; and other important features.
This presents the measures of the physical
What is Cultural Mapping?
dimension of the cultural property in terms of size,
area, weight, and other specifications.
OWNERSHIP / JURISDICTION Who claims ownership of the property? Public or
Private? Who has the jurisdiction in protecting the
cultural property?
 C. Significance

Data Fields Content

SIGNIFICANCE An appraisal of the value or the levels of significance that could
either be -- historical, aesthetic, scientific, social, and socioeconomic,
among others -- that are attributed to the cultural property by the
members of community. This must be substantially accounted for by
the profiler.
COMMON USAGE The unique and/or multiple uses of the community: e.g., basic needs,
economic productivity, socio-cultural or religious rituals, and/or for
other social events or functions.
PEOPLE USING THE Who and how many people are utilizing the cultural property as
PROPERTY well as the people who install conservation measures on the cultural
property.
OTHER IMPORTANT DATA Other information related to the cultural property and its
significance.
STORIES ASSOCIATED Narratives that support the significance of the property as affirmed
by the members of the community -- past, present or future.

D. Conservation Status

Data Fields Content

CONDITION Current condition of the cultural property.
CONSTRAINTS / THREATS Problems or constraints that affect the cultural property and would
pose a threat to its significance or hinder the delivery of its multiple
functions.
PROTECTION MEASURES Measures installed to maintain the good conditions or desired
wellness of the cultural property.
OTHER ISSUES Other problems that indirectly reduces the significance of the
cultural property.

E. Other Significant Data that shall describe or determine the item’s provenance, rarity,
intactness or integrity and representativeness.

F. References.

The Cultural Mapping Resource Framework

Cultural Mapping Toolkit:

18 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
Assessment of Significance
The assessment of significance, and the statement that it produces, are the basis
for all good heritage decisions. It is a process that should be used as part of the
management of all heritage items because it clarifies why the item is important.

Furthermore, significance assessment requires knowledge about the item, its

provenance, context, and comparative examples. It may be necessary to undertake
research to establish enough knowledge to assess significance. Moreover,
significance can apply to individual objects or collections, and to heritage places.
Thus, significance can grow or fade over time – it requires revision.

The figure below presents some basic questions that can guide the cultural mapping
teams in determining the levels of significance of a cultural property.

What is Cultural Mapping?

Criteria for Assessing Significant Cultural Property

 Capiz Governor Victor Tanco met with NCCA Cultural Mapping facilitators during the implementation
of the province-wide cultural mapping of Capiz project in 2015 (Photo by Divine Arawiran)
The following criteria in the assessment of
cultural significance of a cultural property
are based on the Heritage Management
System adopted by the Heritage Council
of New South Wales of Australia (Heritage
Information Series … 2005):
Criterion 1: A cultural property is
significant in relation to the cultural or
natural history of the country or the
cultural or natural history of the local
area;
Criterion 2: A cultural property is
significant if it has high potential to yield
information that will contribute to an
understanding of the cultural or natural
history of the country or the cultural or
natural history of the local area;
Criterion 3: A cultural property is
significant if it possesses or exhibits
uncommon, rare or endangered aspects
of the country’s cultural or natural
environments or the cultural or natural
environment of the local area;
Criterion 4: A cultural property is
significant in demonstrating the principal
characteristics of the cultural or natural
sites in the country; or the cultural or
natural environments of the local areas;
Cultural Mapping Toolkit:
20 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
Criterion 5: A cultural property is
significant if it has strong or special
association with the life or works of
prominent personalities, or of group of
persons of importance in the cultural
or natural history of the country or the
cultural or natural history of the local
area;
Criterion 6: A cultural property is
significant if it has strong or special
association with a particular community
or cultural group in the country for social,
cultural or spiritual reasons;
Criterion 7: A cultural property is
significant in demonstrating aesthetic
characteristics and/or a high degree of
creative or technical achievement in the
country or the local area.
Moreover, in assessing the degree of
significance or in deciding which cultural
property can be included or excluded in the
cultural profile, the cultural mapping team
must also refer to four (4) important criteria,
as explained below, namely: Provenance,
Representativeness, Rarity and Integrity or
Intactness.
The main aim in assessing the significance
of a heritage item is to produce a concise
statement of significance, which summarizes
the heritage values of the identified cultural
property. The statement of significance is
the basis for inclusion of the heritage item
in the cultural profile of the community.
Furthermore, it is used as the bedrock for
policies and guidelines for the conservation
and safeguarding of the cultural property.
In most cases, it is sufficient to write a
statement of significance in one short
paragraph. However, an item of particular
importance to national cultural heritage or
to be considered as a national treasure may
The Four (4) Fields of Value of Important Cultural Property
require a statement that takes up a page or
more.
Most countries consider the assessment of
significance and the statement it produces as
the basis for all good heritage decisions. It is
a process that should be used as part of the
management of all heritage items because it
clarifies why the item is important.
The scope of significance of a cultural
property can either be: local (community
level), regional (geographic region), national
and international - meaning that the cultural
property is significant to the entire humanity.
What is Cultural Mapping?
 In addition, there is a range of situations
when the assessment of the cultural property
is necessary, to include the following:
1. Deciding about whether to retain the
cultural property in the cultural profile of
the local community;
2. Planning a thorough research or a
heritage study of the cultural properties
as follow-up on the findings and
recommendations of the cultural
mapping activity;
3. Preparing a conservation management
plan of the LGU;
4. Considering an item for listing on the
Philippine Registry of Cultural Properties
(PRECUP) or on the schedule of heritage
Primary Fields (Criteria)
a. Historical Significance
b. Scientific Significance
c. Aesthetic Significance
d. Social Significance
• Socioeconomic
• Sociopolitical
• Spiritual
Cultural Mapping Toolkit:
22 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
items in a local environmental plan; or
5. Preparing a statement of environmental
effects or a heritage or environmental
impact statement as part of the
development and building approval
process.
The matrix below (adapted from UNESCO
Memory of the World) shows some guide
questions that can be of help in distinguishing
the values of a cultural property that
correspond to the four (4) primary fields or
criteria of significance.
Inquiry Questions
• Is the object associated with a particular person,
group, event or activity?
• What does it tell us about a historic theme, process
or pattern of life?
• How does it contribute to our understanding of a
period or place, activity, person, group or event?
• Do researchers have an active or potential interest in
studying this kind of object?
• How is it possible to predict future research today?
• What aspects make it of research interest?
• Can it be fairly certain that the item will reveal new
research data if/when it is further investigated?
• Is the object well designed, crafted or made?
• Is it a good example of a style, design, artistic
movement, or an artist’s / craftsperson’s work?
• Is it original or innovative in its design?
• Is it beautiful (by common standards, not personal
view)?
• Is the object of particular value to a cultural, ethnic
or other community today?
• How is this importance demonstrated?
• Has the Museum consulted the relevant community
about its importance to them?
• Can you site instances as to how the heritage play a
role in binding people together?
• How does the heritage contribute to the economic
life of the community?
The Phases of Cultural Mapping
The principal output of a cultural mapping
activity is a local culture profile. Cultural
mapping is an ongoing process. And many
of its benefits can only be achieved through
sustained efforts to update the cultural
data and to compare it over time, which
requires continued resources and ongoing
partnerships. A cultural mapping project is
implemented in distinct phases or stages to
be discussed below.
The Scoping and Negotiation Phase
involves familiarizing the LGU requesting
for the cultural mapping project, discussion
of the needed participants, length of the
project, and logistical requirements for
the project. Basically, it would also be in
this phase that the NCCA and the LGU
would build partnership and commitment
in the implementation of the project. A
Memorandum of Understanding between the
NCCA and the LGU shall be accomplished
before the start of the cultural mapping
project in the locality.
The second phase is the Social Preparation
Phase where the LGU shall orient the
various stakeholders of the locality of
the objectives and processes of cultural
mapping project. They should also brief the
intended participants/stakeholders of the
project which includes introduction of the
Cultural Mapping Project, identification
of mapping teams, identification of needs/
logistics/concerns, logistical planning and
identification of areas of the locality to be
mapped.
The third phase of the project is the actual
Training of the Local Team Phase. Chosen
local mappers will be trained using the
modules developed by the NCCA and then
sent out to the field to do research during
the training days hence a draft filled-out
mapping forms on the cultural properties
of the locality will be produced after the
training days. The major parts of the modules
to be discussed are Basic Concepts on
Culture and Cultural Heritage, Mapping
and Documenting the Natural Heritage,
the Tangible Built (Immovable) Heritage,
the Tangible Movable Heritage, Intangible
Heritage, Personalities and Institutions and
the LGU Programs, Activities, Legislations
and other Resources for Culture.
After the training, the mappers will continue
the Data Gathering Phase which will go
for about three to six months in order to
substantially gather data on the major
components of the culture profile depending
on the size of the municipality and the
number of mappers. Moreover, mappers will
be tasked to do actual mapping (i.e. fieldwork
and encoding of data) of their assigned
cultural properties or practices within the
agreed time frame. They must be committed
to attend regular monitoring and updating What is Cultural Mapping?
meetings, which would at least be scheduled
on a weekly basis.
 Mayor Dan Fernandez of Santa Rosa signs the Memorandum of Understanding with the NCCA during the Scoping and Negotiation
meeting for the implementation of the cultural mapping project in 2016. Witnesses are the different City Government officers and NCCA
Cultural Mapping facilitator, Ms. Cecille Gelicame. (Photo by Divine Arawiran)

Additionally, inclusive to the data gathering
phase is the conduct of follow-up visits by
the facilitators. Mappers are expected to have
already produce an output or profile of their
assigned cultural properties and practices.
Facilitators will take time on checking and
editing of the filled-out mapping forms.
It will be followed then by the Data
Validation, where internal and external
experts, stakeholders, and other members of
the community will be presented of the data
gathered by the mappers or the local mapping
team in order to confirm or corroborate the
validity of the mapped entries.
The Finalized Local Culture Profile is
expected to be produced after the data
validation.
The cultural mapping process ends with
the production of the local cultural profile.
However, it is important to stress that the
results of the cultural mapping should be
analysed in order to draw information
that would be useful in the formulation of
programs, projects, activities, and policies for
culture and arts, hence analysis is included
in the diagram of cultural mapping phases.
A workshop for the Analysis of the Mapping
Results and Planning may be employed. This
workshop aims to assist LGUs on how can
they effectively plan the utilization of the data
gathered from the cultural mapping project.
This will be a separate engagement with
the NCCA outside of the cultural mapping
activity. The LGU may also engage another
organization or institution in analysing their
data depending on their intended utilization.
Identifying Potential Partners
As emphasized, a successful cultural
mapping and profiling project is a result of
a strong partnership forged among multi-
stakeholders. Hence, it is necessary to
ensure quality collaboration exhibited by
the partners involved in all the phases of the
project. The purpose of the partnership must
be clarified early in the process. Aside from
the Cultural Agencies, the potential partners
in Cultural Resource Mapping may include:
a) Municipal LGU Partner. Through an
Office Order issued by the Local Chief
Executive, the following departments
or offices shall be actively engaged in

Cultural Mapping Toolkit:

24 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
 the cultural mapping project, among The Partnership Cooperation
others: Municipal Development Planning
Office (MPDO); Municipal Tourism
Agreement
Office and Cultural Services; Economic
Prior to the actual conduct of the cultural
Enterprise Development Office; Public
mapping, it is imperative to define the
Library; Municipal Environment and
objectives and the scope of the project which
Natural Resources Office (MENRO),
are agreed-upon by the identified project
Municipal Agriculture Office (MAO),
partners. All parties collaborating in the
Municipal Disaster Risk-Reduction
project should agree on the terms of reference
and Management Office (MDRRMO),
which include the following elements:
Municipal Civil Registrar Office,
Municipal Assessor’s Office, and the
• Project overview and Project contacts;
Sangguniang Bayan Secretary.
• Purpose of the project, objectives, benefits
and critical success factors;
b) Community/Private Partners. The
• Project scope, phasing and timelines,
private partners may include the local
including budget;
Council for Culture and the Arts,
• Terms of data use/ data privacy/
Municipal Heritage and/or Historical
ownership;
Society, Private Tourism-related
• Members of the local cultural mapping
Institutions, Community or Private
team and other project committees.
Museums, Galleries, Archives, and even
the Local Church / Parish Councils,
Likewise, the Project Partners shall agree
among others.
on the specific deliverables and identify the
person(s) most responsible for:
c) Education Department. The Department
of Education (Regional, Division or
• Convening and communicating to the
District levels) shall likewise be involved
group;
as well as the Local School Boards and
• Collecting and consolidating data;
selected Tertiary Educational Institutions.
• Updating and maintaining the database;
• Analysing data entry; and,
d) Other Government Agencies. Senior
• Producing cultural resource
staff of the Department of Environment
mapping outputs (e.g., maps, graphs,
and Natural Resources (CENRO and/
reports, online resources and other
or PENRO), the Bureau of Fisheries
and Aquatic Resources (BFAR); Local
communications). What is Cultural Mapping?
Offices of the Department of Agriculture
(Provincial or City Offices), can also help Negotiations with Partners
in generating cultural data.
The NCCA has been assisting various
e) Additional Partners. The project may local government units (LGUs) in the
also benefit from building partnerships conduct of cultural mapping projects. In the
with other mapping initiatives of Memorandum of Understanding (MOU)
Government and Non-Government executed between NCCA and the LGU, the
Organizations, which could help amplify roles and responsibilities of the partners are
awareness of the project as well as make negotiated and clearly spelled out.
its data, outcomes and benefits available
to other groups that may find them
valuable in other applications.
 Shown in the box below are the commitments that the
NCCA and the partner LGU would have agreed upon.
Main Responsibilities of Partners
The NCCA shall:
• Conduct capability-building seminar-workshops
for cultural workers and artists who will conduct
the cultural mapping;
• Provide technical assistance and mentoring
during the whole duration of the Program;
• Provide transportation for the Workshop
Facilitators to the locality and the facilitators’
honoraria.
• Assist the LGUs in identifying, protecting and
preserving their cultural heritage.
The LGU shall:
• Organize the participants for the project and
ensure their continuous participation;
• Compile important reference Materials;
• Provide logistical needs for the Training of the
Local Mapping Team that would include but are
not limited to:
a) Venue for the training, team meetings and
other gatherings related to the project
b) Providing materials for the workshops
(pens, paper, notebook, LCD projector,
computers for encoding, mapping kits, etc.);
Internal Data
When searching for data sources, the first logical step is to look within the municipal
government or LGU. If a consistent data management protocol exists, it means that the
cultural data sought after may already be in good shape and need very little tweaking. Below
is a brief look at the types of cultural data which can often be found within certain municipal
departments.
Department / Office
Tourism and Culture Affairs Office
Municipal Planning and Development Office
Municipal Agriculture Office (MAO)
Municipal Environment and Natural Resources
Office (MENRO)
Municipal Disaster Risk-Reduction and
Management Office (MDRRMO)
Cultural Mapping Toolkit:
26 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
c) Arranging for local transportation and food
of the mappers during the workshops and
during the fieldwork;
d) Organizing documentation team during
the workshop and documentation gadgets
(recorders, camera, etc.);
e) Assigning a Project Coordinator to follow-
through progress reports;
• Pass ordinances or resolutions supporting the
project.
• Ensure the continuous implementation of the
project phases until its completion;
• Requesting LGU should have an established
local culture and arts council or a council
functioning as such
Other Partners shall:
• Organize or mobilize volunteers;
• Help identify local resource persons, key
informants and/or internal experts in the field of
history, anthropology, natural sciences, data-
base building and management, etc.;
• Participate in the data-validation and cultural
analysis activities;
• Recommend linkages and networks.
Type of Data
List of arts, heritage and cultural organizations (often
through funding, festival records or general contact list);
Identified heritage resources.
A variety of data (often consolidated from other
departments) on the geography, economy,
demographics, neighborhoods, land uses and built
forms; Spatial information on a variety of the cultural
assets; Identified heritage resources.
Agricultural resources, common and unique
productivity systems.
Environment and natural resources (Land, Water, Flora,
Fauna, Protected Areas, etc.) data.
Records on natural and man-made disasters, hazards
and risks, vulnerability assessment; weather extreme
events, thematic maps.
Municipal Administrator and/or Assessor’s Office
Office of Economic Enterprise, Business Bureau,
PESO
General Services Office (GSO)
Department of Education, Division Office
Higher Educational Institutions
Library and Archives
Local Historical Society
Information about LGU-owned properties and
properties leased by the LGU.
Employment / occupations data, industry data.
Information on cultural assistance offered by
municipality and by community groups.
Database on education; Historical data on public
and private basic education schools; other range of
information.
May have a range of data, depending on specializations.
A range of cultural information, current and historical.
Collection of historical texts, pictures, art and other
artefacts.

It would be helpful when contacting other municipal departments that the following
questions are discussed for every data source of interest:

• What data do you need and how will it be used? Does the Office/Department collect
this information directly?
• What are the other sources of the data?
• How often are these data updated and who is responsible for updating it?
• Are any of the data sensitive? (E.g., Is it restricted from use by certain staff, other
organizations or the public?)

Organizing and Mobilizing the of barangays, existence of multi-cultural

communities, vastness of the area and the
Cultural Mapping Team expected cultural properties to be profiled,
among others. An ideal ratio would be one
Necessarily, an ideal unit for a cultural
mapper per two barangays.
mapping and profiling project is a
municipality. With its defined territorial
It might be necessary for the local Chief
jurisdiction and manageable number of
Executive to issue an Office Order to organize
component barangays (cutting through
a rural-urban continuum), it would be
the local cultural mapping team. Likewise,
the order must designate a local Project
What is Cultural Mapping?
convenient for the team to complete the
Coordinator from the ranks of Department
collection of pertinent data of its existing
or Division Heads in the LGU.
cultural resources. A city or a province
requires more time and effort to map,
The Local Project Coordinator shall take the
while a barangay is too small to provide a
initiatives in convening and communicating
bigger picture of the cultural heritage of a
to the members of the mapping team and
community.
to the identified partners and communities.
Likewise, he/she shall monitor the mapping
Ideally, the members of a cultural mapping
process and seek the concerned departments
team must be inter-disciplinary and multi-
in the LGU for updating and/or maintaining
sectoral. The number and competency
the cultural database.
requirements must be based on the specific
conditions of the locale to include, number
 A Lead Mapper shall be designated from
among the members of the team. The
responsibility of the lead mapper is to
oversee and guide the team members in
the collection, analysis and consolidation
of cultural data as well as in the production
of cultural resource mapping outputs (e.g.,
maps, graphs, reports, online resources, and
other communications) within the agreed-
upon timelines.
The Members of the cultural mapping team
must necessary be residents of the locality
and may come from any of the following
organizations or institutions:
• Key LGU Officers (ENRO, MPDC,
Tourism, or Budget Officer) ;
• Church officials and Barangay
functionaries;
• Artists and cultural workers from the civil
society;
• Development workers both from GO and
NGO;
• Local Educators and other professionals
(Librarians, Local Historians, Architects,
Engineers, etc.).
After finalizing the composition of a
competent cultural mapping team, all the
members must familiarize on their specific
roles and responsibility. Everyone is required
to attend a five-to-six day orientation and
training. In time, when the team members
are engaged in fieldwork during the data-
gathering phase, they must agree to attend the
regular monitoring and updating meetings,
which would at least be scheduled on a
weekly basis. Moreover, the designated lead
facilitator-trainer shall attend one of these
sessions for mentoring the local mapping
team.

References

Cook, Ian and Ken Taylor. A Contemporary Guide to Cultural Mapping: An ASEAN-Australia Perspective.
ASEAN. 2013. Accessed December 1, 2016. http://www.asean.org/wp-content/uploads/images/2013/
resources/publication/Contemporary%20Guide%20to%20Cultural%20Mapping%20Rev%20X.pdf.

Heritage Information Series: A Guide to the Heritage System. NSW Heritage Office .2005. Accessed December 1,
2016. http://www.environment.nsw.gov.au/resources/heritagebranch/heritage/infoheritagesystem.pdf.

Municipal Cultural Planning: A Toolkit for Ontario Municipalities. Municipal Cultural Planning Incorporated.
2011. Accessed December 1, 2016. http://www.stthomasculture.ca/uploads/2/1/4/9/21492992/_
municipalculturalplanning_atoolkitforontariomunicipalities_digital.pdf.

Cultural Mapping Toolkit:

28 A Guide for Participatory Cultural Mapping and Profiling in Local Communities
PART 3

Cultural Mapping Research Methods, Appreciating Participatory Resource

Cultural Mapping Research
Methods, Appreciating
Participatory Resource and
Ethical Principles in Cultural
Mapping

and Ethical Principles in Cultural Mapping

The local cultural mapping team of Limasawa, Southern Leyte

documenting an old light pole which was previously lighted to
guide navigators passing the island. (Photo by Divine Arawiran)
 How to do Cultural Mapping

T
his chapter introduces the general methods used in cultural mapping.
It gives an overview of what cultural research is and the need for
methods that are sensitive to the Philippine setting. In general,
mapping uses several approaches that cover both qualitative and quantitative
methods. Qualitative methodologies include ethnography, historical research
(particularly oral history), interview, etc.

A. What is Cultural Research?

Cultural Mapping is a form of research; specifically it is a form of cultural
research. It is a cross-disciplinary endeavor that applies a range of methods.
It is concerned with researching the ways in which communities and groups
express their knowledge of the world. It focuses on the “meaning” of culture
in all its diverse forms.

Hence, the mapping team can be composed of “researchers” coming from

different fields such as history, anthropology, social sciences, linguistics,
natural sciences, architecture, engineering, education, etc. It can include
local people who through their experiences in their community are able to
give analysis and meaning to the various aspects of culture.

Therefore, mapping research is holistic. This can sometimes overwhelm the

researcher and the team. However, the proper approach is to stay focused on
the various aspects of culture that you are writing about. Think of mapping
as a collection of heritage resources. Slowly, we build up the data base using
research from various disciplines and paradigms.

Remember:
The members of the cultural mapping team must be aware of their intentions to be able to
guide the conduct of the research. Cultural research has the following unique yet significant
characteristics:

• A form of cultural activity;

• Goal-oriented (inclusive of community’s goals); and
• Participatory and should be meaningful to the community.

Cultural Mapping Toolkit:

30 A Guide for Participatory Cultural Mapping in Local Communities

A local mapper from Camalig, Albay examines the archival
holdings of St. John the Baptist Parish Office during
fieldwork for mapping tangible-movable cultural heritage
last May 2018. (Photo by Divine Arawiran)
Domains of Cultural Research
Cultural research can be conducted by various
disciplines, depending on the focus of your
study:
• Meaning of culture: Philosophy,
Anthropology, Sociology, History
• Elements of culture: Anthropology,
Sociology, History, Geography
• Expressions of culture: Arts, Humanities.
Linguistics
• Functions of culture: Education,
Psychology, Social Sciences, Political
Science
B. Emic, Etic, Etmic: Approaches to
Cultural Mapping Research
Emic and etic refer to two different approaches
to researching human beings. The emic
approach (sometimes referred to as “insider,”
“inductive,” or “bottom-up”) takes as its starting
Cultural1Mapping Research Methods, Appreciating Participatory Resource
point the perspectives and words of research
participants. The etic approach (sometimes
referred to as “outsider,” “deductive,” or “top-
down”) uses theories, hypothesis, perspectives,
and concepts from outside of the setting being
studied as its starting point. The “etmic” is a
fusion of the two approaches, where one uses
both the insider and outsider points of view.
From a Filipino perspective, Virgilio Enriquez
(1982) proposed an approach to conducting
psychological research called Sikolohiyang
Pilipino, which uses culturally sensitive ways
of knowing and doing research. Sikolohiyang
Pilipino as an approach and as a paradigm
has influenced other fields as well, including
cultural research. Enriquez enumerated research
in Cultural Mapping
methodologies sensitive to the Filipino setting.
The approaches are quite useful in cultural
mapping, which relies on a relational approach
in gathering the data. The level of involvement
in research follows a scale ranging from simple
observation or pagmamasid to an intent form
of observation or pagmamatyag. The third
and fourth levels refer to a more participatory Heritage?
method beginning with pakikialam and
gradually evolving to pakikipagpalagayang-loob,
the situation where the respondents fully trust
Principles
the mapper and the mapper can fully navigate
in the world of the community.
is Cultural
and Ethical
CHAPTER
What
 Table 1. Maka-Pilipinong Pananaliksik: Iskala ng Pananaliksik
(Enriquez and Santiago 1976)

A. Pagmamasid B. Pagmatyag C. Pakikialam D. Pakikipag-palagayang loob

Pakikiramdam Pagsusubaybay Pakikilahok Pakikitungo
Pagtatanong-tanong Pakikisangkot Pakikisalamuha
Pagsubok Pakikilahok
Padalaw-dalaw Pakikibagay
Pakikisama Pakikisangkot
Pakikiisa

C. Methods in Cultural Mapping Immovable Heritage: Number of heritage

houses; longitude and latitude; measurements
Research of parts of the church; height of the
monument; land area of the archaeological
Writing about culture is dependent on
sites; number of heritage trees in the park; age
your approach to the study of culture.
of the structure.
The choice of methods that will be used is
equally important, since this will determine
Movable Heritage: Measurements of objects;
the quality of the mapping data generated.
number of editions of the artwork; volume
Though there are numerous methods, these
of the archival record; estimated date of the
may be classified according to two main
photo collection; age of the object.
categories: quantitative and qualitative.
Intangible Heritage: Remaining practitioners
1. Quantitative Research
of the traditional craft; ratio of ingredients
in a heritage cuisine; number of women
Quantitative research is “explaining
chanters of the hudhud; the required number
phenomena by collecting numerical data
of days to complete a ritual; percentage of
that are analyzed using mathematically based
earning from a festival or practice.
methods, in particular statistics” (Aliaga
and Gunderson 2000). For example, the
Personalities, Institutions, LGU Programs:
researcher needs to “count” and “measure” to
Statistics on the educational institutions in
be able to provide a complete picture of the
the municipality; number of achievements of
different domains of heritage. The numbers
an identified personality; budget allocation of
inform and can generate hypothesis, validate
LGU for culture and the arts.
the importance of a heritage item, and
support policies that protect, conserve or
The skills needed in quantitative research
promote heritage.
in cultural mapping need not be advanced.
As long as the mapper is able to count,
Some examples of quantitative data generated
do measurements, and in some cases has
for each domain areas are as follows:
knowledge of descriptive statistics, this will
do. The whole idea of quantitative data is to
Natural Heritage: Area covered (in hectares)
describe the heritage item using numbers.
by the national park; estimated number of
If in cases a more complex quantitative data
species in the wild; specific measurements for
is needed, then the mapper can consult
plant morphology.
someone from his community for assistance.

Cultural Mapping Toolkit:

32 A Guide for Participatory Cultural Mapping in Local Communities
 Cultural Mapping Research Methods, Appreciating Participatory Resource
Photos by G. Andal, C. Costales, D. Favor, and J. Ruiz

Let Me Count the Ways

Using measurements to describe parts of the St. Dominic Church in Lal-lo, Cagayan Province.

EXTERIOR:
Roof: A Type
Church Type: Dominican
Structure: Bricks
Façade Pillars: 8
Façade Extended Pillars 4
Buttress: 10 posts are supported by buttress
Stained Glass: Above the door is a colored stained glass separated by a decorative
kornesa
Symbol: Above the stained glass is a circle symbol
Bellfry: Dome type ceiling, 2 stories with 4 windows

INTERIOR

and Ethical Principles in Cultural Mapping

Main Entrance: Metallic double door
Narthex: 4 meters
Entrance: 2 angels carrying a stoup (basin of holy water)
Left side: Crucifix
Right side: Stairs going to the belfry
Pews: 40 pews in the left side
38 pews in the right side
Windows: 5 stained glass windows on both sides with a measurement of 2.13 m x 3.05
m
Aisle/Naive: 45 m long (estimated)
Pulpit: Consists of 10 steps made up of hard wood (Molave)
Rails are made up of combined metal and wood with intrinsic design
Its height is 20 centimeters with a diameter of 1 meter
Altar: Measurement of 9 m x 17 m
Elevation from the floor is 60.96 cm with 10 stairs from the floor to the
retablo
Altar Table: A measurement of 0.91 m x 2.13 m with a height of 1 m made of wood
Altar Wall: A measurement of 1.4 meters in height
Altar to back wall: 4.36 m distance
Retablo: Images of St. Francisco Capillas, St. Dominique De Guzman and Resurrected
Christ
Tabernacle: Wooden Clam (Kabibe) with a measurement of 0.82 m in height and 0.55 m
width.
Researchers: G. Andal, C. Costales, D. Favor, and J. Ruiz (Cagayan Mapping 2017).

NCCA Cultural Mapping Facilitator Mr. John
Delan Robillos interviewing one of the key
informants, a babaylan during the cultural
mapping training of the local team of
Mambusao in Capiz. (Photo by Loida Olegario)
The importance of local
language in fieldwork
Language is the window to the
culture of a locality. Ethnography
presupposes that the researcher uses
the local language and/or dialect
when conducting research. The data
becomes richer and grounded. Some
municipalities even have chosen
to write in their local language for
the purpose of capturing what the
respondents intended to say and
also to preserve their local language.
Corcuera, Romblon had chosen to
write their mapping profile in the
Bantoanan language. There are
also instances when the language
itself is the object of research.
Hence, mapping may use linguistic
fieldwork. Linguistic fieldwork is
the investigation of the structure of
a language through the collection
of primary language data gathered
through interaction with native-
speaking consultants (Cheliah and de
Reuse 2011).
Cultural Mapping Toolkit:
34 A Guide for Participatory Cultural Mapping in Local Communities
2. Qualitative Research
Much of the data in cultural mapping is qualitative
in nature. According to Cresswell (1994), qualitative
research is an inquiry process of understanding a social
or human problem based on building a complex, holistic
picture formed with words reporting detailed views of
informants and conducted in a natural setting.
The “problem” of focus in mapping is to describe and
document the heritage resources of the community that
go beyond numbers. Thus, we need to write about the
history of the heritage resource; elaborate its significance;
and document the stories of the community. Mapping
presuposses that the researcher is grounded on the
heritage practice/item, is knowledgeable about its history,
and is willing to engage with members of the community
in the course of the research. Though there are many
research designs in qualitative research, ethnography
and historiography are the most widely used in cultural
mapping. The other qualitative research methods include
participant observation and interviewing.
a. Ethnography
Ethnography is a method used by anthropologists in
the study of culture. It documents routine daily lives of
people (Fetterman 1998). Usually, it is used to explore
a specific cultural group such as the Ilocano, Ifugao,
Hiligaynon, Manobo, Tagalog, Maguindanaon, etc.
Classical ethnography suggests that the researcher
lives with the people or spends time with them such
as regularly visiting the community. Local cultural
mapping is able to address this concern since the mapper
comes from the community or is well-oriented with the
activities of the community.
The importance of the local point of view is highlighted
in ethnography and in cultural mapping. In fact,
Neumann (2007) defines ethnography as describing
and understanding another way of life from the native
point of view. Malinowski (2005) has a similar definition:
ethnography is comprehending the perspective and
living approach of native people and reflecting the way
they perceive their world. The aim of mapping is to
capture local worldviews, instead of immediately relying
on theories and paradigms that most of the
time make no sense to the community’s
experience.
Cultural Mapping relies on our accurate
description of the community we are
studying. Ethnography requires the
researcher to immerse in the community. If
the researcher is a member of the community
he/she is studying, this could be an advantage
for the person has an insider access and
information to the culture. However, this
may also pose a challenge of objectivity since
the researcher may take for granted certain
cultural practices because of the lack of
objectivity.
The Process of Ethnography
The first step is to identify the problem or
topic of interest. The topic of interest refers to
the various heritage domains defined in the
earlier chapters. If the topic of interest has
been researched in the past, a conscientious
mapper should read on the prior literature
about the topic. Research in the form of
published studies, historical papers and
articles can give the mapper an overview.
In going to the field, the researcher should
prepare the guide questions, which can
actually be culled from the data fields
found in the mapping forms of the various
domains. The data fields can be converted
into question form. For example, the data
field requires assessment of significance,
and the mapper-ethnographer may translate
this into a question form that can be asked
during the study, such as: Can you tell me the
importance of this municipal building?
The second step is fieldwork, where data
collection is involved. The researcher
gathers detailed and in-depth information
on the heritage of the community through
interaction with community members and
participation in the collective social life.
When the researcher/mapper comes from
the community, the fieldwork becomes easier
since the person has prior knowledge about
the heritage item being explored. However,
there are instances when the mapper may
Cultural Mapping Research Methods, Appreciating Participatory Resource
have limited knowledge about a heritage
item because of its rarity and the researcher’s
lack of access. For example, a mapper from
the community hears for the first time the
local cosmology of fisherfolks of Sangay,
Camarines Sur. In such cases, the researcher
must immerse in the community of study.
The immersion will depend on the depth
of the description of the heritage item. It
is important during the fieldwork that the
researcher observes intently, and participates
if necessary, to be able to immerse oneself
in the heritage item being documented.
Mapping is looking at your community and
its resources with a new set of eyes. Thus, the
duration of fieldwork will utterly depend on
how much you have saturated your data. It is
and Ethical Principles in Cultural Mapping
important during this stage that the mapper
is equipped with recording tools such as the
mapping forms, a notebook, and an audio or
video recording device when necessary.
The third step is the writing process. This is
not an easy task especially when you want
to capture what has been shared during the
fieldwork. In this tool kit, writing requires the
completion of the data fields for each form.
However, most forms require a description of
the heritage item. This is where ethnographic
writing is deemed necessary. Three simple
steps should be observed: 1. Write objectively;
2. Capture the worldview conveyed by the
respondents, sometimes using their local
terms and concepts; and 3. Elaborate the
descriptions. In some cases a narrative may
accompany your writing.
 The fourth stage in ethnography is the
analysis. This is when insights are generated.
Some researchers would use theories
and conceptual paradigms to explain the
phenomenon. In this cultural mapping tool
kit, there is a separate section to describe how
to analyze the data gathered. However, to give
an overview as to how culture and heritage
can be analyzed, the framework by Paul
Hiebert (2008) can be a good starting point.
The mapped items can be analyzed according
to various levels (see Fig. 1), which are all
equally important. The sensory level is what
the researcher/mapper sees in the form of
cultural products (immovable and movable
heritage) and patterns of behavior, signs,
rituals (intangible heritage). However, if
we begin to observe and understand more
closely, these products actually point to
a belief system and, in the deepest level,
to the emerging worldview themes and
epistemology of the particular culture being
explored. These implicit data are most often
Framework for Analyzing Culture and Heritage
Source: Paul Hiebert, Transforming Worldviews (Baker Academic 2008, 33)
Cultural Mapping Toolkit:
36 A Guide for Participatory Cultural Mapping in Local Communities
difficult to detect, for they require sensitivity
and reflexivity on the part of the researcher.
In cultural research, the mapper has to take a
holistic approach when looking at culture.
The last stage is reporting. This involves
the publication and dissemination of your
research. In cultural mapping, the reports are
expressed in accomplished forms which are
part of the cultural profile of the community.
b. Interview
The interview is the most common qualitative
method used in cultural mapping. It is
a conversation between people, wherein
a person (the researcher) asks pertinent
questions related to the topic of research.
According to Kvale (1996), the main task of
interviewing is to understand the meaning
of what the other person is saying. This other
person may be called by different names:
interviewee, respondent, participant, key
informant.
The inbox shows an example of an ethnographic account of the traditional
healing practices among the Ati in Dumarao, Capiz.
Documentation of Intangible Heritage
Employing Ethnographic Methods (Excerpts)
Explanatory Note
The Indigenous Ati have practiced traditional medicine that
relies heavily on available medicinal plants and herbs. The
medicinal plants are gathered either from their home garden,
in open fields, or in areas where there are residual forests.
These plants are used to deal with illnesses from simple fever,
stomach pain and headache, and especially to illnesses
caused by malevolent spirits, transgression of spaces in the
forest, eating the wrong combination of food, among others.
The Women Ati in Dumarao have known a range of sources
of medicinal plants, including barks of certain trees, skin or
flesh of vines and shrubs, and several herbs found in their
environment. They reveal the various ways of using the
medicinal plants and herbs, such as in the form of infusion,
decoction or poultice.
The common ailments that are treated include cough, colds,
diarrhea, aching body parts, open wounds, poisoning,
dysmenorrhea, and problems related to pregnancy. Likewise,
there are plants that would cure headache, stomach ache,
sore throat, inflammation, toothache, spasm, fever, animal
bites, tonsillitis, infection, skin diseases, and even anemia.
Here is a composite narrative of an ethnographic account,
focusing on the indigenous healing practices of the Ati, as
told by four Ati women elders, namely: Ms. Lolita Valencia,
Ms. Lilia Salvio, Ms. Edna Castin, and Ms. Linda Valencia, all
from Dumarao, Capiz.
Composite Account
As far as we can remember, we have been nurtured
by our traditional healing practices. Observably, this
particular tradition expresses our strong attachment to
the environment.
This traditional practice is still a living tradition in our Ati
community in Dumarao. The present generation of Ati
elders still heavily relies on the utilization of medicinal
plants and herbs.
We have observed that some lowlanders have imbibed
some of aspects of this tradition, particularly the use of
‘karmen-karmen.’ The cultural masters and elders of the
community have preserved the indigenous knowledge
and practices, despite the fact that the new generations
of Ati, at some point in their lives, might have opted to
access commercial medicines.
Through the years, my community had been relying on
me as someone who can help mothers during the delivery
of newly-born children. I have been very careful in my
health-related services. But the Government would no
longer allow me to allow me to do this.
Since childhood, my mother had introduced us to
medicinal plants found in our ancestral homeland. We had
known these plants and their uses since then. However,
Cultural Mapping Research Methods, Appreciating Participatory Resource
we realize that if the sickness of a person is “chronic,” we
need to bring him/her to the hospital, just like our mother
before she died, so that she could be observed and given
the closest care and attention.
We have experienced a wide range of discrimination and
social exclusion, mostly from the lowland population
who express disregard of our indigenous knowledge and
practices and often regarded these as superstitions, the
work of pagans, or worst, un-scientific. Perhaps as a result
of this put-down, we can sometimes feel that our culture
has disintegrated. It has been devalued, including our
indigenous knowledge of traditional healing.
Our last Ati Bailan (traditional healer or shaman) passed
away almost a decade now. However, there were urgent
times when we needed to ask the wisdom of a Bailan.
Thus, we would go to an Ati village in Aglalana, where the
Ati Women Healers live for consultation and inspiration.
and Ethical Principles in Cultural Mapping
No Ati is born a Bailan. The status of a Bailan is not
inherited. It is passed on by the Master to his/her
apprentice. We realize that the act of handing down the
wisdom, strength, dignity and industry of a Bailan is
necessary, but it is also hard to achieve.
Before our last Shaman died, he had tried very hard to
pass on his being a Bailan to one of his siblings. But this
requires readiness on the part of the receiver. At that time,
the intended sibling was not ready to accept the role and
responsibility. Hence, he was not able to assume the status
of a Bailan of the Ati community.
There are many reasons and some are obvious ones. In
order to imbibe the spirituality as well as the wisdom of
a Bailan, one is willing to undergo a steep and hard test
- like walking on very thin and tight rope, which requires
a skillful balancing act. Below the suspended rope are
erected sharp bamboo spears. It would have been a
death-defying act to do so.
The pressures of assuming the role and status of a Bailan
were really heavy. And our cousin was not ready. He was
not prepared. Thus, he was not bestowed.
 Participants of the Cultural Mapping Facilitators training in Mindanao interviewed
an elder from Brgy. Bula in General Santos City. (Photo by Gladys Argonza)
During the interview, the mapper asks a set of
questions pertinent to the topic. For example,
he is interested in mapping the burnay or jar.
Some questions that can be asked are:
How old is the jar?
How long has this been in your possession?
How did you acquire the object?
Please describe its use.
What are the stories associated with this jar?
Do you consider this jar important? Why?
In the interview guide above, you will observe
that some statements are in question form
and there is one in the form of a statement.
There are also questions that are open-
ended, and there is one that is close-ended,
answerable by “yes” or “no.” It is advisable
to ask questions in an open-ended form
to generate more answers. Close-ended
questions only become more enriching if
there is a follow-up question.
Make sure that in interviewing you state
clearly your questions. Vague questions
usually ask two questions at the same time,
such as: Why is this jar important and how do
you think this was manufactured? This can
generate confusion in your respondents.
Also, keep your questions as objective
as possible, and avoid leading questions
that only support your ideas, interests or
hypothesis.
Cultural Mapping Toolkit:
38 A Guide for Participatory Cultural Mapping in Local Communities
During the interview, the mapper should
be sensitive to cues from the respondent,
especially if the topic is sensitive. Thus, it is
important to establish rapport before you
start the interview. This means that your
interviewee should feel at ease and know
the purpose of your study. There is a need
to observe ethics in research (this will be
discussed in the next chapter).
Interviews can be conducted one-on-one
or in a group. Both have their advantages
and disadvantages. For example, a group
interview can generate more data, but the
depth of the data can be compromised
since there is no time to explore individual
responses.
Interviews can be formal, such as when
you follow a set of questions that you need
to ask. It can also be informal, just as in a
conversation, and perhaps only one general
question or statement is delivered and the
succeeding questions will be based on the
responses of the participants. However,
though informal, the basic questions have
to be explored at the back of the mind of the
mapper. Again, the questions will be based on
the data field of the mapping forms.
A focus group discussion or FGD is a group
interview where a specific topic of interest is
discussed. The mapper acts as the moderator
of the group and each member can agree or
disagree on the thoughts of each member.
They can also expound on details and provide
insights. The FGD is one method that can
be appropriate in the Philippine setting.
Filipinos are participatory in nature and see
the FGD as non-threatening, unlike the one-
on-one interview. The crucial element here
is facilitation. The mapper/researcher should
be able to handle the group and generate
interest to keep things rolling. Sometimes
he needs to do gate-keeping to ensure that
everyone has equal opportunities to speak
during the FGD. It would help if there is a
co-facilitator during the FGD. The person
can help in documentation and logistical
concerns as well act as co-moderator.
c. Historiography
“The writing of history based on the critical
examination of sources, the selection of
particulars from the authentic materials, and
the synthesis of particulars into a narrative
that will stand the test of critical methods”
(https://www.merriam-webster.com/
dictionary/historiography).
According to U.P. Prof. Digna B. Apilado
(1998), local history writing has a long
tradition in the Philippines. Souvenir
programs generated by countless town fiestas
and similar community celebrations almost
always contain a short account of the town’s
history. Likewise, there are feature articles on
historical events and personalities published
in local newspapers. But for local history to
have lasting value, its writing must become
more professional.
A good written historical account must be an
original work, not a rehash or a recycling of
historical facts which have been written about
countless times. It should deal with a subject
matter that is of historical value; it must show
where we came from, how things changed,
what particular path was taken and for what
reasons, and why we are where we are now.
And it must meet basic academic standards
expected of any written work.
The history of a province or municipality can
best be researched and written by local people
themselves for a number of reasons. First, it
would be a source of pride for local historians
to have written a history of their own ethnic
group, hometown or province. Second, the
local historian would express the values
Cultural Mapping Research Methods, Appreciating Participatory Resource
and perceptions specific to his/her group or
home place, which may be misinterpreted or
unperceived otherwise by non-locals. Third,
the local historian can also have easy access
to local primary sources. Moreover, he/she
has the advantage of knowing the vernacular
or the local language, which is especially
important when using local sources. Finally,
the local historian as a culture-bearer knows
the people’s way of life within which events
take place, and can provide explanations for
what would otherwise be baffling occurrences
to outsiders. Local historians can therefore
serve as interpreters to the larger world and
conversely, can interpret the larger world to
the local community.
and Ethical Principles in Cultural Mapping
The local historian needs some preparation
before he/she can write a historical account.
A historian must have a good grasp of the
national history of the Philippines. This
understanding of national history will enable
him/her to place in a larger context the local
and thus more limited developments. While it
is true that events at the local level have their
own dynamics, local history always unfolds
within the larger stage of the nation.
d. Participant Observation
A method of research in anthropology
which involves extended immersion in a
culture and participation in its day-to-day
activities (Calhoun 2002). This will be further
elaborated in a separate section focusing on
Participatory Rural Appraisal (PRA).
 Conclusion
Mapping is a community-based and
participatory research. You must have
realized that the methodologies prescribed
in this chapter advocate sensitivity. In the
past, research was conducted to generate
theories or support existing paradigms which
are based mostly on Western framework and
disciplines. Tuhiwai-Smith (1999) advocates
the use of decolonizing methodologies in
studying culture. In the end, through cultural
mapping, we hope to be able to accomplish
the following:
• We want to tell our stories: rewriting and
re-righting of history.
• We would like our worldviews,
indigenous knowledge systems and
practices to be brought in the forefront.
• We want methods sensitive to the
community.
• We need to recover our language.
• We see the value of looking at alternative
ways of knowing (theorizing) and doing
(application).

References

Aliaga, Martha and Brenda Gunderson. Interactive Statistics, 2nd Edition. Upper Saddle River, NJ: Prentice Hall,
2002.

Calhoun, Craig. Dictionary of the Social Sciences. New York: Oxford University Press, 2002.

Chelliah, Shobhana L. and Willem J. de Reuse. Handbook of Descriptive Linguistic Fieldwork. New York: Springer,
2011.

Creswell, John W. Qualitative Inquiry and Research Design: Choosing among Five Designs. Thousand Oaks, CA:
Sage Publications, 1998.

Enriquez, Virgilio G. Sikolohiyang Pilipino: Perspektibo at Direksyon, in Sikolohiyang Pilipino: Teorya, Metodo at
Gamit (Quezon City: University of the Philippines Press, 1981).

Enriquez, Virgilio and Carmen Santiago. “Tungo sa Maka-Pilipinong Pananaliksik.” Sikolohiyang Pilipino: Mga
Ulat at Balita I (4, 1976): 3-10.

Hiebert, Paul G. Transforming Worldviews: An Anthropological Understanding of How People Change. Grand
Rapids, MI: Baker Publishing Group, 2008.

Kvale, Steinar. InterViews: An Introduction to Qualitative Research Interviewing. Thousand Oaks, CA: Sage
Publications, 1996.

Malinowski, Bronislaw. Argonauts of the Western Pacific: An Account of Native Enterprise and Adventure in the
Archipelagoes of Melanesian New Guinea. London: Routledge, 2005.

Merriam Webster Dictionary, s.v. “historiography”, accessed August 8, 2018, https://www.merriam-webster.com/

dictionary/historiography.

Neuman, W. Lawrence. Basics of Social Research: Qualitative and Quantitative Approaches. Boston: Allyn and
Bacon, 2007.

Tuhiwai Smith, Linda. Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books, 1999.

Cultural Mapping Toolkit:

40 A Guide for Participatory Cultural Mapping in Local Communities
Appreciating Participatory
Resource Appraisal

T
his learning module introduces the basics of Participatory
Resource Appraisal (PRA) and Participatory Learning and Action
(PLA) along with some of the tools and approaches commonly
used or explored in community development work. The module

Cultural Mapping Research Methods, Appreciating Participatory Resource

emphasizes how the PRA-PLA traditions and methodology can be
integrated in participatory cultural mapping.

The overarching aim of this module is “learning to apply participatory

methods and tools.” This integrates participatory and/or interactive
learning activities designed to evoke participants’ reflection as well
as provoke critical thinking, as the target learners discover the core
principles and methodology in the conduct of participatory cultural
mapping activities.

At the end of the module, the participants are enabled to:

• Acquire a basic understanding of participation and learning, its

philosophy, principles and origins;
• Become familiar with participatory approaches, methods and tools
as well as some of the associated skills that were developed in various
development contexts;

and Ethical Principles in Cultural Mapping

• Identify or determine what are the appropriate PLA-PRA tools to be
used in participatory cultural mapping fieldwork; and
• Recognize the advantages and shortcomings of participatory
approaches when applied in cultural mapping projects or activities.

The learning module spans three hours combining short inputs with active
participatory exercises on the lessons-in-focus. Outlined below is the structure and
content of the module:

I. What is PLA-PRA and where did it originate?

II. How is PLA-PRA used in various development work and contexts?
III. What are the various principles, methods and tools developed by PLA-PAR
practitioners?
IV. How can the tools and methods be applied, merged, innovated or replicated in
cultural mapping activities?
V. Appreciating participatory cultural mapping: from sketch maps to P3-D maps.
VI. Advantages and shortcomings of participatory tools in cultural mapping.
 The tool kit stresses that PRA is intended to
enable local communities to conduct their own
analysis and to plan and take action (Chambers
1992). PRA involves the cultural mapping team
to learn together with villagers about their
heritage and history. The aim of PRA is to help
strengthen the capacity of villagers to plan,
make decisions, and to take action towards
improving their own situation.
The facilitator must try to provide an overview
of the collection of tools and methods, from
which the learners will need to choose which
ones are appropriate to the working and living
context or in the cultural mapping fieldwork
activities.
In this learning module, several PRA/PLA
tools as well as other techniques are introduced
to be explored. The learners need to assess
which of these tools can be applied to support
participatory processes and workshops at the
community level.

A Brief History of Participatory
Approaches
(Adapted from G. Beckmann in Berg, et.
al., 1997)
Participatory Approaches are a
product of long lasting interaction
between researchers, development
workers, government agents and local
populations.
The history of participatory methods in
development cooperation began in the
late 1970s with the introduction of a new planning efforts among the community
research approach called “Rapid Rural
Appraisal (RRA),” which immediately
became popular with decision-makers in
development agencies. Building on close PRA strongly supports and facilitates
collaboration with local populations,
RRAs were designed to collect first-hand responsive ways of managing
data from the local people about their
perceptions of their local environments
and living conditions in rural areas.
RRA methods were specifically
adapted to respond to local
conditions. Visualization using locally
comprehensible symbols, and tools like
mapping, diagramming and ranking
were introduced.
A limitation of RRA, however, was
that it was extractive; the role of the
local people was limited to providing
information, while the power of
decision-making about the use of this
information remained in the hands of
others.
During the 1980s, NGOs operating at
grassroots level used RRA to come up
with further fine-tuned approaches
called Participatory Rural Appraisal
(PRA). PRA uses similar methods
and tools as RRA, but its underlying
philosophy and purpose was changed.
PRA methods were designed to follow
more the people’s own concerns and
interests. One of the most important
principles in PRA was the sharing
of results of analysis, decisions and
members by open and public
presentation during meetings.
the introduction of more demand-
development interaction and process-
oriented thinking. Thus, it builds
upon rural people’s own capacities for
analyzing their circumstances of living,
their potentials and their problems in
order to actively decide on changes. PRA
facilitators accept more and more the
role of learners.
The shift towards interactive mutual
learning was then reflected in the new
terminology of Participatory Learning
and Action (PLA) in the early 1990s.
Extended concepts of participatory
processes and interaction have been
developed, and summarized under
the name Participatory and Integrated
Development (PID).
PID means offering facilitation support
to locals (such as villages, communities,
interest groups, associations, etc.)
on a demand-responsive basis, and
assisting them in getting their interests
represented. For example, getting
grassroots level planning and action
integrated into local and regional
planning approaches. This leads to a
more sustainable and better coordinated
way of development planning and
management.
This is the basic principle that the
practitioners of participatory cultural
mapping and profiling projects uphold.
The community of practice consciously
articulates that culture is significant in
achieving sustainable development.
Hence, aside from introducing engaging
methods for the community members
to participate, the cultural mapping
approaches also enable the integration
of cultural factors as well as the
integration of community sectors in the
total human development process. The
project likewise strives to facilitate both
vertical and horizontal integration, i.e.,
the collaboration of different agencies,
sector organizations and different
groups of stakeholders within a given
community and region.
Source: http://www.fao.org/docrep/006/ad424e/
ad424e03.htm.

Cultural Mapping Toolkit:

42 A Guide for Participatory Cultural Mapping in Local Communities
If cultural mapping is participatory,
how do we understand
“participation”?
It is worth noting that many factors influence
the degree to which participation is evident.
There are several conditions under which
participation flourishes, which differ from
place to place. The following parameters may
be important in determining the degree and
extent to which participation is present in
any one context and in any cultural mapping
project.
• Economic, political, socio-cultural
interests
• Traditions, including cultural rules and
norms of social behavior
• Political environment
• Local power structures
• Previous contact and interaction with
development agencies
Remember:
Participation is an iterative process which
develops and occurs over a significant period
of time. The concept of participation cannot
be developed or implemented overnight
or within the course of one workshop,
just as a relationship between different
interest groups cannot change overnight.
Participation is a process which requires
patience and commitment from all. It is a
process which requires courage in order to
recognize and admit when things go wrong.
In the participatory process it is important to
revisit agreements and decisions periodically,
to adjust them for changes which might
have occurred in the respective situation or
conditions of the various groups.
Reflections on Levels of People’s
Participation in the Development
Process
• All types and levels of participation have
something in common: They all seek to
capture and build on peoples’ knowledge
and aim towards improving development
Cultural Mapping Research Methods, Appreciating Participatory Resource
support for people.
• The achievement of the highest levels of
participation requires a democratic policy
framework and decentralization.
• The higher the level of participation the
more space is given to people in decision-
making.
• Increasing levels of participation promote
local people as the main actors and
implementers of their own development.
This involves, however, that they accept
the responsibilities as well.
• With increasing levels of participation,
the role of external agents shifts more and
more from actors to facilitators.
• The higher the level of participation the
more knowledge, skills and capacities are
and Ethical Principles in Cultural Mapping
required by the local people.
As soon as people are encouraged to give
their opinion on a certain topic, they become
active, talk about it and - depending on
the needs - either decide on a change or on
maintaining the present situation. “Adult
learners will be interested if the subject
matter deals with their own interests.”
People’s participation also emphasizes the
importance of being active and having
an open-minded, inquisitive attitude
towards development. Furthermore, it can
promote a new approach to learning which
is participatory and not dependent upon
classroom teaching.
 The Core Principles of PRA-PLA
Essentially, PRA-PLA is context specific.
It considers the conditions and aspirations
of the learners. The tools and approaches
are designed to provide a platform for
the marginalized and the vulnerable. It
recognizes the people’s right to a voice
and the right to be heard. Moreover, PAR-
PLA processes generate reflections and
allow listening to multiple perspectives on
key issues and concerns. In the end, the
process facilitates building confidence and
encourages people to actively participate in
building a fairer and better world for all. This
is the essence of people’s empowerment.
Noticeably, when introducing participatory
approaches, it is important to keep in mind
that there are different points of departure
as well as destinations being underscored by
the participants’ interests and experiences.
Hence, one must be realistic to define
context-specific and appropriate objectives
when aiming at increased participation.
In pursuing participatory cultural mapping
and profiling, the project team must ensure
the participation mix as well as diversity in
terms of tools and resources.
The table below lists the basic requirements
that must be in place for participatory
approaches to succeed.
Guidelines in Planning and
Conducting PRA
• Learning with villagers – Where they live,
face to face. Learning physical, social, and
technical knowledge.
• Learning rapidly and progressively
– Explore, be flexible, look for
opportunities, and improvize.
• Be aware of biases – Be relaxed. Do not
rush. Ask questions and listen. Be humble
and respectful. Look for opportunities for
representations from the poorest, women,
and powerless.
• Get enough information but not too
much which is unnecessary.
• Crosscheck by using different methods
(triangulation).
• Facilitation is the outsider’s role – Help
villagers to do the investigation, analysis,
presentation, and learning, by themselves.
As an outsider, start the process and then
stand back, and let the villagers get on
with it. Do not interrupt.
• Critical self-awareness and responsibility
– As a facilitator, keep examining your
behavior and try to do this work of
encouraging and strengthening villagers
better.
• Sharing – Of information and ideas
between villagers themselves, villagers
and facilitators, and amongst facilitators.
Source: Helvetas Vietnam, Swiss Association for
International Cooperation.

Table 1. Requisites for a Participatory Cultural Mapping Project

a) Facilitators’ Team b) Tools and c) Sources of d) Interest

Techniques Information Groups
Multidisciplinary Interviewing Resource persons Women and men
Gendered Mapping Respondents Elders and youth
Different backgrounds Diagramming Secondary data Different socio-
and skills Ranking Literature review economic groups
Insiders and outsiders Observing Maps Ethnic groups and
Discussing Films Different professions
Records review (using
secondary data)

Cultural Mapping Toolkit:

44 A Guide for Participatory Cultural Mapping in Local Communities
Notes on Applying the Tools and that the decision on which tools to apply
and which sequence is taken only after
Methods considering the objectives and the people they
have to serve.
As explained, PAR-PLA Tools were created to
ease common working and communication
PLA approaches have been applied across a
processes and to adapt abstract analysis and
range of sectors, including but not limited to
research processes to the needs of those
programs for natural resource management
working at the local or grassroots level.
and agriculture, equity, empowerment,
Thus, we are reminded to keep in mind that
health, human rights, and security. The tools
PRA-PLA Tools should be looked upon as
were developed and classified according to
just “tools.” There are dangers when trainers

Cultural Mapping Research Methods, Appreciating Participatory Resource

the context and objective of the community
or facilitators tend to use these tools too
participatory learning process. Some examples
mechanically.
of each of the tools mentioned are listed in
Table 2.
The mechanical application of tools is
especially common among inexperienced
The cultural mapping facilitator must
facilitators, who may feel safer following a
reinforce new learning of the participants
set procedure when facilitating a process
through PRA-PLA. Several fundamental
over which he/she does not yet have full
tenets form the foundation of PLA
mastery. However, as soon as one feels more
methodology, including the idea that the
comfortable with facilitation, one should
facilitator should not “hand over the stick”
concentrate on becoming as flexible as
to allow participants to describe their own
possible, allowing and proposing deviations,
experience and reality as they understand it.
additional contents or even completely
changing approaches, if they serve the goals
Eventually, the facilitator also aligns his or her
that the respective group wants to achieve.
behavior to several key precepts inherent in
this methodology, including the promotion
Learners are encouraged to be innovative

and Ethical Principles in Cultural Mapping

of open sharing among participants, the
in applying the tools or even to combine
use of visual aids and tangible objects, and
sets of tools. The facilitators must not push
collaboration through group work. PLA
the learners to apply a tool in the same way
means informed participation to emphasize
and the same sequence or predefined steps.
local empowerment and to provide an
However, the regular procedure should be
alternative to extractive data gathering.

Table 1. Requisites for a Participatory Cultural Mapping Project

Maps and Group Discussions Group Matrix and Interactive

Diagrams Reports Scoring Activities
Maps (Social, Historical Time Field Investigation Wealth Ranking Dramatization /
Village, Resource, Lines Role Play
etc.)
Diagrams (VENN, Short Lectures Transect / Village Pair-wise Ranking Debates
Flowchart, etc.) Walks
Seasonality Panel Discussions Process Matrix Ranking Film Analysis
Calendars Observation
Visualizations: Case Presentations Key Informant
Group Drawings, Interviews
Collage, etc.
Photo Analysis Focus Group Semi-Structured
Discussions Group Interviews
 ADIDAS: Embracing Effective and Enabling Learning Process
Several practitioners of popular education have developed an engaging
participatory learning process with the acronym ADIDAS. In every learning
session, the facilitator or resource person embraces the responsibility to clarify
the learning-content-in-focus. Likewise, it is smart to ask the learners about
their initial understanding of the theme or topic to be discussed. Perhaps a good
energizing pre-exercise can be introduced prior to the discussion of the theme
or topic. However, it is also good to explore the suggested enabling flow of a
learning process as outlined below.

Activity As soon as the participants are oriented on the Learning-Content of

the session, it is suggested that the facilitator introduces an activity
to allow the learners to move and be actively engaged in the
process. The introductory diagnostic activity should be related to
the topic to be discussed and should encourage the participants to
release their inhibitions and be prepared to voice out their opinions
on the issues or topics that shall be tackled.
Discussion The learners are allowed to express their opinions or reflect on the
activity that they have participated in. In small groups, they are
encouraged to discuss what they have noticed in the activity and if
they have anything to say about it in relation to the lesson-to-be-
tackled.
Input After the participants have substantially given their feedback on
the activity as well as the lessons learned, it is time for the facilitator
or resource person to give a short but provocative input in relation
to the topic to be discussed. As a rule, short inputs should not last
more than ten minutes.
Deepening After the short input, the facilitator encourages the participants to
express their feedback on the points raised in the input. Perhaps,
some evocative questions can be raised to allow the learners to cite
their insights. At the same time, perhaps some concrete experiences
of the participants or of other persons can be highlighted or shared
to deepen the learner’s critical understanding of the topic being
discussed.
Analysis Critical thinking springs from a thorough understanding of a
phenomenon and not just accepting it as a mere fact but something
that is caused by a lot of factors or forces at play. The basic questions
that can provoke critical analysis of things and/or being are: Why?
and/or What if?
Synthesis It is advisable that the facilitator gives a summary of the insights
gained and raised by the participants and be able to synthesize
the observable multiple perspectives on the topic or theme being
discussed. At the same time, the synthesis can also build new
theories out of the lessons learned in the process of participatory
learning. Moreover, a good synthesis is something that can motivate
the learners and lead them to action-for-change.

Cultural Mapping Toolkit:

46 A Guide for Participatory Cultural Mapping in Local Communities
 Cultural Mapping Research Methods, Appreciating Participatory Resource
The local cultural mapping team of Pasay City consulting with NCCA Cultural
Mapping Facilitators during a follow up visit. (Photo by Divine Arawiran)

The cultural mapping facilitator must

reinforce new learning of the participants
through PRA-PLA. Several fundamental
tenets form the foundation of PLA
methodology, including the idea that the
facilitator should not “hand over the stick”
to allow participants to describe their own
experience and reality as they understand it.
Eventually, the facilitator also aligns his or
her behavior to several key precepts inherent
in this methodology, including the promotion
Remember:
Participatory cultural mapping is an exercise
that allows outside facilitators to gather key
information about a community or space
by capturing a pictorial representation of it.
Community participants and local facilitators
may identify important landmarks based on a
particular theme in which they are interested
or utilize the exercise to capture a snapshot
of the community or particular environment.

and Ethical Principles in Cultural Mapping

As such, this is an excellent tool to gain
of open sharing among participants, the understanding of the local perspective and
use of visual aids and tangible objects, and reality.
collaboration through group work. PLA
means informed participation to emphasize
local empowerment and to provide an
alternative to extractive data gathering.

References

Future Together Project. Participatory Development Training Manual. Nicosia, Cyprus: UNDP, 2012.

“Module II: Introducing Participatory Approaches, Methods and Tools.” Accessed April 4, 2018. http://www.fao.
org/docrep/006/ad424e/ad424e03.htm. .

Procedures for Village & Commune Development Planning, Volume 1: Guidelines. Helvetas Vietnam, Swiss
Association for International Cooperation. Accessed December 1, 2016. https://assets.helvetas.org/
downloads/ commune_development_plan_guidelines_en.pdf.
 Ethical Principles in Cultural Mapping

L
ike in any research, the cultural mapper is bound to follow
protocols and ethical principles to ensure the protection of
the members of the community. Prior to actual mapping,
proper orientation of the members of the local cultural mapping
team on the ethical principles should have been conducted, the
goals of which are:

1) Understand the ethical principles of cultural mapping;

2) Apply ethical principles in cultural mapping situations;
3) Identify problem areas and concerns in the field or in the
conduct of cultural mapping.

Participants to the Cultural Mapping Facilitators’ Training - Mindanao leg, conducts a focus group discussion
on heritage at General Santos City. (Photo by Gladys Argonza)

Cultural Mapping Toolkit:

48 A Guide for Participatory Cultural Mapping in Local Communities
Ethical Guidelines to be Observed
during Mapping
1. Consent
Get the informed consent of participants or
members of the community in the mapping
activities. The consent can be in verbal or
written form. The mapper should have
ensured that prior to any research conducted,
researcher should invest time and resources
in building trust and rapport. In some cases,
an individual or community may be wary of
people conducting research, especially since
heritage research delves into the identity,
history and patrimony of a community. So, in
such cases, things cannot be hurried. Always
acknowledge the informants by thanking
them or by coming back to show them your
initial findings. Consultation and negotiation

Cultural Mapping Research Methods, Appreciating Participatory Resource

should always be maintained. The research
s/he would have discussed the purpose
community should benefit from and not be
and the people/agency conducting the
disadvantaged by the research project. Think
research. It is always good practice to have
twice before proceeding with the mapping
the letter of support or endorsement from
process if there are issues which might
the local government unit or any authority.
endanger people and the community.
After explaining the mapping process, the
researcher should clarify with the person or
3. Respect
community if there are concerns or issues. It
should be made clear with the participants
Put local values, needs and concerns
regarding the use of and access to research
first. Prioritize the local toponomy, the
results. A good practice is the principle of
terminology or language used by members
genuine custodianship, where both parties
of the community. It is good practice to
agree on who and how will the information
believe that locals know their culture more
gathered be used. For example, a local healer
than an outsider. Therefore, do not insist
might be willing to share his knowledge on
on what you know. Listen and validate your
herbs and healing plants and only agrees to
prior knowledge. Ensure that the mapping

and Ethical Principles in Cultural Mapping

share this knowledge for general information
processes are understood by those concerned.
but not for commercial purposes such as
In many instances, you will encounter
scientific research or the production of
different perceptions about a particular
medicine. Consent also includes asking the
heritage practice, structure or object.
permission of individuals or the community
Recognize the diversity and uniqueness of
through their local leaders such as barangay
the people as well as individuals and use
officials on the taking of photographs and
your good judgment when you write the
videos.
findings. Respect intellectual and cultural
property rights of your participants. Make
2. Behavior and Personal Integrity
sure that you are aware of possible conflict
of interest on your part that can arise when
A mapper represents the local government
conducting mapping. For example, you are
unit or office/agency. Therefore, it is
an antique collector and you are involved in
important that s/he is able to maintain
the mapping of movable heritage. This might
proper behavior and personal integrity at all
pose problems in the future. Discuss such
times. Being open, honest, and flexible will
concerns with your colleague or superior.
surely help. There are several instances when
mapping might be a totally new experience
for many participants, therefore the
 4. Anticipate Consequences
Do your best to recognize that you will
be working with socially differentiated
communities and that your presence will
not be politically neutral. Avoid raising false
expectations and avoid exposing people to
danger. Avoid outlining boundaries except if
this is the specific purpose of the exercise. Be
careful about causing tensions or violence in
a community.
5. On the Use of Technology
There are instances when you need to use
modern technology (camera, video, GPS, etc.)
in documenting the research. If this arises,
consent should be obtained. There is nothing
wrong with the good old chat or story-telling
since this rely on local, indigenous technical
management and spatial knowledge. Should
you use modern technology, explain what this
technology would do and show the people or
community what you have taken after. You
would not want them raising their opposition
because you have taken photos of a ritual and
you have mounted this in an exhibit or book
without their knowledge or consent.
6. Outcomes
Have the practice of validating the data with
local community members and experts in
the given field. The community’s stamp
of approval will ensure the validity and
reliability of the research. Tokumaru (in
Bendrups 2017, 459-460) calls this the
“fieldback,” where the mapper (even if s/he
is from the locality) takes time to show the
community the mapping results.
7. Rights Pertaining to Indigenous Peoples
Ensure protection of Indigenous Knowledge
Systems and Practices (IKSP) for indigenous
communities. Since the Philippines is
bound by the Indigenous Peoples Rights
Act or IPRA on the section for research,
Cultural Mapping Toolkit:
50 A Guide for Participatory Cultural Mapping in Local Communities
the mapping team should consult with the
National Commission on Indigenous Peoples
(NCIP) or community IP leaders prior to
mapping, especially in obtaining a Free
Prior Informed Consent (FPIC) from the
community and duly witnessed by the NCIP.
These are general guidelines. You may want
to include other related codes of practice
or ethical principles in the conduct of the
mapping. For example, mapping conducted
by a University may require the research team
to accomplish the ethics application provided
by the University prior to the actual research.
In conclusion, when ethics are observed, the
rights of the individuals and community are
ensured. Rapport is very much established,
leading to an effective working relationship,
and quality results are ensured since the
community through the respondents feel a
sense of security and protection that their
local knowledge are respected and valued.
Note and Reference
This section was adapted from Giacomo Rambaldi,
Robert Chambers, Mike McCall and Jefferson
Fox, “Chapter 14. Practical ethics for PGIS
practitioners, facilitators, technology
intermediaries and researchers,” Participatory
Learning and Action 54 (April 2006): 106-113.
Dan Bendrups and Henry Johnson, “Ethnomusicology
in Australia and New Zealand: A Trans-Tasman
Identity?” in Kirsty Gillespie, Sally Treloyn,
and Don Niles (eds.), A Distinctive Voice in the
Antipodes: Essays in Honour of Stephen A. Wild
(Sydney: Australian National University Press,
2017), pp. 455-470.
PART 4
Mapping Culturally
Significant Natural Heritage

Mapping Culturally Significant Natural Heritage

The Mt. Mayon is part of the Albay Biosphere Reserve, one

of the declared biosphere reserves in the world by UNESCO.
(Photo by Prince John Catumber)
 Mapping Culturally
Significant Natural Resources

A
t the outset, the lead facilitator of a community cultural mapping
project shall ensure that all members of the mapping team must be
oriented on the following key concepts or learning themes:

Natural Heritage as defined by UNESCO “consists of natural features,

geological and physiographical formations and delineated areas that constitute
the habitat of threatened species of animals and plants and natural sites of
value from the point of view of science, conservation or natural beauty. It
includes nature parks and reserves, zoos, aquaria and botanical gardens”
(UNESCO 1972).

In due time, a broader definition of natural heritage shall include green

infrastructure facilities or assets such as the urban tree canopy, trail systems,
and green roofs among others.

Natural Property of Cultural Significance, as defined by RA 10066, includes

areas with outstanding ecosystems with flora and fauna of national scientific
importance under the National Integrated Protected Area System (NIPAS),
which covers national park, game refuge, bird and wildlife sanctuary,
wilderness area, strict nature reserve, watershed, mangrove reserve, fish
sanctuary, natural and historical landmarks, protected and managed landscape
or seascape as well as identified virgin forests.

The members of the community cultural mapping team must appreciate the richness of the
shared natural heritage and the vastness of the significant natural resources found in their
locality. Through the use of appropriate cultural mapping documentation techniques, they
shall identify and categorize the elements of their physical and biological environments
as well as discover or re-discover their significance, be it scientific, economic, cultural or
historical, among others.

Cultural Mapping Toolkit:

52 A Guide for Participatory Cultural Mapping in Local Communities
The Puerto-Princesa Subterranean River National Park is a declared World Heritage site that
features a spectacular limestone landscape. (Photo by Mike Gonzalez, Wikimedia Commons)
Non-NIPAS Protected Areas include forest
lands with elevation above 1,000 meters
and areas with more than 50 percent slope,
mangrove forests, buffer strips along rivers,
encampments, fresh water swamps and
marshes, lake and other inland water bodies,
and declared mangrove forests (riverine and
plantations). On the other hand, areas with
slopes less than three percent are designated
as Network of Protected Agricultural
Area/ Network of Areas for Agricultural
Development (NPAA/NAAD) and are usually
devoted to irrigated rice/fishponds.
Historical Site. Any place, province, city,
town and/or any location and structure which
has played a significant and important role in
the history of our country and nation. Such
significance and importance may be cultural,
political, sociological or historical.
Heritage Zone. A particular site (a
province, city, municipality, barangay or
any geographic area) can be designated
as heritage zone in order to protect its
historical and cultural integrity. The Local
Government Unit concerned shall maintain
the declared heritage zone and shall regulate
the implementation of adaptive reuse of the
cultural property. The appearance of streets,
parks, monuments, buildings, and natural
bodies of water, canals, paths and barangays
within a locality shall be maintained as close
to their appearance at the time the area was of
most importance to Philippine history.
Environmentally-Critical Areas include but
are not limited to areas prone to storm surges,
flooding, landslides, liquefaction, ground-
shaking or earthquake, among others. By
overlaying the map of these environmentally
critical zones, we can enable the stakeholders
to help raise community awareness and
recommend actions for local disaster
preparedness and consistent protection of
Mapping Culturally Significant Natural Heritage
their shared natural heritage.
Aside from the mapping team, the profiling
of culturally significant natural resources in
a particular area needs closer collaboration
with selected local experts and resource
persons of various disciplines. Thus, experts
from within and from outside of the
community are mobilized during the cultural
mapping fieldwork and other data gathering
activities.
Specifically, the documentation report of
culturally significant natural resources,
as shown in the cultural mapping forms,
presents the description of significant land
mass and water bodies as well as the iconic
flora and fauna. The information includes
the location, land area and dimensions,
provenance, classification, ownership or
jurisdictions, distribution, threats and urgent
issues or concern, among others. It shall
likewise include photographs, maps and
CHAPTER 1
other necessary narratives that build-up the
significance of the particular natural resource
being included in the cultural profile.
 Orientation and Training
It is proposed that, prior to the actual field
work, the members of the community
mapping team shall be provided with a
deepened orientation on the subject matter as
well as be equipped with the documentation
tools and techniques. Thus, the conduct
of a day-long training on mapping
natural heritage is required that shall
include in-house discussions and in-field
documentation.
During the conduct of orientation and
training, the members of the mapping team
are enabled to:
• Appreciate the value of the shared natural
heritage of the community-in-focus;
• Identify, classify and document the
significance of the natural resources
within the bio-physical environments;
• Determine areas that are declared as
protected zones and the environmentally-
critical areas; and,
• Select and apply appropriate PRA tools/
documentation techniques for the data
gathering activities.
Suggested Activities and Processes
There are ten (10) steps to be undertaken
during the orientation and training focused
on the mapping of natural heritage or
significant natural resources of a particular
community. As emphasized, the activities
outlined below serve only as guide for the
facilitator.
1. Orientation. The key learning themes
or key concepts are presented for the
members of the cultural mapping team to
appreciate and comprehend.
Cultural Mapping Toolkit:
54 A Guide for Participatory Cultural Mapping in Local Communities
2. Initial listing of commonly known natural
resources. A core of local experts (elders
and professionals) is invited to help
identify the natural resources in the area
and locate their significance.
3. Discussion on Protected Areas or Zones.
The municipal planning officer and/or
the designated environment and natural
resources officer (MENRO) shall help
the mapping team in identifying and
locating the protected areas and heritage
zones under the NIPAS and non-NIPAS
systems.
4. Initial selection of entries. At this point,
the mapping team is ready to shortlist
the suggested natural resources that are
prioritized to be included in the cultural
profile. They shall also finalize their tasks
as to “who maps what.”
5. Input and discussion on data sets and
sources. The mapping team shall proceed
to review the prescribed data fields, the
data sets and sources of data, and discuss
the best methods of documenting the
culturally significant natural resources.
6. Finalization of the PRA/PLA tools and
documentation techniques. The mapping
team shall reach an agreement on what
tools to use for documentation and/or
profiling of a particular natural resource.
The table below lists the important sub-
categories to be covered, the proposed
data gathering tools, and the sources of
information related to the mapping of
culturally significance natural resources.
7. Actual field work/ data gathering. The
conduct of a half-day in-field mapping
of priority natural resources that must
be profiled by the community mapping
team.
8. Presentation and discussion of initial data
gathered. The members of the community
mapping team shall present the initial
data gathered and a discussion on the
data gaps ensues.
9. Summary of issues raised,
recommendations and lessons learned.
The facilitator highlights the issues raised,
the recommendations to be pursued, and
the lessons learned from profiling the
culturally significant natural resources of
the area.
10. Sounding off session. The members of the
community mapping teams express their
feedbacks on the community mapping or
profiling process as well as agree on the
next critical steps.

Sub-Categories Data Gathering Tools Sources of Information

Land formations and significant
places
Significant bodies of water and
habitat of marine life
Iconic fauna
Iconic flora
Protected Areas under NIPAS or
local laws (non-NIPAS) systems
Environmentally-critical areas
Heritage Zones
Key informant interviews or Focus Elders, Farmers, and MENRO
group discussions
Key informant interviews or Focus Elders, Farmer-fishers and NGO
group discussions representatives
Key informant interviews and Elders, Farmers, and MENRO
Records review
Key informant interviews, Transect Elders, Farmers, and MENRO
walks, and Records review
Key informant interviews, Records LGU records (CLUP) and Guide to
review, and GIS mapping actual site
Key informant interviews and LGU-MDRRM and NGO
Records review representatives
Key informant Interviews and Elders, LGU records

Mapping Culturally Significant Natural Heritage

Records review
Ancestral domains as heritage Focus group discussions IP Elders and Leaders
zone

Below is a schematic diagram of the Natural Resource Framework that shows a

broad range of natural resources that need to be mapped and the data sets that the
community of mappers need to gather.
 Natural Heritage declared as World
Heritage Sites
In the Philippines, there are a number
of places or areas that are listed by the
United Nations Educational, Scientific and
Cultural Organization (UNESCO) as having
The Tubbataha Reefs are situated on the Cagayan Ridge, composed of outstanding universal value:
extinct underwater volcanoes. Being a true atoll structure, it is believed
that the atolls of Tubbataha were formed thousands of years ago as
fringing reefs and volcanic islands. It was declared a World Heritage • Puerto Princesa Subterranean River
Site by the UNESCO in December 1993. In November 2015, Tubbataha National Park;
was declared by the ASEAN’s Centre for Biodiversity as the 35th ASEAN
Heritage Park. (Photo by Yvette Lee, retrieved from https://www.pna.gov. • Tubbataha Reefs National Park;
ph/articles/1044653) • Mt. Hamiguitan Protected Mountain
Range;

Mt. Hamiguitan Protected Mountain

Range
Mt. Hamiguitan is a mountain located in
the province of Davao Oriental, Philippines.
It has a height of 1,620 meters (5,315 ft.).
The mountain and its vicinity has one of
the most diverse wildlife populations in the
country. Among the wildlife found in the area
Mt. Hamiguitan in Davao Oriental. are Philippine eagles and several species of
(Photo by Kleomarlo, Wikimedia Commons) Nepenthes (pitcher plant). Some of the latter,
such as the Nepenthes peltata (a new species)
Location Mindanao are endemic to the area. The mountain has
Country Philippines a protected forest area approximately 2,000
Region Davao Region
hectares. This woodland is noted for its
Province Davao Oriental
unique pygmy forest of century-old trees
Parent range Hamiguitan Mountain Range
in ultramafic soil with many endangered,
Geology
endemic and rare species of flora and fauna.
Mountain type Strato-volcano

The Mount Hamiguitan range, with an area

UNESCO World Heritage Site
of 6,834 hectares (68.34 sq.km.), was declared
a national park and a wildlife sanctuary in
Official name Mount Hamiguitan Range
Wildlife Sanctuary
2013. In 2014, the park was inscribed as a
Type Natural
UNESCO World Heritage Site.
Criteria x
Designated 2014 (38th Session) Inventory of flora species in the mountain
Reference No. 1403 and its vicinity showed that its montane forest
State Party Philippines has the highest species richness of plants
Region Asia and the Pacific with 462 species, followed by its dipterocarp
forest with 338 species, mossy forest with 246
species, and agro-system with 246 species.

Cultural Mapping Toolkit:

56 A Guide for Participatory Cultural Mapping in Local Communities
The profile of significant natural resources
shall be reported using a prescribed format.
The matrix below can help the cultural
mapping team in fleshing out the data field
on culturally significant natural resources,
which will be especially useful for assessing
the value of the resource and in performing
economic analysis. (See Mapping Forms
annexed in this toolkit).

Data set Content

A. Basic information
Name Common or local name and other names that refers to the
property.
Photo A photograph / image of the property.
Type/Nature or Sub-category The type or sub-category of the property.
Location The place where the property is located or found.
B. Categorization
Nature / Sub-category As identified by UNESCO and the existing laws of the country
Description The text provides basic explanation of what the resource is, its
purpose and background, and other important features.
Dimensions The measures of the physical dimension of the cultural property in
terms of size, area, weight, and other specifications.
Morphology (if applicable) The description of the form and structure of a plant or animal or
any of its parts.

Mapping Culturally Significant Natural Heritage

Ownership / Jurisdiction
C. Significance
Level of significance
Common usage
People using the property
Other important data
Stories associated with the
property
D. Conservation
Conservation status
Constraints / threats
Protection measures
Other issues
People, institutions, group claiming ownership of the resource. Who
has the jurisdiction in protecting the cultural resource? (Public or
private)
An appraisal of the value or the level of significance that could
either be - historical, aesthetic, scientific, social, economic, cultural,
among others - that is attributed to the cultural property by the
members of community.
The unique or multiple use of the community: basic needs (food,
shelter, medicine, clothing, etc.), economic productivity, socio-
cultural or religious rituals, and/or social events or functions.
Who and how many people are involved in the utilization of the
cultural property as well as the people who install measures in the
conservation of the cultural property.
Other information related to the cultural property and its
significance.
Narratives told by people that support the significance of the
cultural property to the members of the community - past, present
or future.
Current condition of the cultural property.
Problems or constraints that affect the cultural property and
would pose a threat to its significance or hinders the delivery of its
function.
Measures installed to maintain the good conditions of the cultural
property.
Other problems that indirectly reduces the significance of the
cultural property.
 The Municipality of San Narciso in Zambales considers the pawikan as part
of their Natural Heritage. The breeding site in Barangay La Paz is maintained
thru the PawiCare Program. (Photo by Gladys Argonza)
Significance and Threats
The cultural significance of natural resources
should be appreciated by the members
of the mapping team. As components of
an ecosystem, they exhibit life-support
functions: protection, production, symbolic
or cultural, or as settlement or habitat. They
are considered valuable resources from the
point of view of science, conservation or
natural beauty.
A cultural mapping project gathers and
compiles relevant information on the
biophysical features of a natural property:
site, topography, unique geological features,
soil type, existing vegetative cover and flora
and fauna, particularly threatened and
endangered species, as well as important
nesting and/or breeding sites.
It is a policy of the State to ensure that
the management, protection, sustainable
development, and rehabilitation of these
natural resources shall be undertaken
primarily to guarantee the conservation
of biological diversity, and that the use
and enjoyment of these natural resources
and/or the declared protected areas must
be consistent with that principle. It is
Cultural Mapping Toolkit:
58 A Guide for Participatory Cultural Mapping in Local Communities
During the Training of Local Mappers, a mangrove forest in Kalibo, Aklan
known as Kalibo Bakhawan Eco-Park was identified as a significant
protected area because of its rich biodiversity being a habitat of a variety of
mangrove species. (Photo by Gladys Argonza)
further acknowledged that the effective
administration and management of these
resources will require a partnership between
the Government and other interested
parties, including the indigenous cultural
communities.
The profiling of a natural property shall
likewise present specific and/or proven
imminent danger, such as but not limited to:
• A serious decline in the population of the
endangered species or the other species
of outstanding universal value, either by
natural factors such as disease or by man-
made factors such as poaching;
• Severe deterioration of the natural beauty
or scientific value of the property, which
may be caused by human settlement,
construction of reservoirs which flood
important parts of the property, industrial
and agricultural development including
use of chemical pesticides and fertilizers,
mining, pollution, logging, firewood
collection, etc.; and,
• Human encroachment on boundaries
or in upstream areas which threaten the
integrity of the property.
Sample Filled-out form for documenting Natural Heritage

Mapping Culturally Significant Natural Heritage

 Cultural Mapping Toolkit:
60 A Guide for Participatory Cultural Mapping in Local Communities
PART 5
Mapping Tangible-Immovable
Cultural Heritage

Mapping Tangible-Immovable Cultural Heritage

The University of Santo Tomas established in 1611 by Miguel de Benavides,

Archbishop of Manila is a declared National Historical Landmark by the
NHCP. The UST Main Building was also declared by the National Museum
as a National Cultural Treasure. (Photo by Divine Arawiran)
 Mapping Tangible-Immovable
Cultural Properties

I
mmovable Heritage or Immovable Cultural Property refers
to structures that are fixed in place such as but not limited to
buildings, houses, monuments, shrines, and sites (Bautista 2013).
It also refers to built heritage. Built heritage consists of all aspects
of the human-made historic environment such as houses, factories,
commercial buildings, places of worship, cemeteries, monuments,
and built infrastructure such as roads, railways and bridges; physically
created places such as gardens, mining sites and stock routes; and other
places of historical significance such as archaeological sites (Modern
Heritage Matters 2013).

The World Heritage Convention of 1972 considered as “cultural

heritage” the following:

• Monuments: Architectural works, cave dwellings and combinations

of features.
• Groups of buildings: Groups of separate or connected buildings,
considered because of their architecture, their homogeneity or their
place in the landscape.
• Sites: Works of man or the combined works of nature and man, and
areas including archaeological sites.

There is importance in mapping built heritage since these structures

reflect how human beings adapt to their environment. For example,
in Batanes, the houses are built to withstand strong typhoons by using
limestone and rocks.

The proverbial bahay kubo, with its numerous versions throughout the
country, gives evidence to how Filipinos use available natural resources
available in their vicinity, such as bamboo and grass.

The Torogan of the Maranao, with elaborately carved panolong – a

dragon or serpent-like figure in the extended floor beam - has been
considered a prominent symbol of prestige, wealth and power of the
Sultan or the Datu (chief).

Immovable structures also allow present generations a snippet in time,

a sense of history. For example, monuments of Jose Rizal in various
poses and expressions that dot the islands give us a glimpse of how he
looked like and the activities he was engaged in.

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62 A Guide for Participatory Cultural Mapping in Local Communities
Plaza Salcedo, Salcedo Monument and the Vigan Metropolitan Cathedral is an
excellent example of a Spanish colonial era plaza complex. (Photo by Divine Arawiran)
A church that is well preserved transports
the visitor to the era when it was built.
UNESCO declared in 1993 four churches
as best examples of Baroque Churches in
the Philippines: the San Agustin Church
in Intramuros, Manila; the Church of San
Agustín in Paoay, Ilocos Norte; and Sta.
Maria Church in Sta. Maria, Ilocos, Sur; and
the Church of Santo Tomas de Villanueva in
Miagao, Iloilo.
Immovable heritage has its inherent
scientific significance. The Paoay Church is
a fine example of how the people protected
the building from earthquakes. Fourteen
buttresses support the main structure against
earthquakes. Around two thousand years
ago, the Ifugaos of the Cordillera built the
payew or rice terraces. The payew is a fine
A stone house in Batanes. (Photo by Gladys Argonza)
example of how communities had knowledge
of tupong or stone laying of walls to prevent
the mountain from eroding; hydraulics
to bring water to the rice paddies; and
indigenous forest management or muyong to
protect the watershed.
Built heritage is significant in terms of the
spiritual and aesthetic values that they
convey. The Sheik Karimol Makdum Mosque
Mapping Tangible-Immovable Cultural Heritage
in Tawi-Tawi is the oldest in the Philippines,
built around 1380. Its new building still
contains the original pillars of the mosque.
The structure had been declared a National
Historical Landmark by National Historical
Commission of the Philippines (NHCP) and
a National Cultural Treasure by the National
Museum of the Philippines (NMP).
 Dayawan Torogan, Marawi City, Lanao del Sur, a National Historical Landmark. (Photo by Bernardo Arellano III)

Church of San Agustin in Paoay, Ilocos Norte. (Photo by Divine Arawiran)

Rice terraces in the Cordillera. (Photo by Stephen Pamorada)

Cultural Mapping Toolkit:

64 A Guide for Participatory Cultural Mapping in Local Communities
Sheik Karimol Makdum Mosque in Tawi-tawi. (Photo courtesy of the NHCP retrieved from
https://nhcphistoricsites.blogspot.com/2011/10/sheikh-karimul-makhdum-mosque.html)
According to the NMP, cultural properties
help us understand Philippine history and
culture and thus they are considered priceless
and must be protected.
There are several categories for cultural
properties set by the NMP and the NHCP.
These categories, which cover natural,
immovable and movable heritage, are as
follows:
1. National Cultural Treasure
2. Important Cultural Property (ICP)
3. World Heritage Site
4. National Historical Shrine
5. National Historical Monument
6. National Historical Landmark
These categories have been defined in the
earlier chapters. Moreover, under Republic
Act 10066, the National Cultural Heritage Act
Mapping Tangible-Immovable Cultural Heritage
of 2009, other definitions have been used to
pertain to other types of immovable heritage.
These include:
Heritage Zone – “shall refer to historical,
anthropological, archaeological, artistic
geographical areas and settings that are
culturally significant to the country, as
declared by the National Museum and/or the
National Historical Institute.” Old Dapitan
in Zamboanga del Norte is an example of a
declared heritage zone.
Historical Street Name – “shall refer to a
street name which has been in existence for
at least fifty (50) years and over time has been
considered historic.” Many old towns still
bear the name Calle Real and later renamed
as Rizal Street. A famous Historical Street is
Calle Crisologo in Vigan City.
 Sample List of Declared Immovable Heritage Properties in the Philippines.

Region Name Location Category Type Declaration

National Capital Philippine General Manila National Building NHCP
Region (NCR) Hospital
Cordillera Ifugao Rice Terraces Ifugao Cultural Landscape NMP: NCT
Administrative UNESCO World
Region (CAR) Heritage
Region 1 Mestizo Section, Vigan, Ilocos Sur Ancestral House NM: NCT
Ilocos House of Fr. Jose UNESCO World
Burgos and Leona Heritage
Florentino
Region 2 San Vicente Ferrer Dupax, Nueva Vizcaya Church Complex NMP: NCT
Cagayan Valley Church Complex and
Dampol Bridge in
Dupax del Sur
Region 3 Parish Church of Betis, Pampanga Roman Catholic NMP: NCT
Central Luzon Santiago Apostol Church

Region 4A Pagsanjan Boundary Pagsanjan, Laguna Historical Landmark NMP: NCT

CALABARZON Arch
Region 4B Twin Forts of Romblon, Romblon Spanish Colonial NMP: NCT
MIMAROPA Romblon Forts
Region 5 1st Rizal Monument Daet, Camarines Historical Monument NHCP
Bicol in the Philippines Norte

Region 6 Gusali ng Mababang Bacolod City Historical Building: NHCP

Western Visayas Paaralang Rizal School

Region 7 Bradford Memorial Cebu City National Historical NHCP

Central Visayas Church Landmark

Region 8 Site of the First Mass Limasawa, National Historical NHCP

Eastern Visayas in the Philippines Southern Leyte Landmark

Region 9 Zamboanga Old Town of Dapitan Dapitan City, Historic Zone NMP: Heritage Zone
Peninsula Zamboanga del
Norte
Region 10 Parish Church of St. Jimenez, Misamis Roman Catholic NMP: NCT
Northern Mindanao John the Baptist Occidental Church

Region 11 Davao City Hall Davao City Historical Structure NHCP

Davao Region

Region 12 Pinol Cave Maitum, Sarangani Archaeological Site NMP: ICP

SOCKSARGEN Formation**
Region 13 Balangay Sites Butuan City Archaeological and NMP
Caraga Anthropological Sites

Autonomous Region Sheik Karimol Simunul, Tawi-Tawi Mosque NMP: NCT

of Muslim Mindanao Makhdum Mosque
(ARMM)
Key to Abbreviations:
NMP - National Museum of the Philippines;
NHCP - National Historical Commission of the Philippines;
NCT - National Cultural Treasure;
ICP - Important Cultural Property;
UNESCO - United Nations Educational, Scientific and Cultural Organization.

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66 A Guide for Participatory Cultural Mapping in Local Communities
Participants of the Cultural Mapping Facilitators in Mindanao documenting one
of the Japanese bunkers in General Santos City. (Photo by Divine Arawiran)

Training to Map Tangible Immovable • Identify and categorize the tangible

immovable heritage in the community;
Heritage • Record and document the identified
tangible immovable heritage;
The members of the cultural mapping
• Identify threats and urgent concerns
team shall undergo an orientation-training
on the identified tangible immovable
on identifying and mapping the tangible-
heritage; and,
immovable cultural properties in their
• Appreciate the value of the cultural
locality. In the process, they are encouraged

Mapping Tangible-Immovable Cultural Heritage

mapping process.
to understand the concept of Tangible
(Immovable) Heritage and their protection.
The first step in identifying immovable or
built heritage is to determine the age of the
The training will also assist them to identify
original structure. RA 10066 declares that
these cultural properties, categorize them,
any structure more than 50 years old is to be
and conduct systematic documentation
presumed as an important cultural property.
procedures, to include their cultural, social,
artistic, scientific, and historical significance
The second step is to know the significance
to the community.
of the property such as its historical value,
spiritual, aesthetic, economic, scientific
The training is usually conducted equivalent
and social significance to the community.
to a full day. In the afternoon, short lectures
Declarations by pertinent agencies such as
and discussions are conducted to raise the
the National Museum of the Philippines,
participants’ understanding about tangible-
National Historical Commission of the
and-immovable cultural properties. They
Philippines, UNESCO and even LGU
shall also be engaged in initially listing these
ordinances and resolutions indicate its
cultural properties that exist in their area. In
inherent value.
the morning of the next day, the participants
shall be guided in an actual field work
However, there are still many built
experience in selected sites.
structures worth looking into and should
be documented or mapped. Thus, when
A cultural mapping checklist or template for
mapping built structures, basic data should be
documentation shall guide the participants
kept in mind. One should bear in mind the
during the field work. By the end of the
type of immovable heritage being mapped.
training-orientation, the participants are able
This tool kit lists seven types of immovable
to:
heritage.
 Types of Immovable Heritage

1. Government Structures, Private Built 2. Schools and Educational Complexes.

Structures and Commercial Establishments.
These refer to buildings of importance such as
municipal hall, capitol building, government
agency, barangay hall, lighthouse, bridge,
health center, fortress, museum, cockpit,
train station, rice mill, sugar mill, prison/
correctional facility, fire station, theatre, ice
plant, winery, bakeshop, recreation center,
marketplace, hotel, bank, store, airport,
seaport, laboratory, etc.
Public and private schools are structures
of interest as well for they convey a sense
of history and heritage. For example, many
school buildings were made in a particular
era such as the Gabaldon-type building in the
early 1900s. Others may include the Marcos-
type building in the 1960s or any school
structure that is 50 years or older.

Bank of the Philippine Islands Building, Magallanes St., Cebu City (Photo courtesy of the NHCP retrieved from
https://nhcphistoricsites.blogspot.com/2011/10/bank-of-philippine-islands.html).

Gabaldon Building in San Rafael, Bulacan (Photo courtesy of the NHCP retrieved from
https://nhcphistoricsites.blogspot.com/2011/11/mababang-paaralan-ng-san-rafael.html).

Cultural Mapping Toolkit:

68 A Guide for Participatory Cultural Mapping in Local Communities
3. Hospital and Health Facilities.
Under this category are the hospitals, clinics,
sanitariums, leprosarium, and nursing homes.
Take note that there are buildings used today
as hospitals but were originally a house
or government building. In this case, the
mapper will have to list the structure under
the category of hospital and also provide
the historical background of the immovable
heritage structure.
4. Temples, Churches, Mosques and Places
of Worship.
As mentioned, the Philippines has a good
number of structures under this category, and
a few have even been identified under the
category of World Heritage Site, such as the
Baroque Churches of the Philippines. This is
not only limited to Catholic churches, since
you can include significant structures from
other religions. For example, the Anglican
Church in Sagada is worth documenting or
a Lutheran chapel in a locality built during
The historical marker of the Philippine General
Hospital in Manila.
(Photo courtesy of the NHCP).
the American period should be mapped.
Aside from the general fields mentioned
when mapping immovable heritage, a
mapper should also provide a description
of the interior and exterior of the structure,
surrounding landscapes, and history of
interventions. There may be a need to
describe architectural designs and the shape
of the church, which is usually cruciform. The
figure on below may help you identify the
parts of the interior of a Catholic Church. The
mapper would need to elaborate on certain
important parts in the built structure such
as the stoup or dawdawan; the baptistery
area (usually found beside the narthex) and
its baptismal font; choir loft; pulpit; retablo
mayor and minor; and communion rail.
Mapping the exterior of the church includes
the façade and its parts such as the niche,
seals, etc. Describe the roofing and also the
belfry beside the church. Other parts of
the complex include the patio, quadrangle,
Mapping Tangible-Immovable Cultural Heritage
convent, church cemetery, parochial school,
church plaza, monuments and other
important components.
Parts of the interior of a Catholic
Church (Archdiocese of Cebu 2010, 6).
 5. Monuments and Markers.

These include monuments and shrines of

heroes and significant personalities of a
locality, welcome markers, and structures
in the plaza complex such as a bandstand,
fountain, etc. Specific markers recognized
by the community can also be put under
this category (e.g., well). Make sure when
mapping monuments and markers to
carefully describe the physical features and
characteristics of the structure. It is advised
to make separate measurements for the area
of the monument, its base, and the actual
monument itself.

6. Sites.

Refer to recognized places in a community

that have heritage value. These may
include the following: plaza, park, street,
archaeological site, heritage landscape,
waterscape, cemetery, burial site, fortress,
railway, ruins, sports complex, pilgrimage site
and others. Mapping sites can be a tedious
process since the mappers would need to
include a description of land area and the First Rizal Monument in the Philippines, in Daet, Camarines Norte.
structures found in the area. (Photo by Gina Meneses)

The plaza of Balangiga, Eastern Samar with the Balangiga Encounter Memorial.
(Photo courtesy of Rolando O. Borrinaga)

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70 A Guide for Participatory Cultural Mapping in Local Communities
7. Houses/Vernacular Architecture.
Residences should also be mapped, and the
range may not be limited to houses built
during the Spanish period, but extended to
those built during the American period until
the 1960s. Vernacular architecture, which
refers to houses that are indigenous to a place,
such as the proverbial bahay kubo, or the dap-
ay of the Kankana-ey or the torogan of the
Maranao, should also be mapped. Since most
vernacular houses are made of light materials
such as bamboo or thatched roofing, the
50-year old criteria may not always be of use.
In this case, even if a vernacular house was
built recently but is acknowledged as the best
representative of vernacular architecture in
the locality, then the built structure should
be mapped. It is best also to capture the local
language when identifying the parts of the
Traditional Kalinga house and its parts (Perez, et.al. 1989, 55).
house. The figure below shows a traditional
Kalinga house and the native name of its
parts.
When mapping heritage houses, one should
describe certain details specific to the style
of the house (i.e., vernacular, bahay na bato,
chalet, azotea, traditional). The mapper
should describe the exterior (the surrounding
landscape and other structures around the
house such as the water source/cistern/
well, camarin/kamalig [warehouse], gazebo,
and/or pergola), the interior (the various
rooms of the house, the stairs, the floor, the
architectural details such as woodcarvings,
windows, implements, caryatids, etc.), and
a history of the interventions done to the
structure (if available). The figure below can
help when mapping houses built during the
Spanish colonial period.
Mapping Tangible-Immovable Cultural Heritage
 Parts of houses built during the Spanish colonial period (Fernandez 2015, 56).

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72 A Guide for Participatory Cultural Mapping in Local Communities

The local cultural mapping team of Bayombong,
Nueva Vizcaya documenting the St. Dominic
Cathedral together with Cultural Mapping
facilitator Prof. Arvin Manuel Villalon. (Photo by
Mayumi Camba)
Mapping Tangible Immovable
Cultural Properties
(Required Data)
Name of Immovable Heritage:
Photo:
I. Background Information
a. Type
b. Ownership
c. Address/Location/Coordinates
d. Area
e. Year Constructed/Estimated
Age
f. Ownership/Jurisdiction
g. Declaration/Legislation
II. Description
a. Physical Description
b. History of Structure/Site
III. Stories Associated With
IV. Significance
V. Conservation
a. Status/Condition
b Integrity of the Site
c. Constraints/Threats/Issues
d. Conservation Measures
VI. List of Significant Tangible
Movable Heritage or Flora,
Fauna and Heritage Structures
VII. References
a. Key Informant
b. Reference/s
c. Name of Profiler/Mapper
d. Date profiled
Narrative Requirements
Mapping requires the completion of the following
major sections: background information, description,
stories associated with the structure, significance,
assessment of condition and listing/cross-referencing
of significant tangible movable heritage, flora and fauna
and references.
Under background information, the mapper should
be able to accomplish the following data fields: proper
identification of heritage structure; determination of
present ownership (either public or private); location
(either its address or coordinates); and determination of
the area. Take note of the land area and the area of the
structure. Finally, the ownership of the built heritage
should also be determined as well as the declaration or
legislation, if applicable.
The next section of research that the mapper should
look into is the physical description of the immovable
heritage. Describe the surrounding landscape first and
any significant structure and its design apart from the
Mapping Tangible-Immovable Cultural Heritage
built heritage being described. For example, the gate
may reveal the year of a particular structure. This will be
followed by a description of the exterior of the structure
such as the color, dimensions, material, design, etc.
A detailed description may be warranted in some cases,
such as in mapping houses where the researcher need
to describe each room (sala, kitchen dining, bedroom,
etc.). Describing other details of the interior such as the
ceiling, staircase, walls or calado (fretwork) can shed
important data on the heritage value of a structure. The
section can also include a description of the history
of the structure such as how it was built, stories of
intervention (damages and repairs), utilization of the
structure.
The third and fourth sections should focus on the stories
associated with the structure and the assessment of its
significance according to the guidelines set earlier in
the book. The stories can include events that occurred
inside and outside the structure. For example, the
commercial establishment being mapped could have
been the meeting place of prominent politicians in the
province. The stories do not exclude the supernatural,
which Filipinos have always a tale to tell, especially with
regard to heritage structures.
 The fifth section requires the mapper to assess
the status/condition of the built heritage.
S/he needs to determine if the structure
or site is in good or bad condition. The
integrity of the site should also be looked
into, whether the structure or site has been
altered or never altered. In some cases, the
need for expert opinion such as those of
architects or engineers may be warranted.
Several threats may also affect the integrity
of a built structure. UNESCO has identified
several examples of threats ranging from
development, pollution, institutional factors,
etc. Please see the Appendix for the List
of Threats which you can refer to when
describing the condition of the built heritage.
Some of the items in the list may also be
used for other heritage categories (natural,
movable, and intangible heritage). Status of
protection refers to safeguarding measures
initiated to protect and promote the built
heritage. This can be in a form of legislation
or private initiatives. In some cases, there is
the absence of the status of protection.
Except for the Site category, the mapper
should list and provide a description of
significant movable heritage found inside the
built structure. Please include picture/s of the
objects, information on the year produced,
dimensions, material and description.
Mapping sites would also include a listing of
heritage flora and other heritage structures
present in the site. For example, a plaza may
contain a 100-year old acacia tree and is
home to migratory birds, which are part of
the collective memory of the townsfolk. Aside
from these, several structures may be present,
such as the bandstand and the monument of
Jose Rizal.
Lastly, the References section should provide
the names of the key informant and mapper/
profiler and the references used in the
research such as books, blueprints, etc.
Cultural Mapping Toolkit:
74 A Guide for Participatory Cultural Mapping in Local Communities
References
Archdiocese of Cebu. Balaanong Bahandi: Sacred
Treasures of the Archdiocese of Cebu. Cebu City:
University of San Carlos Press, 2010.
Bautista, Angel P. Protecting Filipino Heritage: Laws
and Initiatives for the Preservation of Cultural
Property in the Philippines. Manila: National
Museum, 2013.
Congress of the Philippines. Republic Act No. 10066, or
“National Cultural Heritage Act of 2009.” Accessed
June 2,2018. https://www.lawphil.net/statutes/
repacts/ra2010/ra_10066_2010.html
Fernandez, Roni D.A. Diksyunaryong Biswal ng
Arkitekturang Filipino: A Visual Dictionary of
Filipino Architecture. Manila: UST Publishing
House, 2015.
Laya, Jaime C., Turalba, Maria Cristina V. and
Martin I. Tinio, Jr. Philippine Heritage Homes: A
Guidebook. Mandaluyong City: Anvil Publishing,
Inc., 2014.
“What is Built Heritage?”. December 6, 2013. Accessed
February 14, 2018. http://modernheritage.com.
au/mhm/understand_heritage/what-is-built-
heritage/.
“Modern Heritage Matters.” Accessed February 14,
2018. http://modernheritage.com.au/mhm/.
“National Historical Commission of the Philippines.”
Accessed February 14, 2018. http://nhcp.gov.ph.
“National Museum of the Philippines.” Accessed
February 25, 2018. http://www.nationalmuseum.
gov.ph/#page=page-1.
Perez, Rodrigo D., Encarnacion, Rosario S. and Julian
E Dacanay. Folk Architecture. Quezon City: GFC
Books, 1989.
UNESCO. Convention Concerning the Protection of
the World Cultural and Natural Heritage (1972).
Accessed January 12, 2018. http://whc.unesco.org/
en/conventiontext/.
Sample Filled-out form for documenting Tangible Immovable Heritage

Mapping Tangible-Immovable Cultural Heritage

 Cultural Mapping Toolkit:
76 A Guide for Participatory Cultural Mapping in Local Communities
Mapping Tangible-Immovable Cultural Heritage
 Cultural Mapping Toolkit:
78 A Guide for Participatory Cultural Mapping in Local Communities
Mapping Tangible-Immovable Cultural Heritage
 Cultural Mapping Toolkit:
80 A Guide for Participatory Cultural Mapping in Local Communities
PART 6
Mapping Tangible-Movable
Cultural Heritage

Mapping Tangible-Movable Cultural Heritage

One of the significant discoveries from the cultural mapping

training of Limasawa is a small jar with baybayin inscriptions
found by a local farmer. (Photo by Divine Arawiran)
 Mapping Tangible-Movable
Cultural Properties

T
angible Cultural Property refers to cultural property with
historical, archival, anthropological, archaeological, artistic
and architectural value and with exceptional or traditional
production, whether of Philippine origin or not, including antiques and
natural history specimens with significant value. Galla (2001) identified
tangible-movable heritage as those managed indoor or as collection
resource.

According to UNESCO, tangible heritage objects are significant to

archaeology, architecture, science or technology of a specific culture.

This learning module shall encourage the participants to understand

the concept of tangible-movable heritage and their protection. It will
also assist in identifying these cultural properties, categorizing them,
and conducting systematic documentation procedures, to include the
assessment of their social, artistic, scientific, historical, and economic
significance to the community.

Tangible-movable heritage items are commonly categorized as follows:

Heritage objects: Evidence of the material culture of people and their

history, often collected in museums due to their cultural or natural
significance (e.g., archaeological artifacts).

Artworks: Representation and record of the aesthetic traditions and

creativity of the local community.

Archives or documentary heritage: Written, typed, printed materials, or

photos, which are significant because they provide important historical
evidence to the place. These include audiovisual heritage such historical
voice tapes, videos, films.

Specifically, the cultural mapping documentation shall include the

names of the tangible-movable cultural properties, the owners,
dimensions, their location, significance, threats and urgent issues or
concern. It shall likewise include photographs and necessary narrative
descriptions.

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82 A Guide for Participatory Cultural Mapping in Local Communities

The Manunggul Burial Jar. Photo Copyright: National Museum
of the Philippines Collections (www.nationalmuseum.gov.ph/
nationalmuseumbeta/Collections/Archaeo/Manunggul.html)
It is ideal that this learning session will
involve the members of the local cultural
mapping team and several selected local
informants and/or key respondents (e.g.,
elders, historians, etc.) in the locality.
It is envisioned that by the end of the
learning session, the participants are able to:
• Appreciate the value of the cultural
mapping process.
• Identify and categorize the tangible
(movable) heritage in the community.
• Record and document the identified
tangible (movable) heritage.
• Identify threats and urgent concerns on
the identified tangible (movable) heritage.
The learning process will involve a half-day
lecture and discussions about tangible-
movable heritage, and identification
of existing cultural properties in the
community. The remainder of the day can be
allocated for field work exercises in selected
areas. The cultural mapping checklist or
template for documentation that will be used
in the field work is appended in this tool kit.
Tangible-movable cultural properties are
often referred to as heritage objects, or
artifacts. They are made by human beings in
a particular period of time. Therefore, these
are products and expressions of culture. The
values, customs and traditions can be seen
through a movable heritage item. It may also
reflect the natural environment of the people.
Many movable heritage items are housed
in a built structure. Thus, movable heritage
is viably connected with both tangible-
immovable and intangible heritage.
For example, the famous Manunggul burial
jar is a fine example of an ethnographic
object that can be classified as a household
Mapping Tangible-Movable Cultural Heritage
object and was found in the Tabon Cave
complex in Palawan. Archaeologists date
the jar to have been made during the late
Neolithic Period (710 B.C.). Archaeologist
Robert Fox described the jar as follows:
“The burial jar with a cover featuring a
ship-of-the-dead is perhaps unrivalled in
Southeast Asia; the work of an artist and
master potter. This vessel provides a clear
example of a cultural link between the
archaeological past and the ethnographic
present. The boatman is steering rather
than padding the ‘ship.’ The mast of the
boat was not recovered. Both figures
appear to be wearing a band tied over
the crown of the head and under the
jaw; a pattern still encountered in burial
practices among the indigenous peoples
in Southern Philippines. The manner
in which the hands of the front figure
are folded across the chest is also a
widespread practice in the Islands when
arranging the corpse.
 “The carved prow and eye motif of the
spirit boat is still found on the traditional
watercraft of the Sulu Archipelago,
Borneo and Malaysia. Similarities in
the execution of the ears, eyes, nose,
and mouth of the figures may be seen
today in the woodcarving of Taiwan, the
Philippines, and elsewhere in Southeast
Asia.” (http://www.artesdelasfilipinas.
com/archives/50/the-manunggul-jar-as-
a-vessel-of-history.)
The Manunggul Jar has been declared a
National Cultural Treasure and is housed
in the National Museum of the Philippines.
There are other fine objects that have been
declared by the National Museum as National
Cultural Treasures and important cultural
property. Table 1 gives us an idea of the wide
expanse of movable heritage treasures found
in the country.
Tangible Movable Declared National Cultural Treasures of the Philippines
Name
Spoliarium (by Juan Luna)
Bolinao Skull
Calatagan Ritual Pot
Banton Cloth
Oton Gold Death Mask
Maitum Anthropomorphic Pots
Butuan Balangay
University of Santo Tomas
Baybayin Documents
Sacred Painting of the Image of
Nuestra Señora de la Soledad de
Porta Vaga
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84 A Guide for Participatory Cultural Mapping in Local Communities
Documenting Movable Heritage
Like immovable heritage, objects that are
more than fifty years are presumed important
cultural property and are worth exploring.
However, one has to be critical in choosing
the object that will qualify as heritage.
The key to mapping movable heritage is
to identify its significance. Significance
means it has its inherent cultural, historical,
economic, social, scientific value. A third
aspect has to do with its value to the
community where the object was found.
For example, the earthen jar called tibod in
Capiz is a common object that resounds with
all socio-economic classes and is a shared
heritage among all municipalities of the
province. However, there might be other rare
finds and the mapper must be able to justify
their inclusion as heritage objects based on
the criteria mentioned.
Location Origin
National Museum, Manila Spain
National Museum, Manila Bolinao, Pangasinan
National Museum, Manila Calatagan, Batangas
National Museum, Manila Banton, Romblon
National Museum, Manila Oton, Iloilo
National Museum, Manila Maitum, Sarangani
National Museum Balangay Shrine, Butuan City
Butuan City
UST Archives, Manila Manila
San Roque Church, Cavite City Origin unknown,
found in a beach along
Cañacao Bay
The Oton Gold Death-Mask – This is gold
nose-disc and gold eye-mask dated from the
late 14th to the early 15th century A.D. was
found in a grave site in San Antonio, Oton,
Iloilo. (Photo and caption from the National
Museum of the Philippines Collections
retrieved from http://www.nationalmuseum.
gov.ph/nationalmuseumbeta/Collections/
Archaeo/Deathmask.html)
Movable heritage items can be found in the
following repositories:
• Museums
• Churches
• Antique/curio shops
• Homes (heirlooms)
• Private collections
• Libraries (books, photos, memorabilias)
• Schools and offices, including LGUs
When mapping movable heritage, the
following categories are used to classify the
identified objects:
1. Archaeological Objects – objects that
have been collected in archaeological sites
and may be classified according to artifacts
such as stone tools, metal, modified shell,
stone ornaments, glass, modified bone
or shell, meteorites, ceramics (stoneware,
porcelain, earthenware), and others. The
other classification includes ecofacts,
which refer to archaeological objects that
are derived from natural specimens such
as shells, bones, fossils, plant remains and
others.
2. Ethnographic Objects – objects which
are used by people and communities in
many aspects of their lives. They are made
from both organic materials - those derived
from plants and animals - and inorganic
substances like metals, glass and mineral
pigments. Organic and inorganic materials
are often found in combination. These might
The bakuta or the Mandaya basket is cylindrical Textile - Banton cloth, from Banton
in form, 0.041 meters in height, made of rattan Island, Romblon, at the National
strips, and is smeared with beeswax all over to Museum. (Photo from National
make it sturdy and waterproof used as a betel Museum of the Philippines
chew container. (Photo and caption from the collection retrieved from http://
National Museum of the Philippines Collections, www.nationalmuseum.gov.ph/
retrieved from http://www.nationalmuseum. nationalmuseumbeta/Collections/
gov.ph/nationalmuseumbeta/Collections/ Archaeo/Banton.html)
Ethno/Basket.html)
be local and traditional materials, or they
might have been obtained through trade; and
they might well include modern materials
such as plastics (conservationregister.com).
Ethnographic objects can be classified
according to:
a. Work implements - materials used for
work such as farm implements, carpentry
tools, calculators and the like;
Mapping Tangible-Movable Cultural Heritage
b. Household items – objects used at home
such as utensils, lamps, decors, etc.
c. Crafts – objects that are made by
hand, usually as part of a tradition of a
particular community, such as baskets
and mats;
d. Weaponry – objects that have been used
for warfare and protection such as spears,
bow and arrow, etc.
e. Textiles – objects/artifacts from natural
plant fibers or synthetic fibers that are
used as clothing or garment, blanket, and
the like. Usually, these are traditionally
hand-woven.
f. Adornment – refer to jewelry pieces or
objects to beautify oneself such as rings,
bracelets, headdresses, etc.;
g. Musical instruments – objects that are
used to produce sound or music such as
drums, flutes, strings, etc.
3. Religious Objects - objects or materials
used in rituals, prayers, and spiritual
activities such as images, rosaries, vestments,
and bibles. These may include objects used by
any religion, cult, or ritual practice.
 4. Works of Industrial/Commercial
Arts – objects that have been produced in
commercial quantities. Listed under this
form are: ceramics, wood heraldic items,
coins, crests, arms and ammunition, vehicles,
badges, coats of arms, buttons, ships, etc.
These also include furniture such as beds,
dining tables, chairs, etc.
5. Artworks – may be classified according
to specific types such as painting, sculpture,
printwork, etc. Documenting artwork is
quite different from mapping ethnographic
objects. The following data set is needed for
a comprehensive description of a heritage
artwork: a. title of the artwork; b. photo; c.
type; d. name of the artist; e. nationality of
the artist; f. date of creation (if known); g.
medium or material (e.g., acrylic on canvas,
watercolor on paper, etc.); h. dimensions;
i. edition from the original (especially
when the artwork comes in a series or
reproductions); j. subject of the artwork (e.g.,
portrait, seascape, nude, etc.); k. significance;
l. description; m. status/ condition; n.
ownership (present and previous owner) and
address or where the artwork can be found.
6. Archival Holdings – documents with
heritage significance and can be classified
according to the type of material such as:
a. Paper – e.g., birth, marriage, and death
certificates, etc.
b. Parchment vellum – e.g., church
documents written on this material
c. Photographs
d. Magnetic media – e.g., cassette tape, vinyl
record
e. Manuscript
f. Books
g. Negatives – e.g., camera negatives,
microfiche, etc.
h. Others.
Mapping archival holdings can be tedious
work since the researcher should take
extra care in handling archives. Many
Cultural Mapping Toolkit:
86 A Guide for Participatory Cultural Mapping in Local Communities
archival holdings may be in bad condition,
and therefore proper handling should be
observed such as the using gloves, protecting
the document from exposure to light,
elements, etc., and careful handling when
leafing through the pages or manuscripts.
The following data sets are needed to
complete the mapping of an archival holding:
a. title of the record/s; b. photo; c. type of
material; d. date of record; e. volume/size of
record; f. arrangement of the record (e.g.,
alphabetical, numerical, chronological, etc.);
g. office of origin and contact person; h.
description of material; i. status/condition; j.
general assessment of material and remarks;
k. significance.
7. Natural History Specimens – refer to
objects that are part of a natural history
collection. These are usually found in
schools, science museums, and in some cases
private collections. These include biological
objects such as plant and animal specimen
collections and environmental samples.
Geological and paleontological objects are
also included.
These categories are just meant to be guides
since some objects can be classified under
two or more categories. For example, a clay
cooking pot may be classified as a household
item under ethnographic object. But if
the clay pot has been used in a liturgical
celebration, then it can also be classified
as a religious object. If the pot has been
unearthed through diggings, then it can
be classified as an archaeological object. In
this case, just choose one category where
the particular object can be best classified.
The most important thing to bear in mind
is that an entry has been made and you have
documented the item for its inclusion in
your inventory of cultural property in your
community or locality.
Table 2. Matrix on the Classification of Movable Heritage, Their Categories, Sub-categories
and Examples

Categories Sub-categories Examples

1. Archaeological Objects 1. Artifacts Stone tools; pottery shards from an
archaeological site
2. Ecofacts Fossils imprinted in rocks
2. Ethnographic Objects 1. Work Implements Araro (plow)
2. Household Items Banga, tibod (jar)
3. Crafts Bilao (winnowing basket)
4. Weaponry Gaman (axe)
5. Adornments Hikaw (earrings)
6. Musical Instruments Agong (gong)
7. Textiles Malong (tubular cloth)
3. Religious Objects 1. Image Statues (Santo Entierro);
2. Vestment Stola
3. Liturgical Object Bible
4. Relic A piece from the true cross encased in a silver
crucifix
5. Sculpture Stations of the cross created by a National Artist
(sculptor)
4. Works of Industrial / 1. Furniture Tocador (dresser)

Mapping Tangible-Movable Cultural Heritage

Commercial Arts 2. Coin Salapi of the 1900 era
3. Vehicle Presidential car of Manuel L. Quezon
4. Others (see form) Katipunero flag
5. Artworks 1. Painting Oil painting on canvas
2. Sculpture Bronze sculpture
3. Printwork Prints
4. Others
6. Archival Holdings 1. Paper Marriage Registry
2. Manuscript Spanish-American War Papers written by Emilio
(handwritten works) Aguinaldo, 1899 -1901
3. Books Noli Me Tangere
4. Parchment/ Vellum Certificates
5. Photographs Old municipal building
6. Negatives Camera negatives, microfiche
7. Magnetic Media Vinyl records, cassette tape
8. Others
7. Natural History 1. Biological Objects Specimen of insects (entomological)
Specimens 2. Botanical Objects Cordillera plants preserved in barium paper
3. Geological Objects Rock collection from Romblon
4. Paleontological Objects Fossilized remain of mammoths found in
Kalinga province
5. Environmental Objects Soil samples from Bukidnon
 Proper Handling and Safety
Mappers should ensure that objects that
are mapped are handled with utmost care.
Many of these objects may not in its best
state. Some have broken pieces, are brittle
and fragile. Always remember that these
are potential heritage pieces. Follow the
guidelines below when handling heritage
objects (some points adapted from the
NCCA Handbook on Art Practices, 2003):
1. Before you inspect the object, always ask
permission from the owner. There are
some people who regard their objects
as sacred and you do not want to offend
them.
2. Make sure that the owner or custodian
of the object is present when you are
mapping. This ensures safety and allows
you to interview the key informant as
well.
3. Inspect the object in a secure and steady
position. For example, place a porcelain
jar on a flat, even surface. Paintings
should be inspected from where it is
hanged, unless you need to inspect the
back portion.
4. Use a facemask especially when handling
archival materials. It protects the material
and you also get protected from dust,
mildew, molds, and bacteria.
5. Always support archival material when
you are lifting through its pages.
6. Never touch artifacts unnecessarily. Use
gloves.
7. When moving large pieces, use the help of
someone.
8. Never slide or drag heavy objects along
the floor. Use trolleys instead.
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88 A Guide for Participatory Cultural Mapping in Local Communities
9. Always grip objects firmly with both
hands.
10. Lift objects by its base, never by its
handles, or chairs by their back arms.
Please observe the ethical protocol when
mapping tangible movable objects. Avoid
posting photos of the object in social media
or other media unless you have permission
from the owner. Do not ask for any piece of
object or receive object even if it is a token of
gratitude from the owner, even when there
is seemingly an ample supply of it (e.g., old
coins). This is conflict of interest. Instead,
politely decline and explain that mapping
ensures that the object stays with the owner
and/or the community.
Documentation Proper
Use the form as your guide in mapping
movable heritage. The succeeding discussion
can help you accomplish the form.
I. Background Information
Name of the Object: Write the common
name and its Filipino or English equivalent
(if applicable).
Photo: Take a photo of the document
according to its orientation. For example,
the photo of a bust of a hero should be taken
from the front and not at the back of the
bust. There are objects that may require you
to take shots from different angles. If this
is the case, you can include more than one
photo in your mapping form.
For smaller objects, the mapper can
photograph the object along with a common
object to give an idea of its actual size
(scaling). For example, you may photograph
a wedding ring with a one-peso coin beside
it.
Type: The forms require you to check the
specific type. This would vary according to
each form.
Year/Date Produced: If the owner knows the
year the object was produced, this would not
be a problem. However, most of the time,
this data is difficult to ascertain. You can look
for clues such as the signature and date of a
painting, for example; or the make of a car or
an object which can be etched in some part
of the object and the kind of design which
will give you a clue as to the Estimated Age of
the object.
II. Description of the Object
The mapper should also make a detailed
description of the object by describing the
material (e.g., wood, stone, canvas), its use
and dimensions. Observe the following guide
when taking measurements of objects:
Measuring Objects
Make sure you have the proper measuring
instrument with you to ensure accuracy.
Mappers should be ready with a ruler,
measuring tape, meter stick, etc.
1. Determine the orientation first (defined
as the conventional way of looking at
an object). With your hand, use the “L”
method. The pointer finger corresponds
to the length and the thumb corresponds
to the width. For a three-dimensional
object, you need to measure its height.
2. For objects that are circular in shape such
as jars, measurement will come from
three points: a. the circumference or
diameter of the mouth of the jar; b. the
circumference of body (the part which is
the widest such as in the middle); and c.
the circumference or diameter of the base
of the jar.
3. For objects that are irregular in shape
such as figurines and religious statues,
imagine that the object is inside a box.
Find the orientation and use the “L”
method. Thus, the height of an image
of Mother Mary is measured from the
tip of its halo to its base. The length
corresponds to the measurement from the
front to the back of the image; and width
is measured from the left to the right end
of its cape.
4. Other irregular objects require specific
measurement for its parts. For example,
Mapping Tangible-Movable Cultural Heritage
when measuring a guitar, you need to
measure its body and its neck.
5. For two-dimensional objects such as
a photograph or a birth certificate,
measure its length and width only.
The measurement will depend on the
orientation. For a rectangular shaped
document in a landscape orientation,
the length will be shorter than its width,
unlike when it is in portrait orientation.
6. For paintings, taking the measurement
is slightly different, for you have to take
only the measurement of the actual
painting, excluding its frame. Take
the measurement of its frame only if
it is significant (e.g., rare, old, etc.).
Measure the length and width as you
would measure a two-dimensional
object. Measure also the depth, which
corresponds to how thick the frame is. In
some cases, also take the measurement
of the matting or border. For paintings,
use the English system of measurement
(inches or feet).
 7. When measuring textiles such as barong,
skirt, etc., the best system of measurement
is based on a dressmaker’s or tailor’s
guidelines in measuring clothes.
8. Some objects may require you to take
separate measurements of its various
elements. For example, measuring a
carrosa of the Scourging at the Pillar
would mean taking the dimensions of
Jesus, the Roman soldier, and the carrosa
itself.
There are no hard-and-fast rules for doing
measurements. Always remember that your
aim is to document and preserve, and the
more accurate and methodological your
measurements are, the better.
III. Stories/ Narratives/ Beliefs/ Practices
Associated
The stories, beliefs, and practices associated
with the object should also be documented.
The story can tell something about the
history of the object and its role in the
community. For example, a religious object
may figure in many of the town festivities
and events such as the Sto. Niño de Cebu.
Some respondents may even tell something
more personal about the object.
IV. Significance
The assessment of significance of an object
follows two levels.
A. The primary criteria refer to a general
assessment of the significance of the
object based on the rubrics used in this
toolkit. Significance can be historical,
aesthetic, economic, scientific, social, and experience with specific kinds of objects.
spiritual.
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90 A Guide for Participatory Cultural Mapping in Local Communities
B. The assessment of its comparative criteria
determines further the inherent value of
the heritage object. This is based on four
categories that should be determined by
the mapper:
1. Provenance: Write a narrative on the
origin of the object, the history of
ownership, and the context of use.
2. Representativeness: Determine
if the object can stand as a good
representative of the particular
category of the object, way of life or
historical theme. For example, the
winnowing basket has an oblong
shape. Is this how other winnowing
baskets in the community look like? If
yes, then the object can be considered
as a representative sample.
3. Rarity: Assess if the object is rare,
unusual or particularly a fine example
of its type. For example, a cedula from
the late 19th century is very rare.
4. Interpretive potential: Write
something about how the object
has the capacity to interpret and
demonstrate aspects of experience,
historical themes, people and
activities; or the capacity to tell a
story. It also refers to the object’s
potential to teach or educate an aspect
about culture. For example, a Ming
jar found in Sta. Rosa, Laguna would
show that the Filipinos had been
trading with the Chinese prior to the
arrival of the Spanish colonizers.
Not all objects have these comparative
criteria. Furthermore, determining
comparative criteria requires expertise and
Consult someone knowledgeable about the
object being mapped if needed.
Yellowing of a document (Photo by Jeremy Tubao) Molds on a book. (Photo courtesy of Arvin Manuel Villalon)
V. Conservation Status
Mapping movable heritage requires an
assessment of the Physical Condition of
the object. Because of time, wear and
tear, exposure to elements, etc., the object
may exhibit one or more of the following
conditions:
1. Yellowing or stains – usually seen on
paper, textiles and natural materials such
as wood, bamboo, etc.
2. Fading – a condition when the original
color, shine, etc., are no longer present.
3. Foxing – presence of rusty brown spots
usually evident in photographs. These are
actually caused by microorganisms which
produce such iron impurities.
4. Accretion – accumulation of deposits
of foreign material on an object. For
example, a kettle may form accretions
of calcium carbonate over time due to
mineral deposits from water.
5. Fingerprints – marks on objects made by
fingers.
6. Tears/Breaks – overtime some archival
materials such as paper may have tears.
This condition can also be seen in
artworks or even in ethnographic objects.
7. Losses – a mapper should note if there
are missing parts in a particular object.
8. Folds – any evidence of bending over
(usually of a thin material such as paper)
so that it comes in contact with itself
9. Creases – refers to a line or mark made
by folds on paper.
10. Wrinkles – the presence of several folds
or creases, such as a condition produced
by crumpled paper.
11. Brittle – old objects may exhibit this
condition, where parts or the whole
Mapping Tangible-Movable Cultural Heritage
object itself has a tendency to break or
fracture easily.
12. Abrasion – refers to cuts or bruises on
an object. For example, a metal sculpture
may have such condition due to scraping
or scrubbing.
13. Molds – refer to fungi that often appear
as stains on objects. They may come
in various colors and usually a damp
or moist environment promotes such
growth.
14. Insect infestations – objects may play
host to certain insects, which may
eventually cause damage to an object,
artwork or archival holding. For example,
the silverfish (Lepisma saccharina) attacks
books and manuscripts, or termites
(Order Isoptera) may cause damage to
furniture or a sculpture.
15. Holes – damage to an object causing an
opening or gap.
 References

Bautista, Angel P. Protecting Filipino Heritage: Laws and Initiatives for the Preservation of Cultural Property in the
Philippines. Manila: National Museum of the Philippines, 2013.

Galla, Amareswar. Guidebook for the Participation of Young People in Heritage Conservation. Hanoi: UNESCO,
2001.

Maramba, Roberto. Form and Splendor: Personal Adornment of the Northern Luzon Ethnic Groups, Philippines.
Manila: Bookmark, 1998.

National Committee on Art Galleries. Thy Art: Handbook on Art Practices. Manila: NCCA, 2003.

Chua, Michael Charleston. The Manunggul Jar as a Vessel of History. 1995. Accessed June 1, 2018. http://www.
artesdelasfilipinas.com/archives/50/the-manunggul-jar-as-a-vessel-of-history.

Cultural Mapping Toolkit:

92 A Guide for Participatory Cultural Mapping in Local Communities
Sample Filled-out form for documenting Tangible Movable Heritage

Mapping Tangible-Movable Cultural Heritage

 Cultural Mapping Toolkit:
94 A Guide for Participatory Cultural Mapping in Local Communities
Mapping Tangible-Movable Cultural Heritage
 Cultural Mapping Toolkit:
96 A Guide for Participatory Cultural Mapping in Local Communities
PART 7
Mapping Intangible
Cultural Heritage

Mapping Intangible Cultural Heritage

A harvest ritual, “Punnuk” in Hungduan, Ifugao attests

our cultural linkages with Cambodia, Vietnam and Korea.
(Photo by Renato S. Rastrollo)
 Mapping Intangible Cultural Properties

I
ntangible Cultural Heritage is defined as “the practices,
representations, expressions, as well as the knowledge and skills
(including instruments, objects, artefacts, cultural spaces), that
most of the communities, groups and, in some cases, individuals
recognize as part of their cultural heritage” (UNESCO). It is sometimes
called living cultural heritage, and is manifested in various identified
domains.”

Introduction

At the end of this training module, it is expected that the members of

the cultural mapping team shall be able to:

a. Define the meaning, types, functions, levels of significance of

intangible cultural heritage;
b. Collect and record the various existing intangible heritage
resources of their assigned community following a prescribed
format of documentation, with data from key informants of the
community;
c. Describe and record their sources, patterns of usage and functions,
main features and processes, condition of preservation;
d. Analyze and establish their levels of significance and rationale for
their continued protection and preservation; and,
e. Recommend steps for their utilization and integration into local
plans and programs for further enhancing their values, relevance,
and contribution to the community’s quality of life.

The learning process shall familiarize the participants with a deeper

understanding of the following key concepts and learning themes:

a. The definition and domains of the Intangible Cultural Heritage as

defined by UNESCO;
b. Legal Instruments that safeguard ICH, like The Convention for the
Safeguarding of the Intangible Cultural Heritage;
c. Levels of significance of intangible cultural properties; and,
d. References of intangible heritage to tangible and natural heritage.

Cultural Mapping Toolkit:

98 A Guide for Participatory Cultural Mapping in Local Communities

One of the recent and most
outstanding guidebooks in the
study of Philippine ICH has been
the 2013 NCCA Publication,
PINAGMULAN: Enumerations
from the Philippine Inventory of
Intangible Cultural Heritage, edited
by anthropologist and heritage
expert, Dr. Jesus T. Peralta. Opening
with a Philippine Guide Map that
shows a countrywide location of
the ICH samples gathered in the
book, PINAGMULAN provides a rich
array of short informative articles
and essays describing examples
of ICH across all the five domains.
Supplemented with vibrantly
colorful pictures highlighting these
ICH assets, the book is a veritable
source of significant cultural
information for key ICH examples
in the country and is a useful guide
for cultural mappers in terms
of distilling results from actual
mapping towards translating these
into brief descriptive profiles.
This learning session is designed for the participants
to identify the intangible heritage resources of their
community as well as to record the different types,
forms, history and origins, range of use, and functions
of these cultural properties. Eventually, the learning
process shall lead to the learners in establishing the
levels of significance of the cultural properties for their
continuing preservation and practice towards relevant
utilization for further enhancing the community’s
quality of life.
What is Intangible Cultural Heritage or
ICH?
UNESCO defines Intangible Cultural Heritage as
“the practices, representations, expressions, as well
as the knowledge and skills (including instruments,
objects, artefacts, cultural spaces), that most of the
communities, groups and, in some cases, individuals
recognize as part of their cultural heritage.”
Characteristics of ICH
The main component concept of the ICH is its being
INTANGIBLE. According to various dictionaries,
INTANGIBLE means:
Mapping Intangible Cultural Heritage
- incapable of being perceived by the sense of touch,
as in corporeal or immaterial; impalpable;
- not made of physical substance; not able to be
touched;
- from the Latin infinitive, tangere, or to touch.
In contrast to Tangible Cultural Heritage, which is
substantially real or material or corporeal, ICH are
inanimate concepts that cannot be touched, such as
language, thought, beliefs, processes, values, systems,
patterns, mental and ideational structures, technology,
procedures, ways, modes and the like. However, ICH
most of the time employs material and physical things
as part of its processes and actual implementation. For
example, a shamanic ritual in itself and when actuated
is an abstract and conceptual system of procedures,
but the ritualist, healer, or shaman uses a lot of ritual
instruments or accessories like, bells, bowls, candles,
leaves, food, etc.

Photo by Renato Rastrollo/NCCA-ICH (Hungduan, 2013)
The punnuk is a tugging ritual participated in
by the village folk from three communities in
Hungduan, Ifugao in Northern Luzon, Philippines.
It is performed at the confluence of Hapao River
and a tributary as the final ritual after rice harvest.
Its consummation brings to a close an agricultural
cycle and signals the beginning of a new one.
As a whole, the punnuk is a time for the men
and women of Hapao, Baang, and Nungulunan,
who toil in the fields to relax and have fun, after
the months of work in the rice fields; wash away
hardships, frustrations, and freshen up and get
recharged before another agricultural cycle begins.
Punnuk: The Tugging Ritual in the Philippines
From:
Respicio, N. (n.d.) Punnuk, the Tugging Ritual in
Hungduan, Closing an Agricultural Cycle. Retrieved
from http://ichcourier.ichcap.org/article/punnuk-
the-tugging-ritual-in-hungduan-closing-an-
agricultural-cycle/
Cultural Mapping Toolkit:
100 A Guide for Participatory Cultural Mapping in Local Communities
UNESCO and other heritage experts like
Dr. Peralta describe or characterize ICH as
cultural properties that are:
• Ephemeral;
• Heritable, transmitted from generation to
generation;
• Constantly being created by communities
and groups
“The pattern of convergence at present shows
groups exhibiting a generalized form of
culture, hardly indistinguishable from one
other,” like the cultures of the Cordillera, the
Lumads and the Muslim groups in Mindanao,
the lowland Christianized communities
in Central and Southern Luzon and in the
central Visayan region. These differentiated
groupings are based on their being ethno-
linguistic groups or communities, distinct
from each other due to language, geography,
and history. Each grouping has some
common features in language, rites of
passage, components of material culture,
ideologies and customs.
• In response to their environment, their
interaction with nature and their history;
• Individual and communal;
• Sensitive to change, and have a great
range of VARIANCE.
“Cultural Heritage is highly variable since it
is the individual that practices and benefits
from the legacy. It is received according to
the manner of the receiver, depending on his
personality factors. This results in variance
among individual bearers.”
ICH examples like the adobo, the komedya,
the courtship customs, the fiesta, the poetic
jousts, the Holy Week rites, all have distinct
common features within each type, but have
specific variations from region to region, or
even province to province.

Photo by Renato S. Rastrollo
The Darangen is chanted by the ever decreasing
number of elders of the Maranao people, which
live around Lake Lanao and is one of the main
Muslim groups of Mindanao. This epic was
honored in 2005 by its inclusion in the list of the
Masterpieces of the Oral and Intangible Heritages
of Humanity of the United Nations Educational,
Scientific and Cultural Organization (UNESCO).
The pre-Islamic epic consists of 17 cycles and
a total of 72,000 lines, telling the stories of
heroes as well as episodes of Maranao history
and tackling the immortal themes of life, death,
courtship, politics and love. Moreover, it contains
Maranao social values, customary law, ethics and
aesthetics –truly “a wealth of knowledge.” (Roel
Hoang Manipon, from the NCCA website)
The Domains of the Intangible
Cultural Heritage
To better appreciate and understand the
wide range of Intangible Cultural Heritage
(ICH), UNESCO’s 2003 Convention for
the Safeguarding of the Intangible Cultural
Heritage proposed five broad “domains”
in which intangible cultural heritage is
manifested:
• Oral Traditions and expressions,
including language as a vehicle of the
ICH;
• Performing Arts;
• Social practices, rituals and festive events;
• Knowledge and practices concerning
nature and the universe;
• Traditional craftsmanship.
DOMAIN 1: Oral Traditions and
Expressions, including Language as a
Vehicle of
the Intangible Cultural Heritage
Some examples for Domain 1 from different
regions of the country:
Mapping Intangible Cultural Heritage
• Origin myths and epics of the Cordillera
and the Ilocos peoples;
• Mindanao epics (Darangen, Agyu,
Ulahingan, etc.);
• Storytelling forms, like the Bayok of the
Maranaos;
• Panay Bukidnon epics (Hinilawod);
• Folktales, legends, riddles of Luzon and
the Visayas;
• Poetic jousts (Balitaw, Karagatan, etc,) ;
• Poetic debates (Balagtasan, Balak, etc.);
• Loas and Bordon of Panay and Negros;
and
• Languages: local idioms, sayings, folk
expressions.
 Hudhud Ifugao chant. (Photo by Renato S. Rastrollo)

The Hudhud consists of narrative chants traditionally performed by the Ifugao community, which is well
known for its rice terraces extending over the highlands of the northern island of the Philippine archipelago.
It is practiced during the rice sowing season, at harvest time, and at funeral wakes and rituals. Thought
to have originated before the seventh century, the Hudhud comprises of more than 200 chants, each
divided into 40 episodes. A complete recitation may last several days. (http://www.unesco.org/archives/
multimedia/?s=films_details&pg=33&id=1735).

Federico Caballero, Gawad Manlilikha ng Bayan,

Panay-Bukidnon from the mountains of Central
Panay to ceaselessly work for the documentation
of the oral literature, particularly the epics, of
his people. These epics, rendered in a language
that, although related to Kiniray-a, is no longer
spoken, constitute an encyclopedic folklore one
only the most persevering and the most gifted of
disciples can learn. Together with scholars, artists,
and advocates of culture, he painstakingly pieces
together the elements of this oral tradition nearly
lost. (from the NCCA website)

Manlilikha ng Bayan Federico Caballero. (Photo by Renato S. Rastrollo)

The ambahan is a poetic literary form composed

of seven-syllable lines used to convey messages
through metaphors and images. The ambahan
is sung and its messages range from courtship,
giving advice to the young, asking for a place to
stay, saying goodbye to a dear friend and so on.
Such an oral tradition is commonplace among
indigenous cultural groups but the ambahan has
remained in existence today chiefly because it is
etched on bamboo tubes using ancient Southeast
Asian, pre-colonial script called surat Mangyan.

Ginaw Bilog, Hanunoo Mangyan from Mansalay,

Manlilikha ng Bayan Ginaw Bilog. (Photo by Renato S. Rastrollo)
Mindoro upon himself to continually keep
scores of ambahan poetry recorded, not only on
bamboo tubes but on old, dog-eared notebooks
passed on to him by friends. Most treasured of his
collection are those inherited from his father and
grandfather, sources of inspiration and guidance
for his creative endeavors. (Prof. Felipe M. de Leon
Jr., from the NCCA website)

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102 A Guide for Participatory Cultural Mapping in Local Communities
 DOMAIN 2: Performing Arts

Some examples for Domain 2 in the Philippines:

• Instrumental Music: Rondalla, Mindanao

Kulintangan, Cordillera Gangsa Ensemble.
• Vocal Music: Kalinga Ulalim, Kundiman,
Lullabies, Farming and Fishing Songs.
• Dances: Kuradang and Jotas of the Visayas;
War and Wedding Dances of the Cordillera
people and the Mindanao Lumads; the
Batangas Subli.
• Traditional Drama: Komedya or Moro-moro
or Linambay, Sinakulo, Bodabil, etc.

Manlilikha ng Bayan Uwang Ahadas.

(Photo by Renato S. Rastrollo)

Gawad Manlilikha awardee and musician

Uwang Ahadas is a Yakan, a people to
whom instrumental music is of much
significance, connected as it is with both the

Mapping Intangible Cultural Heritage

agricultural cycle and the social realm. From
the gabbang, a bamboo xylophone, his
skills gradually allowed him to progress to
the agung, the kwintangan kayu, and later
the other instruments. Yakan tradition sets
Banda El Gobernador is one of the famous marching bands of the City
the kwintangan as a woman’s instrument
of Bacoor. Founded in 1985 after the EDSA Revolution, the band was
and the agung, a man’s. His genius and named after Gov. P. F. Espiritu, former Governor of Cavite, also a native
his resolve, however, broke through this of Barangay Panapaan where the band is based. (Photo from City
Government of Bacoor Local Cultural Profile 2015)
tradition. By the age of twenty, he had
mastered the most important of the Yakan
musical instruments, the kwintangan
among them. (Salve dela Paz, from the
NCCA website)

Kuradang, one of the folk dances from the Visayan Islands.

(Photo from www.boholchronicle.com.ph)
 DOMAIN 3: Social Practices, Rituals, and
Festive Events

Some examples for Domain 3 in the Philippines:

• Fiestas, Holy Week paraliturgical rites, and

folk customs in the Catholic regions.
• Life Cycle Rituals, like rites of passage to
adolescence, wedding, death, etc.

The Subanen community prepares for the Buklog

(Photo by Prince John Catumber)

The most colorful and expensive of the

Subanen celebrations is the buklog
(Subanens pronounce it as gbecklug), a rite
observed after a happy event, such as good
harvest. An open rectangular stage, called a
buklog, is constructed with round timbers.
It has split bamboo flooring supported by
timbers which are chosen for their pliability. Simbang gabi at the Imus Cathedral. (Photo by Divine Arawiran)
Beneath the center of the floor is a big pole
which is positioned to pass through a hole
carved on a rounded piece of log. Dancers,
both men and women, and children take
turns in going up to the buklog to dance.
They jump and dance in unison, so that their
combined weight would move the stage
downward, resulting in the pole striking the
hollowed log, producing rhythmic sounds
which reverberate even to the distant hills
(http://subanenworld.blogspot.com).

Pahiyas Festival of the Tagalog. (Photo by Renato S. Rastrollo)

Yakan wedding. (Photo by Renato S. Rastrollo)

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104 A Guide for Participatory Cultural Mapping in Local Communities
Tableau of a Pagdiwata Rice Wine Ritual. (Photo
from https://cherryjaneweb.wordpress.com)
The Tagbanuas are found in central and
northern Palawan, practice shifting
Pagluy-a luy-a is one of the healing practices in Sigma, Capiz where
the albularyo uses ginger to heal a person who is “kinabuno it kalag”
(Photo by Lutgardo Labad)

cultivation of upland rice, which is

considered a divine gift. This tribe DOMAIN 4: Knowledge and Practices Concerning
is known for their pagdiwata or rice
Nature and the Universe
wine ritual. They believe in deities
found in their natural environment.
Some examples for Domain 4 in the Philippines:
The Pagdiwata ceremonial dance is a
religious rite of the native – either of
• Blaan Sacred Mountains in Davao del Sur
thanksgiving or for healing sick people
• Sukdang Shamans of Inabanga, Bohol.
possessed by bad spirits (https://
• Luy-a Luy-a, Panulong Sulong, Pagbunggad of
cherryjaneweb.wordpress.com).
Sigma, Capiz.
The Pagdiwata Tribal Ritual is said to
• Cosmology beliefs of the Hanunoo Mangyan and
have a dual purpose. This festival is a
Tau’t Bato.
thanksgiving for the many blessings • Jama Mapun Constellations.
• Belief in supernatural worlds, spirits and creatures

Mapping Intangible Cultural Heritage

that Palawan and its inhabitants receive,
while the other purpose is to seek the of various ethnolinguistic groups.
help of the gods in healing the sick. This • Beliefs related to traditional livelihood such as
ritual originated from the indigenous farming and fishing.
group Tagbanua, and their ceremony • Local community knowledge on predicting
includes traditional dances while weather phenomena.
wearing their costumes and body paint
and singing in their dialect. It is held
in December on a full moon, because
this is the time believed to be the most
effective when it comes to healing and
when the good spirits are strongest
(http/www.translate.com/filipino).

One of the traditional practices of Ivatan farmers is kapawuknud or

the setting of reeds to serve as trellis support for the future sprouts of
the root crops. (Photo by Gladys Argonza)
 DOMAIN 5: Traditional Craftsmanship

Some examples for Domain 5 in the Philippines:

• Mat weaving in Basey, Samar.

• Basket weaving in Antequera and Cabilao, Bohol.
• Textile weaving: Abel in Luzon, Patadyong
and Hablon in the Visayas, and Abaca Ikat in
Mindanao.
• Sculptures, Jewelry and Carvings on silver,
bronze, brass, wood

Manlilikha ng Bayan Haja Amina Appi.

(Photo by Renato S. Rastrollo)

Haja Amina Appi of Ungos Matata, Tandubas,

Tawi-Tawi, is recognized as the master mat weaver
among the Sama indigenous community of Ungos
Matata. Her colorful mats with their complex
geometric patterns exhibit her precise sense of
design, proportion and symmetry and sensitivity to Manlilikha ng Bayan Lang Dulay rinsing dyed fibers in a
stream in Lamdalag, Lake Sebu, South Cotabato (Photo by
color. Her unique multi-colored mats are protected Cecilia V. Picache)
by a plain white outer mat that serves as the mat’s
backing. Her functional and artistic creations take up
to three months to make.

The art of mat weaving is handed down the

matrilateral line, as men in the Sama culture do not
take up the craft. The whole process, from harvesting
and stripping down the pandan leaves to the actual
execution of the design, is exclusive to women. It
is a long and tedious process, and requires much
patience and stamina. It also requires an eye for
detail, an unerring color instinct, and a genius for Moryon masks made in Mogpog, Marinduque
applied mathematics. (from the NCCA website) (Photo by Prince John Catumber)

Only a handful of plateros (metalsmiths) continue to produce

Mat made by Haja Amina Appi
religious art in Manila. (Photo by Renato S. Rastrollo)

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Matrix for Mapping Significant Intangible Cultural Heritage Resources
Domain Types
Oral Traditions and Languages, chants, epics,
Expressions riddles, proverbs, stories,
tales,
poems, legends, myths,
charms, etc.
Performing Arts Traditional Music, Dance,
Theater
Social Practices, Habitual events
Rituals, and Festive and activities in
Events the community,
commemorative events
and celebrations, events
marking the community
calendar or stages in
a person’s life, rites,
traditional games and
sports
Knowledge Traditional ecological
and Practices wisdom, indigenous
Concerning Nature knowledge, knowledge
and the Universe about local fauna
and flora, traditional
healing systems, rituals,
beliefs, initiation rites,
cosmologies, shamanism,
possessing rites, etc.
Traditional Tools, clothing and
Craftsmanship jewelry, costumes and
props for festivals and
performing arts, storage
containers, objects used
for storage, transport
and shelter, decorative
art and ritual objects,
musical instruments and
household utensils, and
toys, both for amusement
and education, cuisine, etc.
Data-Gathering Tools Sources
Key informant interviews, Elders, Artists,
Focus group discussions, Cultural Workers,
Demonstrations and Re- Cultural Groups,
enactments, Cultural NGOs
Review of related research and
literature
Key informant interviews, Elders, Artists,
Focus group discussions, Cultural Workers,
Demonstrations and Re- Cultural Groups,
enactments, Cultural NGOs
Review of related research and
literature
Key informant interviews, Elders, Artists,
Focus group discussions, Cultural Workers,
Demonstrations and Re- Cultural Groups,
enactments, Cultural NGOs
Review of related research and
literature
Key informant interviews, Elders, Artists,
Focus group discussions, Cultural Workers,
Demonstrations and Re- Cultural Groups,
enactments, Cultural NGOs
Review of related research and
Mapping Intangible Cultural Heritage
literature
Key informant interviews, Elders, Artists,
Focus group discussions, Cultural Workers,
Demonstrations and Re- Cultural Groups,
enactments, Cultural NGOs
Review of related research and
literature
 On the Significance and
Safeguarding of Intangible Cultural
Heritage
“The Filipinos will be presented as creators,
innovators and bearers of collective
wisdom rather than imitators and passive
consumers. In this way, we call attention
to our intrinsic dignity and worth and
enhance our self-respect. It is a way
of dignifying our people, a significant
direction in healing and unifying a nation.”
- Prof. Felipe M. De Leon Jr., from the
Introduction of PINAGMULAN.
Over the last four decades, there has been
increasing awareness that some of the
most important aspects of human culture
are contained in the intangible aspects of
cultural practices and knowledge systems.
Cultural mapping is one way to transform
the intangible and invisible into a medium
that can be applied to heritage management,
education and intercultural dialogue.
Adopted in 2001, the UNESCO Universal
Declaration on Cultural Diversity reflects
a number of shifts in thinking about
culture, cultural diversity and its links
to fighting poverty and sustaining the
environment. The presentation of the
Universal Declaration at the World Summit
for Sustainable Development (WSSD)
strengthened awareness of the important
link between cultural diversity and
biological diversity (Nettle and Romaine
[2000], cited in http://unesdoc.unesco.org/
images/0013/001322/132262e.pdf). Following
the WSSD, the Conference approved
two related normative instruments: the
UNESCO Convention for the Safeguarding
of the Intangible Cultural Heritage and the
UNESCO Convention on the Protection
and Promotion of the Diversity of Cultural
Expressions.
The Convention for the Safeguarding of
the Intangible Cultural Heritage (2003)
has substantial implications for indigenous
peoples around the planet in that it takes
into account their practices, landscapes and
cultural heritage from their own perspective,
and emphasizes their role in managing
cultural and natural resources.
Likewise, the Convention requires signatory
states to create inventories of intangible
heritage and to monitor them. On the
other hand, the Havana workshop in 2006,
where mapping was discussed in greater
detail, also highlighted the question of
inventories. This creates an opportunity for
the indigenous peoples to negotiate not only
for greater recognition of oral cultures and
intangible heritage, but also to explain the
close relationship existing between different
cultures, heritages, the territory and its
natural resources in which cultural heritages
arise and survive.

Safeguarding of Cultural Resources refers to measures aimed at ensuring

the viability of the intangible cultural heritage. It includes the identification,
documentation, research, preservation, protection, promotion, enhancement
and transmission, particularly through formal and non-formal education, as
well as the revitalization of the various aspects of such heritage.

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108 A Guide for Participatory Cultural Mapping in Local Communities

The cultural mapping team of Santa Rosa, Laguna
interviewed fishermen about the different practices related
to fishing at Laguna de Bay. (Photo by Mayumi Camba)
Cultural mapping involves the re-presentation
of landscapes in two or three dimensions
from the perspectives of indigenous and local
peoples. It is an important tool for UNESCO
in its efforts to help Member States and civil
society create platforms for cultural dialogues,
and increase awareness of cultural diversity
as a resource for peace building, good
governance, fighting poverty, adaptation to
climate change, and maintaining sustainable
management and use of natural resources.
Furthermore, the Convention requires the
signatory states to promote recognition of
and respect for intangible heritage in the
public domain (through awareness-raising,
education and training) and to pay attention
to non-formal transmission of knowledge
(Article 14). For indigenous peoples, this is
another chance to gain visibility in national
policy forums and to argue for policy
frameworks and governance mechanisms
that help sustain indigenous economies
along with the transmission of indigenous
knowledge and culture.
Clearly, cultural mapping projects allow
indigenous cultures to express themselves
in their full territorial context. In particular,
participatory cultural mapping can
strengthen the ability of communities
to manage their cultural heritage and
knowledge, while also encouraging respect
and understanding from dominant groups.
Beyond doubt, the world of the intangible
cultural heritage is so vast and diverse that
it is imperative that the cultural mapping

Mapping Intangible Cultural Heritage

Cultural mapping, if applied wisely, can help
to reach the objectives set out in the UNESCO team is familiar with its varied manifestations
Universal Declaration on Cultural Diversity and equipped with the basic tools on how
(2001) and related recent conventions: the to qualify, describe and analyze its various
Convention for the Safeguarding of the features and significations.
Intangible Cultural Heritage (2003) and the
Convention on the Protection and Promotion
of the Diversity of Cultural Expressions (2005)
(http://www.unesco. org/culture/ich/index.
php) .

Cultural mapping is furthermore relevant

to the World Heritage Convention, which
dates back to 1972, but has undergone major
changes since then, expanding the notion
of a cultural site and promoting stronger
involvement of populations living on the sites.
 References

“C.E. Smith Museum of Anthropology.” Accessed October 1, 2018. http://class.csueastbay.edu/

anthropologymuseum.

“The Culture of Tagbanua Tribe.” Accessed October 1, 2018. https://cherryjaneweb.wordpress.com.

Masako, I. The Lumad’s Struggle in the Face of Globalization. UNESCO. Accessed October 1, 2018. http://
subanenworld.blogspot.com.

Nettle, D. and S. Romaine. Vanishing Voices: The Extinction of the World’s Languages. Oxford: Oxford University
Press, 2000.

Peralta, Jesus T. (ed.). PINAGMULAN: Enumerations from the Philippine Inventory of Intangible Cultural
Heritage. Manila: National Commission for Culture and the Arts (NCCA) and UNESCO International
Information and Networking Center for Intangible Cultural Heritage in the Asia-Pacific Region (ICHCAP),
2013.

United Nations Environment Programme. “Cultural Diversity and Biodiversity for Sustainable Development.”
Accessed October 1, 2018. http://unesdoc.unesco.org/ images/0013/001322/132262e.pdf.

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110 A Guide for Participatory Cultural Mapping in Local Communities
Sample Filled-out form for documenting Intangible Heritage

Mapping Intangible Cultural Heritage

 Cultural Mapping Toolkit:
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Mapping Intangible Cultural Heritage
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Mapping Intangible Cultural Heritage
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Mapping Intangible Cultural Heritage
 Cultural Mapping Toolkit:
118 A Guide for Participatory Cultural Mapping in Local Communities
PART 8
Mapping Significant
Personalities and Cultural

Mapping Significant Personalities and Cultural Institutions

Institutions

Shown on this page is ProjectSaysay’s Ibarra Posters Project, a set

of posters, featuring the portraits and words of wisdom of 25 great
Filipinos, namely: Emilio Jacinto, Gregoria de Jesus, Padre Jose
Burgos, Apolinario Mabini, and Andres Bonifacio. Also included
are Hadji Butu, Mariano Ponce, Graciano Lopez Jaena, Jose Rizal,
Clemencia Lopez, Gliceria Marella de Villavicencio, Marcelo H. del
Pilar, and Gregorio H. del Pilar. Completing the list are Antonio
Luna, Pio Valenzuela, Valentin Ventura, Artemio Ricarte, Juan Luna,
Marcela Agoncillo, Felipe Agoncillo, Jose Ma. Panganiban, Macario
Sakay, Emilio Aguinaldo, Miguel Malvar, and Martin Delgado. (from
https://www.psaysay.org/single-post/2018/10/20/Project-Saysay-
to-launch-new-poster-designs-heroes%E2%80%99-families-to-
grace-occasion)

ProjectSaysay Inc. is a registered non-government organization with

a mission to spread the ideals and values of great Filipinos through
dissemination of relevant, useful, and inspiring information sourced
from Philippine history. For more information on the organization
you may check their website, https://www.psaysay.org/
 Mapping Significant Personalities
and Cultural Institutions

T
his is a short learning module on identifying and
documenting Significant Personalities and Cultural
Institutions which have had significant contributions
to a community. The learning process includes a short lecture
and group discussions or workshop as well as guided field
research practicum. The module shall end with in-house
reporting and analyzing of the initial mapping results.

At the end of the module, the participants will be able to:

a. Define the meaning of what significant personalities and

cultural institutions are;
b. Collect and record important facts of their biography and/
or history;
c. List and describe various forms of learning institutions
and their significant organizational processes;
d. List and describe important accomplishments of
significant personalities, both living and deceased,
engaged in different fields of endeavor in the community;
e. List and describe the significant contributions of these
personalities and institutions to their community, and if
possible to the country;
f. Describe and record informants, their background, and
their relationship to either personalities or institutions;
g. Analyze and establish their levels of significance and
rationale for their continued promotion and protection;
and,
h. Recommend steps for the utilization and integration
of their contributions into local plans and programs to
further enhance their values, relevance, and contribution
to the community’s quality of life.

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120 A Guide for Participatory Cultural Mapping in Local Communities
Recommended Learning Process
1) The facilitator can start by providing a
short input on the meaning of “significant
personality or cultural institutions.” workshop venue to report and analyze the
2) It is essential that the categories are
cited, e.g., types, forms, processes, etc.
Examples of outstanding personalities
and institutions in the world, Philippines,
and in other provinces or communities
can be discussed by the participants.
3) The facilitator can cite various methods
hours. It is expected that each participant
can be able to complete at least the
mapping form.
5) The participants can go back to the
initial research data gathered.
6) The session shall end with devising
a plan to complete the mapping and
documenting significant or prominent
personalities and institutions in the
community.
The annexed Mapping Form for Personalities

Mapping Significant Personalities and Cultural Institutions

of mapping personalities and institutions
in the community using the prescribed
forms.
4) An actual fieldwork or practicum can
be done that would last to two to three
and Institutions shall be introduced to the
participants and the method of gathering the
required data in each field shall be explained
by the facilitator.

Bust of Datu Bago, a renowned chieftain of Davao who fought

against the Spanish invaders. (Photo courtesy of Nestor Horfilla)
 Significant Personalities
The data about prominent men and women
in the community can be mapped from the
following clusters:

a. Historical men and women;

b. Awarded artists;
c. Artists and cultural workers living and
working in the locality;
d. Artists and cultural workers born in the
locality but no longer working there;
e. Traditional craftsmen and artisans;
f. Scientists; Manlilikha ng Bayan Magdalena Gamayo.
g. Sports personalities; (Photo by Renato S. Rastrallo)

h. Others.

The data to be gathered from each significant

personality are as follows:

Type of Personality
Name of Personality
Location
Birthplace
Death Place (if applicable)
Current Address
Narrative Description
Summative Biography
Name of Resource Persons and
Informants, with basic information
Daisy H. Avellana. (Photo from NCCA-Awards and
on their background Recognition Section)
Stories and Memories
References to corresponding Tangible
Heritage
Status of Promotion, Support, and
Dissemination
Significance

NOTE: When documenting a significant

personality, the mapper shall provide
all or any of the following supporting
documentation:

• Video of the person’s works

• Photographs and sketches
• Samples of works or publications

Marcela Agoncillo, together with Lorenza Agoncillo and Delfina

Herbosa made the first Philippine Flag. (Photo from the NHCP)

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122 A Guide for Participatory Cultural Mapping in Local Communities
Cultural Institutions
The data for cultural institutions can be
mapped from the following clusters:
a. Libraries
b. Museums
c. Schools (Formal Education)
d. Alternative Learning Systems
e. Galleries
f. Civil Society Organizations
g. Non-Governmental Organizations
h. People’s Organization
i. Sectoral Organizations engaged in
Culture and Arts
j. Archives Offices
i. Historical/Heritage Societies
The data to be gathered from each cultural
institution are as follows:
Type of Cultural Institution
Name of Institution
Photo
Location
Narrative Description: Mandate,
History, Officials, Contact Details
Name of Resource Persons and
Informants, with basic information
on their background
Description of Significant
Organizational Processes
Stories and Memories
References to corresponding Tangible
Heritage
Status of Preservation or Actual
Condition
Significance
NOTE: When documenting a cultural
institution, the mapper must provide all or
any of the following required supporting
documentation:
• Video and audio recordings
• Photographs and sketches
• Others
Sample Guide for Mapping Cultural
Institutions and Significant Personalities
1. Present the activity objectives and
planned outcomes and processes.
• Encourage the participants to
engage in creative brainstorming
on what Cultural Institutions and
Prominent Personalities meant to the
participants.
• Divide into groups and in an
interactive “pabilisan” (fast-recall)
game ask them to portray in Tableau
or Sculpture Form the personalities
Mapping Significant Personalities and Cultural Institutions
or institutions significant to them.
The rest of the groups will guess who
or what the performing group has
mounted.
• Process their reenactment examples
into: forms, types, values, using idea-
cards for clustering.
• Come up with a group definition of
what is a Significant Personality and/
or Cultural Institution.
• Provide an input using PowerPoint on
the following: “Outstanding Examples
of Personalities and Institutions in the
Country or in the World.”
2. Introduce the Mapping Form for
Personalities and Institutions and explain
the data fields and the possible data for
each field.
3. Introduce the other data required of the
field or object:
• References to Tangible Heritage
• Significance
• Remarks on: Changes over time,
Hazards or Risks, Condition, Status of
Preservation, Vulnerabilities, Issues
and Challenges
• Methodology for Data Gathering
• Informants and sources
 4. As an exercise, select an example of a
personality or institution item in the
community. In a participatory action
research process, the workshop members
shall fill the details required for the said
item. For example: A local Weaver or
Performer, Writer, Hero; or an NGO or
artists’ organization.
5. Provide tips on the:
• Selection of person or institution,
informant;
• Process of interview and culling out
information from the informant;
• Process of recording the content
of the research (voice recorder, cell
phone camera, video and stills, and
note-taking).
6. The local mappers are sent back to
their respective communities to map
out personalities and institutions.
Facilitators are also distributed among the
communities, to monitor the process in
each site.
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124 A Guide for Participatory Cultural Mapping in Local Communities
7. Facilitators may point out certain
important details or issues to the mappers
along the way.
8. The mappers shall share their tentative
results: “what they have accomplished;
what still needs to be mapped; what are
the challenges in the continuing research.”
Here an actual map of the community
may be drawn, with the mappers
putting on meta-cards the names of the
researched items. They shall paste these
cards on the geo-physical map.
9. The facilitator provides ideas, feedback,
recommendations that will be forwarded
to the local officers responsible for the
project.
10. Synthesize the results in terms of how the
mappers have articulated their findings
and insights.
Sample Filled-out form for documenting Significant Personalities

Mapping Significant Personalities and Cultural Institutions

 Cultural Mapping Toolkit:
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Mapping Significant Personalities and Cultural Institutions
 Cultural Mapping Toolkit:
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Mapping Significant Personalities and Cultural Institutions
 Sample Filled-out form for documenting Significant Cultural Institutions

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Mapping Significant Personalities and Cultural Institutions
 Cultural Mapping Toolkit:
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Mapping Significant Personalities and Cultural Institutions
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Mapping Significant Personalities and Cultural Institutions
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 Mapping Civic Heritage and Cultural Programs of Local Government Units
PART 9
Mapping Civic Heritage and
Cultural Programs of Local
Government Units

The Sorsogon Capital Building is a marked

structure by the NHCP. (Photo by Angelo Bacani)
 Mapping Civic Heritage
and Cultural Programs of LGUs

I
dentifying and gathering information on the Civic Heritage
of the community as well as on the Current Programs,
Policies, Projects and Activities of the LGU are considered
important in order to tract the culture-focused development
interventions in the locality. The cultural mapping team shall
document the pertinent data on the history of the LGU and its
development programs to be included in the Cultural Profile of
the LGU.

The Tourism Officer shall be the lead person to gather the data
from the various Offices of the LGU, namely: Development
Planning Office, Budget Office, the Sanggunian, Engineering
Office, General Service Office and the Office of the Municipal
Administrator --- among others. The Training Facilitator
shall provide guidance and coach the Tourism Officer and the
members of the cultural mapping team in the gathering of the
information.

By the end of the training, the members of the Local

Mapping Team are able to compile important documents that
substantiate the LGU supported programs, policies and projects
as well as other cultural resources.

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138 A Guide for Participatory Cultural Mapping in Local Communities
 Mapping Civic Heritage and Cultural Programs of Local Government Units
The Local Government of San Nicolas in cooperation with Department of Education and the San Nicolas Damilian Association had
come together to create a locally designed curriculum for Grades IV to VI students and teach them damili-making, one of the important
intangible cultural heritage in the Municipality of San Nicolas.

Photo above shows the published modules created by a technical working group composed of teachers from different levels in the
Municipality of San Nicolas.

Specifically, the mapping of Local Government Unit shall focus on two significant data sets as
shown in the matrix below:

Matrix of Data Sets and Sources for the LGU Cultural Profile

Data Sets Sources of Information

A. Civic Heritage
Brief History of the LGU
Legislative Fiat
Explanation of the Emblem or Logo
Political Leaders in the area
Historical Maps
Archival Holdings of the LGU
B. Cultural Policies and Programs
Core Development Principles
LGU Supported Cultural Programs and Projects
Annual Funding Obligated for Culture and the
Arts
Creation of a Functional Culture and Arts
Council
LGU Support for Culture-and-Heritage related
Livelihoods
Other information on LGU initiatives for cultural • Municipal Planning Office
development
• Municipal Planning Office; and
• Key Informants in the area
• Municipal Planning Office; and
• Key Informants in the area
• Past or Present Legislative Officials and/or
• Past or Current Municipal Administrator
• Municipal Planning Office; and
• Key Informants in the area
• Municipal Assessors Office and
• Municipal Planning Office
• All Key Departments in the LGU
• Municipal Planning Office
• Municipal Planning Office
• Municipal Administrator’s Office
• Municipal Planning Office
• Municipal Budget Office
• Municipal Administrator’s Office
• Secretary to the Sanggunian Bayan
• Municipal Planning Office
• Municipal Budget Office
• Economic Enterprise Office
• Municipal Administrator’s Office
• Barangay Affairs Office
 The Data Gathering Process
After having been briefed on the nature and scope of this module as well as
the methods to be used in the gathering of data, the Tourism Officer shall
lead the cultural mapping team in the implementation of the agreed-upon
activities.

Perhaps the mapping team can be divided into two groups. The first group
shall be responsible in gathering and compiling information on Civic Heritage
while the second group can focus on the Current LGU Policies and Programs
on Culture-and-Development.

A marker on the creation of a Municipality in Davao del Sur circa 1960.

(Photo courtesy of Nestor Horfilla)

Cultural Mapping Toolkit:

140 A Guide for Participatory Cultural Mapping in Local Communities

The Provincial Government of Nueva Vizcaya maintains the People’s Museum and Library where collections of artifacts about history
and heritage of the province are found. Shown above is the local cultural mapping team with the cultural mapping facilitator assessing
the traditional attire collection for possible inclusion in the local culture profile. (Photo by Mayumi Camba)
Group 1: Civic Heritage
The first group shall start with the conduct
key informant interviews and/or focused
group discussions on the brief history of the
LGU including its legislative basis as well as
on the explanation of the municipal emblem
or logo. The findings on the key informant
and/or group interviews shall be triangulated
with the review of the following archival or
current documents or records:
a. Political History: Historical accounts
on the founding year, legislative fiat,
economic and social development, roster
of political leaders, etc.
b. Significant archival holdings such as
historic maps and other LGU records
(site maps, deed of donations, Original or
Transfer Certificates of Land Titles, Old
Photographs, Executive and Legislative
records, etc.
Group 2: Policies, Programs and Public
Investments on Culture-and-Development
On the other hand, the second group can
proceed to implement the following thematic
activities:
1. Core Development Principles. Revisit the
LGU Core Development Principles and
determine if culture, arts and heritage
Mapping Civic Heritage and Cultural Programs of Local Government Units
conservation are mentioned or referred to
as one of the significant elements.
2. Polices on Culture, Arts and Heritage
Conservation. Seek the assistance of the
Secretary to the Sanggunian to compile
an annotated list of all culture-related
legislations and resolutions duly passed
by the Sangguniang Bayan including
a review the adopted Executive and
Legislative Agenda.
3. Medium-Term and Annual Programs
and Projects. Ask the Planning Office to
revisit the LGU Strategic Directions and
locate the strategies for the development
of culture and heritage conservation.The
Planning Office shall provide a complete
list of culture-arts-and-heritage programs,
projects and activities that are mentioned
in the Medium-Term Development Plan.
4. Annual Investment Plan (AIP). Ask the
Planning Office and the Budget Office to
provide a list of all approved culture-arts-
and-heritage projects and activities that
are annually funded by the LGU and the
amount of funding obligated.
5. Local Arts and Culture CouncilWith the
help of the Municipal Administrator,
verify the following information detailed
in the mapping form on the creation and
function of the Local Culture and Arts
Council.
6. Support for Culture-focused or creative
livelihoods and community enterprises.
 Seek the assistance of the Planning Office,
the Economic Enterprise Office, and the
Barangay Affairs Office (if any) to provide
answers to the following questions:
• What are the any culture-focused
creative livelihoods or community
enterprises that exist in the locality?
• What are the types of products
or services developed by these
enterprises or livelihood options?
• What are the forms of assistance
or support that are provided by the
LGU to strengthen and sustain these
culture-related economic enterprises?
Remember:
“Within their respective territorial jurisdictions,
local government units shall ensure and support,
among other things, the preservation and
enrichment of culture, promote health and safety,
enhance the right of the people to a balanced
ecology, encourage and support the development
of appropriate and self-reliant scientific and
technological capabilities, improve public morals,
enhance economic prosperity and social justice,
promote full employment among their residents,
maintain peace and order, and preserve the
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142 A Guide for Participatory Cultural Mapping in Local Communities
After the task of the two groups have been
completed, the Lead Mapper shall convene
the members of the planning team to discuss
the process of gathering data and compile
the data gathered. Then, the members of
the mapping team shall submit the filled-up
mapping forms for final encoding and data
consolidation.
comfort and convenience of their inhabitants.”
(Section 16. General Welfare. RA 7160: Local
Government Code of the Philippines)
The Code further encourages the participation of
the private and social sectors by mandating their
representation in the Local Development Council
(LDC), Local Prequalification, Bids and Awards
Committee (PBAC), Local School Board (LSB), Local
Health Board (LHB), Local Peace and Order Council
and other local bodies such as the Local Culture
and Arts Councils.
 The Initial Local Culture Profile and Validation of Cultural Mapping Output
PART 10
The Initial Local Culture
Profile and Validation of
Cultural Mapping Output

The Community Validation of the cultural mapping output

in Pasay City attended by various community stakeholders.
(Photo by Divine Arawiran)
 Guide for Consolidation and
Presentation of Cultural Data

Guidelines for the Validation of Cultural Mapping Output

V
alidation is an important procedure in the whole cultural
mapping exercise. It is an important step in ensuring that the
community members or their representatives are informed of
the results and are given the chance to appreciate their heritage; critique
misinformation; fill-in the gaps and verify the accuracy of the mapping
results. Tokumaru in Bendrups (2017, 459-460) calls this the “fieldback,”
an essential component in any ethnographic or participatory action
research where stakeholders are empowered to verify results of the
research endeavor in their locality.

Target participants

• Members of the Local Cultural Mapping team

• Selected key informants
• Identified experts in various disciplines (history, anthropology, arts
practitioners, educators)
• Elders or community leaders
• LGU officials
• Interested public and identified stakeholders
• Documentors

Objectives

By the end of the workshop the following tasks would have been
accomplished:

• Present in an assembly the results of the Cultural Mapping project;

• Get feedback from the community and other target participants on
the accuracy of the information gathered;
• Identify gaps, problem areas of the research, and suggest possible
interventions;
• When possible, list down the critical next steps to be undertaken by
the community with regard to the cultural mapping project.

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144 A Guide for Participatory Cultural Mapping in Local Communities
Expected Output
1. Validated Cultural Mapping results; and
2. Documentation of the proceedings of the
validation workshop.
Activities, Process and Methodologies
1. Preparatory Phase: The Cultural Mapping
Team leader together with LGU official/s
or point person should meet at least a
week prior to the validation workshop to
plan and discuss the following:
a. call for validation workshop
b. identification and invitations to key
participants
c. preparation of logistical requirements
of the workshop
d. finalized cultural mapping results in a
presentation format
2. Workshop proper
Proposed Moderator: Local Cultural
Mapping leader or coordinator
Presenters of Mapping Results: one
presenter each for Natural Heritage,
Tangible (Immovable ) Heritage, Tangible
(Movable) Heritage, Intangible Heritage
(at least 2 presenters);Personalities and
Institutions; IKSPs (if applicable).
Workshop Flow
a. Opening. After the preliminaries, briefly
explain to the participants the purpose of
the validation workshop, the role of the
participants and the expected output for
the day’s activity.
b. Overview. The participants are given an
overview of the cultural mapping activity:
brief background, objectives, framework,
actual methods used, area/s where the
mapping was conducted, time frame, and
persons involved.
c. Presentation. Presenters take turn to
present the results of the cultural mapping
Profile and Validation of Cultural Mapping Output
project. Ideally the presentations should
be for the whole assembly. However, if
there are several entries, you can have
small group presentations according
to the categories listed above. Here,
you can ask the assembly to choose the
presentation of interest them where they
can give their comments and expert
opinion/advise.
d. Feedback. The participants are asked
to give their comments and suggestions
per icon/entry presented. This is where
the moderator’s role is important. S/he
should remind the participants or experts
that their role is to validate the data
gathered and recommend if the entry is
worthy of inclusion as cultural heritage of
the community. Use the assessment form
as your guide.
e. Critical Next Steps. Get feedback from
the community how they intend to deal
with the major problems and get their
suggestions for possible. Prioritization
can also be discussed.
f. Synthesis. The moderator gives a short
summary and highlights of the validation
workshop. (Mapping is empowerment.
The moderator should always highlight
the best efforts made by local community
Heritage?
Local Culture
and encourage the areas that need further
improvement. You would want to end
the validation workshop with high spirits
for mappers, validators and community
is Cultural
members present.
End of Workshop. The facilitator thanks the
participants and informs them of the next set
WhatInitial
of activities where the outputs will be utilized.
CHAPTER 1
The
 The Community Validation of the Cultural Mapping output of
Suggested Outline of the Workshop the Municipality of Dau in Capiz. (Photo from Capiz PTCAO)
Documentation Report

A. Background of the Meeting

• Summarize the objectives of the
workshop.
• Provide details on when and where
the community validation took
place.
• Identify the key people who were
present.
B. Opening of the Workshop
• Highlight the key messages of the
local officials.
• Record the commitments made.
C. Summary of Feedback from the
Community
• Assessment rating of the heritage.
• Write down the feedback of the
workshop participants for each icon
presented.
• Major problem areas and proposed
interventions
• Record the priorities made by the
participants and highlight the
agreements made
• on what interventions are best
suited for each identified problem/
concern.
D. Recommendation from the Participants
• Summarize the recommendations
for plan of action of the local cultural
mapping team.
• List down the feedbacks on how
they intend to deal with the major
problems and
• the necessary interventions in their
cultural mapping process.
Presentation of Data Gathering Outputs at the end of
the cultural mapping workshop.
The mappers will present a documentation sample of
each cultural property on the last day of the cultural
mapping workshop (using the forms) -to include list
of cultural properties
Initial Profile and Validation
a. History of the Municipality (with references)
b. Documentation on Natural Heritage and Map
c. Documentation on Immovable Heritage and Map
d. Documentation on Movable Heritage and Map
e. Documentation on Intangible Heritage and Map
f. Documentation on Personalities and Institutions
and Map
g. Documentation on LGU Programmes, Activities,
Legislations, Resources for Culture and Other
Cultural Resources
The group will also present the time frame for their
data gathering (maximum of 6 months) and agree on
the process and the projected date of the community
validation activity.
(Note: The mappers will use the forms for the
presentation of cultural properties and will use geo-
tagging for the maps.)

E. Annex
• List of Participants
• Agenda and Timetable of Workshop
• Workshop Photos (if available).

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146 A Guide for Participatory Cultural Mapping in Local Communities
 The Initial Local Culture Profile and Validation of Cultural Mapping Output
Samples of the local culture profiles from different LGU
partners of the NCCA
Outline of the Final Profile
Cover Design
Table of Contents Communicating the Cultural Profile
Messages (Facilitator, Mayor, Governor,
NCCA)
History of the Municipality
Cultural Resource Mapping can be a useful tool
Executive Summary for a range of constituencies. For policy-makers, it
Cultural Mapping Framework is a research tool that identifies resources and can
Project Timeline and Description of Cultural illustrate links and trends. Municipal decision-
Mapping Process Flow makers and other leaders can use it to inform
Presentation per Category/Cluster of Cultural
decisions and better communicate with the public.
Property/Cultural Resource Similarly, culture and tourism organizations and
• Name of the Cultural Property/Cultural businesses benefit from a broad set of cultural
Resource information that can help to plan and focus their
• Pictures efforts. Providing a publicly accessible version of
• History
• Description
a Cultural Resource Database can create a “one
• Significance stop-shop” for citizens and visitors to discover and
• Maps and other visual documentations explore cultural resources in the community.
• Recommendations
• Opportunities Moreover, making information on local culture
• References/Resources
• Acknowledgments
available to a wide range of users and audience
promotes local awareness and appreciation
Appendix of the natural and cultural heritage present in
• Forms compiled per module communities. Culture profiles provide an important
• Interview Transcriptions means to understand the sense of place and identity
• Glossary
• Municipal Profile
of peoples.
• Municipal Maps/Provincial Map
• Barangay Officials/Municipal Officials/ Culture profiles provide valuable information to
Provincial Officials local governments, civil society organizations, the
• Profile of Mappers and NCCA and LGU private sector, academe and other development
Coordinating Teams
• Consent/MOU/Resolutions/Executive
institutions. Relevant and validated information
Orders are important inputs to development planning,
• Expenses program and project implementation, monitoring
• Process Flow Pictures and evaluation.
 Local Government Units can formulate
policies and procedures to share accurate
information to various publics and at the
same time maintain the cultural database
by making regular planned efforts to update
its data. This is essential to its relevance and
consistency.
Experiences in other countries show different
models in communicating their cultural
profiles as presented in the examples below.
For the sake of illustration, the following
models are not mutually exclusive, meaning
they can be mixed and matched. For example,
a centralized model could be used with some
partners and a shared model with others.

Models for Communicating Cultural Profiles

Centralized model. In this model, the lead partner has exclusive access to editing the database. The
project partners are responsible for providing their respective datasets on an agreed-upon interval,
and the lead partner is responsible for checking/cleaning the data and entering it into the database,
a process that is carried out on an annual basis.

Shared model. In this model, partners have access to a shared software platform that gives them
direct access to the database. Partners are responsible for updating their datasets. The lead partner
takes on the role of monitoring and problem shooting as other partners are carrying out updates.
This model can save a great deal of effort for the lead partner and also provide more ready access
to data for other partners. Some thought must be given to the level of access given to each partner,
based on privacy and sensitivity issues.

Open-source model. An open-source model would allow anyone to access and contribute to parts
of the database online. This would allow community members to review and suggest additions,
deletions and edits to database entries, based on their local knowledge. For example, people can
contribute pictures of local assets, or identify how certain resources may have changed since the data
were last entered. As with the shared-model, it makes more sense to invite updates to community-
based resources than government-owned resources.

References

Dan Bendrups and Henry Johnson, “Ethnomusicology in Australia and New Zealand: A Trans-Tasman
Identity?” in Kirsty Gillespie, Sally Treloyn, and Don Niles (eds.), A Distinctive Voice in the Antipodes: Essays
in Honour of Stephen A. Wild (Sydney: Australian National University Press, 2017), pp. 455-470.

Cultural Mapping Toolkit. Vancouver: 2010 Legacies Now, 2010. On-line at https://www.creativecity.ca/database/
files/library/cultural_mapping_toolkit.pdf.

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148 A Guide for Participatory Cultural Mapping in Local Communities
 Guiding Principles in Cultural Mapping in the Indigenous Peoples’ Territories
PART 11
Guiding Principles in Cultural
Mapping in the Indigenous
Peoples’ Territories

Enteng Bilog teaches his children the Surat Mangyan,

an indigenous script native to the Hanunuo Mangyans
of the Province of Mindoro (Photo from NCCA-PAIS)
 Cultural Mapping
in Indigenous Peoples’ Territories

A
s enshrined in the Philippine Constitution, Government Agencies
and Local Government Units embrace the principle that the diversity
of cultures, traditions, beliefs and aspirations of Indigenous Peoples
(IPs) shall be encouraged and fostered in openness, mutual respect for, and
active defense of the equal and inalienable dignity and universal, indivisible,
interdependent and interrelated rights of every human being, in the spirit of
inter-people cooperation.

Cultural mapping practitioners should be reminded that the conduct of

cultural profiling in Indigenous Peoples’ (IP) communities must meet the
needs of a community. Likewise, it must start from the articulation of their
distinct worldview, and must be driven by their culture and their priorities.
One of the crucial responsibilities of the cultural mapping facilitator is to
explain the context and rationale as well as the content and methodology of
the profiling activities and foresee where there will be problems or need for
adjustments as the process proceeds.

The diversity of the Filipino nation is characterized by the presence of various

indigenous communities, cultures, religions, and languages. Some researches
imply that even as we share some elements of a common heritage, the
phenomenon of cultural pluralism in the country makes national unity and
inclusive development urgent, although considered as a complex issue.

Thus, participatory cultural mapping can be considered as an exercise that

allows the members of the indigenous community to work with outside
facilitators in gathering key information about their community by capturing
a pictorial representation of it. The mapping process allows both mapping
participants and facilitators to think about a location in a non-traditional
manner. Community participants and local facilitators may identify important
landmarks based on a particular theme they are interested in or utilize the
exercise to capture a snapshot of their community-in-transition within their
particular environment. Participatory mapping can be excellent tool to gain
understanding of the local perspective and reality.

The mapping activities must highlight the development needs, problems,
concerns and potentials for the conservation of the shared natural and
cultural heritage as well as the interrelated issues for the full development
of Indigenous Cultural Communities / Indigenous Peoples (ICCs/IPs) and
their ancestral domains. Likewise, it shall identify the collective traditional
capacities and potentials either to conserve their resources or protect their
rights to self-governance and rights to cultural integrity.

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150 A Guide for Participatory Cultural Mapping in Local Communities
Who are the Indigenous Peoples?

in Cultural Mapping in the Indigenous Peoples’ Territories

In the Philippines, the Indigenous Peoples
(IP) are defined based on the formulation
made by the Indigenous Peoples Rights
Act (IPRA) and various United Nations
documents, and summarized as follows:

a) They are a group of people or

homogenous societies identified by
self-ascription and ascription by others
and continuously live as organized
community on communally- bounded
and defined territory;
b) They have, under claims of ownership
since time immemorial, occupied,
possessed, and utilized such territories,
sharing common bonds of language,
customs, traditions and other distinctive Young Ivatan girls are still wearing the vakul (headgear) for
protection. (Photo by Gladys Argonza)
cultural traits;
c) They have, through resistance to
political, social and cultural inroads Development Principles and
of colonization and non-indigenous Approaches
religions and cultures, become historically
differentiated from the majority of In the conduct of Cultural Mapping and
Filipinos; Profiling in the territories of Indigenous
d) They are regarded as indigenous on Cultural Communities / Indigenous Peoples
account of their descent from the (ICCs/IPs), the following development
populations which inhabited the country principles and approaches shall serve as
at the time of conquest or colonization, guides:
or at the time of inroads of non-
indigenous religions and cultures, or the Rights-Based Approach. It is directed Heritage?
establishment of present state boundaries; towards the recognition, promotion and
and, protection of fundamental human rights
e) They are those who may have retained inherent in a person as a human being and
Principles

some or all of their own social, economic, in indigenous peoples as groups. It shall
What is Cultural

cultural and political institutions, but
who may have been displaced from their
traditional domains or who may have
resettled outside their ancestral domains.
be undertaken to advance the rights of the
ICCs/IPs to ancestral domains/ lands, self-
governance, empowerment, social justice,
human rights, and cultural integrity.
CHAPTER 1
Guiding
 Safeguard Cultural Integrity. As desired,
cultural mapping projects shall be
implemented to protect the cultural integrity
of the ICCs/IPs as well as their holistic
and integrated adherence to their customs,
religious beliefs, traditions and indigenous
knowledge systems and practices as they
assert their specific worldview, character and
identity as peoples.
used as a tool to preserve and protect such
culture, traditions and institutions.
Gender-Responsive. Likewise, the mapping
project must embrace gender-sensitivity,
where gender issues are clearly articulated
and deliberated and appropriate mechanism
or approaches are incorporated to address
gender issues and concerns.

Community- or People-Driven. The Consultative. Consultations shall go beyond

cultural mapping project, prior to the start- ICCs/IPs to account for other stakeholders
up, ensures that the ICCs/IPs shall take or entities within the ancestral domain such
major leadership roles and full participation as the ICCs and non-ICCs, and in areas
in the identification and analysis of their adjacent to the ancestral territories including
cultural properties and in determining the development agents of government (local and
related development needs and priorities. national).
Subsequently, the ICCs/IPs shall principally
be the decision-makers as to how their Promote Freedom of Initiative and Self-
cultural properties can be promoted and Reliance. The outputs shall pinpoint to
safeguarded and how the articulated opportunities that can be extended to the
community priority development agenda can ICCs/IPs on the basis of freedom of initiative
be responded by all stakeholders. and self-reliance. The ICCs/IPs shall freely
pursue their cultural development of their
Culture-Sensitive. The mapping processes own choice and at their own pace. The option
and approaches shall be culturally appropriate of the ICCs/IPs to adopt a sustainable cultural
and responsive with the customs, traditions, development and protection plan shall be
values, beliefs, interests and institutions of respected under the principle of free pursuit
ICCs/IPs. The outputs of the activity shall be of development as a people.

Ancestral Domain
Refers to all areas generally belonging to ICCs/
IPs, subject to property rights within ancestral
domains already existing and/or vested upon the
effectivity of the Act, comprising lands, inland
waters, coastal areas, and natural resources therein,
held under a claim of ownership, occupied or
possessed by ICCs/IPs by themselves or through
their ancestors, communally or individually since
time immemorial, continuously to the present,
except when interrupted by war, force majeure
or displacement by force, deceit, stealth, or as
a consequence of government projects or any
voluntary dealings entered into by the government
and private individuals/ corporations, and which
are necessary to ensure their economic, social and
cultural welfare. It shall include ancestral lands,
forests, pasture, residential, agricultural, and other
lands individually owned whether alienable and
disposable or otherwise; hunting grounds: burial
grounds; worship areas; bodies of water; mineral
and other natural resources; and lands which may
no longer be exclusively occupied by ICCs/IPs, but
from which they traditionally had access to, for their
subsistence and traditional activities, particularly
the home ranges of ICCs/IPs who are still nomadic
and/or shifting cultivators (R.A. No. 8371 or “The
Indigenous Peoples’ Rights Act of 1997”).

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152 A Guide for Participatory Cultural Mapping in Local Communities

Subanen elders during a thanksgiving ritual
(Photo courtesy of Nestor Horfilla)
Strong root for sustainable
development
Local and indigenous knowledge refers to
the understandings, skills and philosophies
developed by societies with long histories of
interaction with their natural surroundings.
For rural and indigenous peoples, local
knowledge informs decision making about
fundamental aspects of day-to-day life.
This knowledge is integral to a cultural
complex that also encompasses language,
systems of classification, resource use
practices, social interactions, rituals and
spirituality. These unique ways of knowing
are important components of the world’s
cultural diversity, and provide a foundation
for locally-appropriate sustainable
development.
In the photo, Subanen elders in Lakewood,
Zamboanga del Sur, officiate a community
ritual of thanksgiving called phalas after
the successful conduct of a locally-initiated
ethno-botany documentation project. The
Subanen have names for more than seventy-
eight endemic upland rice varieties as well as
a great diversity of nutritious and medicinal
plants. They know the specifics of different
types of herbs nurtured by their indigenous
farming technologies.
Revitalization of Indigenous
Guiding Principles in Cultural Mapping in the Indigenous Peoples’ Territories
Knowledge
Cultural mapping and profiling activities in
indigenous territories should help advance
the revitalization of indigenous and local
knowledge. The intangible cultural heritage of
the indigenous is closely linked with the local
and indigenous knowledge.
Louise Grenier defines indigenous knowledge
as “the unique, traditional, local knowledge
existing within and developed around the
specific conditions of women and men
indigenous to a particular geographic area.”
Indigenous knowledge is unique to a given
culture, location or society and this has been
developed outside the formal educational
system, and that enables communities
to survive. (Working with Indigenous
Knowledge. A Guide for Researchers, IDRC
1998).
Moreover, the Indigenous Knowledge System
and Practices or IKSP are referred as “the
collective property of all the members of the
community who belong to the past, present
and future generations” (IPRA).
It should be clarified that in traditional
societies, indigenous cultural practices and
indigenous knowledge change over time.
Sometimes one may find it difficult to decide
whether a technology or practice indeed is
indigenous, or adopted from outside, or a
 The Kankanaey elders in Sta. Fe, Nueva Vizcaya were pleased to show the local cultural mapping team the Tayaw ni Ginatilay using
various kinds of gangha. (Photo by Gladys Argonza)
blend of local and introduced components.
For a development-oriented project, however,
it does not matter whether a practice is
really indigenous or already mixed up with
introduced knowledge. What is important is
that instead of looking only for technologies
and solutions from outside the community,
we first look at what is in the community.
Indigenous Knowledge is dynamic, the result
of a continuous process of experimentation,
innovation, and adaptation. It has the
Cultural Mapping Toolkit:
154 A Guide for Participatory Cultural Mapping in Local Communities
capacity to blend with knowledge based on
science and technology, and should therefore
be considered complementary to scientific
and technological efforts to solve problems
in social and economic development. And
as Indigenous Knowledge is closely related
to survival and subsistence, it provides a
basis for local-level decision making in
food security, human and animal health,
education, natural resource management and
in other various community-based activities.
 Confidentiality of Information

Guiding Principles in Cultural Mapping in the Indigenous Peoples’ Territories

The data gathered during a cultural mapping
project in indigenous cultural communities
can present the multifarious aspects of their
shared life-world and life-ways, which have
closer referents to their social, cultural,
political and economic systems and their
current status of human development.
These may also include descriptions of the
prevailing conditions and situations as well
as the factors affecting the development of
ICCs/IPs. However, it has to be emphasized
that all information on the concerned ICC/
IP community obtained during the cultural
mapping processes are considered part of
the community intellectual property, and are
deemed private and confidential.

Whereas indigenous or local peoples may

simply reveal sensitive information, the
momentum of cultural mapping may
encourage things to come into the public
domain. This has to be handled with
caution. Facilitators need to have a set
of local guides, young people, elders and
women who can be judges or advisors
on knowledge management and can help
keep the information obtained through
mapping linked to community knowledge
management systems, which may require
ritual qualifications or at least a correlation
between a capacity for wisdom and access to
knowledge.

Another major theme that may emerge

during cultural mapping in IP communities
is the role of women in mapping. Women’s
knowledge may overlap with men’s
knowledge, but in certain domains women
are the exclusive knowledge holders.

Blaan weaving
(Photo courtesy of Nestor Horfilla)
 Summary of risks
• Mapping that is not truly driven by
the will of the community and does
not represent the different interests of
the community may end up being an
extractive exercise that abuses people’s
trust.
• Mapping may raise expectations in poor
communities about new resources and
income which, if not fulfilled, may lead to
disappointment.
• Communities are not homogenous
and equal – mapping can exacerbate
marginalization and silencing within a
community and distort planning and
policy processes in the future. This
is particularly important for gender
relations.
• Participatory mapping may pose a threat
to civil society organizations, which claim
that they represent a community but do
not necessarily have a valid mandate.
There can be conflict over who has the
right to consent to mapping and who are
included or excluded from the process.
• Valuable information about rare plants,
medicine, or endangered species may
enter the public domain without control,
and may lead to further resource abuse.
• Communities may expose aspects of their
land and natural resource use and provide
information that can be used against
them at a later stage (e.g., hunting without
permits may lead to prosecution).
• Unresolved disputes over land and
boundaries may be heightened during
mapping and, if not well managed, can
provoke conflict.

References

Congress of the Philippines. Republic Act No. 8371, or “The Indigenous Peoples’ Rights Act of 1997.” Accessed
December 1, 2016. http://www.officialgazette.gov.ph/1997/10/29/republic-act-no-8371/.

Grenier, Louise. Working with Indigenous Knowledge. A Guide for Researchers. International Development
Research Centre, 1998. Accessed December 1, 2016. http://hdrnet.org/214/1/Working_with_indigenous_
knowledge.pdf

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156 A Guide for Participatory Cultural Mapping in Local Communities
PART 12
Results and Applications
of Cultural Mapping

Results and Applications of Cultural Mapping

One of the primary objectives of cultural mapping is to raise

awareness on the cultural heritage of our communities especially
among the youth. It is important for different institutions to create
programs or activities that would enable their participation in
heritage conservation. Shown in photo are the youth participants
of the Angat Kabataan Camp, a project of the Society of
Ecclesiastical Archivists of the Philippines (SEAP) which aims to
help young people learn to preserve our cultural heritage through
lectures and visits to selected cultural heritage sites in the
Philippines. (Photo by Angelo Bacani)
 What’s Next? After Cultural Mapping

A
fter cultural mapping, and after the consolidation of the data gathered,
the second step is for LGUs to conduct a Cultural Analysis of their
cultural assets to determine how they can be harnessed to sustain local
Culture and the Arts and to know how it can contribute in advancing local
economic, social and political development. (Antonio, 2014).

The end-goal after the cultural profile has been done is to move forwards
towards heritage conservation. This requires culture-focused development
interventions to sustain the value, meaning and significance of cultural
resources from the past, for the use of the present and inspiration of future
generations. Heritage conservation is about protection and promotion of
heritage significance or making heritage meaningful to the community.

In his conference paper entitled “The Cultural Mapping Project of the Heritage
City of Vigan: Towards building a Framework for Heritage Conservation
and Sustainable Development”, Professor Eric Babar Zerrudo opens with an
anecdotal statement:

“The issue of heritage and development has been a constant bone of

contention for developing economies like the Philippines. He cites
that often, the question Heritage? Makakain ba ‘yan? (Heritage? Will
that feed us?) is sarcastically asked to heritage conservationists. And
they can only reply with a blank helpless stare. Until now, there is an
unnerving tension between economics and culture, the peso and the
patrimony, the stomach and the spirit.”

According to Professor Zerrudo the models for economic development and

conservation management planning can be integrated to evolve a new model
wherein heritage serves as the core of development process. The process moves
through four phases – awareness, appreciation, protection and utilization.
The awareness phase can be established through a cultural mapping activity
of the community. The appreciation phase can be implemented through
community organizing which engenders community solidarity and through
capacity building which instills technical empowerment. The protection phase
can be realized with a heritage charter, bill, legislation or guidelines. And the
utilization phase can conducted through educational programming to produce
education value or project feasibility study to produce economic value.

For more information, please refer to this article

Zerrudo, Eric. The Cultural Mapping project of the Heritage City of Vigan: Towards Building a
Framework for Heritage Conservation and Sustainable Development in www.unesco.org/new/
fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/mow/mow_3rd_international_conference_eric_
babar_zerrudo_en.pdf accessed on October 1, 2018.

Cultural Mapping Toolkit:

158 A Guide for Participatory Cultural Mapping in Local Communities
Cuartero National High School Taliamba Ensemble is a school-based arts organization from Cuartero, Capiz who received recognition
as one of the Ten Accomplished Youth Organizations (TAYO) awardees (the Culture, Arts, and Heritage category) in 2018 for their
Enhanced Lowa Documentation Initiative (ELOWDI). The project aims to preserve oral traditions like the “Lowa” in the locality through
incorporating them in music, visual and performing arts. The Lowa is one of the identified Intangible Cultural Heritage of Cuartero
during the cultural mapping in 2015. (Photo screenshot from the TAYO16 Awards video of Cuartero National High School Taliamba
Ensemble found in https://www.facebook.com/TAYOawards/videos/918853028505839/)

Results and Applications of Cultural Mapping

Case 1: The Cultural Mapping of the or python), the mythical creature ate the head
of one of the hunters as punishment for the
Province of Capiz in 2015 abuses committed against nature. “This was
the first time we documented this story from
Below is an excerpt from the interviews
the mountain,” shared by Jocelyn Mayo, the
from a special report written in 2017 on the
Tourism Officer, “highlighting to us that the
experiences of some of the municipalities
area is actually so rich with mythical stories.”
from Capiz when the NCCA Cultural
The story of the “bawa” already inspired a
Mapping Program was first implemented.
local song and storybooks, and is now being
taught in primary education in Cuartero.
EMPOWERING COMMUNITIES TO
IDENTIFY CULTURAL SIGNIFICANCE
In the Municipality of Panay, Napti Island
was rediscovered and then declared as a
Success stories are now numerous,
natural sanctuary. “From biology’s point
highlighting the benefits of the Cultural
of view, there may be endemic flora and
Mapping Program. First, the cultural
fauna there that’s not yet discovered,” said
mapping surfaced – and properly
Dr. Harold Buenvenida, mapper from the
documented – cultural heritage not widely
Municipality of Panay. Buenvenida’s team also
known. For instance, in the Municipality
documented folk rituals that many people
of Cuartero, there is a mountain called Mt.
from the town proper have not heard of.
Kinanat-ulo. According to legend, the name
of the mountain means “kinanan it ulo
CHAPTER 1

Second, there is rediscovery of cultural

(kinain ang ulo/the head was eaten)” because
heritage lost or forgotten by the locals.
in the past, some hunters encountered a
In Cuartero, there is a dance called “Sayaw
mythical creature there. Called a “bawa”
kay San Antonio de Padua”, performed by 24
(meaning half “baka” or cow, and half “sawa”
 girls who weave ropes in different designs
through dance. The dance – documented by
Shirley Halili for Living Asia Channel as one
of only 25 original dances in the Philippines
– used to be only done as a ritual dance for
San Antonio de Padua. “But its rediscovery
as a dance that started because of our now-
defunct weaving industry turned it into a
thanksgiving dance,” Mayo said.
In the Municipality of Jamindan, “many of
the locals didn’t even recognize the origin
of the place’s name – the Hamindang tree,
which is endemic to our place,” Norma M.
Chavez, Information Officer/Tourism Officer/
IP Coordinator said. “But after the cultural
mapping, the tree – whose leaves used to
be used to preserve food as binalot because
the leaves have preserving qualities – was
rediscovered. Four Hamindang trees were
planted in the plaza after this rediscovery,
so that when people visit our place, they can
see where the name of the municipality was
derived.”
Third, there is a revalidation of widely-
accepted history. For example, the
Municipality of Panay has an historical item,
Ang Bukay nga Lingganay (The White Bell).”
Story has it that there were actually two
bells – the biggest bell that is now housed in
the parish church, and another “white bell”
that many believed to have been thrown
away in Tinagong Dagat (or the Pilar Bay)
by the Moros who invaded Panay. However,
“validation via cultural mapping discovered
that there was really only one bell, which is
the one we have now,” said Buenvenida. “This
bell was made from 70 sacks of coins donated
by the townsfolk, highlighting not just the
people’s religiosity, but also how this bell
always tolled to mark Panay’s life. We have
a saying, ‘We lived in the ringing of the bell’.
And now we know why.”
Fourth, there is a reconsideration of once
under-appreciated cultural heritage.
In Ivisan, the old munisipyo (municipal
Cultural Mapping Toolkit:
160 A Guide for Participatory Cultural Mapping in Local Communities
hall) was left to rot after a new building
was constructed. “No one thought much
of the relevance of the old place,” said Ms.
Clyde Villareal, Municipal Environment and
Natural Resources Officer and designated
Tourism Officer. “But after the cultural
mapping, we saw it in a different light; as
something relevant to our history. So now it
is not only being preserved, but we are trying
to find ways for adaptive reuse of a historical
property.” Another structure in Ivisan is a
post-war bridge, built in 1945. Although it
was still used, it has cracks. And so engineers
wanted to demolish it to construct a new
bridge in its place. “There’s already a budget
for the demolition of the historical bridge,
and even the equipment was there already
in the site,” Villareal said. But after the
municipal mayor, Jose Noel Yap, called the
mappers to get their input, the demolition
was canceled. “The local officials now see that
it should instead be restored, and it is better
to just look for another option for the bridge
construction.”
And in Cuartero, for instance, a local
delicacy – lauya, which is somewhat similar
to pochero, with the pork broth with ubod
ng niyog is added with alubihod/libas/tree
whose leaves are use as flavoring – is now
considered a must-have, though this used to
be considered as “lowly” in the past. It is now
served in official banquets as a sign of what
good food is in Cuartero.
Fifth, the mapping led to revival of industries.
For instance, after GMA TV’s Kapuso Mo
Jessica Soho did a segment on Cuartero’s
Inday-Inday (kakanin/snack food made
from glutinous rice mixed with bucayo/
sweetened coconut slivers), the Department
of Trade and Industry (DTI) “approached us
and offered to help by providing livelihood
programs,” Mayo said.
Sixth, cultural mapping strengthened
communities. For Buenvenida from the
Municipality of Panay, even if we had cultural
The Turnover Ceremony for the participating municipal LGUs in the Province of Capiz was held at the Capiz Provincial Capitol. The
program included a presentation of the different Capiznon dances mapped by the local teams. Gracing the event in 2016 were Capiz

Results and Applications of Cultural Mapping

Governor Victor Tanco, NCCA Cultural Heritage Commissioner Fr. Harold Rentoria, OSA, NCCA-PPFPD Chief Bernan Joseph Corpuz,
Provincial Tourism Officer Alphonsus Tesoro, the NCCA Cultural Mapping Facilitators, and the different municipal cultural mapping
teams of the Province of Capiz. (Photos from Capiz-PTCAO)

inventories in the past, “this is the first time
that the LGUs actually involved the local
communities in appraising what’s culturally
relevant to them. There’s rural participation.
This creates a sense of pride.”
And lastly, LGUs have started to take a
second look at cultural mapping, seeing
its value both in preserving their locality’s
cultural heritage, and in using the same to
advance the LGUs. Ivisan, for instance, has
one resort (Patio Beach) managed by the
LGU. “It wasn’t properly used, not improved,”
Villareal said. “But the cultural mapping
allowed us to glimpse at the historicity of
the place – that there are ancestral tombs
here that merit preservation. And so after
the validation, the place was conserved,
preserved and protected.” Now with the help
of Department of Tourism (DoT), the nine-
kilometer road from Ivisan town proper to
Patio Beach was cemented, “making the place
accessible to everyone.”
Even in places supposedly without natural
heritage, like Cuartero, cultural mapping
emphasized to the LGU what they can
promote. “We’ve come a long way since the
start of the cultural mapping,” Mayo said. “In
the past, our local government wasn’t keen
on promoting our municipality for tourism.
They asked: ‘What do we have to offer when
we don’t have natural resources to be proud
of?’ The cultural mapping made us discover
what we have.”
Moving forward, and “as more and more
people see the value of cultural mapping,
responses to it has been (evolving),” said
Mayo from Cuartero. LGUs, for instance, are
starting to allocate funds to the program.
In Jamindan, Chavez said that there are
now plans to put up a separate budget for
the cultural mapping. “Last year, I already
had a proposal of P1 million budget for
this, and the LGU approved it,” Chavez said.
 “Hopefully this will be released soon (so we
can continue with the efforts).” There is also
a plan to build a mini-museum to contain –
among others – the findings from the cultural
mapping to “help define who we are as people
of Jamindan/Jamindanganon.”
Aside from the allocation of funds,
economies of LGUs are now also influenced
by the data collated from cultural mapping.
For Mayo in Cuartero, “cultural mapping
helped us do an inventory on cultural
properties; andami pala (we have a lot,
apparently).” And this matters for a place
that – in packaging itself as a worthy tourist
destination – did not have natural resources.
“In our case, our cultural properties became
our assets. We realized that the richness
of our culture is what we can offer people
visiting Cuartero.”
Not surprisingly, the LGU has repackaged
its tourism-related efforts to highlight the
mapped cultural heritage. “Ito na ang parati
kong sinasabi (This is now what I always tell
people),” Mayo said. “Because of our cultural
heritage, people are curious to check out our
municipality. And so – even if the earnings
do not necessarily revert back to the LGU –
the tourists spend money that benefit various
stakeholders, like jeepney operators, trisikad
drivers, caterers, convenience stores, et cetera.
Ang community ang nakikinabang; kumikita
ang taongbayan (The community benefits; the
people make a living from it).” Preservation –
and propagation – of cultural heritage is also
happening. In Cuartero, “to make sure that
what we re-discovered won’t disappear, we’re
now teaching the value of Cuartero’s culture
to the young,” Mayo added.
In Ivisan, “hindi pa tapos ang analysis, but
ginagamit na sa schools ang data (data
gathered from the cultural mapping is still
being analyzed, but we’re already using the
same in schools),” Villareal said. Better yet,
the old Ivisan municipal building that was
Cultural Mapping Toolkit:
162 A Guide for Participatory Cultural Mapping in Local Communities
supposed to be dismantled is now planned to
be rebuilt as a public library that will house
“all these newly-acquired knowledge on our
cultural heritage.”
And so for the Province of Capiz’s Tourism
Officer Alphonsus Tesoro, “what we are now
seeing is the utilization and integration in
local programs of the data from the cultural
mapping. This makes this effort important
to Capiz in crafting plans for preservation,
conservation and development.”
In the end, though, it is in “finding what’s
relevant to us as people of this particular
place that is noteworthy,” said Villareal, from
the Municipality of Ivisan.
In Jamindan, Chavez – who also belongs to
the Panay Bukidnon Community – agreed,
saying that “even us indigenous peoples did
not really give attention to our artifacts.
Andiyan lang yan, pero balewala lang (They
were just there, but we never paid attention
to them). With the mapping, we were able to
profile what’s culturally relevant; we were able
to identify what defines us as people.” And
so even as there is now revelry in the cultural
rediscovery through cultural mapping, there
is also acknowledgment that “the work is far
from over. “Kahit sa sarili ko, marami akong
nakita na dapat pangalagaan at ipasa sa
(Even myself, I see that we truly have a lot of
cultural properties to care for and pass to the)
younger generation so they don’t disappear
in history,” Villareal said. “So we still look for
new cultural heritage as we plan to add more
to the mapping.”
“Without the cultural mapping, hindi namin
ito lahat malalaman (we would not have
discovered these cultural treasures). Marami
pang tira na dapat pang halungkatin at hindi
kami titigil (There are more to discover and
we will not stop discovering them),” Mayo
ended. (From the special report written by
Michael David Tan)
Case 2: THE BOHOL EXPERIENCE:
Cultural Mapping for Sparking
Sustainable Development
Processes in Heritage Revitalization
and Valorization, Community
Development, Cultural Tourism and
Development Planning
The Bohol experience of conducting Cultural
Mapping informally began in the late-nineties
when interest in heritage was stirred by a
number of historical events: (a)establishment
of the Diocesan Commission for the Cultural
Patrimony of the Church of Tagbilaran
(DCCPC 1994); (b) organization of the
NCCA Region VII Regional and Bohol Arts
Councils (1996); and (c) the installation of a
new political administration under Governor Sample of sheet music from Misa Baclayana.

Results and Applications of Cultural Mapping

(Photo courtesy of Lutgardo Labad)
Rene Relampagos and Vice-Governor Edgar
Chatto (1995), which spearheaded the
articulation of a focused provincial strategic This culminated with the publication of
vision: VISITA IGLESIA, a manual on the history
and cultural architectural features of these
“Bohol is a prime eco-cultural churches, leading to its publication in 2005.
tourism destination and a strong
balanced agro-industrial province, One resulting project out of this effort was
with a well-educated, God-loving and the re-discovery of 19th century church
law-abiding citizenry, proud of their music composed in various parishes found in
cultural heritage, enjoying a state of old cantorals locked in the church archives,
well-being and committed to sound the most significant of which was the
environmental management.” Baclayon Kyriale. This prompted a complete
musicological study of one of its astounding
As early as 1994, the Diocese of Tagbilaran piece of music the Misa Baclayana, which
launched through the DCCPC a detailed was performed after almost a century at the
inventory of church properties to establish Baclayon Church by the UST Choirs and
the scope, significance, and history of the the Loboc Children’s Choir accompanied by
tangible cultural heritage the Catholic the UST Orchestra on the occasion of the
faithful of the province should cherish as its Philippine Centennial in 1998.
prideful legacy. A major independent cultural
research effort supported by the NCCA Inspired by the 1996-1997 first USA Concert
which developed simultaneously with the Tour of the Loboc Children’s Choir that
DCCPC cultural inventory was the detailed promoted the province’s heritage and tourism
documentation of all major heritage churches treasures, and realizing the value of cultural
of Bohol, led by heritage expert Ricky Jose. development as a major strategy to concretize
 its avowed vision, the Provincial Government
created one of the country’s first provincial
arts and culture offices in 1997, the Center
for Culture and Arts Development or CCAD
under the leadership of artist leader Lutgardo
L. Labad. CCAD crafted a 3-year Plan (1997-
2000) for the provincial cultural growth and
progress, entitled the Cultural Renaissance
Program giving birth to more cultural groups
and initiatives across the entire province.
On top of these, CCAD together with the
DCCPC spearheaded the first province–wide
cultural inventory from 1999-2000. This
was aided professionally by an Australian
heritage expert through the AYAD program
of the Australian Government. Cores of
trained Boholano cultural workers, armed
with a survey questionnaire and interview
guides, were dispersed across 21 of the 46
towns of Bohol gathering data and answers
to a series of questions related to various
aspects and dimensions of Bohol’s cultural
heritage. The answers of the respondents were
organized, collated, analyzed by the Divine
Word College Research Center supported by
a research grant from the Ford Foundation
and the Sangguniang Panlalawigan of the
Provincial Government. The output is a two-
volume set of answers and data to the types,
status, and people’s attitudes, related to the
cultural heritage mapped in the 21 towns.
This pioneering cultural research work
guided and inspired the programs and
projects initiated and developed by CCAD
from 2001 till 2005. Drawing from the
identified heritage assets in almost half of
the province, CCAD launched in 2001 the
first comprehensive Cultural Development
Plan, a collaborative project of the Provincial
Government of Bohol, the Diocese of
Cultural Mapping Toolkit:
164 A Guide for Participatory Cultural Mapping in Local Communities
Tagbilaran, and the National Commission
for Culture and the Arts with the direct
participation of all the major sectors of the
provincial cultural community: dancers,
musicians, scholars, teachers, theater groups,
writers, etc.
Two of most significant projects articulated in
the plan and realized by 2001-2002 were:
(1) The institutionalization and founding
of the Bohol Arts and Cultural Heritage
Council, or the BACH Council, the first
ever province-wide cultural council in the
country. Modeled after the organizational
structure of the NCCA, the Council
was legislated into reality in 2001,
composed of four sections: Heritage,
Arts, Cultural Education, and Cultural
Development and Governance. The first
set of officers was elected in 2001 with
DCCPC Secretary Fr. Ted Milan Torralba
as Chairperson, and with CCAD as the
Council’s Secretariat. Finally there was
a provincial organization for all artists,
cultural workers, culture-driven leaders
and educators who would plan and
develop policies for cultural work in
Bohol, supported by a yearly P1 million
grant by legislative fiat.
(2) The publication of TUBOD: the HEART
OF BOHOL, a compilation of essays on
various aspects of Bohol history, arts,
and culture, written by Boholano artists
and writers, edited by Ramon Villegas,
subsidized by the NCCA under Chairman
Dr. Jaime Laya and Executive Director
Virgilio Almario. This trailblazing effort
was definitely inspired by the first cultural
mapping of the province, the 1999-2000
Cultural Inventory Project.
By 2001, all these efforts reinforced by the
first Cultural Inventory in 1999 culminated
in the awarding of the prestigious GALING
POOK AWARD for the Innovation and
Excellence in its Cultural Renaissance
Program to the Province of Bohol, and the
2001 CULTURAL HERITAGE AWARD
both to the Diocese of Tagbilaran and the
Provincial Government of Bohol by the
Philippine Heritage Society.
In 2002, the Ayala Foundation and the
Metropolitan Museum of Manila, led by MET
Director Ino Manalo and Trustee Bea Zobel
Jr. visited Bohol and started key collaborative
projects with CCAD and the BACH Council,
reinforcing the cultural inventory with more
community-based cultural mapping projects
The publication of a book about the locality can be
one of the products of cultural mapping activity.
in specific towns, most especially Loboc,
Dauis and Baclayon. These research efforts
fuelled a range of various activities:
(1) Cultural Mapping Sessions in Dauis
(2003), Loboc (2004), and Baclayon
(2003);
(2) The first Bohol cultural exhibition at the
MET with performances from Bohol’s
cultural groups (2002);
(3) Community cultural mapping of ancestral
homes in Baclayon, which reinforced
the commitment of Baclayon residents
to defend their homes against their
planned destruction paving the way to
road widening, consequently giving birth
to the first community-based cultural
enterprise organization, BAHANDI, the
Baclayon Association of Ancestral Homes
for Development Initiatives (2003);
Results and Applications of Cultural Mapping
 (4) Crafting of the Baclayon Heritage Walk
and the performances of KARAANG
BALAY inside the ancestral homes, a
play on the issues revolving around the
planned demolition of ancestral homes
(2006);
(5) The oganization of Loboc Youth Heritage
Society, the Loboc TUBURAN Exhibition
at the Loboc Convent, and the first
European Concert Tour of the Loboc
Children’s Choir (2003);
(6) The first National Conference on
Vernacular Architecture and Ancestral
Homes (2006)
(7) The first Youth Heritage Camp, BIBO
BOHOL (2006), participated by almost
300 youths from Bohol, Cebu, Negros,
and Leyte, covering the three mapped
towns (Baclayon, Loboc Dauis) and 3
other towns of Bohol as focus areas of the
camp challenges;
(8) The establishment of the Dauis
Community Heritage Museum and
Museum Shop, with an adjoining coffee
shop Café Lawis, and a Heritage Center;
(9) The training of fisher folks and reformed
whale hunters in the island barangay of
Pamilacan.
It was in this period of collaboration that the
seeds of the crafting of the historic BOHOL
ARTS AND CULTURAL HERITAGE CODE
or the BACH CODE began.
The creation of the BACH CODE, a legislative
ordinance by the Bohol Sangguniang
Lalawigan in 2008, with an IRR in 2010, was
christened by a Provincial Cultural Mapping
Project in 2007 and was supported by the
MET, Ayala Foundation and the Province
of Bohol. Facilitated by heritage expert
and authority Professor Eric Zerrudo, the
Cultural Mapping Toolkit:
166 A Guide for Participatory Cultural Mapping in Local Communities
project mobilized the entire BACH Council
in enhancing and completing the Cultural
Inventory Project of 1999 in all the other
towns in Bohol using a new framework by
Professor Zerrudo. This massive cultural
mapping project has yet to see full fruition
with the more comprehensive technology
provided by the NCCA Cultural Mapping
Project (2017) under the NCCA Heritage
Program in cooperation with the Bohol
Provincial Government.
A major guide to subsequent cultural
development initiatives in Bohol was the
input of Professor Zerrudo on the Conceptual
Framework on Cultural Mapping and
Development, which framed the cultural
mapping project against the context of a
wider development agenda: ecological and
cultural heritage management and sustainable
development planning in governance, culture,
enterprise, and environment. This framework
guided specific mapping to cultural output
activities from 2009-present such as:
(a) The establishment of the NCCA
Visayan wide long-term development
program called LIHOK BISAYA, which
incorporated environmental and
cultural mapping towards planning and
implementation of identified Cultural
Industries projects in Cebu, Bohol,
Negros Provinces, Antique, Capiz, and
Samar;
(b) The creation of the Bohol Cultural
Collectives, the cultural and artistic
component of the Abatan River
Development Program, which are
community performing groups
showcasing local history, folklore, issues
to tourists and visitors in the context of
Social Entrepreneurship;
(c) Re-designing of province and town
festivals to incorporate cultural research
in local tangible and intangible heritage,
the most efficacious of which was the
2016 SANDUGO KURADANG festival
(d) The 2016-2018 Sustainable Cultural
Development projects in 7 towns of Bohol
which will be the pilot towns targeted to
be the base of a more intensive NCCA
Cultural Mapping and Profiling Program.
In October 2013, a major tragedy befell
Bohol: the tragic earthquake that felled
heritage churches, ancestral homes, and
historical civic structures. This unexpected
phenomenon almost tore apart the progress
the Province has made from 1995-2013,
approximately two decades of painstaking
cultural heritage work, which culminated
prior to the earthquake in various impressive
declarations of ecological sites, churches,
and other built structures as national
cultural treasures, cultural properties or
historical landmarks. Nevertheless, after three
years of continuing physical and cultural
rehabilitation, the province’s community of
artists, cultural workers, governance and
education leaders, tourism stakeholders,
pulled themselves up by their bootstraps
to rebuild and restore lost and ruined
structures, cultural tourism livelihoods, and
broken heritage properties. The artists and
cultural workers responded individually and
organizationally, officially and spontaneously,
with an impressive and inspiring cultural
resilience, leading the region with projects on
Arts for Healing and Rehabilitation, under
the leadership of the new KASING SINING
organization. Indeed, another chapter of
Bohol’s cultural history begins with the 2017
Cultural Mapping Project initiated by the
NCCA and the Province of Bohol.
CONCLUSIONS:
The Bohol experiences of local, community,
municipal, and province-wide cultural
mapping projects, spread out across two
decades, though in waves of initiatives, reared
undoubtedly a harvest of positive results
impacting upon the Boholano community,
across all social and economic sectors. One
most evident gain was the creation of various
policy instruments, like the CCAD, BACH
COUNCIL, BACH CODE, all enabling
mechanisms to propel cultural growth
towards realizing the province’s dream of
an eco-cultural tourism destination. The
flurry of cultural and artistic projects and
activities across two decades helped in the
flourishing of a vibrant cultural tourism in
the province, responsible for the sustained
Results and Applications of Cultural Mapping
number of tourists, both domestic and
foreign, who continue to swamp the
province and various regional, national, and
international partnerships developed in the
province. But one thing is definitely certain:
these cultural mapping projects, both past
and yet to come, bolstered, galvanized and
catalyzed all the more, in no small measure,
the Boholano’s cherished values of pride
of place, love for heritage, and sense of
Boholano identity, all essential factors in the
province’s amazingly resilient, unabashedly
spiritual and relentlessly creative character
and indomitable spirit.
Indeed, the Boholano’s cultural pride defines
him: Boholanong Kabilin, Atong Bahandi—
Dili Jud Gub-on.
 Case 3: HERITAGE EDUCATION
How can heritage research contribute to
education? The question presupposes how
relevant is the educational system in the
Philippines. The Philippine educational
system is largely American-based with
English as the medium of instruction
(Licuanan, 2007). Philippine culture is only
discussed in passing in history and social
studies classes. Filipino educators have raised
concerns on how to make education more
culturally relevant (Alliance of Concerned
Teachers, 2008). Hence in the recent years,
education to be relevant should be culturally
grounded. Grounding means that the learner
can relate what is being taught inside the
classroom to the learner’s community and
household. But if the content or material
taught is largely foreign, then education
has failed to produce a generation that is
culturally literate and grounded. According
to the National Council of Professors of
Educational Administrators, Cultural
Literacy is the ability to be informed by
beliefs and behaviors that have been shared
from one generation to another in an oral or
written form. Cultural literacy can create a
knowledge and awareness that brings distinct
commitment to social justice, responsibility
to defend human dignity, and respect for
cultures.
Raising the bar of cultural literacy entails
cultural education which can be defined
as education that brings about awareness,
appreciation and understanding of one’s
national patrimony. The goal of culture-
based education is to support all students
through affirmation of their culture.
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According to the Philippine Cultural
Education Program (PCEP), Culture-
Based Education is NOT just about the
incorporation of culture and heritage Icons
and symbols, historical events, and arts and
creative traditional skills into the curriculum.
It validates and affirms cultures by making
them essential tool for knowledge formation.
It instills awareness of students’ heritage,
value the accomplishments of their family,
their community and their ancestors. It builds
a sense of pride and self-esteem, which is
the best gift any teacher can give to his/her
students.
The importance of cultural education and
heritage is clearly expressed in Article X, Sec.
38 of Republic Act 10066 or the Heritage
Law of 2005 mandates the Department of
Education in coordination with NCCA’s
Philippine Cultural Education Program
to formulate cultural heritage education
programs both for local and overseas
Filipinos to be incorporated into the formal,
alternative and informal education, with
emphasis on the protection, conservation and
preservation of cultural heritage property.
The Philippine Registry of Cultural Property
shall likewise be incorporated into the formal,
alternative, and informal education by the
provincial and local governments.
RA 10533 or the Enhanced Basic Education
Act of 2013 under its implementing rules and
regulations emphasizes the importance of a
curriculum that is localized and indigenized.
Localization has been defined as the process
of relating learning content specified in
the curriculum to local information and
materials from the learner’s community.
GLOSSARY

Glossary

Built in 1874 through the leadership of Gobernadorcillo Don Juan

Evasco, St. Joseph Parish Church was identified by local mappers
of Barcelona as one of their important cultural properties under
Tangible Immovable Cultural Heritage. (Photo by Divine Arawiran)
 Glossary
(a) “Adaptive reuse” the utilization of
buildings, other built-structures and
sites of value for purposes other than
that for which they were intended
originally, in order to conserve the
site, their engineering integrity and
authenticity of design.
(b) “Anthropological area” any place where
studies of specific ethno-linguistic
groups are undertaken, the properties
of which are of value to our cultural
heritage.
(c) “Antique” a cultural property found
locally which is one hundred (100)
years in age, more or less, the
production of which has ceased.
(d) “Archaeological area” any place,
whether above or under ground,
underwater or at sea level, containing
fossils, artifacts and other cultural,
geological, botanical, zoological
materials which depict and document
culturally relevant paleontological,
prehistoric and/or historic events.
(e) “Archives” public and private records
in any format which have been
selected for permanent preservation
because of their evidential, historical
informational value; otherwise known
as archival materials collections or
archival holdings; the place (building/
room/storage area) where archival
materials are kept and preserved; and
an organization or agency or part
thereof whose main responsibility is to
appraise, arrange, describe, conserve,
promote and make archival materials
available for reference and research,
also known as archival agency.
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170 A Guide for Participatory Cultural Mapping in Local Communities
(f) “Built heritage” architectural and
engineering structures such as, but
not limited to, bridges, government
buildings, houses of ancestry,
traditional dwellings, quartels, train
stations, lighthouses, small ports,
educational, technological and
industrial complexes, and their settings,
and landscapes with notable historical
and cultural significance.
(g) “Collector” any person who or
institution that acquires cultural
property for purposes other than sale.
(h) “Commission” the National
Commission for Culture and the Arts
(NCCA).
(i) “Conservation” all the processes
and measures of maintaining the
cultural significance of a cultural
property including, but not limited
to, preservation, restoration,
reconstruction, protection, adaptation
or any combination thereof.
(j) “Cultural agencies” the following
national government agencies with
their specific areas of responsibility:
National Museum (cultural property);
the National Library (books); National
Historical Institute (Philippine history);
National Archives (documents);
Cultural Center of the Philippines
(culture and the arts); and Komisyon sa
Wikang Filipino (language).
(k) “Cultural education” the teaching
and learning of cultural concepts and
processes.
(l) “Cultural heritage” the totality of
cultural property preserved and
developed through time and passed on
to posterity.
(m) “Cultural heritage worker” an individual
undertaking cultural heritage work.
(n) “Cultural institution” entities engaged
primarily in cultural work.
(o) “Cultural property” all products of
human creativity by which a people and
a nation reveal their identity, including
churches, mosques and other places of
religious worship, schools and natural
history specimens and sites, whether
public or privately-owned, movable or
immovable, and tangible or intangible.
(p) “Dealers” natural or juridical persons
who acquire cultural property for the
purpose of engaging in the acquisition
and disposition of the same.
(q) “Heritage zone” historical,
anthropological, archaeological, artistic
geographical areas and settings that are
culturally significant to the country, as
declared hy the National Museum and/
or the National Historical Institute.
(r) “History” a written record of past events
relating to Philippine history.
(s) “Historical landmarks” sites or
structures that are associated with
events or achievements significant to
Philippine history as declared by the
National Historical Institute.
(t) “Historical monuments” structures
that honor illustrious persons or
commemorate events of historical value
as declared by the National Historical
Institute.
(u) “Historical shrines” historical sites or
structures hallowed and revered for
their history or association as declared
by the National Historical Institute.
(v) “Historical street name” a street name
which has been in existence for at least
fifty (50) years and over time has been
considered historic.
(w) “Important cultural property” a
cultural property having exceptional
cultural, artistic and historical
significance to the Philippines, as shall
be determined by the National Museum
and/or National Historical Institute.
(x) “Intangible cultural heritage” the
practices, representations, expressions,
knowledge and skills, as well as the
instruments, objects and artifacts
associated therewith, that communities,
groups and individuals recognize as
part of their cultural heritage, such
as: (1) oral traditions, languages and
expressions; (2) performing arts; (3)
social practices, rituals and festive
events; (4) knowledge and practices
concerning nature and the universe;
and (5) traditional craftsmanship.
(y) “Intangible cultural property” the
peoples’ learned processes along with
the knowledge, skills and creativity that
inform and are developed by them, the
products they create and the resources,
spaces and other aspects of social and
natural context necessary for their
sustainability.
(z) “Library” an institution where the What is Cultural Heritage?
collection of books, manuscripts,
computerized information and other
materials are organized to provide
physical, bibliographic and/or
intellectual access to the public, with
a librarian that is trained to provide
services and programs related to the
information needs of its clientele.
Glossary
CHAPTER 1
 (aa) “Museum” a permanent institution
that researches, acquires, conserves,
communicates and exhibits the
material evidence of humans and their
environment for purposes of education
or leisure.
(bb) “National cultural treasure” a unique
cultural property found locally,
possessing outstanding historical,
cultural, artistic and/or scientific
value which is highly significant and
important to the country and nation,
and officially declared as such by
pertinent cultural agency.
(cc) “Nationally significant” historical,
aesthetic, scientific, technical, social
and/or spiritual values that unify the
nation by a deep sense of pride in their
various yet common identities, cultural
heritage and national patrimony.
(dd) “Natural property of cultural
significance” areas possessing
outstanding ecosystem with flora and
fauna of national scientific importance
under the National Integrated Protected
Areas System.
Cultural Mapping Toolkit:
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(ee) “NCCA Portal Cultural Databank” the
specific domain in the Commission’s
intranet for cultural information that
is accessed only internally with control
and confidentiality. It includes the
registry of national cultural property.
(ff) “Prehistory” the period of human
history before the introduction of the
forms of writing.
(gg) “Registry” the Philippine Registry of
Cultural Property which is the registry
of all cultural property of the country
deemed of significant importance to our
cultural heritage.
(hh) “Restoration” the action taken or
the technical intervention to correct
deterioration and alterations.
(ii) “Tangible cultural property” a cultural
property with historical, archival,
anthropological, archaeological, artistic
and architectural value, and with
exceptional or traditional production,
whether of Philippine origin or not,
including antiques and natural history
specimens with significant value.
Adapted from RA10066
BIBLIOGRAPHY

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Tinalisayan Island is one of the identified natural heritage

of San Pascual, Masbate in their cultural mapping project.
(Photo by Divine Arawiran)
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MAPPING FORMS

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NATIONAL COMMISSION FOR CULTURE AND THE ARTS
633 General Luna Street, Intramuros, Manila 1002
Tel. Nos. 527-2192 - 97 • Fax: 527-2191 to 94
Email: info@ncca.gov.ph • website: www.ncca.gov.ph
Cultural Mapping Toolkit: A Guide for Participatory Cultural Mapping in Local Communities