MakaNayon Resources for Heritage Education and Cultural Leadership

MAKANAYON R e s o u r c e s f o r H e r i t a g e E d u c a t i o n a n d C u lt u r a l L e a d e r s h i p

Editors

Andrea Natasha Kintanar Victor Estrella Patrick John Mansujeto

2021 Nayong Pilipino Foundation

MAKANAYON: Resource for Heritage Education and Cultural Leadership PUBLISHED BY Nayong Pilipino Foundation Cultural Leadership Institute Plaza San Luis, General Luna Street, Intramuros, Manila 1002 info@nayongpilipino.gov.ph Copyright © 2021 Nayong Pilipino Foundation © All works are copyrighted to the Nayong Pilipino Foundation and its respective authors.

No part of this publication may be reproduced in any form without the written permission of the Nayong Pilipino Foundation except in the context of critical reviews and other noncommercial uses permitted with consent. Kindly cite the Nayong Pilipino Foundation and the relevant authors. For permission requests, write to the publisher through the Marketing and Operations Office of the Nayong Pilipino Foundation at projects@nayongpilipino.gov.ph ISBN: 978-621-96660-0-8

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FOREWORD The Nayong Pilipino Foundation (NPF) developed the Cultural Leadership Institute (CLI) during the second quarter of 2020, a few months after the nationwide Enhanced Community Quarantine was announced by the Office of the President. All parks and tourist sites were closed. The leadership of NPF decided that instead of retrenching all the performers and support staff at the Nayong Pilipino Clark in the middle of a raging pandemic, the more humane course of action was to use the indefinite pause for capacity-building. At that juncture, we have been implementing a series of multi-sectoral consultations for imagining our future cultural park and creative hub and the kind of institution we should be in order to better fulfill our mandate and serve the public. NPF collaborated with Tuklas Pilipinas in two iterations where Natasha "Tash" Kintanar and Kristine Kate Lim were key and after a series of conversations, MakaNayon was conceived as a cultural sensitivity course. Kate and Tash agreed that CLI should not be created by only one person but must be co-created with experts from other disciplines. Thus we tapped experienced educators and book authors such as Patrick Mansujeto and Victor Estrella. Miks Padilla from AnthroWatch, Bong Billones, and Beng Cabangon from the Philippine Educational Theater Association also agreed to co-create the Cultural Leadership Institute with Tash and Kate. These people are the pillars of MakaNayon. By the end of 2020, the CLI team started planning for MakaNayon plus or CLI Intensive. This is the Heritage Interpretation course divided into three modules for tourism planners, tour guides, and educators. All were successfully implemented in 2021 despite many hurdles that NPF overcame.

CLI is a cultural formation course not only for employees of NPF but for duty bearers of the Department of Tourism and local government units. It can even be extended to educators, heritage advocates, and people from all walks of life. Section 16 of the Local Government Code provides that local government units must enable the enrichment of culture and broaden the participation of members of the community, not only so that a sense of national and local pride will be instilled but also to recognize and activate the role of heritage in sustainable development. CLI is also our contribution to the National Heritage Act’s provisions on capacity building for the conservation of cultural and natural heritage. We hope that alumni of these capacity-building courses will embody MakaNayon values in each of their own locales, respond to our “hamon ng MakaNayon” and will serve as pollinators of the love for our natural and cultural heritage.

Laya Boquiren

Nayong Pilipino Foundation

PREFACE

We, at the Nayong Pilipino Foundation (NPF) of the Department of Tourism (DOT), are greatly honored to present to you a resource book for heritage education and cultural leadership in the Philippines. True to its mandate, NPF, and its Cultural Leadership Institute (CLI), has synergized scholars and practitioners in the field of Anthropology, Heritage Management, Education, Ecotourism, to name a few, to offer a collection of insights and best practices about cultural and natural heritage education, protection, and management.

Initially, resources in this compendium were offered as modules to tourism officials and personnel in 2020 and 2021. NPF realized that putting them all together in an edited volume and sharing them with everyone will extend the goals of preserving and managing heritage towards sustainable development. We hope that these MakaNayon Resources for Heritage Education and Cultural Leadership are helpful to all cultural leaders of the country, wherever they are in their profession and practice.

As outcomes of designing NPF’s MakaNayon Cultural Leadership Course, contributions to this book were developed to offer worthwhile learning experiences in cultural and natural heritage management. The modules were first conceived in 2020 as one of the major products of NPF for the Filipino people and they were anchored on the rights- and sustainability-based curriculum design of the course. They were seen as important aid not only in the teaching and learning process but also to the challenging setup posited by the pandemic in the country. As the global crisis changed the face of education and training, we at the NPF strived to bid for distance learning through asynchronous and synchronous modalities using these modules. More importantly, creative pedagogies were incorporated in every module. Each of the core and intensive (heritage interpretation) courses has its own module that complements the lecture and activities of the course. The modules were developed by competent experts and practitioners in the field, with years of actual experience. The materials were validated in the succeeding year, 2021. During the course’s implementation, monitoring, and periodic evaluation, the materials were also validated, revised, and improved.

Aside from serving as teaching and learning materials to the NPF’s MakaNayon Cultural Leadership Course, these MakaNayon Resources for Heritage Education and Cultural Leadership are also our contribution towards a heritage-conscious, responsive, and sustainable Philippines. We do not intend to present a definitive view on heritage, but instead, we want to open the conversation to its sustainable management. We hope that people, in and out of the Philippines, find these resources useful in reflecting about our rich cultural and natural heritage.

The Editors

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TABLE OF CONTENTS Foreword Preface Table of Contents

I.

Introduction: Cultural Heritage Education and the NPF Makanayon Cul tural Leadership Institute Andrea Natasha Kintanar, Victor Estrella, and Patrick John Mansujeto

Cultural Heritage Education .............................................................................01 Towards Sustainable Development ...................................................................02 The Makanayon Cultural Leadership Course ....................................................05

PART I: CORE

II.

Makatao Maria Teresa Guia-Padilla, Erika-Rey Saturay, Diana San Jose. Marian Lodripas and Mynabel Pomarin

Pagiging Makatao .............................................................................................11 Siyasatin: Aking Pagkakakilanlan .....................................................................11 Mga Katangian sa Kultura ................................................................................12 Mga Saloobin sa Kultura ..................................................................................13 Mga Batas sa Usapain ng Kultura ......................................................................16 Mga Isyu sa Gawaing Kultural at ang Landas tungo sa Pagiging Culture-Sensitive .....................................................................21 Pag-isipan: Pagsiyasat sa Kulturang Pilipino at Pagbabago ng Kultura ..............29 Pagtulungan: Paano Ako Magiging Mas Culturally Sensitive? ...........................30 Gawin: Di Ba Ate (Debate) ...............................................................................31 Buuin: Pagbabahagi ng Karanasan ....................................................................32

III.

Makakalikasan Julienne Baldonado

Being One with Nature ......................................................................................35 Getting Involved: Images You Can Feel .............................................................35

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Seven Environmental Principles ........................................................................37 Government Initiatives ........................................................................................42 Joining the Conversations: Some Readings on Environmentalism ........................43 Working Together: The Finite World ..................................................................44 Putting Into Practice: Cause and Effect Chain ....................................................45 Making It Happen: Community Initiatives for the Environment .........................46

IV.

Makabayan Patrick John Mansujeto

Ang Makabayan Modyul .......................................................................................50 Siyasatin: Community Profile ..............................................................................50 Lokal na Kasaysayan ............................................................................................52 Ang Public History .............................................................................................55 Ang Historical Thinking Skills ..............................................................................56 Pag-isipan: Lokal at Pambansang Kasaysayan ......................................................57 Pagtulungan: Mapang Pangkasaysayan ................................................................58 Gawin: Panayam ..................................................................................................58 Buuin: Lokal na Kasaysayan ngAking Pamayanan ................................................58

V.

Mapanagutan Elaine Saniel

Pananagutan Natin ..............................................................................................61 Siyasatin: Sang-ayon Ka Ba? ................................................................................61 Sustainability ......................................................................................................62 Sustainable Development Goals ..........................................................................63 Invisible Burden ng Turismo ...............................................................................67 Sustainable Tourism ............................................................................................68 Pag-isipan: Kailan Masasabing Sustainable ang Turismo? ...................................70 Pagtulungan: Balanced Scorecard .......................................................................70 Gawin: Sustainable Tourism Practices ................................................................72 Buuin: Sustainable Tourism Journey ...................................................................72

VI.

Makadiwa Victor Estrella

Pagiging Makadiwa ............................................................................................75 Siyasatin: Hanap-Salita .......................................................................................75 Pamumuno .........................................................................................................76

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Ang Cultural Leader sa Kanluran at Silangan ......................................................77 Pamumuno sa Sektor ng Kultura sa Pilipinas ......................................................81 Pag-isipan: Ang Diwa ng Cultural Leader ...........................................................85 Pagtulungan: Mga Pamantayan sa Pmumuno ......................................................85 Gawin: Sariling Pagtataya ...................................................................................86

PART II: HERITAGE INTERPRETATION VII. Interpretative Planning Maria Tanya Conlu

Planning to Interpret ..........................................................................................93 Getting Involved: Sharing One’s Experiences ......................................................93 Introduction to Heritage Interpretation ..............................................................93 Interpretative Planning .......................................................................................94 The Interpretative Plan .......................................................................................95 Joining the Conversations: Review of Plans .........................................................99 Working Together: Monitoring and Evaluation for Effectiveness ........................100 Putting into Practice: Putting Interpretative Plans in Context .............................101 Making it Happen: Planning ...............................................................................101

VIII. Interpretative Guiding Victor Estrella

Towards Effective Interpretation ..........................................................................103 Getting Involved: Group Invisible Mural ..............................................................103 Perspectives on Landscapes and Sites ...................................................................104 Interpretative Guiding ..........................................................................................107 Joining the Conversations: Unlikely Tour Guides ..............................................109 Working Together: Shape Space Study ..............................................................110 Putting into Practice: Making the Script ..............................................................111 Making it Happen: Video-Recorded Interpretative Guiding ...............................111

IX.

Discovery Learning and Interpretation Maria Carissa Bernardo

Discover to Learn .................................................................................................114 Getting Involved: My Most Memorable Lesson ..................................................114 Heritage Interpretation ........................................................................................115

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Enhancing Classroom Experience through Discovery Learning .............................119 Joining the Conversations: Discovering My Cultural Heritage .....................................123 Working Together: Personal Maps of the Community .................................................124 Putting into Practice: Preserving Cultural Heritage .....................................................124 Making it Happen: Lesson Planning ...........................................................................125

X.

Wayforward: Creativity and Culture Based Learning for Cultural Leaders.......................................................................................129 Wilson Billones, Maria Gloriosa Santos-Cabangon, Norberto Portales III, Ada Marie Tayao and Robert Andres

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Introduction: Heritage Education and the NPF MakaNayon Cultural Leadership Course Andrea Natasha Kintanar, Victor Estrella, and Patrick John Mansujeto.

Heritage Education Since the 1980s, cultural heritage education has been seen as an important component of sustainable heritage conservation (Ott and Pozzi, 2008). With the old adage, “knowledge is power,” equipping the education sector with the skills and capabilities to teach about heritage is indeed the most suitable path. In fact, in other countries, ministers of culture and education recognize the need to integrate cultural heritage education in school curricula, as a sustainable way to teach heritage preservation (Barghi, Zakaria, Hamzah, and Hashim, 2017). With studies and experiments through workshops and lesson plans, it was learned that participants of these lessons developed a more positive attitude toward cultural heritage (Curtis and Seymour, 2004; Dönmez and Yeşilbursa, 2014; Pérez, López, and Listán, 2010; Barghi, Zakaria, Hamzah and Hashim 2017).

Outside the Philippines, heritage is regarded as a whole multidisciplinary field - from natural, scientific, social, and up to historical and artistic artefacts within a comprehensive and systemic conception of the term (Pérez, López, and Listán, 2010). Since heritage is part of identity, it is taught as part of citizenship training, as well (Copeland, 2009; Delgado-Algarra, 2020). It is important to consider cultural heritage education, as “educational activities in the heritage field are an ideal way of giving meaning to the future by providing a better understanding of the past” (quoted in Ott & Pozzi, 2008). If we integrate heritage education in basic, secondary, and tertiary education curricula, we can develop a nation of citizens ready to be stewards of their heritage.

In the Philippines, the inclusion of heritage in the education curriculum was attempted by Masilang (2010) in her paper entitled “Strengthening Heritage Tourism through education,” however the focus was more on tourism rather than cultural heritage of the nation or the people. Through the years, Social Studies teachers include cultural field trips to museums, monuments, memorial parks, and cultural sites within the Philippines. Select students develop an interest in cultural heritage, however, since it is not deeply ingrained in some school curricula, the cultural trips are not enough for a sense of ownership and stewardship toward our Philippine cultural heritage. In a study done in Finland, follow-up activities in school through “interactions and continued learning,” help students analyze their experiences in the field trip more (Aerila, Rönkkö, and Grönman, 2016).

It is common in Southeast Asian countries for heritage to be related to tourism, since heritage management is more understood as preserving built or tangible heritage (Shoocongdej, 2011; Stark, 2020) and the objective is also economic growth. Other forms of heritage education are being done in the Philippines

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through public and community archaeology (Acabado, Martin, and Lauer, 2014; Kintanar and Barretto-Tesoro, 2020), with attempts to include archaeological heritage in lesson plans (Dulnuan and Ledesma, 2020).

Besides identity and pride of place, heritage education teaches practical skills such as critical thinking about the world around us (Pérez, López, and Listán, 2010). To contribute to heritage education in the Philippines, the Cultural Leadership Institute (CLI) of the Nayong Pilipino Foundation (NPF) created the Makanayon Leadership Course. It is a training and formation program that seeks to reinforce or develop cultural leaders who shall be or at the forefront of Philippine cultural heritage protection, promotion, and development. From a rights-based to development approach, this course seeks to strengthen the knowledge, skills, and attitudes of duty-bearers to fulfill their mandate in empowering communities through the value and practical applications of shared heritage. Through this course, cultural leaders are expected to have an active role in finding solutions to sociocultural and environmental issues within their communities. The direct translation of the word nayon is small town, hamlet, or community. While maka is a verb prefix that means ability, permission, or opportunity to act. As an adjective prefix it means "for" or "in favor of." The name of the course is also the vision of the project, i.e. when given the appropriate training, we would be able to form cultural workers that think, act, and live for their community and country. Through this formation program, the aim is to develop cultural leaders who shall be at the forefront of Philippine heritage protection, promotion, and development towards nayon-building.

The Nayong Pilipino Foundation’s (NPF) Cultural Leadership Institute (CLI) is working hard to respond to the multi-faceted, interconnected, and global call towards sustainable development. In fact, it is in the charter and mandate of the Nayong Pilipino Foundation, through Presidential Decree No. 37, series of 1972, that it should “promote, encourage, and initiate research and development projects and activities in social sciences, humanities, social and amelioration and allied fields.” The earlier goal of social amelioration, or the improvement of the conditions of the society, can be seen as one of the antecedents of the concept of development in the Philippines. After four decades, as the United Nation ushers us towards sustainable development, Nayong Pilipino Foundation, its programs and projects on heritage and culture, has been more relevant than ever.

Towards Sustainable Development Heritage education, and the road leading to cultural leadership, are multi- and interdisciplinary. The field of heritage studies, in general, is interdisciplinary in nature (Pérez, López, and Listán, 2010; Uzzell, 2009). Researches, approaches, and projects, which aim to preserve and protect our cultural and natural heritage, are combined efforts from the many disciplines of physical, biological, social, and applied sciences, as well as from the humanities and other fields of study. There is no monopoly of knowledge, information, and actions toward heritage conservation. Anybody can contribute to this important cause; therefore, anybody can be a cultural leader.

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Learning about and acting towards the preservation of our heritage is not only needed to understand the events in the past, restore historical buildings, safeguard artefacts and sites, save dying languages, and other urgent ends. More than for the past, heritage is relevant to the present (Lowenthal, 2015). As part of our culture, these actions, and many more, are important to our sustainable development. Culture, therefore, has a significant role to play in the implementation of the United Nations (UN) Sustainable Development Goals (SDGs) (The Culture 2030 Goal Campaign, 2019). Heritage education and cultural leadership are important in achieving sustainable development. However, this can easily be overlooked, especially when the SDG targets are considered as individual, exclusive goals.

The UN Agenda 2030 for Sustainable Development, which was adopted by all Member States in 2015, lays out seventeen (17) goals towards “peace and prosperity for people and the planet now and into the future.”

Heritage education and cultural leadership can contribute, directly and indirectly, eight (8) goals: SDG 11 (sustainable cities and communities, on cultural heritage and on the use of public spaces), SDG 4 (quality education), SDG 5 (gender equality), SDG 8 (decent work and economic growth), SDG 9 (infrastructures), SDG 10 (reduced inequalities), SDG12 (sustainable production and consumption), SDG15 (life on land), and SDG 16 (peace, justice, and strong institutions) (The Culture 2030 Goal Campaign, 2019). The Culture 2030 Goal Campaign (2019) noted several “evidence related to the existence of cultural policies and programmes”, from different parts of the world, that help achieve sustainable development. The campaign believes that culture is indispensable in making societies sustainable (Van Doorsselaere 2021). To enumerate a few examples, some of them are quoted below: • on SDG 5, Barcelona, Spain’s Plan on Gender and Justice has key elements, such as the importance of cultural narratives and cultural diversity, as well as the participation of women in cultural life (86); on SDG 8, A report from Buenos Aires, Argentina states that “Addressing tourism from the sustainable development perspective is essential to protect the cultural, material and natural heritage of Buenos Aires” (87); • on SGD 9, the restoration of “historic buildings and façades” is a key activity in the development of “quality, reliable, sustainable and resilient infrastructure” in Mexico City, Mexico (87); • on SDG 10, Bristol, United Kingdom commits to “Improving the Voice of the Voiceless” with community radio stations that celebrate African and Caribbean cultures through music and informative talk” (87); • on SDG12, the “Vacant Building Program” of San Antonio, USA encourages the re-use of old buildings for new purposes while its “Deconstruction Program” utilizes salvaged materials for re-use in rehabilitation and in new construction (89); • on, SDG15, parks and open spaces in New York, USA are promoted as “essential resources” and “democratic spaces” that “promote civic and cultural engagement and strengthen social bonds that make for a more vibrant, cohesive city” (89); and • on SDG 16, the city of Helsinki in Finland explains its “Participatory and parity plan of cultural and recreational services”, with the participatory budgeting as a mechanism to empower citizens (“reinforce

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the participatory opportunities of young people”), the “adoption” of historical monuments and the design of the City Museum’s new collection policy “for the first time interactively with Helsinki residents” (90).

Heritage management and conservation pursuits directly address SDG11, which encourages us to make cities and human settlements inclusive, safe, resilient, and sustainable. Specifically, Target 4 aims to “strengthen efforts to protect and safeguard the world's cultural and natural heritage.” This target can be gauged through the indicator, "Total per capita expenditure on the preservation, protection, and conservation of all cultural and natural heritage, by the source of funding (public, private), type of heritage (cultural, natural) and level of government (national, regional, and local/municipal)" (Inter-agency Expert Group on SDG Indicators (IAEG-SDGs, 2021). This is a complex indicator that includes disaggregation that needs to be satisfied if we want to see our natural and heritage conservation efforts contribute to sustainable development (Xinyuan Wang, et al. 2018). To effectively contribute to this global goal, cultural leaders are expected to be conversant not only to heritage theories and facts but also, in managing public and private resources, in different levels of engagements.

Our heritage efforts can also help achieve the roadmap of Education for Sustainable Development (ESD). SDG 4, Target 7 hopes that “By 2030, ensure that all learners acquire the knowledge and skills needed to promote sustainable development, including, among others, through education for sustainable development and sustainable lifestyles, human rights, gender equality, promotion of a culture of peace and nonviolence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development.” This target emphasizes the role education plays in developing, among learners, cultural sensitivity, and sustainable lifestyle (Van Doorsselaere, 2021). Cultural heritage education, geared towards sustainable development, can also be seen as the preparation of “the skilled and intellectual manpower” and the carrying out of “permanent re-skilling and updating the competencies of the specialists-to-be in line with emerging tasks and needs” not only of the cultural sector but also of the wider society (Mensah 2019). Cultural heritage education, therefore, is an important tool for sustainable development (Harrison, et al. 2020).

Over and above, we now cannot deny the fact that learning and working towards the conservation and preservation of our natural and cultural heritage are considered both a goal and a means to gather speed and realize our sustainable development goals (Van Doorsselaere 2021; The Culture 2030 Goal Campaign, 2019).

The MakaNayon Cultural Leadership Course and the subsequent publication of the resources for heritage education and cultural leadership from 2020 to 2021 are Nayong Pilipino Foundation’s concrete contribution to our country’s progress towards the achievement of sustainable development, as we start the Decade of Action to deliver the Global Goals. By equipping the cultural sector with these concepts and skills, a more meaningful heritage education in the Philippines can be practiced and this will lead to a more heritage-conscious and sustainable Philippine society.

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The MakaNayon Cultural Leadership Course The Nayong Pilipino Foundation’s Cultural Leadership Institute intended to develop community-based cultural leaders who are equipped with perspectives, advocacies, and tools in protecting, preserving, and being stewards of the natural and cultural heritage of the Philippines. The program fulfilled the mandate of the Nayong Pilipino Foundation in ushering the nation towards authentic and sustainable development.

To develop a holistic cultural leader with a keen understanding of sustainability, the Institute designed the MakaNayon Cultural Leadership Course. Its curricular framework is based on andragogy, or adult education, coupled with creative pedagogies. Courses were facilitated in partnership with scholars and industry practitioners in the field of Anthropology, History, Heritage Studies, Ecotourism, and Education, to name a few. Through the course, the Cultural Leadership Institute aimed at building the capacities of the people from key government offices and other stakeholders related to the cultural sector and creative industries, in order to prepare them for leadership roles towards the protection of natural and cultural heritage and sustainable development.

For its first year, CLI offered the MakaNayon Cultural Leadership Course to the employees of the Nayong Pilipino Foundation. The course ran from August to October 2020, through synchronous and asynchronous learning opportunities. Most of the Nayong Pilipino Foundation employees were stationed in Clark, thus, the major projects of the new Cultural Leader showcased the heritage and culture of Pampanga. In its second year, the MakaNayon Cultural Leadership Course was offered to the wider public. From June to July 2021, forty (40) guides, employees, and officials from the Department of Tourism (DOT)-Office of Industry and Manpower Development (OIMD) from all over the country participated. From July to August 2021, CLI also offered the course to the local governments of Misamis Oriental in Mindanao and in Bataan. From September to October 2021, it was participated by faculty members from the University of Northern Philippines, as well as public school teachers from various places in the archipelago.

The Makanayon Cultural Leadership Course was developed in close collaboration with organizations and experts on Philippine culture, society, and heritage. Each partner contributed significantly in its design, structure, and content. The organization, AnthroWatch worked on the rights-based and gender and culturally sensitive framework of the course. Tuklas Pilipinas, Inc. provided a strong heritage foundation to the efforts of the course. Experts in Ecotourism, Environmentalism, and Education also enriched the curriculum and the strategies of delivery. The Philippine Educational Theater Association offered their creative pedagogy to optimize innovation, imagination, and inspiration, among the cultural leaders who participated in the sessions.

MakaNayon Cultural Leadership Course is divided into core and intensive courses envisioned to be offered for eight (8) weeks in total, and to be delivered in a distance education and flexible teaching modality.

The core course is divided into five (5) modules, which sum up the five core values of being MakaNayon: Makatao, Makakalikasan, Makabayan, Mapanagutan, and Makadiwa. The Makatao module focuses on culture and gender sensitivity as well as Human Rights. The connection between environment and culture is discussed

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in the Makalikasan module. The Makabayan module aims to impart to the participants the value of local and public history, and heritage. The Mapanagutan module centers on sustainability and sustainable development.

And, the Makadiwa module synergizes the core learnings in the previous modules to reflect and act upon the challenge of being a cultural leader for the nayon and for the Philippines.

After the completion of the core courses, participants of the course are given the choice to pursue an intensive heritage interpretation course relevant to their background and aspirations. They can choose from three (3) intensive courses: Interpretive Planning for tourism officers and cultural planners, Interpretive Guiding for tour guides, and Discovery Learning and Interpretation for educators. Heritage interpretation is a growing method and movement in Europe and North America, where deeper meaning and relationships are formed between the community and their heritage. It is the CLI team’s goal to develop heritage interpreters in the cultural sector of the Philippines.

This compendium of resources in heritage and cultural leadership is the product of Nayong Pilipino Foundation and its Cultural Leadership Institute’s contribution towards our attainment of sustainable development. It follows the structure of the Makanayon Cultural Leadership Course and is written in Filipino (for the core modules) and English (for the intensive heritage interpretation modules). The compendium is capped by a way forward encouraging everyone to employ arts and culture as means to learn and mobilize action towards the preservation and conservation of our natural and cultural heritage.

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References Acabado, S., Martin, M., & Lauer, A. J. (2014). Rethinking History, Conserving Heritage. SAA Archaeologi cal Record.

Aerila, J. A., Rönkkö, M. L., & Grönman, S. (2016). Field trip to a historic house museum with preschoolers: Stories and crafts as tools for cultural heritage education. Visitor Studies, 19(2), 144-155.

Barghi, R., Zakaria, Z., Hamzah, A., & Hashim, N. H. (2017). Heritage education in the primary school stan dard curriculum of Malaysia. Teaching and Teacher education, 61, 124-131.

Copeland, T. (2009). Archaeological heritage education: citizenship from the ground up. Treballs d'arqueolo gia, 9-20.

Curtis, R., & Seymour, C. (2004). Louisiana Heritage Education Program and Heritage in the Classroom: Children's Attitudes toward Cultural Heritage. Journal of Social Studies Research, 28(2).

Delgado-Algarra, E.J. (2020). “Challenges for the Construction of Identities with Historical Consciousness: Heritage Education and Citizenship Education”. In Delgado-Algarra, E.J and Cuenca-López, J.M. (Eds.), Handbook of Research on Citizenship and Heritage Education, pp. 1–25. Pennsylvania: IGI Global USA. Dönmez, C., & Yeşilbursa, C. C. (2014). The effect of cultural heritage education on students’ attitudes toward tangible heritage. Elementary Education Online, 13(2), 425-442.

Dulnuan, J. H., & Ledesma, C. P. (2020). Archaeology in the classroom: A perspective from Kiangan, Ifugao, Philippines| Arkiyoloji sa silid-aralan: Isang pananaw mula sa Kiangan, Ifugao. SPAFA Journal, 4.

Harrison, R., DeSilvey, C., Holtorf, C., Macdonald, S., Bartolini, N., Breithoff, E., Fredheim, H., Lyons, A., May, S., Morgan, J., and Penrose. S. (2020). Heritage Futures: Comparative Approaches to Natural and Cultural Heritage Practices. London: UCL Press.

Inter-agency and Expert Group on SDG Indicators. (2021). Tier Classification for Global SDG Indicators.

Retrieved 05 October 2021 from the World Wide Web: https://unstats.un.org/sdgs/files/Tier%20 Classification%20of%20SDG%20Indicators_29%20Mar%202021_web.pdf.

Kintanar, A. N., & Barretto-Tesoro, G. (2020). Raising heritage consciousness in Pinagbayanan, San Juan, Batangas, Philippines| Ang pagtaguyod ng kaalaman tungkol sa pamanang lahi sa bayan ng San Juan, Batangas. SPAFA Journal, 4.

Lowenthal, D. (2015) The Past is a Foreign Country–Revisited. Cambridge: Cambridge University Press.

Masilang, R. (2010). Strengthening Heritage Tourism through Education. Perspectives on Heritage Tourism, a SPAFA publication, pp. 77-81.

Mensah, J. (2019). Sustainable development: Meaning, history, principles, pillars, and implications for human action: Literature review. Cogent Social Sciences 2019 5 (1).

Ott, M., & Pozzi, F. (2008, September). ICT and cultural heritage education: Which added value?. In World summit on knowledge society (pp. 131-138). Springer, Berlin, Heidelberg.

Pérez, R. J., López, J. M. C., & Listán, D. M. F. (2010). Heritage education: Exploring the conceptions of teachers and administrators from the perspective of experimental and social science teaching. Teaching and teacher education, 26(6), 1319-1331.

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Shoocongdej, Rasmi. (2011). “Public Archaeology in Thailand.” In New Perspectives in Global Public Archae ology, edited by Katsuyuki Okamura, and Akira Matsuda, 95–111. New York: Springer.

Stark, M. T. (2020). Collaboration, engagement, and Cambodia: Archaeological perspectives on cultural heritage. Journal of Community Archaeology & Heritage, 7(3), 215-231.

The Culture 2030 Goal Campaign. (2019). Culture in the Implementation of the 2030 Agenda. ICOMOS and United Cities and Local Governments.

Uzzell, David. (2009). “Where is the discipline in heritage studies? A view from environmental psychology”.

In Sorensen, M.L.S., and Carman, J., Eds, Heritage Studies: Methods and Approaches, pp. 326–333.

London: Routledge.

Van Doorsselaere, Joris. (2021). Connecting Sustainable Development and Heritage Education? An Analysis of the Curriculum Reform in Flemish Public Secondary Schools. Sustainability 2021, 13, 1857: 1-17.

Xinyuan Wang, Hongge Ren, Pu Wang, Ruixia Yang, Lei Luo, Fulong Cheng. (2018). A Preliminary Study on Target 11.4 for UN Sustainable Development Goals. International Journal of Geoheritage and Parks 6 (2): 18-24.

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MAKATAO

Maria Teresa Guia-Padilla, Erika-Rey Saturay Diana San Jose, Marian Lodripas, and Mynabel Pomarin Pagiging Makatao Ang pagiging makatao ay ang kakayahang kumilos na mayroong pagrespeto sa dignidad ng bawat tao at kultura. Bilang pinuno sa sektor ng kultura, ang kaalaman tungkol sa mga katangian ng kultura ay pundasyon sa pag-unawa sa mga pamayanan na mayroon ang ating bansa. Ang pagkilala sa taglay nating mga saloobin tungkol sa sariling kultura at sa kultura ng iba ay matibay na unang hakbang tungo sa taos-pusong paggalang sa iba’t bang pangkat ng tao. Sa pagdaloy ng panahon ay nagbabago rin ang kultura. Bilang cultural leader, nais natin na makaambag tayo sa pagbabagong ito, na hangad ang pagrespeto sa dignidad ng bawat tao sa lipunan, anuman ang kaniyang kultura.

Ang pagpapaunlad sa sarili, bilang cultural leader, ay dapat mag-umpisa sa pagsiyasat ng sariling pagkatao at kalooban. Ito ang dahilan kung bakit ang modyul sa pagiging Makatao ay ang unang dinadaanan sa kursong MakaNayon ng Cultural Leadership Institute. Dito ay aalamin natin kung paano mas mauunawaan ang isang kultura, sariling atin man o kultura ng iba. Inaasahan din na ang isang cultural leader ay mayroong kaalaman at kakayahan sa pagsalarawan at pagpapaliwanag ng sariling kultura o kultura ng iba. Sa tulong ng Makatao modyul, inaasahang magagamit mo ang iyong pagkakaunawa sa kultura at mga batas tungkol sa mga pamanang kultural sa Pilipinas. Magagamit mo din ito sa iyong aktibong pakikilahok at pangunguna sa mga proyekto, programa, at produktong naglalayong isulong ang likas-kayang pag-unlad sa Pilipinas.

Sa pagdaloy ng modyul na ito, inaasahang sisiyasatin mo ang iyong sariling naiisip at nararamdaman patungkol sa kultura. Maliban pa dito, sa pagtatapos ng modyul na ito ay inaasahang kaya mong maging mas mapanuri sa iba’t ibang elemento ng kultura, gamit ang kaalaman tungkol sa mga katangian ng kultura. Mula sa kaalamang ito, magiging mas maingat ka sa ibat ibang produkto ng iyong trabaho tulad ng pananalita o sinusulat, na may malinaw na pagrespeto sa dignidad ng samu’t saring tao at kultura.

Maging handa sa pagsisiyasat at pagbabahagi sa sariling mga saloobin at perspektibo kung pinag-uusapan ang kultura. Ang pagtaya sa sariling pagkatao ang unang hakbang o panimulang pundasyon sa pagiging mahusay na cultural leader.

Siyasatin: Aking Pagkakakilanlan Ang unang gawain ay tungkol sa iyong pagkakakilanlan. Alamin ang kuwento sa likod ng iyong pangalan. Isulat ang iyong sagot, sa malalaking titik, sa kalahating bond paper. Bukod dito, magpakita ka rin ng tig-isang bagay na kumakatawan sa (1) iyong kinabibilangang pangkat etniko o grupong kultural, (2) sa iyong edad o henerasyon, at (3) sa iyong kasarian Sa kabuuan, magpakita ka ng tatlong bagay. Ipaliwanag kung bakit iyon ang iyong napili. Maaari ring ihambing ang iyong napiling bagay sa mga bagay ng ibang kalahok, at tingnan kung paano sila magkakapareho o magkakaiba.

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Makakatulong ang mga sumusunod na gabay na tanong sa pagsasakatuparan sa unang gawaing ito: • Bakit ang pangalan mo ngayon ang binigay sa iyo? Ito rin ba ang nais mong itawag ng ibang tao sa iyo?

• Anong bagay ang iyong ipapakita sa amin upang katawanin ang iyong kinabibilangang pangkat etniko o grupong kultural? Bakit ito ang iyong napili?

• Ano-anong mga bagay naman ang iyong ipapakita sa amin upang katawanin ang iyong edad o henerasyon, at kasarian? Bakit ang mga ito ang iyong napili?

Mga Katangian ng Kultura Ang kultura ay tumutukoy sa kabuoang sistema ng pamumuhay ng isang pangkat ng tao. Kasama sa kultura ang pamumuhay mula sa nakalipas at ang mga pagbabagong nagaganap sa kasalukuyan. Bahagi ng kultura ang paniniwala, relihiyon, pamahiin, wika, kasabihan, gayundin ang pamumuhay, panahanan, pagkain, sayaw, awit, panitikan, panggagamot at marami pang iba. Sa Antropolohiya, o ang akademikong disiplina na nakatuon sa kultura ng mga tao, malimit gamitin ang kahulugan na ito mula kay Edward B. Tylor “… that complete whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man [and woman] as … member[s] of society.”

Paunlarin natin ang talakayan sa pag-aaral ng mga gabay kung paano maaaring intindihin at maisalarawan ang kultura. Ang mga gabay na ito ay makatutulong sa akmang paglalarawan sa sariling kultura o kultura ng iba. Mahalaga na akma o tama ang pagbibigay deskripsiyon o paglalarawan sa kultura upang maipakilala ito ng maayos at matagumpay. Marami ding mga sensitibong usapin ang kultura, kaya naman tama lamang na pag-aralan ang gabay sa paglalarawan nito. Ang mga sumusunod ay ang iba’t ibang paglalarawan sa kultura.

Katangian 1: Ang kultura ay natututuhan. Walang ipinanganak na tao na alam na niya ang kulturang kaniyang kinabibilangan. Natututuhan ang kultura sa pamamagitan ng pormal na Sistema, tulad ng paaralan, o impormal na pamamaraan, gaya ng karanasan at pagmamasid. Pati ang pagtingin natin tungkol sa kung ano ang dapat na kilos at gawain ng babae at lalaki sa lipunan ay natutunan natin.

Katangian 2: Ang kultura ay nababahagi. Ang mga paniniwala at gawi ng isang kultura ay alam ng karamihan ng mga tao na nakatira sa pamayanan. Ibinabahagi ito ng matatanda sa susunod na henerasiyon sa maraming paraan. Isang magandang halimbawa dito ang wika. Hindi magkakaintindihan ang mga tao sa loob ng isang pamayanan kung hindi naibahagi sa iba ang kaalaman tungkol sa wikang kanilang sinasalita.

Katangian 3: Puno ng simbolo ang kultura. Ang bawat kultura ay mayroong mga simbolo na naiintindihan ng mga miyembro ng kulturang iyon. Ang mga simbolo ay natututunan din. Walang pangkalahatang simbolo na agad naiintindihan ng lahat ng kultura sa daigdig (there are no universal symbols).

Katangian 4: Sa isang kultura, mayroong mga dapat na pinapaniwalaan o kilos, ngunit mayroon itong

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pagkakaiba sa nagaganap sa totoong buhay o pamayanan. Mahalaga na matukoy ang pagkakaiba ng “dapat” sa “aktwal” sa isang kultura.

Katangian 5: Sa pagkapare-pareho na nakikita sa loob ng isang kultura, mayroong pagkakaiba sa indibidwal na antas. Halimbawa, sa mga disenyo ng telang tnalak ng Tboli sa Cotabato, at hinabol ng Higaunan sa Bukidnon, mayroon pa ring pagkakaiba ang mga disenyong gawa ng magkakaibang tagahabi.

Bawat tagahabi sa isang kultura ay may sariling istilo ng paghabi o ninanais na kulay.

Katangian 6: Sa loob ng isang kultura, may pormal at impormal na pag-kontrol. Kabilang sa pormal na pag-kontrol ay batas, polisiya, at panuntunan. Kalimitan klaro ang epekto o mga parusa sa paglabag sa mga ito.

Kasama naman sa impormal na pag-kontrol ay ang peer pressure (nadadala ng barkada), chismis, panghihiya, at pagnanasang huwag makasakit sa iba.

Katangian 7: Ang kultura ay umaangkop. Ang mga aspeto ng kultura at mga kagawian, ay karaniwang umaangkop sa pisikal at panlipunang kalagayan, sa pagsusumikap na patuloy na mabuhay ang mga tao sa isang grupo o lipunan. Isang halimbawa ang bahay-kubo, na tradisyonal na bahay ng mga Pilipino, na bagay na bagay sa kanayunan. Subalit, hindi ito bagay sa lungsod. Tingnan din na ang disenyo ng bahay na bato sa panahon ng mga Espanyol ay nakabatay sa disenyo ng bahay kubo. Kung ang pag-angkop ay nakabubuti para sa mga tao ng kulturang iyon, ito ay tinatawag na adapative, o akmang pag-angkop. Kung makasasama naman, ito ay itinuturing na maladaptive na pag-angkop.

Katangian 8. Sa loob ng isang kultura, ang mga bagay-bagay ay magkakaugnay. Ang pagbabago sa isang aspeto ng kultura ay nakakaapekto sa iba pang aspekto ng kultura. Malimit na hindi sinasadya o hindi inaasahan ang pag-epekto na iyon. Halimbawa, ang pagpayag na maaari nang makapag-aral ang kababaihan ay isang salik kung bakit tumaas ang edad kung kailan nag-aasawa ang mga babae. Sa usapin naman ng kalikasan, marami sa kabundukan ng Pilipinas ang dating makapal pa ang kagubatan. May panahon sa kasaysayan natin na ang pagputol sa mga puno ay sinasabing nakatulong sa pambansang ekonomiya. Subalit, hindi naisip ng mga politiko at negosyante noon na ang pagkakalbo ng mga bundok ay maraming hindi mabuting epekto, tulad ng pagguho ng lupa, pagkatuyo ng mga batis, at pag-init ng klima.

Katangian 9: Ang kultura ay nagbabago. Kahit na ang pinaka-tradisyonal na kultura ay naiiba ang anyo ngayon mula sa anyo nito noong unang panahon. Ang pagbabago ng kultura ay dulot ng pagbabago ng tao.

Ang kultura ay nagbabago ayon sa paano tumugon ang tao sa pagbabago ng kaniyang kalagayan at kapaligiran.

Mga Saloobin sa Kultura Kung paano natin ituring ang sarili nating kultura at kultura ng iba ay may epekto sa kung paano tayo makisalamuha at magdesisyon. Mas mapapanghawakan natin ang ating sarili, ang ating mga desisyon, at ating mga kilos kung maunawaan natin ang mga saloobin (attitude at perspective) natin tungkol sa kultura.

Saloobin 1: Ethnocentrism. Mula sa salitang “ethnos”, o ang naiibang tao, at “center”, o pinanggalingan

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o iniikutan. Nangangahulugan ito na ang paniniwala at gawi ng sariling kultura ay itinuturing na mas tama o mas angat kumpara sa ibang kultura. Ang tingin sa mga paniniwala at gawi ng ibang kultura ay mali o hindi kasing galing. Tingnan ang mga salita sa larawan sa ibaba. May pagtingin ang mga dayuhang mananakop sa mga katutubo na hindi nila kagaya ng kultura na hindi sibilisado o “barbarian”. Nakalulungkot na tila nanatili pa rin ang ganitong pagtingin hanggang sa kasalukuyan.

Saloobin 2. Xenocentrism. Ito ay ang pagtingin na ang ibang kultura ang mas tama at magaling, at ang sariling kultura naman ay inferior, o mababa, kumpara sa ibang kultura. Ang colonial mentality ay partikular na tipo ng xenocentrism na makikita sa mga bansa na tulad ng Pilipinas na dating sakop ng ibang bansa. Mula ito sa salitang “colonial” o ang pananakop ng isang makapangyarihang bansa sa isang mas mahinang bansa, pamayanan, o teritoryo at “mentality” o ang dala-dalang kaisipan. Sa colonial mentality, tinitingala ng isang kultura o pamayanan na mas angat o mas tama ang kultura ng dating mananakop na bansa o iba pang kultura.

Mas mababa ang tingin sa sariling kultura ng may saloobin na colonial mentality. Halimbawa nito ay ang mataas na pagtingin ng ilang Pilipino sa kultura ng Estados Unidos at pagkilala na mas matibay ang mga gawang “stateside”. Maaaring makita din ito sa pagtangkilik ng mga Pilipino sa mga palabas at kanta na galing sa Thailand, South Korea, at marami pang iba. Hindi naman masama na tumangkilik sa mga produkto ng ibang bansa. Nagiging colonial mentality lang ito kung may agarang paghusga na mas mahusay ang mga ito kaysa mga produkto ng sariling bayan.

Saloobin 3: Noble Savage. Ang ibig sabihin nito ay “dakila kahit hindi sibilisado”. Sa pananaw na ito, ang mga kasapi ng mga tradisyonal o katutubong kultura ay “simple”, “luma”, o “paatras”, pero dalisay ang kanilang puso, damdamin o kaluluwa. Kakikitaan ito ng romantikong pagtingin sa mga tradisyonal o katutubong kultura. Kaya dapat daw mapanatili ang pagkadalisay nito o mai-preserve. Gayunpaman, ang salitang “preserve” ay dapat lamang sa usapin na material artifact o bagay na nakikita o nahahawakan. May karapatan ang bawat tao at bawat kultura na magbago. Ngunit ang pagbabagong ito ay dapat ayon sa kanilang sariling pagpapasya. Isang halimbawa ng pagtinging ito ay ang ipinakita ng karamihan sa mga Tasaday noong 1970s. Sumikat ang Pilipinas dahil sa balita na may “Stone Age tribe” na tinatawag na Tasaday. Ang mga Tasaday ay natuklasan sa South Cotabato at nag-ani ng malakas na atensiyon mula sa lokal at pandaigdigang midya. Sa pagsisiyasat ang mga Tasaday batay sa kanilang wika ay nalalapit sa mga grupong Manobo, ang kanilang pamumuhay rin ay hindi tulad sa panahon ng Stone Age.

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Saloobin 4: Cultural Relativism. Nangangahulugan ang relatibismo na may mga kaalaman, katotohanan at moralidad na magkakaiba sa bawat kultura na may kaugnayan sa konteksto at kasaysayan nito. Walang isang tamang kaalaman, katotohanan, at moralidad na mayroon sa mundong ito. Kadalasan ay nagiging paksa ng debate ang cultural relativism, lalo na kung ang gawi ng isang kultura ay nakasasama sa tao, hayop, o kalikasan.

Halimbawa ng cultural relativism ay hindi tanggap sa maraming kultura sa Pilipinas ang pagkain ng aso ngunit may ilang pangkat etniko sa Pilipinas na kumakain nito. Ilan pang halimbawa ng cultural relativism ay: • Pagkain ng mga hayop, na sa buong daigdig ay nabibilang sa nawawala na subalit marami pa at bahagi ng lokal na kultura sa isang lugar; • Ang pagtukoy sa pagkaingin bilang dahilan ng pagkakalbo ng mga kagubatan samantalang maaaring tingnan din kung ano ang pinsala na dulot ng extractive industries, tulad ng logging at mining; at • Ang pagta-tattoo na dati ay tinitingnan na marumi at gawaing bahagi ng gang o pampreso, subalit ngayon ay kinikilalang magandang sining ng ilang katutubong grupo.

Mahalaga na nakikilala mo ang iyong mga tunay na saloobin tungkol sa kultura. May mga posibleng negatibong epekto kapag nahaharap tayo sa isang kulturang hindi natin nauunawaan o natatanggap.

Manipestasyon 1. Culture Shock. Kung tayo ay nakapaloob sa isang kultura na hindi pa natin lubos na naiintindihan o natatanggap, maaaring makaranas tayo ng pagiging hindi komportable, kinakabahan o nalilito.

Manipestasyon 2. Stereotyping. Madalas mangyari ang stereotyping, o pagbibigay ng nakasanayang pagkilala, sa isang kultura kapag may ethnocentric na pagtingin ang isang tao. Ang stereotyping ay ang pagkakaroon ng expectation, o pagpapalagay na ang isang kultura o grupo ay may taglay na katangian, kagawian o paniniwala, at ang sino mang taong bahagi ng nasabing grupo o kultura ay nagtataglay ng mga katangian o mga gawain ng kaniyang grupong kinabibilangan. Pero maaaring mali ang mga pagpapalagay na ito, lalo na’t kung hindi natin naiintindihan ang konteksto ng mga naobserbahan sa naiibang kultura. Halimbawa nito ay ang mga pagbansag na “kuripot” ang mga Ilokano, “mayabang” ang mga Kapampangan, o kaya naman ay “baduy manamit” ang mga Bisaya. Ang mga bansag na ito ay mali at walang batayan.

Manipestasyon 3. Discrimination. Ang cultural discrimination ay ang hindi pantay, hindi makatarungan, at hindi makataong pagtrato sa mga tao dahil sa kinabibilangan niyang kultura o grupo, na naiiba sa ating sariling kultura o grupo. Ang mga katutubong grupo sa Pilipinas ay kabilang sa mga sektor ng lipunan na karaniwang nakakaranas ng ganitong diskriminasyon. Halimbawa, sa karanasan ng mga taga-AnthroWatch, sa pakikisalamuha sa mga katutubo ng Mindoro na kolektibong tinatawag na Mangyan, direktang na-obserbahan ang mga ito: • Mga batang Mangyan ay mayrooong kanta na “…kaming mga Mangyan, ay tao rin naman… kami’y hinahamak, ginagawang katuwaan…”.

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• Kapag puno na ang isang pampublikong sasakyan at may sasakay na hindi Mangyan, kung may Mang yan sa sasakyan ay inaasahan siya ay mag “top load” o sa bubong na ng sasakyan uupo.

Subalit hindi lang mga katutubong grupo ang nakakaranas ng diskriminasyon ayon sa iba't ibang elemento ng kultura. Maaari din na maranasan ang diskriminasyon dahil sa mga paniniwala ng isang kultura tungkol sa kasarian, edad, hanapbuhay, antas ng pag-aaral na naabot, pisikal na katangian tulad ng kulay ng balat, o pagkakulot ng buhok.

Ngayon mainam ipaalala sa ating lahat ang kahalagahan ng mga ibig sabihin ng ilang mga salita na may patungkol sa kultura. Mahalaga na gumamit ng mga culture-sensitive na salita upang maging maayos ang komunikasyon at pagkakaunawaan ng mga kultura. Nasa ibaba ang halimbawa ng mga culture-sensitive na salita.

Mga Batas sa Usapin ng Kultura Sa bahaging ito, matutunghayan natin ang ilan sa mga batas para sa pangangalaga at pagpapaunlad ng ating kultura sa Pilipinas, at gayundin ang mga kaugnay na pandaigdigang kasunduan. Sa paksang ito, layunin natin na malaman na may mga batas na makatutulong sa ating mga nagtatrabaho sa sektor na kultural.

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May dalawang grupo ng mga batas o polisiya. Ang isa ay mga pangkalahatang batas o polisiya tungkol sa kultura mismo. At ang isa pang grupo ay tungkol naman sa tinatawag na cultural communities, lalo na’t ukol sa indigenous peoples o katutubong mamamayan. Unahin na natin ang mga batas at polisiya tungkol sa kultura: • 1987 Philippine Constitution. Sa saligang batas, mismo, ay kinikilala ang kahalagahan ng kulturang Pilipino, kasama na ang pagbibigay ng “recognition”, “promotion”, at “protection” sa mga karapatan ng mga katutu bong komunidad. Dito unang lumabas sa batas ang salitang indigenous cultural communities, o ICCs. Sa kasaysayan ng Pilipinas ay marami nang naging katawagan sa kanila, gaya ng uncivilized, pagan, tribes, national minorities, at cultural minorities.

• Republic Act No. 7160, o Local Government Code of 1991. Sa Local Government Code naman, may pro bisyon tungkol sa pagsulong sa kultura. Ayon dito, “.. Within their respective territorial jurisdictions, local government units shall ensure and support the preservation and enrichment of culture….”.

• Republic Act No. 7356 of 1992 . Ito ang batas na nagtayo sa National Commission for Culture and the Art, o NCCA, na siyang pambansang ahensya para sa kultura. Mayroon din mga Presidential Decree na kumikilala sa ilang makasaysayang pook at gusali bilang national shrines, monuments, at landmarks, o pambansang dam bana at bantayog. Itinakda na dapat pangalagaan at ituring na banal ang mga ito na umaayon sa Republic Act No. 4846. Gayundin ay nagtulungan ang National Historical Commission at Department of Tourism sa mga gawaing “preservation, restoration, and/or reconstruction” at sa National Museum para naman sa pagde deklara ng mga “historical” at “cultural sites” bilang national shrines, monuments, o landmarks.

• Republic Act 8371, o Indigenous Peoples Rights Act of 1997. Sa mga panahon ngayon ay mas angkop ang katawagan na indigenous peoples. Ang terminong “indigenous peoples” ay may mensahe ng pagkilala sa kara patan ng mga katutubong komunidad sa kanilang naiibang cultural identity, at hindi sila dapat maisantabi dahil sa pagkakakaibang ito.

Kaya ang batas sa Pilipinas tungkol sa kanila ay tinatawag na Indigenous Peoples Rights Act, o IPRA. Bunga ang batas na ito ng maraming dekadang pakikibaka ng mga katutubong mamamayan sa Pilipinas. Ito ay tinatawag na landmark legislation dahil sa buong mundo, ang Pilipinas ang isa sa mga unang bansa na kinilala ang mga katutubong mamamayan sa pamamagitan ng isang pambansang batas. May “four bundles of rights” o apat na bigkis ng mga batas, na itinataguyod sa IPRA: (1) Right to Ancestral Domain, o karapatan sa lupaing ninuno; (2) Right to Self-Governance and Empowerment, o sariling pagpapasya at pamamahala, (3) Social Justice and Human Rights o katarungan at karapatang pantao; at Right to Cultural Integrity, o pagtaguyod sa sariling kultura.

• Republic Act No. 10066, o National Cultural Heritage Act of 2009. Mayroon ding mga batas para sa pag protekta at pagtaguyod ng tinatawag na cultural treasures ng Pilipinas. Sa batas na ito ay mas pinaigting ang pagkilala sa cultural heritage sa bansa. Halimbawa, nagbibigay proteksyon ito sa mga gusali na higit sa 50 taon

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ang edad. Nagtatag din ito ng mga kategorya ng cultural property, tulad ng mga gawa ng isang national artist, “archaeological and traditional ethnographic materials”, archival materials na may edad 50 taon o higit pa, at mga gawa ng mga pambansang bayani. Ipinagbabawal sa National Cultural Heritage Act ang mga gawain tulad ng pagwasak, pagbabago, o pagsira (mutilate) sa anumang world heritage site at pagbebenta o pamamahagi ng bagay na nawala ng tunay nitong may-ari (rightful owner).

• Philippine Development Plan 2017-2022 (bahagi ng Ambisyon 2040). Ang pangmatagalang plano ng Republika ng Pilipinas ay ang Ambisyon 2040 na produkto ng National Economic Development Authority (NEDA). Hinahangad na sa taong 2040, ang bawat Pilipino ay mayroong matatag, maginhawa, at panatag na buhay – “a strongly rooted, comfortable and secure life”. Kasama sa pagiging matatag ang work-life balance o mainam na pagbabalanse ng personal na buhay at ng trabaho, at kasama sa usapin ng maginhawang buhay ang pagbiyahe at bakasyon.

Ang bawat administrasyon nanunungkulan ay mayroong plano kung paano maka-ambag sa Ambisyon 2040, kaya ang kasalukuyang administrasyon ay mayroong Philippine Development Plan 2017-2022 o PDP 2017-2022. Binuo ito ng NEDA pero kasama sa paglikha ng plano ang lahat ng kagawaran at ahensiya ng pamahalaan. May isang buong kabanata sa PDP na tungkol sa kultura - “Promoting Philippine Culture and Values”. Dapat daw gawin ito bilang pundasyon ng lipunang Pilipino para sa “inclusive growth, a high-trust and resilient society and a globally competitive economy.” Ilan sa mga layunin na gusto pang makamtan sa PDP ay ang mga sumusunod: -magtayo ng mga sentro ng kultura sa mga rehiyon; -i-mainstream o bigyang halaga ang kultura sa pagpaplano para sa kaunlaran; -suportahan ang pagpapaunlad ng mga kasanayan ng mga artista at manggagawa sa sektor ng kultura, at bigyan sila ng mga proteksyong panlipunan; at -pag-aralan ang mga katutubong kultura at palaguin ang katayuang panlipunan, politikal, at ekonomikong kalagayan para masigurado ang kaunlaran na para sa lahat.

Ayon pa sa PDP 2017-2022, kasama sa “2017 Guidelines for the Seal of Good Local Governance” bilang new essential area ang “Tourism, Culture, and the Arts” bilang bagong mahalagang larangan. Magandang insentibo ito sa mga Local Government Units o LGU para kanilang itaguyod, protektahan at pagyamanin ang kultura at mga pamana nito (“promote, protect and enrich culture and heritage”).

Narito naman ang ilang mga international na kasunduan na nilagdaan ng Republika ng Pilipinas na nauukol sa kultura: • International Covenant on Economic, Social and Cultural Rights of 1966. Ang ICESCR ay nagsasabi sa mga gobyerno na siguraduhing matamasa ng bawat mamayanan ang mga karapatang pang-ekonomiko, sosyal, at kultural. Kasama na dito ang mga karapatan sa edukasyon, trabaho, pagkain, bahay, kalusugan, pagkilala sa sariling kultura (cultural identity), at iba pang mga bagay na kailangan ng isang tao para mabuhay ng may dignidad.

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Ang ICESCR ay isang covenant. Ibig sabihin nito ay legally binding, o maaaring kasuhan ang gobyerno, tulad ng Pilipinas na pumirma dito,m kapag mapatunayan na lumabag ito sa covenant.. Karugtong ang kasunduang ito sa Universal Declaration of Human Rights, na ginugunita natin every December 10, na ang tutok ay sa mga karapatang sibil at political.

• Convention on the Elimination of All Forms of Discrimination Against Women of 1979. Ang CEDAW ay isang internasyonal na kasunduan na nilagdaan din ng Pilipinas. Sinasabi dito na hindi maaaring gamitin na dahilan ang kultura para tanggapin o ibale-wala ang diskriminasyon laban sa kababaihan. Tulad ng covenant, ang convention ay legally binding din sa mga gobyernong pumirma dito. Bilang pagsunod sa convention, maraming mga batas para sa kapakanan ng kababaihan ang nailabas tulad ng: batas sa Pilipinas ang ang Anti-Violence against Women and Their Children Act, o Republic Act 9262 of 2004.

Dumako naman tayo sa mga batas na tumatalakay sa mga karapatan ng mga katutubong mamamayan o indigenous peoples o indigenous cultural communities. Kung kultura ang pag-uusapan, ang mga katutubong komunidad ang madalas na nababanggit dahil sa kanilang pagiging kakaiba, o distinct ang kanilang kultura kung ihahambing sa pangkalahatang lipunan ng Pilipinas. Ngunit, nanganganib na mawala ng tuluyan ang mga kulturang ito kaya sila ay isa sa mga vulnerable o marginalized sectors na nakakaranas ng diskriminasyon dahil sa pagkakaibang ito. Ang pagsasabatas ng IPRA ay naging udyok sa mga ahensya ng gobyerno na maglabas ng mga polisiya para maging mas angkop sa kultura ng mga katutubong mamamayan ang kanilang serbisyo.

• Isang halimbawa ay ang Framework for Indigenous Peoples Education ng Department of Education, o IPEd, noong 2011, na pinatibay sa pagkasali nito sa Enhanced Basic Education Act of 2013 o Republic Act 10533.

Makaraan nito, naglabas ng marami pang Administrative Orders ang DepEd sa usapin ng isang basic education curriculum na mas may pagtugon sa konteksto nila, gumagalang sa identities, o pagkakakilanlan, ng mga katutubo at pagtataguyod ng katutubong kaalaman bilang bahagi ng kanilang cultural heritage.

• Isa pang halimbawa ang Joint Memorandum on Indigenous Peoples Health na inilabas noong 2013 ng Department of Health, National Commission on Indigenous Peoples, at Department of the Interior and Local Government. Isinasaad sa polisiyang ito na dapat siguraduhin na ang mga serbisyong pangkalusugan para sa mga katutubong mamamayan ay angkop o bagay sa kanilang kultura.

• Konsepto ng Free Prior Informed Consent. Nilikha ng IPRA ang National Commission on Indigenous Peoples, o NCIP, na ang mandato ay ang pagsubaybay sa pagpapatupad ng iba’t-ibang ahensya ng gobyerno tung kol sa four (4) bundles of rights. Isang mahalagang polisiya na nilabas ng NCIP ay ang Administrative Order No. 3, series of 2012, na guidelines sa pagproseso ng Free Prior Informed Consent, o FPIC, mula sa katutu bong komunidad, o ang wastong pagpapaalam bago ilunsad ang isang proyekto, pag-aaral ng pribado o pam publikong institusyon

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Sa katunayan, ang konsepto ng FPIC ay hindi lang nauukol sa indigenous peoples. Anuman ang nais nating gawin na proyekto sa isang lugar, may obligasyon tayong pinapaalám (stress on last syllable meaning to inform) at pinapaálam (stress on fourth syllable meaning to ask permission) sa mga nakatira sa lugar. Kung tayo ay kumukuha ng litrato doon o nag-aaral, o kahit namimitas ng bulaklak o dahon, importanteng nagpapaalam tayo sa mga may-ari o naninirahan lang doon. Kahit na walang partikular na batas sa pag proseso ng FPIC maliban sa mga katutubong komunidad, dapat gawin itong prinsipyo o ethical practice natin bilang mga cultural leader.

• Ipinasa noong 2007 ang United Nations Declaration on the Rights of Indigenous Peoples, o UNDRIP, na pinirmahan din ng gobyerno ng Pilipinas. Malinaw ang mensaheng ipinapahayag ng deklarasyong ito na dapat hindi ma-discriminate ang mga katutubo sa kanilang pagiging iba sa karamihan. Dapat din daw irespe to ang right to self-determination, o sariling pagpapasya, ng indigenous peoples.

• Isa sa mga unang pandaigdigang kasunduan na naglalaman ng pagkilala sa karapatan ng mga katutubo ay ang International Labor Organization Convention 169. Ito ay kumikilala sa karapatan ng mga katutubo sa saril ing pagpapasya sa loob ng isang bansa. Nagtatakda din ito ng mga pamantayan para sa mga pambansang pamahalaan hinggil sa mga karapatang pang-ekonomiya, sosyo-kultural, at pampulitika ng mga katutubong mamamayan. Maraming probisyon dito sa C169 ang nakapaloob din sa 1987 Philippine Constitution, Labor Code of the Philippines, at IPRA. Sa kasamaang palad, hanggang ngayon ay hindi pa rin na-ratify sa Pilipinas ang mahalagang kasunduan na ito. Kahit na may IPRA ang Pilipinas ay mainam pa rin kung bahagi tayo ng Convention na ito dahil malaking proteksyon din ito sa mga katutubo, lalo na para isulong ang kanilang karapatan para sa sariling pagpapasya.

• Ang Sustainable Development Goals, na labing-pito lahat, ay pinagkasunduan ng United Nations noong 2015 bilang panawagan na sa pagsapit ng taong 2030, wala nang kahirapan, mas masigasig ang pangangalaga sa planeta, at lahat ng nilalang ay nabubuhay ng mapayapa at masagana.

Ang pangangalaga at pagpapaunlad sa kultura ay kasama sa mga layunin ng SDGs. Sabi nga sa Preamble ng 2030 Agenda. “We acknowledge the natural and cultural diversity of the world and recognize that all cultures and civilizations can contribute to, and are crucial enablers of, sustainable development.” Dagdag ng isang grupo na nagtataguyod sa kultura sa SDGs: “Cultural aspects play a pivotal role for the 2030 Agenda to be successful. Cultural rights, heritage, diversity and creativity are core components of human and sustainable development.”

Maliban sa magandang alamin ang mga batas na mayroong kaugnayan sa kultura at mga pamayanang kultural, bilang bahagi ng trabaho sa sektor ng kultural, mainam din na makita natin na ang pagiging culturally sensitive at appropriate sa mga ginagawa natin ay naaayon din sa mga batas at polisiya. Bilang cultural workers at duty bearers, tayo ang dapat na ehemplo ng pagkilala at pagsunod sa mga batas tungkol sa kultura.

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Mga Isyu sa Gawaing Kultural at ang Landas tungo Pagiging Culture-Sensitive Sa panghuling paksa ng Makatao modyul ay tatalakayin ang ilang mga isyu na malimit harapin ng mga nagtatrabaho sa sektor ng kultura.

Kailan nagiging walang galang ang panghihiram sa kultura? Ang panghihiram mula sa ibang kultura, o cultural borrowing, ay isang batayang pangyayari sa buhay ng mga tao. Kung susuriin mo ang iyong suot ngayon o kung ano ang huli mong kinain, masasabi mo na hindi “purong Pinoy” o nakabatay sa kulturang Pilipino ang mga ito. Mahihinuha mo na galing o may impluwensiya ang kultura mula sa labas ng Pilipinas sa mga ito.

Hindi likas na masama ang cultural borrowing. Bahagi nga ito ng ilan sa mga katangian ng kultura, tulad ng “ang kultura ay umaangkop” at “ang kultura ay nagbabago”. Halimbawa, ang malawakang pagtatanim ng repolyo at strawberries na makikita sa pelikulang Tanabata’s Wife ipinalaganap sa panahon ng pananakop ng Estados Unidos upang matugunan ang kagustuhan ng mga Amerikano para sa mga produktong ito. Naging adaptive practice ito para sa ekonomiya ng Cordillera. Sa kasamaang palad ito ay naging maladaptive o masama dahil sa paglason ng lupa gamit ang mga kemikal ng pestisidyo at abono para sa mga halamang ito. Napalitan din ng mga halamang na ito sa tanamin ang mga tradisyonal na pananim tulad ng palay, gabi, at iba pa.

May mga nahiram din ang ibang kultura mula sa mga kultura sa Pilipinas. Halimbawa nito ay ang mga salitang Filipino na ngayon ay naisama na sa Oxford English Dictionary. Sa usapin din ng panghihiram mula sa ibang kultura dapat din isaalang-alang ang orihinal na gamit ng nasabing kultura. Halimbawa, ano kaya ang nararamdaman ng isang Katoliko kung ang crucifixion ay gawin bahagi ng isang damit? Ito ba ay maaari sa ngalan ng tinawag na fashion o di kaya ay nababastos na nito ang isang relihiyon?

Ang suot na blusang Tboli sa larawan sa ibaba ay nabili mula sa isang organisasyon ng mga kababaihang katutubo. Ang Tboli ay isang pangkat etniko mula sa South Cotabato sa Mindanao.

Sa pagbili ay dapat tanungin kung may mga dapat isaalang-alang sa pagsuot nito. Mula sa pagtatanong sa may-ari sa kultura ito ay nagbigay sila ng apat na bilin sa tamang pagsusuot ng blusa. Ito ay ang mga sumusunod, una, huwag itong i-terno sa shorts o maikling palda; ikawala, huwag itong ipares sa body-fit na palda o pantalon; ikatlo, bawal din i-terno ito sa maong; at panghuli, mainam na samahan ng mga Tboli accessory o burloloy kapag sinuot ang blusa. Ito ang tamang paraan ng panghihiram ng kultura. Mahalaga sa panghihiram mula sa ibang kultura ay alamin ang kasaysayan at konteksto at bigyan ng pagpapahalaga ang hiniram.

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Tradisyonal na blusa ng babaeng T’boli sa Central Mindanao

Bawal shorts o maikling palda

Magsuot ng T’boli accessory

Bawal maong Bawal body fit Alamin ang kwento ng kulturang hinihiram at irespeto ang konteksto nito.

Noong April 2021, ang mga Talaandig ng Bukidnon ay naging bahagi ng isang teleconference. Sa teleconference na ito ipinakita na mayroong isang sagradong kasuotan sa ulo ang mga Talaandig na nasa pangangalaga ng Hearst Museum of Anthropology sa California, Estados Unidos. Tinanong ang mga Talaandig kung ano ang nararamdaman nila na makita na may bagay na sagrado sa kanilang kultura na nasa ibang bansa at wala na sa kanilang piling.

Ang kanilang sagot ay malungkot sila na wala na sa piling nila ang bagay na iyon. Gayunpaman nagpapasalamat sila na dahil mayroong museo na nag-aalaga ng bahagi ng kanilang kultura na halos nawawala na sa ngayon sa mga komunidad ng Talaandig. Ang mahigpit na bilin nila sa Hearst Museum ay “kung gaano kalaki ang pagpapahalaga at paggalang namin sa bagay na iyon sa aming kultura, dapat ay ganun din ang trato ninyo sa bagay na yaon.” Nakatutuwa na sumang-ayon ang nasabing museo.

Kailan nagiging cultural appropriation ang dapat na cultural appreciation? Tunghayan natin ang Ati-Atihan Festival na nagaganap sa Kalibo, Aklan tuwing buwan ng Enero. Sa wikang Tagalog, kapag inuulit ang isang salita ay maaaring nangangahulugang ito na laro. Halimbawa, bahay-bahayan ay naglalaro kayo ng parang namumuhay sa isang bahay. Kaya ang pangalan ng pagdiriwang na ito ay may kahulugan na paglalaro na parang mga Ati o Aeta. Ang mga Ati o Aeta ay isang pangkat etniko ng Pilipinas at hindi dapat ginagawang paglalaro ang pagkilala sa kanila. Natabunan ang orihinal na kahulugan ng pagdiriwang bilang isang ritwal ng pasasalamat, ng mga Ati para sa masaganang ani. Ayon pa sa mga taga Aklan, isa pang kahulugan ng Ati-atihan ay ang paggunita sa pagtanggap ng mga Ati na maging Kristiyano. Sa paglipas ng panahon at pagturing na kasi

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yahan ang Ati-atihan ay ginawang katatawanan ang labis na pagpapa-itim na tulad daw ng isang Ati. Ginagawa ding palarong kasuotan o “fun costume” ang tradisyonal na kasuotan ng mga Ati. Sa ating pagsusuri ng Ati-atihan Festival mainam din na tignan natin ang bahagi ng mga Ati sa pagdiriwang na ibinatay sa kanila. May mga Ati kaya na kumita sa pagdaraos ng festival na ito? Meron bang Ati na may-ari ng mga negosyo ng hotel, kainan, transportasyon, atbp., na kumikita dahil sa taunang pagdaraos ng Ati-Atihan Festival? Dapat din nating bigyan ng pansin na ang mga Ati sa Kanlurang Visayas ay kabilang sa mga pinakamahihirap na katutubo sa buong Pilipinas. Tuluyang naputol ang ugnayan sa tradisyonal nilang lupain. Nakararanas din sila ng malawakang diskriminasyon dahil sa kanilang pisikal na katangian at antas sa buhay. Batay dito masasabi nating hindi malinaw ang benepisyo sa mga Ati ang isang pagdiriwang na ibinatay sa kanila.

Sa ganitong kalagayan, ang Ati-Atihan ay isang halimbawa ng cultural appropriation. Ang ibig sabihin nito ay “…the use of objects or elements of a non-dominant culture in a way that doesn't respect their original meaning, give credit to their source, or reinforces stereotypes or contributes to oppression.” Parang inako mo ang isang bagay na pagmamay-ari ng iba, tapos binastos mo pa ang bagay na iyon at ang dating may-ari nito tulad na lamang ng mga Ati at Ati-atihan Festival. Ang habol natin ay cultural appreciation o pagsisikap natin na matuto at maunawaan ang konteksto at kasaysayan ng isang kultural na bagay o gawi, para sa mas taos-pusong pakikitungo tungkol sa kulturang iyon.

Paano nagiging bagay na pangkalakal ang kultura? (Commodification of Culture) May sinulat si William Henry Scott (1921-1993), na may palayaw na Scotty na magandang tandaan. Si Scotty ay taga Estados Unidos, pero napamahal na sa kanya ang Pilipinas, lalo na ang rehiyon ng Cordillera. Sa katunayan, siya ay nabuhay at inilibing sa Cordillera, sa bayan ng Sagada, sa lalawigan ng Mountain Province. Isa siyang manunulat ng kasaysayan. Meron din siyang binanggit tungkol sa turismo. Sa pananaw ng turismo nagkakaroon lamang ng dalawang pangkat ng tao sa isang bansa. Una ang mga turista, at pangalawa ang mga taong ginagawang tourist attraction. Kadalasan ang mga tourist attraction ay ang mga katutubo.

Suriin ang mga makukulay na kasuotan ng iba't ibang pampublikong pagdiriwang o festival sa Pilipinas.

Sa isang mainam na pagdiriwang, ang kasuotan ng mga babae ay hindi pinapakita bilang sobrang mapang-akit o sexually provocative. Bilang pagrespeto sa dignidad ng kababaihan, iwasan ang pagtatanghal sa mga babae bilang pang sekswal na bagay o sexual objects sa pamamagitan ng kasuotan at posing. Maganda din itong alituntunin patungkol sa mga bata, at sa panahon ngayon, pati na rin sa mga kalalakihan. Ang ganitong gawi ay malungkot na manipestasyon na din ng commodification sa kultura.

Sino ang nagmamay-ari ng isang kultura? Sa usaping ito, mainam na pag-usapan si Whang-od Oggay, miyembro ng katutubong pangkat ng Butbut sa Kalinga. Kilala siya bilang natitirang tradisyonal na mambabatok o tattoo artist ng mga Butbut o ng buong Kalinga mismo. Naging sentro siya kamakailan ng isang kontrobersiyang may kinalaman sa kultura.

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Isang sikat na vlogger na nagngangalang Yuseir Nasin na taga bansang Israel ay nagtayo ng Nas Academy.

Layunin ng Nas Academy na ito na tulungang mapaunlad ang mga akayanan ng mga tinatawag na “creators”, o mga tao na naglalabas ng mga online na produkto tulad ng mga vlog at palabas. Nagpahayag ang Nas Academy na mayroon silang online tutorial kung saan ituturo daw ni Whang-od kung paano ang kantang tradisyonal na pagtatato. Pumutok ang isyu noong sinabi ng pamangkin ni Whang-od na si Grace Palicas na scam o panloloko lamang ang tutorial na ito. Mayroon daw kontratang pinirmahan si Whang-od pero hindi naman daw ito naipaliwanag ng maayos. Sinubukan pabulaanan ito ng Nas Academy sa pamamagitan ng pagpapakita ng video ng paglagay ng thumbmark ni Whang-od sa kontrata. Ngunit mas lalong lumaki ang kontrobersiya dahil ang kontrata ay na nakasulat sa Ingles o wikang hindi likas kay Whang-Od. Batay sa kontrobersiyang ito mainam isipin ang mga sumusunod na katanungan. Sino nga ba ang nagmamay-ari ng kaalamang kultura, at sino ang dapat magdesisyon kung paano gagamitin ang kaalamang ito? Sa isang banda, mayroong nagsasabi na may kakayanang artistiko si Whang-od na tanging siya ang may tangan, at may karapatan siyang magdesisyon kung paano gagamitin ito. Sa kabilang banda, may nagsasabing ang kaalamang tradisyonal ay pagmamay-ari ng buong pangkat kultural (sa kasong ito isang katutubong pangkat), at dapat nakonsulta ang buong pangkat. Ang mga tradisyonal na lider sa Kalinga ay nagdeklara noong 2020 na ang pag-tattoo ng Kalinga ay manipestasyon ng kultural na identidad ng mga taga Kalinga at sa gayon ay kolektibong pagmamay-ari nila.

Isang pang mahalagang bagay pa na lumitaw sa kontrobersiyang ito ay ang usapin na ano nga ba ang tunay na pagpayag o genuine consent. Lumalabas na hindi sapat na may isang dokumento na may thumbmark o lagda upang ituring na pagpayag. Dapat din may pruweba na may maingat na pagpapaliwanag ng laman ng kontrata sa wika at pamamaraan na naiintindahan ng mga katutubo o lalagda.

Pero bago pa nito ay marami nang kwento sa posibleng exploitation kay Whang-Od at sa mga kasapi ng pangkat Butbut. Ang pagdayo daw ng mga turista, lalo na ng mga turistang banyaga, ay nakakaistorbo daw sa kanilang lugar, bagamat mayroon itong tulong sa lokal na ekonomiya. Naapektuhan din nito ang at pribadong oras ni Whang-od dahil inaasahan na kahit dis-oras ng gabi ay magbibigay ito ng serbisyo dahil mula sa malayong lugar at matagal ang biyahe ng mga bisita. Para marating ang Tinglayan, Kalinga ay may byahe ng higit 10 oras . Sabi naman ng iba wala daw exploitation dahil pumayag naman daw si Whang-od na gisingin anumang oras.

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Ano nga ba ang kulturang “Filipino”? Makikita sa larawan sa itaas ang iba’t ibang pangkat ng mga katutubo mula sa iba't-ibang bahagi ng Pilipinas. Mapapansin na mayroong pagkakaiba ang kultura ng mga Pilipino kahit kasuotan lamang ang pagbabatayan. Ang cultural diversity ay hindi lamang sa usapin ng mga sayaw, pagkain, o pananamit na kalimitang sangkap sa turismo. Makikita din ang makulay at iba’t ibang kultura ng mga Pilipino sa mga kuwento, lokal na kasaysayan, at kakaibang katangiang pangkalikasan, na tatalakayin din sa mga susunod na modyul ng MakaNayon.

Palaisipan pa rin talaga, ano na nga ba ang kulturang Filipino sa harap ng ganitong cultural diversity?

Pagtulungan natin sagutin ang tanong na ito bilang mga cultural leader.

Maraming isyu sa kultura o sa mga cultural work tulad ng nakita natin sa itaas. Mapapansin na wala talagang binigay na direktang solusyon sa mga isyu na ito. Pero mayroon mga pangkalahatang gabay na maaari nating simulan pag-isipan.

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• Suriin at akuin ang mga dinadala mong mga saloobin tungkol sa kultura.

• Appreciate a culture, don’t appropriate it.

Siyempre may mga pagkakataon na nahuhumaling tayo ng mga bagay-bagay mula sa iba't ibang kultura, pero sikapin natin na maintindihan ang kabuuang konteksto ng isang cultural item or practice o bahagi ng kultura, at igalang ito.

• Iwasan na makadagdag sa diskriminasyon dahil sa di-sensitibong paggamit o pagturing sa isang kulturang bagay, gawi o paniniwala.

-Meron bang proper and respectful acknowledgement?

-Meron bang fair share of benefits and profits?

-Culture-sensitive at politically correct ba ang mga terminong ginamit?

Ilang dekada na rin kami sa AnthroWatch, na para sa MakaNayon course ay kilala ninyo bilang Team Makatao, na nagpapadaloy ng culture-sensitivity orientations. Kung tutuusin, ang Makatao modyul ay may pagtutok sa pagpapaunlad ng ating kakayahang maging culture-sensitive.

May mga oryentasyon na sinasabihan kami ng mga participants: “Huwag nang pahabain pa ang kwento.

Bigyan na lamang ninyo kami ng listahan ng mga kahulugan at listahan ng ‘do’s and don’ts’ para maging culture-sensitive.”

Gayundin sa aming pagpapadaloy ng gender-sensitivity orientations, naririnig din namin halos katulad na reklamo. “Huwag nang pahabain pa ang kwento. Bigyan na lang ninyo kami ng listahan ng mga kahulugan at saka listahan ng ‘do’s and don’ts’ para maging gender-sensitive.”

Para maging tunay na culture- at gender-sensitive, para maging tunay na Makatao, napakahalaga ng proseso ng pagsuri at pag-amin sa ating mga saloobin tungkol sa ating kultura at kultura ng iba. Ibig sabihin, para maging ganap na Makatao, magpakatotoo ka, mga brod at mga sis. Ito ang pangunahing aral ng Paksa 2.

Makakatulong sa proseso ng pagmumuni sa sarili o self-reflection ang pag-unawa sa mga katangian ng kultura, na naging focus ng Paksa 1. Makakatulong sa proseso ng pagbabago ang pag-alam sa iba’t ibang batas tungkol sa kultura, na nasilip natin sa Paksa 3. Laluna kung gusto natin makaambag sa pagresolba ng mga isyu sa gawaing pangkultura, na naging usapin sa Paksa 4.

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Sa hanay ng mga indigenous peoples o katutubo, mahalaga ang acronym na RSD. Ibig sabihin nito ay Right to Self-Determination, o kilalanin ang karapatan at kakayahan ng mga katutubong mamamayan sa sarili nilang pagpapasya. Sa hanay naman ng kilusang kababaihan, mahalaga din ang acronym na RSD. Ibig sabihin nito para sa kanila ay Reproductive Self-Determination o hindi lamang ang kakayahan na magbuntis at magka-anak ang dapat tignan sa isang babae. Bigyan din natin ng kahulugan ang RSD sa hanay ng pagiging Makatao. Ang RSD ng pagiging Makatao ay Respeto Sa Dignidad ng lahat ng tao, anuman ang pinanggalingan o kinabibilangan niyang kultura.

Natutunan natin sa modyul na ito na ang kultura ay palaging nagbabago. Di ba mas mainam kung ang mga gagawin natin sa ating buhay at trabaho ay makakatulong sa pagbubuo ng isang kultura na may tunay na pagrespeto sa dignidad na iyon? Kung magagawa man natin ito sa sarili natin paraan ay maaari talaga nating sabihin na ang pagiging Makatao ay ang pagrespeto sa dignidad ng bawat tao, anumang ang kanilang kulturang pinanggalingan.

Pagwawakas sa Makatao Modyul sa Pamamagitan ng Ritwal Mahalaga ang ritwal sa buhay kultural sa halos lahat ng katutubong pangkat sa Pilipinas. Sa pamamagitan ng aksiyon na nito ay inuugnay ang mga naiisip, nararamdaman at pinaniniwalaan ng mga kasapi ng isang pangkat at pamayanan. Kaya ang pag-uumpisa at pagwawakas ng mahahalagang pangyayari sa mga pamayanang kultural ay mayroong ritwal. Ilang halimbawa ng ritwal na matutunghayan sa ating pangaraw-araw na buhay ay ang pagtataas ng bandila sa flag ceremony tuwing Lunes sa mga opisina ng gobyerno, ang paglalagay ng sablay sa kabilang balikat sa pagtatapos ng pag-aaral sa ilang pamantasan, ang mahabang kuhanan ng mga litrato sa pagtatapos ng isang kasalan at marami pang iba. Kaya sa pagtatapos ng Makatao module ay sa pamamagitan ng isang simpleng ritwal.

Narito ang script para sa Ritwal na isasalaysay ng tagapagdaloy: “Kumusta kayo? Pagbati at dumating na tayo sa huling bahagi ng ating modyul. Kung inyong matatandaan, may takdang aralin kaming ibinigay sa inyo - ang pagdala ng mga bagay na may kaugnayan tungkol sa inyo.’’

“Maaaring galing ito sa kasalukuyang lugar, o di kaya mula sa ibang lugar. Tahimik na isipin ang dahilan kung bakit ito ang bagay na napili mo. Ano ang sinasabi ng bagay na ito at bakit ito ang naisip mong dalhin?

Anong mga alaala ang nanunumbalik sa iyo habang hawak ang mga bagay na ito?”

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“Sa Makatao modyul, isa sa pangunahing mensahe na tinalakay natin ay ang kahalagahan ng respeto para sa kultura, kabilang na ang mga bagay na bahagi nito. Ang bawat bagay ay mayroong kwenti at mayroong sinisimbolo. Ito ay kumakatawan sa isang bahagi ng kultura ng pangkat ng tao na may kasaysayan at may kahulugan.”

“Ihanda ang kapirasong papel at panulat. Gumuhit ng isang speech bubble.”

“Dala-dala ang mga bagong natutunan o natuklasan sa Makatao, isipin ano kaya ang gustong sabihin ng souvenir item na ito sa iyo? Anong mensahe ang gusto nitong iparating? Isulat ito sa loob ng speech bubble.

Hindi kailangan mahaba - maaring isang salita lamang.”

“Matapos magsulat ay ilagay ang souvenir sa inyong kanang palad. Tapos ipasa ito sa iyong kanan, na tila ba ipinapasa sa inyong katabi sa kanan. Buksan naman ang kaliwang palad, na tila ba may tatanggapin itong bagay mula sa iyong kasama sa kaliwa.”

“Ilipat ang bagay sa kaliwang palad at buksan naman ang iyong kanan na palad, na para bang ipapasa sa inyong katabi ang bagay. Ang iyong kabilang kamay naman ay mananatiling bukas, handang tumanggap ng souvenir item na ibabahagi ng iba.”

“Tahimik na pagnilayan. Ano ang mensaheng inyong ipinasa? Ano naman ang inyong nataggap? Ilapit ulit ang inyong mga kamay at ilagay ang souvenir malapit sa inyong dibdib. Ipikit natin ang ating mga mata.”

“Huminga ng malalim. Isa pa, mas malalim na paghinga. Dahan-dahang buksan ang ating mga mata.

Ibigay ang napakalaki at napakatamis na ngiti.”

“Maraming salamat!”

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Pag-isipan: Pagsiyasat sa Kulturang Pilipino at Pagbabago ng kultura Panonood ng isang pelikulang Pilipino at pagninilay tungkol sa kultura ng bansa batay sa napanood.

Panoorin ang pelikulang Tanabata’s Wife. Para maka-access ng kopya ng pelikulang ito, i-contact si May-i Guia Padilla (isa sa mga producers) sa email na ito: mayatiz@gmail.com. Sagutin ng reflection paper ang mga tanong sa ibaba.

1. Makikita sa Tanabata’s Wife ang maraming pagkakataon o sitwasyon na may pagbangga o tension dahil sa magkakaibang kultura. Magtukoy ng dalawang pagbabangga o tension ng magkaibang kultura mula sa pelikula at ipaliwanag ang mga ito. Sa iyong magiging paliwanag, gamitin ang iyong natutunan tungkol sa mga katangian at saloobin ng kultura.

2. Meron mga halimbawa ng pagbabago ng pamumuhay (o pagbabago ng kultura) sa pelikulang pinanood.

Magbigay ng dalawang halimbawa at ipaliwanag ang mga ito. Ibatay ang iyong paliwanag sa iyong sariling palagay kung mainam o hindi mainam ang pagbabagong iyun. Ang iyong palagay ay dapat nakabatay sa iyong natutunan tungkol sa mga katangian ng kultura at mga saloobin tungkol sa kultura.

3. Magbigay ng isang bagay tungkol kay Fas-ang (ang bidang babae) sa pelikula na para sa iyo ay naiiba o katangi-tangi. Ipaliwanag ang iyong sagot.

4. Iwasan ang pagkuha ng mga opinyon o naisulat na ng iba sa internet at iba pang batis o sources. Kung may nais kayong kunin mula sa internet, siguraduhin na banggitin ito sa inyong paliwanag at tukuyin din ang pinanggalingan o pinagbatayan.

Ang pelikulang Tanabata’s Wife ay halaw sa maikling kwento na may parehong titulo na sinulat ni Sinai Hamada (1911-1991), half-Ibaloi at half-Japanese na taga Baguio City.

Ang kwento ay naganap sa kapanahunang 1930s. Noong panahong iyon, maraming trabahador mula sa bansang Hapon ang kinuha para tumulong sa paggawa ng Kennon Road, isang daanan paakyat ng Cordillera.

Marami sa mga trabahador na Hapones ay nagdesisyong manatili sa Cordillera matapos ang kanilang trabaho at naging mga magsasaka ng gulay.

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Ang pelikula ay tungkol sa isang magsasakang Hapones at ang kanyang pag-ibig para sa isang dalagang Bontoc. Para kay Francisco Arcellana, isang Pambansang Alagad ng Sining sa pagsusulat, ang Tanabata’s Wife ay ang pinakamagandang kwento ng pag-ibig na isinulat ng isang Pilipino.

Ayon sa isang apo ni Sinai Hamada, ang maikling kwento na ito ay nakabatay sa isang tunay na pangyayari. Ito ay kwentong pag-ibig ng isang kaibigan ng may-akda.

Pagtulungan: Paano Ako Magiging Mas Culturally-Sensitive?

Sa loob ng isang grupo, bawat kalahok ay mag-iisip ng tatlong (3) bagay na pwedeng niyang gawin para mas maging culture-sensitive sa inyong trabaho. Ang mga ito ay dapat realistikong magagawa sa lalong madaling panahon. Maaaring gamitin ang sumusunod na halimbawa: (a) ipagpapatuloy ko ang…; (b) Uumpisahan ko ang…; at )c) Ititigil ko ang... Matapos nito, pag-usapan bilang grupo ang inyong sagot. Mag-takda ng isang taga-tala na siyang magsusulat ng pinagsamang sagot sa isang papel at ipapasa ayon sa paraan ng pagpasa na nais ng guro. Tiyaking nakasulat ang pangalan ng lahat ng kasapi ng pangkat. Para sa pagtatapos ng gawain, ipahayag ang inyong mga napag-usapan bilang isang pangkat sa pamamagitan ng isang “malikhaing panata” na di hihigit sa tatlong minuto ang haba.

Sa pagdaloy ng Gawain, tutulungan kayo ng mga sumusunod na gabay na katanungan: • Ano-ano ang mga gawain ang iyong naisip na iyong babaguhin upang maging isa kang culturally sensitive na tao?

• Paano nagtulong-tulong ang mga kasapi ng inyong pangkat upang mabuo ninyo ang panata para sa gawaing ito?

• Paano ka naging mas cultural sensitive sa pamamagitan ng gawaing ito? Ipaliwanag

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Gawin: Di Ba Ate (Debate) Ikaw at iba pang mga kalahok ay magsasagutan na parang nagde-debate. Bawat isa ay magpapahayag ng pangungusap na kontra sa pagkonteksto sa naunang nagsalita, kahit na ang ipinapahayag ay hindi ito ang tunay niyang saloobin tungkol sa paksa. Tukuyin kung anong saloobin sa kultura ang pinapahayag ng bawat pangungusap. Halimbawa ng daloy: Kalahok A: Ano ba yang sayaw ng mga Aeta, parang galaw ng mga hayop ang steps! Walang ka-art-art! (ethnocentrism) Kalahok B: Di ba ok nga yan, pinapakita kung gaano sila kalapit sa kalikasan? Hindi tulad natin sa siyu dad na wala nang koneksyon sa kalikasan. (noble savage; kung hindi kasama ang pangala wang pangungusap, cultural relativism) Kalahok C: Pero dapat naman may standards. Halimbawa dapat kasing galing nila ang mga internation al folk dance groups! (colonial mentality) Iba pang halimbawa ng mga pangungusap na maaaring panimula ng pagde-debate.

Halimbawa 1. Kaya maraming naghihirap, laging tambay lang ang ginagawa. (ethnocentrics) Halimbawa 2. Nakakainis naman yung mga katutubong kabataan. Ayaw na nilang i-practice yung tradi tional culture nila. Sinasayang nila yung culture nila, baka mawala. (noble savage) Halimbawa 3. Nakakahiya naman ang pagkaing Pinoy. Wala man lang tayong established standards sa pagluluto ng adobo. Samantala sa ibang bansa tulad ng Italy, may standards sila sa paggawa ng pizza. (xenocentrism) Kung napilitan kang magbigay ng pahayag na kontra sa tunay mong saloobin, ibahagi kung ano ang naramdaman na dapat gawin mo ito. Makatutulong din ang mga tanong sa ibaba sa pagsasakatuparan sa gawaing ito: • Ano-anong mga saloobin sa kultura ang iyong nabuo mula sa mga pinahayag at naibatong argumento?

• Ano-anong mga saloobin sa kultura ang iyong laging nakakasalamuha sa pangaraw-araw na buhay at hindi lamang sa gawaing ito? Paano mo ito maiaakma ngayong isa ka nang cultural leader?

• Nahirapan ka ba magbigay ng pahayag kung ito ay nagpapakita ng taliwas na saloobin sa kulturang Pilipino?

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Buuin: Pagbabahagi ng Karanasan Ang isang pangunahing katangian na habol na mapaunlad ng Makatao modyul ay pagiging culture-sensitive. Ito ay pagsisigurado na ang ating mga kilos ay naaayon sa pagiging mapanuri sa pangkulturang konteksto ng mga bagay-bagay, para sa pagpapakita ng taos-pusong respeto sa bawat tao, anuman ang kanyang kultura.

Mahalagang maunawaan ang sariling mga saloobin tungkol sa kultura, at mainam na panimula ay pagkilala at pagproseso sa mga karanasan kung saan ikaw ay nakaranas ng diskriminasyon. Batay dito ay gumawa ng comic strip na ang kwento ay dadaloy sa tatlong kahon: Ang unang kahon ay magsisimula sa “Isang araw …”.

Ang Ikalawang kahon ay magsisimula sa “… nakaramdam ako ng …”. Ang ikatlo at panghuling kahon naman ay “…kung alam nyo lang na …” Gamitin ang napunang comic strip sa kanan bilang gabay.

Makatutulong ang mga pamprosesong tanong sa ibaba sa pagsasakatuparan sa pangwakas na gawaing ito: • Anong personal na karanasan ang iyong pinaghugutan para sa gawaing ito?

• Paano nakatulong ang mga gabay sa bawat kahon upang mabuo ang iyong comic strip tungkol sa cultural sensitivity?

• Paano mo pagbubutihin ang sarili upang ikaw mismo ay hindi maging dahilan o simula ng diskriminasyon?

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Mga Sanggunian Jay Cabrera (2012, July 27). oh yeah! [image attached]. Facebook. https://www.facebook.com/photo/?f bid=381935488541085&set=a.214719665262669&__t n__=%2CO*F Romeo Ranoco (2017, Feb 5), Filipino churchgoers hold hands while singing a religious song after Rev. F. Carlos Ronquillo (not pictured), a rector superior of…[Photograph]. The World. https://www.pri.org/stories/2019-01-22/does-duterte-s-wrath-against-catholic-church-have-no-limit Pangalay Courtship Dance (n.d.). [Photograph]. #Pinasmuna. https://www.pinasmuna.com/2013/08/the-pangalay-dance-of-sulu.html [Photograph of woman praying] (n.d.) The Nation. https://nation.com.pk/15-Dec-2020/filipino-muslim-area-forms-autonomous-govt JaBa (2008, Aug 26). [Photograph of folk medicine]. F.L.I.P. http://fliperblog.blogspot.com/2008/08/quiapo-guide-for-tourists.html Dilan R.H. (n.d.) A fortune-teller waits for customers in Quiapo, Manila on New Year’s Eve. If not for the pandemic, the place would... [Photograph]. The Manila Times. https://www.manilatimes.net/2021/01/01/headline-photos/what-lies-ahead-2/820696 [Photograph of flooded community] (n.d.) Nolisoli. https://nolisoli.ph/47718/resilience-karding-flood/ Manalansan L (n.d.) Sunrise view from Salupongan Ta Tanu Igkanugon Learning Center. [Photo graph].Bulatlat. https://www.bulatlat.com/2018/12/01/context-of-talaingod-incident-the-decades-old-strug gle-of-lumad-in-pantaron-mountain-range-for-ancestral-land-right-to-self-determination/

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MAKAKALIKASAN Julienne Baldonado Being One with Nature This module focuses on the value of nature in our lives as individuals and as members of society. It highlights seven environmental principles that will guide participants in decision-making processes that must consider the impact of human activities on the environment. The module is designed to use case studies as points of analysis and reflection on how a community shapes and is reshaped by nature.

In this module, you are going to relate nature with culture by understanding the seven environmental principles. You are also expected to understand and appreciate the dynamics between culture and nature as well as how they shape each other. Establish the role as a conservationist with cultural awareness and sensitivity.

Create initiatives that will support and promote sustainable development.

In this module, you will use your environmentalism to evaluate activities or propose a program or project that will provide a solution to an environmental issue in your community. You will accomplish this by narrating how you can care for nature as a cultural leader.

Getting Involved: Images You Can Feel Examine the images that follow. Choose one to two images from the following selection and give your three thoughts about them. You can share what you feel, know, or think about these images. In doing the activity, try to answer the following guide questions: • Among the images, what caught your attention? Why did you choose to share something about them?

• Are these images related to one another and to the rest of the selection? How are these images related to one another?

• Are these images important? Why are they important to you? Why are they important to the Earth, in general?

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Seven Environmental Principles Barry Commoner (1974) is an American biologist and educator who has been an advocate for environmental protection. He wrote the book The Closing Circle in which he described the meaning of ecology and its importance in our society. He also opened up to various socio-political and technological issues that could lead to an environmental crisis. Barry Commoner also identified environmental principles that illustrate the complex relationship between the living and nonliving things in our world. In the succeeding sub-sections, we will try to explain these seven environmental principles.

Principle no. 1: Everything is interconnected. The first environmental principle says that everything is interconnected. This principle explains the association of living organisms with the nonliving elements of the so-called ecosystem. In 1935, Arthur Tansley, an English botanist, first coined the term “ecosystem” to identify the basic unit of ecology as the relationship between communities of different types of organisms in their physical environment (Schowalter 2017).

In an ecosystem, interactions result in predictable outcomes but can also lead to startling consequences.

For instance, in one food chain, the sun helps corn grow and a rat finds itself in a field and eats the crop. A snake sees the rat and will have it as a meal. An eagle spots the snake and hunts it down. Here, there is a traceable energy path that naturally keeps populations in check.

However, in another food chain that is affected by a devastating human activity like deforestation, animal populations could decline. Habitat loss will lead to a decrease in the number of animals like the civet or monkey. In turn, a Philippine eagle, for example, will find fewer preys to hunt within a smaller forest cover.

Different species of animals and plants depend on each other and on their physical environment. And human activities can alter an ecosystem either for the better or to the detriment of the quality of life of living organisms.

Principle no. 2: Everything has a destination. The second environmental principle primarily deals with what we know as waste. In an ecosystem, waste does not necessarily mean useless and unused. An organism’s waste can serve as food or a source of energy for another living creature. When we breathe, we produce a waste product called carbon dioxide, which is essential for plants to live. Plants in turn release oxygen, which we need to survive.

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But, not all waste products can be a source of energy for living things. There are man-made waste products that pollute the air, water, and land. Pollution is the by-product of consumption, improper waste disposal, and other human activities such as industrial production (Kwak 2019).

To combat pollution, individuals, organizations, and institutions must have proper waste management.

There are some that have organized and promoted Reduce, Reuse, and Recycle campaigns that target waste management. This kind of campaign could encourage a circular economy.

Circular economy encourages the elimination of waste through the continual safe use of natural resources to address what is called the “take-make-dispose” approach to the processes of production and consumption (World Economic Forum, n.d.)

Sesotunawa, a community-based and Tboli owned social enterprise, sells handmade crafts and brass-cast products. Their production is in a sense a kind of waste management process that involves the use of upcycled brass and metal scraps as well as the reuse of clay for their product molds. The sustainable practice of upcycling materials pays tribute to the art of Temwel or traditional brass casting of the Tboli of Lake Sebu, South Cotabato. With a sustainable approach, the scraps from local junk shops are turned into brass bracelets, rings, earrings, bells, and homeware – all with a Tboli story to tell (Sesotunawa 2020).

Principle No. 3: Nature knows best. Nature has laws and processes that maintain ecological balance on the planet. Just as we know that everything is connected to everything else, the energy and nutrients we need also come from the environment. It is said that we have to understand nature first before we can even try to take advantage of environmental processes.

For example, engineers had to observe and study the wind flow patterns before they are able to build windmills that harness clean energy. Scientists also studied the Namib Desert beetle to understand how water is harvested in the desert. They found that the beetle collects droplets from the fog and uses its ridges to channel accumulated water drops to quench its thirst. Engineers working at the Massachusetts Institute of Technology then analyzed the process and found a potential application that involves harvesting water (Zhai, et al. 2006) The environment also influences how we humans live. In the Philippines, many of us have agricultural livelihoods. Farmers grow various crops and grains and the most staple is rice. It is part of the everyday meal of a regular Filipino. And that kind of value for us leads to a number of different names for rice – bigas, kanin, bahaw, tutong, sinangag, lugaw, mumo. All these signify the cultural importance of rice and the kind of experiences we get to live because of this particular grain.

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Principle no. 4: Our world and its resources are finite. While it is said that everything we need can be found in nature, we should also understand that “a finite world can support only a finite population” (Hardin 1968). In his book, The Tragedy of the Commons, American ecologist Garrett Hardin warns us of the overexploitation of resources when the environment can no longer supply the increasing demand of an increasing population.

Resources on Earth can be classified into two: renewable and nonrenewable. Nonrenewable resources are limited in supply and cannot be replenished at a quick enough time compared to the rate of its use. Renewable resources on the other hand can naturally be replenished while being a clean source of energy (National Geographic Society 2019). Examples of nonrenewable resources are fossil fuels like coal, natural gas, oil, and nuclear energy. These resources are limited and can be depleted once we use them up. In contrast, examples of renewable resources like biomass (energy with plant or animal source), solar and wind energies, and geothermal power have in essence an endless supply (Blazier et al., n.d.).

But, not all renewable resources can be in this state forever. Resources like trees could be considered nonrenewable when the demand for it is already more than what a forest canopy can supply. When people cut way more trees at a faster rate than planting and letting them grow, then this sadly becomes a nonrenewable resource (UC Santa Barbara Materials Research Laboratory 2004).

In the Northern Sierra Madre Natural Park, around 20,000 to 35,000 cu. m of timber is said to be extracted from the park and has caused crops and infrastructure damage amounting to 4.8 billion pesos during the tropical typhoons in 2008 (van der Ploeg et al. 2011). Their study on illegal logging showed the need for sustainable forest management to ensure the protection of ecosystems and the conservation of biodiversity.

Principle No. 5: Everything changes. People say change is constant and that is true as it occurs naturally and continuously in the biophysical world (Society for the Conservation of Philippine Wetlands, Inc. 2017).

Changes in the environment can occur due to changing seasons. And the transformation of the environment, in the long run, could also lead to the evolution of some species.

However, not all changes occur naturally as many are a result of human activities. Different societies reshaped their landscapes according to their needs and practices. Lowland settlements are far-reaching and wide while those in the uplands are common as well. In the Philippines, many have turned plots of forest lands into agricultural farms. The renowned rice terraces, a cultural heritage of the Ifugao province is also a clear example of how people sustainably restructure the environment.

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The multistory agroforestry system of these terraces features private forests at the top layers. These forests called muyong are a source of food, medicine, and construction materials. A biodiverse area, the muyong also serves as a watershed that provides irrigation water needed for the agricultural crops in the lower layers. The terraces then help stabilize the sloping terrain and prevent soil erosion.

Yet not all man-made changes are good for the environment. Many have led to pollution, biodiversity loss, and climate change, which are inevitable consequences of the detrimental practices of society. For example, a rapid decline in forest cover brought by too much logging can lead to changes in vegetation and populations of various species. Other activities such as mining or even the introduction of invasive species to local environments can have devastating effects.

In a 2012 study on fish species in Lake Lanao Philippines, researchers found two remaining endemic cyprinid species. They attributed the decline in the population of these endemic fish species to the increased impacts of human activities near the lake as well as the increasing number of introduced species (Ismail, Sampson, and Noakes 2013). The scientists hoped that their study will guide policies and management to conserve the remaining species that can only be found in Lake Lanao.

Research and policies are important tools in any conservation movement. Individuals and leading institutions that aim to protect the varied flora and fauna in their communities follow a holistic approach. Sustainable livelihoods and strengthened governance systems go hand-in-hand with the protection of the environment.

In the municipality of Magpet in North Cotabato Philippines, some Obo Monuvu communities declared their ancestral domains as Indigenous Community Conserved Areas and Territories (ICCA). The declaration furthers the recognition of their right to manage and look after the resources within their ancestral domains. The protection of the environment through the ICCA involves a biodiversity-friendly enterprise (i.e. the production of soft broom) and the alignment of customary laws and traditions with the environmental laws of the state.

Principle No. 6: All forms of Life Are Important. The connection of all forms of life to each other shows how every organism has a key role in keeping the balance of nature. If we change something in our environment, we risk tipping the scale. Too much of something can lead to an irreversible environmental outcome such as the extinction of certain species. While the Philippines is one of the most biodiverse countries in the world, we also

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have endemic species that are on the brink of extinction. That is why many environmentalists and conservationists are lobbying for these species’ protection.

Some of these species are not just ecologically important, they also hold cultural value in particular communities. For example, a Bagobo-Klata community in Davao City believes in the relevance of the Philippine eagle as a guardian of the forest that possesses the qualities of an efficient leader. According to them, a good leader is like a Philippine eagle – has sharp eyes and a wide vision to assess situations better. And yet, despite living through centuries, the country’s national bird now needs our protection for being a critically endangered raptor due primarily to dwindling forest cover.

Narratives like this give value to specific lifeforms and, to a certain degree, reiterate the importance of protecting the environment. They also fuel policies that support the foundation of conservation movements and environmental protection. In the 2012 United Nations Conference on Sustainable Development, the Sustainable Development Goals (SDGs) were established. These goals covered pressing global issues concerning climate change impacts, fostering peace, eradicating poverty, gender equality, inclusive society, and the proper management of natural resources (United Nations Development Programme, n.d).

Global leaders have promoted sustainable goals that protect the environment. These goals are SDG 14: Life Below Water and SDG 15: Life on Land. Goal 14 or Life Below Water is aimed at the sustainable management and protection of marine resources and coastal ecosystems. The goal is to reduce pollution, sustainably use ocean-based resources, and address the impacts of climate change on our seas (United Nations Development Programme, n.d). Now, Goal 15 or Life on Land also emphasizes the dependence of humans on natural resources for sustenance and livelihood. It gives light on the urgency in reducing habitat and biodiversity loss, supporting water and food security, and mitigating the effects of climate change on our planet (United Nations Development Programme, n.d).

In the city of San Fernando Pampanga, the restructuring of a trash collection model helped reduce the amount of plastic and garbage that end up in our oceans. The community, in partnership with the nonprofit Mother Earth Foundation, implemented a waste management program that involves paid trash pickers conducting a door-to-door collection of pre-sorted recyclables and food scraps. The trash pickers will bring these to waste warehouses located in San Fernando where garbage trucks pick them up to deliver to composting sites and recycling factories (McDermott 2017).

In the Davao and North Cotabato regions, volunteers participate in a Bantay Bukid Program to guard biodiverse areas. The volunteers, also known as Forest Guards, patrol the forests to report and apprehend Nayong Pilipino Foundation

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people who violate environmental laws. The Forest Guards, many of whom are indigenous peoples, work with their Local Government Units, the Department of Environment and Natural Resources, as well as their tribal council.

Principle No. 7: Nature is Beautiful and we are its steward. There is a Manobo leader from Esperanza, Agusan del Sur who said “when we take care of the protected area, nature will protect us. When we abuse nature, it can no longer protect us. We are not the owner of the land. We are just stewards. ” This is how Datu Ireneo “Makalipay” Rico described their role in caring for nature.

As leaders, we can maintain the beauty of nature by ensuring equitable access to and sustainable use of resources. Mitigating the impacts of climate change by restricting destructive human activities is one way. And that can be done on different levels of engagement in local, national, and global communities. The works of forest guards, researchers studying the impact of invasive species, trash pickers in an improved waste management program, incorporators of biodiversity-friendly enterprises, and administrators of conservation areas all contribute to the protection of our environment.

It is possible to admire and showcase the beauty of nature without exploiting it and without sacrificing the quality of life of the people. Sustainable tourism is a growing industry that delves into the socio-economic and environmental impacts of development while conserving biodiversity and natural heritage (World Tourism Organization, 2005). If we continue and promote the sustainable use of resources, we might still be able to turn the tide and leave a healthy environment for generations to come.

Government Initiatives In the Philippines, part of our government agencies and some non-government organizations (NGOs) focus on environmental issues or related matters: • Department of Environment and Natural Resources • Environmental Management Bureau (DENR-EMB) • Biodiversity Management Bureau (DENR-BMB) • City and Provincial Environment and Natural Resources Office (CENRO/PENRO) • World Wide Fund for Nature (WWF) – Philippines • Waves for Water • Forest Foundation Philippines

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• Save Philippine Seas • Philippine Eagle Conservation (PEF) • Asian Wild Cattle Specialist Group (AWCSG) • Philippines Biodiversity Conservation Foundation, Inc. (PBCFI) The following legislatures and policies are towards the protection of our environment and the sustainability of our societies: • Philippine Environment Code • Indigenous and Local Communities Conserved Areas and Territories (ICCA) Bill • Expanded National Integrated Protected Areas Systems (ENIPAS) Act of 2018 • RA 9147: Wildlife Resources Conservation and Protection Act • RA 8371: Indigenous Peoples Rights Act of 1997

Joining the Conversations: Some Readings on Environmentalism Choose one reading material from the selection below and comprehend what it wants to convey to us.

These materials contain a variety of perspectives and studies related to the seven environmental principles.

• How indigenous communities are working to save South American forests, A National Geographic article, which you can access through: https://www.nationalgeographic.com/magazine/article/how-indigenous-communities-and-biologist-erika-cuellar-soto-are-working-to-save-gran-chaco-south-american-forests • "Extinct" Amphibians Rediscovered After Nearly Half a Century, A National Geographic article, which you can access through: https://www.nationalgeographic.com/animals/article/150602-amphibians-extinct-species-toads-philippines-animals • Cronon, W. (2003). Changes in the Land: Indians, Colonists, and the Ecology of New England. New York: Hill and Wang.

• Commoner, B. (1974). The Closing Circle: Nature, Man, and Technology. New York: Bantam Books.

Also, watch any of the following documentaries which tackles specific society-environment interactions: The Story of the Filipino: Protecting the Environment by CNN Philippines, A CNN Philippines documentary report which you can access through: https://www.youtube.com/watch?v=iWebHaG4-IM • My Octopus Teacher, A Netflix documentary about the special bond that formed between a filmmaker and an octopus living in a South African kelp forest • A Life on our Planet, A documentary that looks into environmental crises through the eyes of David Attenborough and his decades-long career.

The following processing questions will help you understand and analyze the reading materials as well as the videos you chose to engage with:

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• Among the reading materials and videos, what caught your attention? Why did you choose to read and watch them?

• What environmental principles were you able to deduce from the reading? What environmental principles were you able to deduce from the video?

• What are your own personal realizations about the state of the environment in the world and in the Philip pines today?

Working Together: The Finite World Find a pair and solve the following crossword puzzle. Provide the term or the word that is being asked in each number in each category.

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The following questions will help you process the task. Try to ponder upon them: • In your own words, what is the difference between renewable and non-renewable sources of energy? What is the importance of knowing this difference?

• How can a cultural leader like you help address the concerns about energy and the environment here in the Philippines?

Putting into Practice: Cause and Effect Chain Think of an environmental issue and identify its effect on the local or global community. After identifying an effect, think of how it can cause another effect. List down all possible causes and effects that you can identify from that particular environmental issue.

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Solution-based cause and effect Now think of a solution for the environmental issue you identified and determine its chain of cause and effects on the local or global community.

Making It Happen: Community Initiatives for the Environment Formulate a program or project that will provide a solution to an environmental issue in the local community. Form a group with five (5) members. Each group is asked to make a proposal for a program or project that encourages environmental conservation as a cultural leader. Each group project is expected to follow the steps below: 1. Identify the environmental issue that the group aims to solve; 2. Explain why it needs to be resolved; 3. Detail how the program or project might help resolve the identified issue; 4. Define what the project outcome targets are by providing short-term and long-term goals; 5. Identify agencies or organizations that can be approached to collaborate with.

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The following template will be useful in this activity:

The following questions can guide you in formulating your environmental program/project proposal: • • • •

What pressing environmental issue does your group aim to solve? Why? How can the program or project help resolve the identified issue?

What are the challenges that you might encounter in implementing this environmental program/project?

How do you plan to address them?

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References Blazier, M., Little, A., Moon, D., Poole, L., Raley, T., Simmons, A., & West, V. (n.d.). Trees, Forestry, Agriculture, and Me. Louisiana: Louisiana State University Agricultural Center.

Retrieved from https://tinyurl.com/y2mngpbl Commoner, B. (1974). The Closing Circle: Nature, Man, and Technology. New York: Bantam Books.

Hardin, G. (1968). The Tragedy of the Commons. Science.

Ismail, G., Sampson, D., & Noakes, D. (2013). The Status of Lake Lanao Endemic Cyprinids (Puntius Species) and their Conservation. Environmental Biology Fish: 425-434.

Kwak, P. S. (2019, November 22). Types of Man-Made Pollutants. Retrieved from Sciencing: https://sciencing.com/types-manmade-pollutants-8329911.html McDermott, A. (2017, September 14). This Philippine City is Fighting Ocean Plastic with a Clever Solution to Trash. Retrieved from Oceana: https://oceana.org/blog/philippine-city-fighting-ocean-plastic-clever-solution-trash National Geographic Society. (2019). Nonrenewable Resources. Retrieved from National Geographic: https://www.nationalgeographic.org/encyclopedia/nonrenewable-resources/ National Geographic Society. (2019). Renewable Resources. Retrieved from National Geographic: https://www.nationalgeographic.org/encyclopedia/renewable-resources/ National Geographic Society. (n.d.). Nonrenewable Resources. Retrieved from National Geographic: https://www.nationalgeographic.org/encyclopedia/nonrenewable-resources/ Schowalter, T. D. (2017). Insect Ecology: An Ecosystem Approach. London: Elsevier Inc. Sesotunawa. (2020). Our Origin Story. Retrieved from Sesotunawa: https://sesotunawa.com/pages/our-story Society for the Conservation of Philippine Wetlands, Inc. (2017). The Seven Environmental Principles. Philippines.

UC Santa Barbara Materials Research Laboratory. (2004). UCSB ScienceLine. Retrieved from UCSB ScienceLine: http://scienceline.ucsb.edu/getkey.php?key=699 United Nations Development Programme. (n.d.). Background of the Sustainable Development Goals.

Retrieved from UNDP: https://www.undp.org/content/undp/en/home/sustainable-development-goals/background.html United Nations Development Programme. (n.d.). Goal 14: Life Below Water. Retrieved from UNDP https://www.undp.org/content/undp/en/home/sustainable-devel opment-goals/goal-14-life-below-water.html United Nations Development Programme. (n.d.). Goal 15: Life on Land. Retrieved from UNDP: h t t p s : / / w w w. u n d p . o r g / c o n t e n t / u n d p / e n / h o m e / s u s t a i n a b l e - d e v e o p ment-goals/goal-15-life-on-land.html van der Ploeg, J., van Weerd, M., Masipiqueña, A., & Persoon, G. (2011). Illegal Logging in the Northern Sierra Madre Natural Park, the Philippines. Conservation and Society, 9 (3): 202-215.

World Economic Forum. (n.d.). Circular Economy and Material Value Chains. Retrieved from World Economic Forum: https://www.weforum.org/projects/circular-economy/ World Tourism Organization. (2005). Making Tourism More Sustainable - A Guide for Policy Makers.

UNWTO. Zhai, L., Berg, M., Cebeci, F., Kim, Y., Milwid, J., Rubner, M., & Cohen, R. (2006). Patterned Superhydrophobic Surfaces: Toward a Synthetic Mimic of the Namib Desert Beetle. Nano Letters, 6 (6): 1213-1217.

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MAKABAYAN Patrick John Mansujeto Ang Makabayan Modyul Nilalayon ng NPF-CLI Makabayan Modyul na magamit ng isang cultural leader ang mga aral at gawa ng kasaysayan upang mapagyaman ang kultura ng bayan. Ninanais din modyul na ito na matutunan ng mga cultural leader ang iba’t ibang kaalaman at kasanayang pangkasaysayan tulad ng lokal na kasaysayan, public history, at historical thinking skills, upang mapagyaman at mapangalagaan ang ating kulturang Pilipino. Bukod dito, layunin din ng modyul na mapahalagahan ng bawat isa ang mga pamanang kultural mula sa iba’t ibang yugto ng kasaysayan ng ating bansa.

Sa pagdaloy ng modyul na ito, inaasahang matutunan ng mga cultural leader kung paano bumuo ng isang lokal na kasaysayan. Matutunan natin ang kahalagahan ng lokal na kasaysayan bilang mahalagang bahagi ng pambansang kasaysayan, maging ang mga lapit at metodo sa pagsulat nito. Makikilala din natin sa modyul na ito ang public history at kung ano ang pagkakaiba nito sa kasaysayang pang-akademiko. Sa huli, makikilala din natin ang iba’t ibang historical thinking skills, o mga kasanayan mula sa pag-aaral ng kasaysayan, na magagamit ng mga cultural leader sa pagpapayaman at pangangalaga sa kultura.

Inihanda ang Makabayan Modyul na mayroong iba’t ibang mga gawaing naglalayong sukatin ang mga natutunan ng mga nagsasanay sa kursong ito. Kabilang sa mga gawaing ito ang pagbuo ng mapang pangkasaysayan, kung saan tutukuyin ng mga nagsasanay ang kinaroroonan ng mga makasaysayang bahagi, pook, at istruktura ng kinabibilangan pamayanan. Magsasagawa din ng isang panayam o oral history sa mga matagal nang nakatira sa pamayanan tungkol sa kasaysayan nito. Bilang paglalagom, inaasahan ang bawat isa na makapagsusulat ng isang lokal na kasaysayan gamit ang binuong mapang pangkasaysayan, isinagawang panayam, at iba pang batis ng kasaysayan na nakalap sa komunidad.

Siyasatin: Community Profile Simulan natin ang modyul na ito sa pamamagitan sa pagkilala sa ating sariling pamayanan. Sa pamamagitan ng isang community profile, ipakilala ang iyong pamayanan. Punan ang mga hinihinging impormasiyon sa ibaba upang mabuo ito.

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Sa pagbuo ng iyong community profile, matutulungan ka ng mga sumusunod na gabay na tanong: • Naging madali ba o mahirap para sa iyo na punan ng mga impormasyon ang community profile ng iyong pamayanan? Bakit mo ito nasabi?

• Naipakilala ba ang iyong pamayanan sa pamamagitan ng community profile? Ano-anong mga natatanging tao, pook, istruktura, o tradisyon ang iyong binigyang pansin dito?

• Sa iyong pananaw, ano-anong mga bagay mula sa iyong pamayanan ang hindi hinanap sa community profile ngunit mahalagang maipakilala din sa iba?

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Lokal na Kasaysayan Kung ating aalalahanin, ang ating pag-aaral ng kasaysayan sa ating mga paaralan ay nagsisimula sa pagkilala sa ating mga pamayanang kinabibilangan. Ang pag-aaral na ito ay uusad patungo sa pagsusuri sa pambansang kasaysayan pagtungtong sa mas mataas na antas. Subalit, sa ating pag-aaral ng pambansang kasaysayan, madalas ay naiiwan ang maliliit na mga kaganapan sa iba’t ibang panig ng kapuluan at dahil dito ay hindi natin nakikita ang kahalagahan ng mga ito sa pagtatalakay sa kasaysayan ng Pilipinas. Tinatawag na lokal na kasaysayan ang kasaysayan ng isang pamayanan o bayan na mas maliit sa isang bansa. Ito ay maaaring kasaysayan ng pamayanan, pulo, bayan o lungsod, lalawigan, o rehiyon.

Mahalagang alam mo ang lokal na kasaysayan ng pamayanang iyong kinabibilangan. Bahagi ito ng iyong sariling pagkakakilanlan at nakaraan. Bukod dito, mainam ding alam mo ito sapagkat: • natutunan ang kwento ng lugar kung saan tayo lumaki, nakatira, o ang lugar na malapit sa puso natin.

• nabibigyan pansin nito ang kwento ng nakaraan o kasaysayan ng mga lugar na hindi gaanong nababangit sa pambansang kasaysayan; • naipakikita nito na iba’t iba pala ang karanasang pangkasaysayan ng iba’t ibang bahagi ng bansa na daan upang mas maunawaan natin ang ating mga kababayan; at • napupunan nito ang malaking kakulangan sa pag-aaral ng kasaysayan ng mga lalawigan at mga rural na pamayanan.

Sa pag-aaral ng disiplina ng kasaysayan, o History, ang local na kasaysayan ay parehong paksa at metodo.

Bilang isang cultural leader, mainam ding mayroong kang kakayahan sa pagbuo, pagsulat, at pagbabahagi nito.

Gagabayan ka ng modyul na ito sa pagbuo ng isang lokal na kasaysayan. At, dahil kasaysayan ng iyong sariling pamayanan ang iyong pagtutuunan ng pansin, ang karamihan sa mga kakailanganin mo para sa gawaing ito ay matatagpuan mo sa iyong sariling pamayanan.

Ang pagbuo at pagsusulat ng lokal na kasaysayan ay mayroong mga paraan at metodo. Narito ang mga hakbang na makatutulong sa iyo: 1. Pumili ng Paksa. Magsisimula ang pagsusulat ng lokal na kasaysayan sa pamamagitan ng pagpili ng iyong magiging paksa. Kadalasan ang paksa ng lokal na kasaysayan ay kung anong lugar ang iyong napili. Ito ang magtatakda ng lawak at sakop ng iyong paksa. Ito ay maaaring tungkol sa iyong kapitbahayan o komunidad. Ito rin ay maaaring tungkol sa iyong buong lalawigan o kinabibilangang rehiyon. Mas mainam na magsimula sa maliit

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na paksa tulad ng tungkol sa iyong barangay o bayan. Maliban sa lugar, maaari ding paksa sa lokal na kasaysayan ng mga natatanging bagay, tao, o istruktura sa inyong lugar, gaya ng isang kilalang kainan, matandang bahay, matagal nang pagawaan, at marami pang iba.

2. Humanap ng mga batis, o sources, na gagamitin. Ang mga batis na ito ay maaaring mga dokumento, mga bagay, istruktura, at marami pang iba na batayan ng kasaysayan. Maaaring matagpuan ang mga ito sa mga sumusunod na pook: a. Simbahan. Kilalang masinop sa mga dokumento ang mga simbahan at mga pari. Ilan sa maaarin makatulong na dokumento sayo na mula sa simbahan ay ang kasaysayan ng simbahan, listahan ng mga naging kura, plano ng pagtatayo ng simbahan at kumbento gayundin ang mga papeles tulad ng baptis mal, marriage contract, death certificate at marami pang iba. Ngunit ang mga ito ay maaaring priba dong pag-aari. b. Bahay Pamahalaan. Ito ay maaaring ang inyong barangay hall, munisipyo, city hall o kapitolyo ng iyong lalawigan. Ang mga makukuhang batis mula dito ay mga dokumentong legal. Mayroon din itong mga ulat sa mga namuno sa inyong lugar at ang mahahalagang nagawa o kaganapan sa kanilang pana hon. Kadalasan, sa mga official website ng mga tanggapang ito ay mayroong maikling kasaysayan tung kol sa lugar. c. Paaralan. Maaari din na makahanap ng mga batis sa mga paaralan sa iyong lugar. Tulad ng simbahan masinop sa mga dokumento ang paaralan. Ang mga dokumento tungkol sa pag-aaral tulad ng report card, programa sa pagtatapos, at iba pa ay malaking maitutulong sa pagbuo ng inyong lokal na kasaysay an. d. Mga Lokal na Sinupan, Aklatan, at Museo. May mga pamayanan na mayroong lokal na sinupan, akla tan, at museo. Mainam ang mga lugar na ito sa pananaliksik tungkol sa nakaraan ng inyong lugar.

Marami kang makukuhang impormasyon, mula sa mga aklat, magazine, hanggang sa iba pang nakalim bag na babasahin. Ang mga artefacts naman na mayroon sa museo ay maaari ding gamitin bilang batis sa iyong lokal na kasaysayan. e. Mga makasaysayang lugar at gusali. Hindi lamang mga dokumento ang maaaring maging batis ng kasaysayan. Ang mga tinatawag na unconventional sources ay mga batis na hindi nakasulat ngunit maaaring pagbatayan ng kwento ng nakaraan. Ang ilan sa mga halimbawa nito ay ang mga makasaysay ang lugar at matatandang bahay o mga gusali sa iyong lugar.

3. Isulat at Ibahagi ang iyong nakalap. Makalipas ang masusing pangangalap ng impormasyon, isulat ang iyong binubuong lokal na kasaysayan sa wikang mauunawaan ng iyong mga kabahagi sa pamayanan. Maaari mo ding itong ibahagi sa pamamagitan ng isang panayam, o blog o post sa iyong social media account.

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Ang mga naninirahan sa iyong lugar ay maaari din na pagmulan ng mahahalagang impormasyon para sa iyong lokal na kasaysayan. Ang kanilang mga karanasan at alaala ay makakatulong sa iyong proyekto. Ang mga nakatatanda sa inyong pamayanan, ang mga eksperto tungkol sa kasaysayan ng inyong lugar, ang mga kawani ng pamahalaan, mga guro, pari, at marami pang iba ay maaaring mapagkunan ng kasaysayan. Tinatawag itong oral history. Upang magamit mo ang mga karanasan at alaala ng mga taong kasama mo sa inyong lugar para sa lokal na kasaysayan, kailangan mo kapanayamin ang mga mahahalagang taong ito. Narito ang ilang gabay upang maisagawa mo nang maayos ang iyong panayam: 1. Bago ang panayam, kilalanin ang mga taong kakapanayamin. Mahalaga na kilala mo ang mga pangunahing impormasyon ng iyong mga kakapanayamin.

2. Ipaalam ang nais mong pakikipanayam sa pamamagitan ng isang sulat, tawag, o pulong. Magpakilala at ilahad ang lahat ng tungkol sa iyong proyekto. Ilagay din ang iyong dahilan bakit mo ito binubuo. Magalang kang magtanong sa sulat kung kailan maaaring maganap ang panayam. Tandaan na ang iyong kapapanayamin ang dapat magtakda kung kailan at saan magaganap ang panayam. Humingi din ng pagsang-ayon sa iyong kapapanayamin ukol sa paggamit ng voice o video recorder. Ipaalam din sa iyong kakapanayamin ang iyong planong mga paraan ng pagbabahagi ng iyong mabubuong lokal na kasaysayan.

3. Ihanda ang mga kagamitan sa panayam. Bumuo ng interview guide na gagabay sa panayam upang maging handa ka sa mga tatanungin mo sa iyong kakapanayamin. Makatutulong din ang gabay na ito sa pagtatakda ng oras. Siguraduhing hindi lang isa ang kopya ng iyong gabay sa panayam dahil kailangan mong bigyan ng sipi ang iyong kakapanayamin. Ihanda din ang panulat, pagsusulatan, voice recorder, video recorder, at iba pang kagamitan na makakatulong sa iyo sa gaganaping panayam.

4. Sa panahon ng panayam, bigyan ng kopya ng interview guide ang iyong kakapanayamin at hayaan siyang basahin ito. Kung nahihirapan na magbasa ang kakapanayamin ay basahin sa kanya ang iyong mga magiging katanungan. Tandaan na may karapatan ang iyong kakapanayamin na hindi sagutin ang katanungan kung ito ang nais niya. Isulat sa iyong talaan ang mga tanong na hindi nasagutan.

5. Maging mapagmatyag sa gawi, galaw ng kamay, emosyon sa mukha, paglakas, at paghina ng boses at iba pang ginagawa ng kapanayam habang sumasagot ito. Ang mga ito ay mayroong kahulugan at siya ring magbibigay ng damdamin at kulay sa iyong lokal na kasaysayan.

6. Matapos ang panayam, ipaalam muli kung paano mo planong ibahagi ang iyong mabubuong lokal na kasaysayan, kung ito ba ay iyong ililimbag, ibabahagi sa mga kumprehensiya ,o ilalagay sa internet.

7. Tanungin ang inyong kapanayam kung nais niya bang maisama ang kaniyang pangalan at mga larawang iyong kinuha sa iyong proyekto. Tandaan na mayroong karapatang tumaggi ang iyong kinapanayam sa mga kahilingang ito sapagkat ang mga ito ay kaniya ring pagmamay-ari.

8. Maaaring magbigay ng regalo sa kinapanayam ngunit hindi kanais-nais kung ito ay salapi. Mas mainam na

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mga bagay kung saan maaalala niya ang inyong naging gawain. Kung nailimbag ang iyong binuong lokal na kasaysayan marapat lamang na bigyan mo ang iyong mga kinapanayam ng kopya.

Public History Kapag naitatanong kung anong asignatura sa paaralan ang pinaka-ayaw ng mga mag-aaral, marami sa atin ang sumasagot ng kasaysayan. Ito ay marahil sa pagiging “bookish” at “boring” nito. Sa asignaturang ito, kailangan nating magbasa ng makakapal na aklat at magsaulo ng mga pangalan ng tao, petsa, at lugar. Ito ang ilan sa mga dahilan kung bakit lumalayo ang loob ng maraming Pilipino sa pag-aaral ng sarili nilang kasaysayan.

Sa kabila nito, maraming paraan kung paano magiging masaya at kawili-wiling pag-aralan at ibahagi ang kasaysayan. Bilang isang cultural leader, mahalaga na kaya mong ibahagi ang kasaysayan sa paraan na madali itong maunawaan ng kapwa mo Pilipino.

Tutulungan ka ng public history upang mapagtagumpayan ang mga hamong ito. Ang public history ay ang pag-aaral at pagbabahagi ng kasaysayan sa mga paraan na madaling maunawaan ng madla. Ginagamit ng public history ang mga kasalukuyang interes, karanasan, at isyung panlipunan upang mailapit ang kasaysayan sa mga tao. Ilan sa mga binibigyang tuon ng public history ay ang mga sumusunod: • Ang tao o ang mga mamamayan ay bahagi mismo ng kasaysayan.

• Binibigyang halaga ang alaala, ito man ay personal, pangkomunidad, o pambansa.

• Ang tinatawag na “trauma” sa kasaysayan ay ang masamang karanasan sa nakaraan na humuhubog sa kasalu kuyan at hinaharap. Mayroong mga trauma na ating pinipiling paghuhugutan ng karanasan o pagbangon.

Ilan sa mga halimbawa nito ay ang “Century of Humiliation”, o ang panahon na pinaghati-hatian ng mga mananakop na Europeo ang lupain ng Tsina. Narito ang halimbawa ng tinatawag na “chosen trauma” ng isang bansa. Dahil dito, sinikap ng Tsina na hindi na muling masakop ng mga banyaga ang ano mang bahagi ng kanilang lupain. Kaya naman, nagpalakas sila ng kanilang hukbong sandatahan at hindi nagpapatalo sa mga bansang kaagaw nito ng teritoryo sa Dagat Kanlurang Pilipinas. Hindi tulad ng Tsina, wala pang iisang kinikilalang chosen trauma ang Pilipinas. Maaaring ito ay ang Panahon ng Ikalawang Digmaang Pandaigdig o ang Panahon ng Batas Militar.

• Mayroong pagkakatulad ang kasaysayan ng isang bansa o lipunan sa nakaraan at mga pangyayari sa buhay ng isang tao. Tulad ng isang bansa, tayong mga tao ay mayroon ding trauma mula sa nakaraan. Ang trauma na ito ay mayroong malaking epekto sa buhay natin sa kasalukuyan. Maaari din natin itong gamitin upang paghugutan natin ng lakas at inspirasiyon sa pagpapatuloy sa buhay. Halimbawa, may mga kamag-anak o kakilala tayong minsa’y minaliit ang ating kakayahan at sa panahong nahihirapan na tayong abutin ang ating mga pangarap maaari nating alalahanin ang kanilang pamamaliit upang magpatuloy.

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Sa pagnanais na ilapit sa madla ang kasaysayan, narito ang ilang sa mga naging paraan ng public history: • Museo. Sa kasalukuyan, dumadami ang nahihikayat na bumisita sa mga museo. Ang mga artefact o museum display ay mayroon lamang maiikling babasahin na siyang nagpapadali sa pag-unawa ng nakaraan.

• Heritage conservation at preservation. Mayroon din mga samahan na nagnanais pangalagaan ang ating mga pamana tulad ng mga bahay-na-bato, gusali, wika, at mga sinaunang gawi at paniniwala.

• Historical tour. Sikat na sikat din sa mga turista ang mga historical tours sa Vigan, Ilocos Sur, Taal, Batangas, Silay, Negros Occidental, at marami pang iba.

• History sa mass media. Nagiging higit na popular ang kasaysayan sa mga palabas sa telebisyon, pelikula, at iba pa. Nariyan ang mga kilalang historical films, gaya ng Amaya, Heneral Luna, Goyo: Ang Batang Heneral, at Aishite Imasu.

• History sa social media. Dahil sa pagiging mahalaga ng mga social media platforms gaya ng Facebook, Insta gram, Blogs, Twitter, at iba pa, naaabot nito ang mas maraming tao. Sa pamamagitan ng mga ito ay madali na ring mailalapit sa tao ang kasaysayan. Maraming mga social media page at profile ang naglalayong magbahagi ng kaalaman sa kasaysayan. Naipapakilala na rin ang kasaysayan sa pamamagitan ng mga nakakatawang “meme”.

• Kasaysayan sa pagbuo ng mga batas at polisiya. Halimbawa nito ay ang pagkakaroon ng mga bagong batas at polisiya na may kaugnayan sa nararanasang mga kalamidad ng bansa. Ang mga karanasang at nabuong karu-t karunungan sa nagdaang kalamidad ang nagiging batayan sa polisiya o basta na naglalayong maging ligtas ang mga Pilipino.

• Genealogy at institutional history Ang mga kasaysayang ito ng pamilya o ng isang institusyon o samahan ay bahagi din ng public history.

Bilang isang cultural leader, mainam na ikaw ay isa ring public historian. Ito ay upang epektibo mong maibahagi ang kuwento ng ating bayan at kultura. Gamitin ang kaalaman, kasanayan, at metodo ng kasaysayan sa pagpapaunlad ng ating kultura at pagbabahagi ng ating kwento. Maging sensitibo rin sa iba’t ibang usapin ng kasaysayan at kung paano ito ibabahagi sa lahat. Maging malikhain din kung paano natin ibabahagi ang ating kultura at kasaysayan. Ibahagi natin ang mga ito sa salitang mauunawaan ng lahat.

Ang Historical Thinking Skills Maliban sa mga kaganapan sa kasaysayan na ating sinasaliksik, mahalagang mabigyan din natin ng pansin ang mga kasanayang ating nalilinang mula sa pagsisiyasat sa mga ito. Ang mga kasanayang ito ay tinatawag na historical thinking skills na magagamit natin hindi lamang sa pag-aaral ng kasaysayan, kung hindi

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maging sa ating pang-araw-araw na pamumuhay. Sa pamamagitan ng historical thinking skills, ang kasaysayan ay mas kakikitaan ng kahalagahan kahit sa labas ng asignatura sa paaralan. Nasa ibaba ang mga sumusunod na historical thinking skills, ayon sa American Historical Association (AHA):

Bilang mga cultural leader, kailangan din natin tignan ang kasaysayan ng Pilipinas bilang isang pamana sa sambayanang Pilipino. Ang pamanang ito ay dapat pag-aralan, pangalagaan, at paunlarin. Mula sa mga talakayan ng module na ito ay malaki ang iyong magagawa bilang isang cultural leader sa kasaysayan bilang pamana.

Pag-Isipan: Lokal at Pambansang Kasaysayan Basahin at suriin ang kaganapan na nakasulat sa bawat bilang. Kilalanin kung ito ay lokal na kasaysayan o pambansang kasaysayan. Ilagay sa patlang ang LK kung ito ay lokal na kasaysayan at PK naman kung ito ay pambansang kasaysayan. ______1. Pinangunahan ni Ancieto Lacson ang himagsikan laban sa mga mananakop na Espanyol sa bayan ng Silay sa Negros Occidental noong ika-5 ng Nobyembre, 1898. ______2. Unang iwinagayway ang kasalukuyang watawat ng Pilipinas sa Labanan sa Alapan, Cavite noong ika-28 ng Mayo, 1898. ______3. Inaalala ang pagiging lalawigan ng Basilan sa pamamagitan ng Karadjaan Festival tuwing ika-7 ng Marso. ______4. Binitay ng mga mananakop na Espanyol ang 19 na Aklanon dahil sa kanilang kaugnayan sa Katipuan. Kinilala sila bilang 19 na Martir ng Aklan. ______5. Ang pag-aklas ni Francisco Dagohoy sa Bohol, na umabot ng 80 taon, ang kinikilalang pinakamatagal na pakikipaglaban ng mga Pilipino sa mga mananakop na Espanyol. ______6. Nagmula sa lalawigan ng Pampanga ang mag-amang pangulo ng bansa na sina Diosdado Macapagal at Gloria Macapagal-Arroyo. ______7. Nagkaroon ng pag-aalsa ang mga Kapampangan laban sa mga mananakop na Espanyol noong taong 1645, sa pamumuno ni Francisco Maniago. ______8. Nasasakupan ng rehiyong Caraga ang mga kasalukuyang lalawigan ng Agusan del Norte, Agusan del Sur, Surigao del Norte, at Surigao del Sur. ______9. Naging daan sa pagtakas ng mga pinuno ng Pilipinas patungong Australia noong Pananakop ng mga Hapones ang Del Monte Airfield sa Bukidnon. ______10. Hindi napasailalim sa kapangyarihan ng mga Espanyol ang mga pangkat etniko na naninirahan sa bulubundukin ng Cordillera.

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Pagtulungan: Mapang Pangkasaysayan Bumuo ng mga pangkat ayon sa kung sino-sino ang magkakasama sa isang pamayanan o magkakalapit ang tirahan. Sa gawaing ito, ang bawat isang pangkat ay imamapa ang mga makasaysayang pook, istruktura, o bahagi sa kani-kanilang mga kinabibilangang pamayanan. Mahalagang maipakita sa inyong bubuuing mapa ng inyong pamayanan ang lokasyon ng mga makasaysayang bahagi, pook, o istruktura. Mainam din na lagyan ng larawan at impormasyon ang inyong itinampok sa inyong mapang pangkasaysayan.

Ang mga sumusunod na pamprosesong tanong ay makakatulong sa pagbuo ninyo sa inyong mga mapang pangkasaysayan: • Ano ang inyong naging pamantayan para masabi na makasaysayan ang isang pook, istruktura, o bahagi sa inyong pamayanan?

• Napuntahan niyo na ba ang mga makasaysayang lugar na inyong isinama sa inyong mapa? Ano ang inyong masasabi sa mga ito?

• Ano ang kahalagahan na mai-mapa ang mga makasaysayang pook, istruktura, o bahagi sa isang pamayanan?

Gawin: Panayam Magsawa ng isang panayam o oral history interview. Kapanayamin ang isang nakatatandang kasapi ng inyong komunidad tungkol sa kasaysayan ng inyong pamayanan. Ilapat ang mga natutunang gabay sa pagsasagawa ng isang panayam para sa sa gawaing ito. Ang mga sumusunod ang inaasahang produkto mula sa gawaing ito: 1. Gabay para sa panayam (Interview Guide); 2. Larawan ng o kasama ang kinapanayam (may pahintulot); at 3. Ang transcript o tala ng panayam.

Sa pagsasakatuparan sa gawaing ito, matutulungan ka ng mga sumusunod na mga pamprosesong tanong: • Sinong kasapi ng iyong pamayanan ang iyong kinapanayam? Bakit siya ang iyong napiling kapanayamin?

• Ano-ano ang mga bagong kaalaman ukol sa kasaysayan ng iyong pamayanan ang iyong nalaman mula sa iyong kinapanayam?

• Ano-ano ang iyong mga naging pagsubok o suliranin sa pagsasagawa ng gawaing ito? Paano mo ito nalutas?

Buuin: Lokal na Kasaysayan ng Aking Pamayanan Sumulat ng isang lokal na kasaysayan ng iyong pamayanan. Gamitin ang mga natutunang lapit at paraan sa pagbuo nito, gaya ng paggamit ng mga dokumento at primaryang batis at maging ng mga unconventional sources. Dapat din magamit sa iyong pagsusulat ng lokal na kasaysayan ang inyong nagawang mapa pangkasaysayan. Mainam ding bigyan ng puwang sa iyong sulatin ang iyong oral history interview.

Sa pagsasakatuparan sa gawaing ito, matutulungan ka ng mga sumusunod na mga pamprosesong tanong: • Ano-ano ang iyong ginawa para maisulat ng maayos ang lokal na kasaysayan ng iyong pamayanan?

• Saan mo kinuha ang mga batis ng kasaysayan na iyong ginamit? Sino-sino naman ang iyong mga kinapanayam?

• Ano-ano ang mga naging suliranin sa pagsasagawa ng gawaing ito? Paano mo ito nalunasan?

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Mga Sanggunian Arcilla, Jose. (1998). Kasaysayan the Story of the Filipino People Volume 3: Life in the Colony. Hongkong: Asia Publishing Company Limited College Board. (2014). AP US History Curriculum Framework: The Historical Thinking Skills. New York,.

Diokno, Maria Serena. (1998). Kasaysayan the Story of the Filipino People Volume 8: Up from the Ashes.

Hongkong: Asia Publishing Company Limited.

Diokno, Maria Serena and Villegas, Ramon. (1998). Kasaysayan the Story of the Filipino People Volume 4: Life in the Colony. Hongkong: Asia Publishing Company Limited.

Grele, Ronald. (1981). “Whose Public? Whose History? What is the Goal of a Public Historian? The Public Historian 3 (1): 40-48.

Guerrero, Milagros (1998). Kasaysayan the Story of the Filipino People Volume 6: Under Stars and Stripes.

Hongkong: Asia Publishing Company Limited.

Guerrero, Milagros and Schumacher, John. (1998). Kasaysayan the Story of the Filipino People Volume 5: Reforms and Revolution. Hongkong: Asia Publishing Company Limited.

Howe, Barbara J. and Kemp, Emory L. (1988). Public History: An Introduction. Florida: Robert E. Krieger Publishing Company.

Jose, Ricardo. (1998). Kasaysayan the Story of the Filipino People Volume 7: The Japanese Occupation. Hong kong: Asia Publishing Company Limited.

Jardanova, Ludmilla. (2000). History in Practice. New York: Oxford University Press.

Kelly, Robert (1978) Public History: Its Origins, Nature and Prospects. The Public Historian 1:111-120.

Leffler, Phyllis K. and Brent, Joseph. (1990). Public and Academic History: A Philosophy and Paradigm. Flori da: Robert E. Krieger Publishing Company.

Liddington, Jill. (2002). What is Public History? Public and Their Past, Meaning and Practices. Oral History 30 (1): 83-93.

Metzger, Scott Alan and Lauris, Lauren McArthur. (2018). The Wiley International Handbook of History and Learning. USA: John Wiley & Sons, Inc. Talin, Rosy. (2015). Historical Thinking Skills: The Forgotten Skills?. International Journal of Learning and Teaching 7 (1): 15-23.

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MAPANAGUTAN Elaine Saniel

Pananagutan Natin Ang pagiging mapanagutan ay ang pagkakaroon ng kakayahang makabuo ng mga tunguhin at gawain tungo sa likas-kayang pag-unlad. Ang mapanagutang cultural leader ay mayroong kakayahang ipaliwanag ang konsepto at prinsipyo ng sustainability at sustainable development o likas-kayang pag-unlad. Naiintindihan at nakikilala niya ang mga kahinaan at benepisyo ng mapanagutang turismo sa aspekto ng kultura, lipunan, ekonomiya, at kapaligiran. Dahil dito, kaya niyang isaloob at isabuhay ang sustainability.

Sa modyul na ito, ating uunawain ang batayan ng sustainability at sustainable tourism. Halina at tukuyin kung ano ano ang mga positibo at negatibong epekto ng turismo sa kultura, lipunan, ekonomiya, at kapaligiran.

Atin ding aalamin kung paano makakamit o mapalalakas ang isang sustainable tourism at paano maaaring maitaguyod ang mahalaga at makabuluhang pagkilos patungo dito.

Sa pagdaloy ng modyul na ito, inaasahang makapagbabalangkas ka ng mga hakbang at puntong pagkilos upang masimulan o mapalakas ang sustainable tourism sa inyong lugar o lokalidad. Kaugnay nito, inaasahan din na maipaliliwanag mo ang batayang prinsipyo ng sustainable tourism. Makikilala mo ang kahinaan (costs) at benepisyo (benefits) ng turismo sa aspetong panlipunan, ekonomiya, at kapaligiran. At panghuli ay susubukin nating isaloob ang sustainable tourism at kung paano itong maaring maisabuhay sa inyong pamayanan.

Ang iyong mga katangian bilang isang tourism leader ay makakatulong sa pagtataya (assessment) at pagbabalangkas (formulate) ng mga gagawin, hakbang, at pagkilos para makamit ang turismong may kabuluhan at pagmamalasakit sa sustainability. Ang pagkilos na iyong babalangkasin ay mainam na mayroong makabuluhang pagtataya sa kasalukuyang pagsisikap at gawain sa sektor ng turismo, at kung paano pa ito maaaring isulong patungo sa isang uri ng sustainable tourism. Ang kabuuang panuto at rubric para sa mga gawaing ito ay matatagpuan sa dulo ng modyul na ito.

Siyasatin: Sang-ayon Ka Ba? Basahin at unawain ang mga sumusunod na pangungusap. Isulat ang salitang OO kung ikaw ay sumasang-ayon sa pangungusap. Isulat ang HINDI kung hindi ka sumasang-ayon. Mainam din na iyong ipaliwanag ang bawat pangungusap ayon sa iyong sariling pagkakaintindi tungkol sa sustainability.

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______1. Maari mo lamang maisagawa ang sustainable tourism kung ang iyong lugar ay nasa listahan ng mga Protected Area. ______2. Ang ecotourism ay isang halimbawa ng sustainable tourism. ______3. Responsibilidad lamang ng isang tourism at cultural leader ang mamuno ng gawaing may kaugnayan sa sustainability. ______4. Madali lamang maisakatuparan ang sustainable tourism. ______5. Kailangan ang suporta ng mga malalaking kompanya at namumuhunan upang makamit ang sustain able tourism. ______6. Naaangkop lamang ang sustainable tourism sa mga maliliit na tour operators, hotel, o restawran. ______7. Kailangang isali ang lahat ng pinuno ng mga komunidad sa pag-paplano ng turismo. ______8. Ang pagkakaroon ng trabaho ay isa sa mga positibong epekto ng turismo. ______9. Ang turismo ay walang direktang epekto sa labing pitong hamon ng Sustainable Development Goals (SDGs) ng United Nations. ______10. Walang kaugnayan ang sustainability at turismo.

Sustainability Para sa karamihan, ang sustainability ay isang napakalawak na salitang pinag-uusapan lamang ng mga akademiko at dalubhasa. Upang mailapit ito sa mas maraming tao, ang modyul na ito ay magbibigay ng pangkalahatang gabay sa ugnayan ng sustainability at turismo. Nilalayon din nitong linawain ang konsepto ng sustainable tourism. Ipaliliwanag dito ang mga pangunahing elemento ng pagiging sustainable, at hihimayin ang konseptong ito upang makapagbigay ng matibay na pag-unawa sa mga payak na kahulugan. Naglalayon itong gawing sapat ang kaalaman ng mga cultural leader upang maisagawa ang sustainable tourism.

Ang sustainability ay tumutukoy sa paraan ng pamumuhay kung saan ang kasalukuyang henerasyon ay nakakamit ang kanilang pangangailangan nang hindi naisasaalang-alang ang kakayahan ng susunod na henerasiyon na makamit din ang kanilang mga pangangailangan. Isa sa mga pinagbabatayang konsepto ng salitang ito ay pag-titimbang (balance). Sa payak na paliwanag na ito, maaaring mas maunawaan mo kung paano maaaring maisabuhay ang sustainability sa ating pang-araw araw na gawain. Sa katunayan, bilang isang cultural leader, maaring kasama na ito sa iyong trabaho nang hindi mo namamalayan. Halimbawa, sa pagpapakilala ng isang tunay na karanasang kultural o kaya naman ay sa paghikayat sa mga turista na puntahan ang hindi gaanong kilalang destinasyon. Ang mahalagang saligan sa likod ng sustainability ay ang kakayahang mapabuti ang buhay ng mga tao sa pamamaraang mapangalagaan at mapahusay ang likas at kultural na kayamanan para sa mga susunod na henerasyon. Ang sustainability ay isang gabay upang sa bawat plano at pagkilos sa kasalukuyan ay maisa-

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saalang-alang ang hinaharap. Ang tamang pag-unawa sa sustainability at epekto nito sa lipunan, ekonomiya, at kalikasan ay importante sa pagpaplano at pamamahala bilang isang cultural leader. Ang sustainable development, o likas-kayang pag-unlad, naman ay naglalahad ng pang-matagalang pananaw. Marami ang sumasang-ayon na ito ang tama at natatanging direksiyon tungo sa pag-unlad o kaunlaran. Mahalaga ring maunawaan na ang sustainability ay hindi lamang ecological o pang-kapaligiran. Mayroon pang dalawang mahalagang aspeto na kailangang isaalang-alang sa tuwing pinag-uusapan ang sustainability.

Ang sustainability ay mayroong tatlong haligi: ang kapaligiran, lipunan, at ekonomiya. Ito ay kadalasan ding tinatawag na 3Ps o People, Planet, and Profit. Sa pribadong sektor, malimit itong tawaging Triple Bottom Line.

Ang mga katagang ito ay unang ginamit noong 1994 ni John Elkington. Ayon sa kanya hindi lamang dapat umano tignan ng mga kumpanya ang kanilang tradisyunal na kita at tubo bagkus ay kailangang maisama ang sukat ng kanilang social responsibility o ang kanilang responsibilidad sa tao (people), kalikasan (planet), at pag-unlad (profit). Bilang isang cultural leader, mapamamahalaan mo ang sektor ng kultura sa epektibong paraan kung may matibay kang pundasyon at sapat na pag-unawa at paglalapat ng sustainability.

Sustainable Development Goals (SDGs) at Turismo Lahat ng mga gawain na may kaugnayan sa sustainability ay maaring napasasailalim sa tema ng labingpitong hamon ng United Nations, na kilala rin sa tawag na Global Goals. Itong mga layunin na ito ay ipinagtibay ng lahat ng bansang miyembro ng United Nations noong 2015 bilang pagtugon sa hamon ng sustainable development at pangangalaga sa planeta. Ang SDGs ay integrated, ibig sabihin ay ang aksyon sa isang goal, o layunin, ay makaaapekto sa kahihinatnan ng iba pang mga layunin.

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Malaki ang bahagi ng turismo sa paghahatid ng sustainable solutions. Mayroon itong potensiyal na makapagbigay ng tuwiran at hindi tuwirang kontribusyon sa bawat Global Goal. Gayunman, ito ay partikular na isinama bilang targets sa mga sumusunod: • SDG 8: Decent Work and Economic Growth. Tourism is one of the top four export earners globally, provid ing one in ten jobs worldwide. Decent work opportunities in tourism, particularly for youth and women, and a strong and diverse local supply chain can enhance tourism’s positive socio-economic impacts.

• SDG 12: Responsible Consumption and Production. The tourism sector needs to better manage its energy, water and land use, and reduce waste. It can be the driver to improve infrastructures in destinations, and to protect ecosystems.

• SDG 14 Life Below Water. Tourism development must be part of Integrated Coastal Zone Management in order to help conserve and preserve fragile marine ecosystems and promote a blue economy, contributing to the sustainable use of marine resources. Harnessing tourism’s benefits will be critical to achieving the sustain able development goals and implementing the 2030 development agenda.

Ang turismo ay hindi lamang isang industriya. Ito ay isang pangkalahatang sistema na nailalarawan bilang dinamiko at kumplikado dahil may kaugnayan ito sa malawak na hanay ng negosyo tulad ng transportasyon (sa lupa, katubigan, at himpapawid), food services, accommodations, at marami pang iba.

Ang tagumpay ng turismo ay nakasalalay sa kakayanan nitong ibalanse ang pangmatagalang pag-unlad ng ekonomiya, habang isinaalang-alang ang likas na yaman, at ang komunidad. Sa ating pagkilos bilang mga cultural leader napakahalagang gabay ang konsepto ng sustainability sa pamamahala upang ating malimitahan ang di magandang epekto at mas mapaunlad ang benepisyo na dala ng turismo.

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Ang benefit, o benepisyo, ay tumutukoy sa mabuting epekto kung saan napapabuti ang estado ng isang tao o lipunan. Ang turismo ay walang duda na mayroong dalang benepisyo sa tao at lipunan. Isa sa dalang benepisyo ng turismo ay ang economic growth o pag-usbong ng ekonomiya. Sa pamamagitan ng maayos na pagpaplano at pamamahala ng turismo ay makapagdudulot ito ng pagtaas sa antas ng pamumuhay at pag-unlad sa kamalayan sa lugar na kinabibilangan. Sa maraming bahagi ng daigdig, napalakas ng turismo ang pamumuhunan at nakatulong sa malaking pagbabago at pag-unlad ng mga lugar mula sa coastal areas hanggang sa mga pamayanan sa bundok.

Dahil din sa turismo, maraming mga magagandang tanawin at pamamang kultural ang nabibigyang halaga. Nagiging daan ito upang mapangalagaan ang mga ito. Napapagyaman din ng turismo ang pang-unawang kultural ng isang tao at nakakatulong din sa kalusugan at kabuoang kalagayan ng isang tao.

Benepisyong panlipunan at pangkultura. Maraming positibong epekto ang turismo sa kultura. Ilan dito ay ang pagkilala ng mga turista sa mga pamayanang kultural, at pati na rin sa mga pangkat-etnikong nakatira dito.

Ang pagkakaugnay na ito ay nagiging daan para sa isang cross-cultural communication na nagtataguyod ng pagkakaunawaan sa pagitan ng mga lokal na residente at mga bisita. Halimbawa, ang mga residente ay natututo tungkol sa ibang kultura ng hindi umaalis sa kanilang lugar, habang ang mga bisita naman ay maraming nalalaman at natutunang katangian ng isang lokalidad. Sa pag-aaral ni McKean (1978), sa kaniyang pagmamasid ng mga turista sa isang Balinese society o lipunan sa Bali, Indonesia, nakalikha ng interes ang mga lokal sa paggawa ng sining dahil sa demand mula sa mga turista. Tinawag niya itong “cultural involution”. Sa pamamagitan ng turismo, naitataguyod ang sining at posibleng naisasalba ito sa pagkawala.

Benepisyong pangkabuhayan. Kasama sa pag-unlad ng turismo ang potensiyal ng karagdagang trabaho, karagdagang buwis, at ang pag-unlad lokal na ekonomiya. Partikular sa mga pamayanang rural ang karagdagang kabuhayan na nililikha ng turismo ay nakakatulong upang mabawasan ang pagdepende sa kinasanayang kabuhayan. Nagdadala ang turismo ng mga investors, o namumuhunan, na siyang nagtatayo ng mga negosyo at nagbibigay ng bagong oportunidad sa mga tao.

Benepisyong pangkalikasan. Ayon sa pag-aaral, ang mga positibong epekto ng turismo ayon sa mga lokal na residente ay ang pagkakaroon ng mas marami at magandang pasilidad, at ang pagbibigay halaga sa mga makasaysayang gusali, at ang mas maigting na pangangalaga sa likas na yaman. Kadalasan ay kaakibat ng turisNayong Pilipino Foundation

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mo ang pagpapaunlad at pagsasaayos ng mga pampublikong serbisyo at kagamitan tulad ng patubig, kuryente, mga pampublikong palikuran, at iba pa. May mga pagkakataon din na nagkakaroon ng karagdagang amenities at mga lugar libangan ang isang lugar dahil sa turismo. Ang mga ito ay hindi lamang para sa mga turista bagkus ay nagagamit at napupuntahan din ng mga lokal na residente. Mayroon din pag-aaral kung saan ang mga residente ay naniniwalang ang turismo ang dahilan kung bakit napabuti ang serbisyo at produkto ng mga tindahan, restawran, at iba pang mga negosyo. Dahil sa turismo, tumataas ang kamalayan ng mga residente at turista sa pagpapahalaga ng ilang mga natatanging likas na yamang tubig at lupa. Nagkakaroon din ng mataas na pang-unawa pagdating sa kahalagahan ng pagsagip sa mga halaman at hayop na nanganganib ng mawala.

Sa kasamaang palad, mayroon ding hindi magandang dulot ang turismo. Ang pagkasira ng kalikasan dahil sa pagpapatayo ng mga imprastraktura malinaw na masamang dulot ng industriya sa samu’t saring buhay.

Malinaw na mayroong mga iresponsableng gawaing pang turismo na kaakibat o hatid ang tourism development.

Ang environmental impact, o epekto sa kalikasan, ay kadalasang kinikilala bilang “trade-off ”, o kapalit sa benepisyo ng turismo. Kapalit ito ng trabaho at kaunlaran na dala ng turismo. Ilan sa mga negatibong epekto sa buhay ng mga residente ay ang crowding, o pagsisiksikan, ingay, basura, pagkasira ng mga pag-aari, polusyon, pagbabago ng itsura ng komunidad, at pagkasira ng biodiversity at kalikasan.

Ang benepisyo sa ekonomiya ay hindi malawakang naikakalat sa buong komunidad. Isa sa mga dahilan ay ang limitado at mahinang ugnayan ng mga lokal na negosyo at mga malalaking negosyo. Ang iba pang epekto ay ang pagkawala ng kultura ng komunidad dahil sa homogenization o pag-iisa ng anyo ng kultura na mula sa mga lungsod. Nawawala din ang sense of place ng mga lokal, at nagkakaroon ng pagbaba ng populasiyon ang ilang kanayunan dahil sa pag-lipat ng kabataan kung saan may turismo upang makapag-hanap ng trabaho.

Negatibong epekto sa lipunan at kultura. Binuod sa isang pag-aaral noong 2002 ang negatibong epekto ng kultura sa turismo. Ilan dito ay ang sobrang pagtatayo ng mga imprastraktura, pagkawala ng pagkakaiba-iba ng kultura, xenophobia o pagkatakot sa dayuhan, at artificial reconstruction o hindi akmang pagkakaayos ng isang kultural na lugar.

Isa sa mga pinakamalakas na tagapagpahiwatig ng negatibong epekto gaya ng acculturation, o ang pagpasok ng ibang kultura, ay ang pagkawala ng katutubong wika na resulta ng pagdagsa ng wika ng mga turista. Sa isang pag-aaral ni Francillon (1975) sa isang Hindu-Balinese culture sa Bali, Indonesia, nakita niya na ilan sa mga taga-gawa ng mga imprastraktura ay kinopya ang disenyo ng sagradong gusali at ginamit sa paggawa ng

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mga hotel, restawran, at iba pang mga gusali. Ang mga sayaw na dating itinuturin na sagrado ay itinatanghal na para sa mga turista. Maari ring makagambala sa lokal na komunidad ang turismo sa pamamagitan ng pag-tindi ng kasikipan sa trapiko, pagsisiksikan (crowding), at pagtaas ng bilang ng krimen. Sa pagtitipon-tipon ng mga tao, ang kasikipan at pagsisiksikan ay maaring magdulot ng stress o pagkayamot, pagka-inis, galit, at iba pang negatibong pag-uugali.

Hindi mabuting epekto sa kabuhayan. Ang mga negosyo sa turismo ay kadalasang iniuugnay sa mga tinaguriang low-paying jobs o mga trabahong mababa magpasahod, na sapat lamang sa minimum wage o mas mababa pa. Ang mga trabahong ito ay madalas na seasonal o sa panahong malakas ang demand sa turismo, na nagiging dahilan sa under-employment o unemployment tuwing off-peak season. Ang mas mataas na demand sa kalakalan, serbisyo, lupa, at pabahay ay maaring makadagdag sa pag-akyat ng halaga nitong mga ito. Ayon sa isang pag-aaral napansin ng mga lokal na residente na kasabay ng pagtaas ng kanilang standard of living o antas ng pamumuhay dahil sa turismo, ay ganun din ang pagtaas ng kanilang cost of living o mga pangaraw-araw na bilihin. Bukod dito, ang mga karagdagang imprastraktura ay nangangahulugan din ng karagdagang buwis na maaaring para sa pagpapanatili nito.

Hindi mabuting epekto sa kalikasan. Ang turismo ay maaring makasama sa kalikasan. Ang likas na yaman at tanawin na nagsisilbing atraksyon ay maaring manganib sa pamamagitan ng maling paggamit o labis na paggamit nito. Ang mga bisita ay nagdadala ng basura, dumi at polusyon sa mga lugar na tinatawag na pristine o malinis.

Invisible Burden ng Turismo Sa isang ulat noong 2019 na nailathala ng The Travel Foundation kasama ang Epler Wood International at Cornell University, ang mga negatibong epekto (costs) ay inilalarawan bilang “Invisible Burden”, o hindi nakikitang pasanin ng turismo. Kinilala ng ulat na ilan sa mga pinaka-tanyag na destinasyon sa buong mundo ay may lumalaking utang sa kada turistang dumarating sa kabila ng pag-unlad ng kanilang ekonomiya. Ito ay dahil sa ang totoong halaga ng mga serbisyong hinihingi ng mga turista ay hindi nasusukat. Ang mga kita sa buwis mula sa turismo ay kadalasang hindi naiipon sa lokalidad, kung saan dapat ito magamit sa pag-pondo ng karagdagang imprastraktura at proteksyon sa mga kultural at likas na yaman.

Ang pagdami ng bilang ng mga turista at nagtatrabaho dito ay nangangailangan ng karagdagang imprastraktura na gagamitin sa transportasyon, pagkain, akomodasiyon, enerhiya, malinis na tubig, at pamamahala sa mga basurang dala ng turismo. Kung wala ang isang maayos na sistema para sa mga alalahaning ito ay madalas hindi napapangalagaan ng turismo ang destinasiyon at lokal na komunidad.

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Iba’t-iba ang mga epekto ng masyadong mabilis na pag-unlad ng turismo. Ilan dito ay ang paglala ng sentro ng mga isyung pangkalikasan katulad ng climate change. Ang polusyon sa hangin mula sa paglipad o aviation, pagdagsa ng mga sasakyan, at pabuga ng nakalalasong hangin mula sa iba’t ibang mga gusali. Ang pagkawala ng samu’t-saring buhay sa pamamagitan ng itensyunal na paninira ng kalikasan na resulta mula sa hindi mapigilang pagpapatayo ng mga imprastraktura para sa turismo.

Bago ang COVID-19, ang “overtourism” o pagdagsa ng tao sa isang lugar ay isa sa mga matitinding problema ng mga destinasyon dito sa bansa. Hinahanapan na ng mga makabagong paraan upang mapangasiwaan ang mga turista at epektibong mapamahalaan ang mga tourism destination. Ilan sa mga sumailalim ng rehabilitasiyon ay ang Boracay, El Nido, Bohol. Sa kasalukuyan, labis na naapektuhan ng pandemya ang sektor ng turismo. At pinangangambahan na ang epekto nito sa mga negosyo ay mararamdaman hanggang sa mga darating pang taon. Partikular na ang mga lugar na umaasa sa turismo at ang mga taong nagtatrabaho sa sektor na ito.

Bago ang COVID-19 pandemic, nakita na natin ang mga epekto ng paglago ng turismo at ang walang habas na pagpapaunlad ng turismo para matugunan ang demands at pagdagsa ng mga turista. Ang pandemya na dulot ng COVID-19 ay naging daan para huminto ng pansamantala ang mundo ng turismo. Naging panahon ito para makapag-pahinga at mapag-isipan, na ang karamihan sa mga mainam na gawaing pangturismo, na sa matagal na panahon ay pinaniniwalaang hindi makatotohanan, ay malinaw na kayang-kaya palang matamo.

Dumarami na ang kumikilala na sa pagbalik ng turismo ay hindi na rin dapat tayo bumalik sa dating gawi o “business as usual”. Dumarami na rin ang patunay na dahil sa pag-tigil na ito, mas lumakas ang pagnanais ng mga turista, residente, at iba pang mga negosyo na maging sustainable. Sa pagsimulang muli ng industriya ng turismo sa mga susunod na taon, mayroon tayong oportunidad na gawin ito ng tama at may pananagutan.

Ang mga prinisipyo ng sustainability ay maaring gamitin bilang gabay at batayan ng pag-unlad, upang makapagdala ito ng pang-matagalang positibong epekto na nagbabalanse ng mga pangangailangan ng people, profit, at planet.

Sustainable Tourism Ayon sa UNWTO, ang sustainable tourism ay ang “tourism that takes full account of its current and future economic, social, and environmental impacts, addressing the needs of visitors, industry, the environment, and host communities.” Ang sustainable tourism ay kinakatawan ang parehong mga prinisipyo ng sustainability. Ito ay nangangailangan ng impormasyon at partisipasyon ng iba’t ibang sektor, malakas na pinunong politikal, at tuloy-tuloy na proseso ng pagpapabuti at palagiang monitoring o pagbabantay. Ang isang

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sustainable approach ng tourism development ay hindi lamang natutulungang mapabuti ang kalidad ng kapaligiran at maingatan ang likas na yaman, ito rin ay nakakadagdag ng positibong epekto ng turismo sa mga residente at pangangalaga ng mga kultura at pamana.

Importanteng maunawaan natin na lahat ng uri ng turismo ay may pananagutan at potensyal na maging sustainable. Ang sustainable tourism ay hindi nangangahulugan o tumutukoy sa isang “niche” ng turismo.

Ang mga salitang sustainable tourism, responsible tourism, green tourism at iba pang kahalintulad ay kadalasang napapagpalit-palit. Kadalasan ay naiuugnay natin ito sa ecotourism – ang uri ng turismo na pinapahalagahan ang pangangalaga sa kapaligiran bilang sentro nito. Subalit ang mga prinsipyo ng sustainable tourism at ang management practices ay naangkop din sa iba’t-ibang uri ng turismo sa lahat ng klaseng destinasyon. Tandaan na sa halip na pagtuunan ng pansin kung alin ang tamang termino, mas higit na mahalaga ang maisatupad at maisagawa ang konsepto na kumakatawan dito.

Ang pansamantalang pagtigil na ito ng turismo ay isang magandang oportunidad hindi lamang para matulungan ang mga industriya ng turismo at hindi lamang upang maka-recover, ngunit higit na makabalik ng mas malakas, mas sustainable, at matatag.

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Para makamit ang hangarin na ito, kailangan nating gamitin ang “sustainability lens” sa pagbuo at pagtupad ng ating tourism recovery plans. Kailangang magkasabay na isaalang-alang ang sustainability at competitiveness. Kung ipagwawalang bahala ang mga epektong socio-cultural, environmental, at economic, manganganib na masira ang isang destinasyon. Maaaring mawala ang pinaka-kapital na yaman nito, at ang rason kung bakit ito dinadayo.

Kailangan nating balikan muli at pag-isipan ang ini-aalok nating uri ng turismo, dahil patuloy ang pagbago ng consumer trends o nais ng mga turista. Mas nagkakaroon na sila ng matinding kagustuhan para sa mga ethical, nature-based, at wellness experiences nang may mataas na kamalayan sa sustainable approach.

Ang ganitong consumer trend ay nagbibigay ng karagdagang oportunidad na makagawa ng mas mabuti at mas makabuluhan na tourism products na likas na mas nakabubuti sa mga residente, lokal na negosyo, at sa buong komunidad. Ang competitive advantage o kalamangan kapag isinama ang mga elemento ng sustainability sa ating tourism offering ay patuloy nang nakikilala sa pribadong sektor ng turismo. Pagsikapan nating matutunan kung paano gamitin ang oportunidad na ito upang magamit din sa iba pang mga destinasyon. Ang Batanes at Tubbataha Reef ay dalawang halimbawa ng lokal na destinasyon na nagtataguyod ng magandang kalidad ng kalikasan bilang kanilang pagkakakilanlan.

Pag-isipan: Kailan Masasabing Sustainable ang Turismo?

Basahin ang mga artikulo at panoorin ang pelikula na nakalista sa ibaba. Makatutulong ang mga ito upang palalimin pa ang iyong pag-unawa sa sustainable tourism at ang pamumuno dito.

• Artikulong pinamagatang, “Sagada locals plead for responsible tourism in powerful campaign” ng CNN Philippines mula sa: https://bit.ly/3uFzDCr • Artikulong pinamagatang, “European cities are turning against tourists as they're pushed to breaking point” ni Daniel Bosque mula sa: https://bit.ly/3sXebIn • Artikulong pinamagatang “Boracay Islanders Feel the Pinch After the Philippines Shuts Down a Top Tourist Destination” ng TIME, mula sa: https://bit.ly/3fHpLDw • Pelikulang pinamagatang Gringo Trails ni Pegi Vail.

Mahalagang sagutin ang mga sumusunod na katanungan habang ikaw ay nagbabasa: • Ano-ano ang iyong saloobin sa turismo? Mabuti ba ang turismo? Bakit o bakit hindi?

• Ano-ano ang mga hamong kinakaharap mo bilang nagtatrabaho sa industriya ng turismo dito sa Pilipinas?

• Para sa iyo, paano maaring i-apply ang iyong natutunan tungkol sa sustainability sa inyong lugar?

Pagtulungan: Balanced Scorecard Bumuo ng pangkat na mayroong tatlo hanggang limang (3-5) kasapi. Kumuha ng isang papel at gayahin ang balanced scorecard table sa susunod na pahina. Gamit ang inyong bagong kaalaman sa haligi ng sustainable tourism, ilista ang pinakamahalagang objectives, o layunin sa bawat pillar, o haligi. Sa hanay ng measures, isulat kung paano maaring sukatin ang inyong napiling objectives, o layunin. Maging tiyak sa mga gagawin. Sa hanay kung nasaan ang targets, lagyan ng percentage weight ang bawat linya. Maaring maglagay ng karagdagang hanay at baguhin ang percentage distribution ng bawat pillar o haligi. Kung may mga line item na sa tingin niyo ay importante, maaring dagdagan ang weight nito, o kaya naman ay magbawas sa ibang line item na sa tingin niyo ay hindi gaanong mahalaga. Ang importante ay mag-total ito ng 100%. Sa hanay kung nasaan ang actual, isulat ang inyong matapat na assessment kung ilang porsyento na ang inyong nakakamit. Maaring gumamit ng iba pang dokumento/report/impormasyon bilang suporta sa inyong sagot.

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Sa pagsasakatuparan sa gawaing ito, matutulungan ka ng mga sumusunod na mga pamprosesong tanong: • Sa iyong palagay, sustainable tourism ba ang kasalukuyang kasanayan ng turismo sa inyong lugar? Bakit o bakit hindi?

• Batay sa resulta ng balanced scorecard activity, masasabi mo bang ang iyong kinakatawang lokalidad ay baguhan, advanced, o dalubhasa sa sustainable tourism?

Gawin: Sustainable Tourism Practices Bumuo ng pangkat na mayroong tatlo hanggang limang (3-5) kasapi. Bawat isang pangkat ay bubuo ng isang tatlo-hanggang-limang minutong video o presentation tungkol sa best practices ng inyong napiling destinasyon. Malayang gumamit ng approach na sa tingin ninyo ay angkop sa inyong proyekto. Inaasahang ang kaalaman tungkol sa sustainability ay maisasalin sa pagbuo ng proyektong ito.

Buuin: Sustainable Tourism Journey Bumuo ng pangkat na mayroong tatlo hanggang limang (3-5) kasapi. Bawat pangkat ay bubuo ng isang Sustainable Tourism Journey gamit ang digital bulletin board na Padlet. Bisitahin ang link na: https://padlet.com/elainetagudando/7mruogqk0hom0pp. Inaasahang ang kaalaman tungkol sa sustainability, mga sagot sa mga nakaraang gawain ay maisasalin sa pagbuo ng proyektong ito.

Samahan ito ng isang maikling paliwanag na nasasagot ang mga sumusunod na gabay na katanungan: • Ano-anong mga balakid at hamon na kakaharapin ng inyong sustainable tourism journey? Paano inyo ito nais tugunan?

• Sa paanong paraan makikinabang ang lokal na komunidad sa inyong iminumungkahing mga hakbang patungo sa sustainable tourism journey?

• Sa paanong paraan naman makikinabang ang sektor ng kultura sa Pilipinas, bilang pangkalahatan, sa inyong iminumungkahing mga hakbang patungo sa sustainable tourism journey?

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Mga Sanggunian Allen, L.R., Long, P.T., Perdue, R.R. (1988). The Impact of Tourism Development on Residents’ Perceptions of Community Life. Annals of Tourism Research 27.

Camilleri, M.A. (2016). Responsible tourism that creates shared value among stakeholders, Tourism Planning and Development 13 (2): 219-235.

Fridgen, J. D. (1991). Dimensions of Tourism. Michigan: Educational Institute of the American Hotel and Motel Association.

Gunn, C. A. (1994). Tourism planning: Basics, concepts, cases. Washington, DC: Taylor & Francis.

Inskeep, E. (1991). Tourism Planning. An Integrated and Sustainable Development Approach.

Libosada, C. (1998). Ecotourism in the Philippines.

Mai, T., & Smith, C. (2015). Addressing the threats to tourism sustainability using systems thinking: A case study of Cat Ba Island. Vietnam. Journal of Sustainable Tourism 23 (10):1504–1528.

Roxas, F., Rivera, J., & Gutierrez, E. (2018). Framework for creating sustainable tourism using systems thinking, Current issues in Tourism.

United Nations Environment Programme and United Nations World Tourism Organization. (2005). Making tourism more sustainable – A guide for policy makers. Retrieved from http://sdt.unwto.org/content/ about-us-5 United Nations Sustainable Development Knowledge Platform (UNSDKP). (n.d.). Sustainable tourism.

Retrieved 20 June 2021 from the World Wide Web: https://sustainabledevelopment.un.org/topics/ sustainabletourism World Travel and Tourism. (2017). Economic Impact 2017. Retrieved from https://www.wttc.org/-/media/ files/reports/economic-impact-research/regions-2017/world2017.pdf.

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MAKADIWA Victor Estrella

Pagiging Makadiwa Ang pagiging makadiwa ay ang kakayahang maisalin ang mga mithiin ng sektor ng kultura tungo sa wasto at epektibong pagkilos. Sa modyul na ito, ating lagumin ang ating mga natutunan. Halina at tukuyin kung saan nagtatagpo ang mga katangian ng pagiging makatao, makakalikasan, makabayan, at mapanagutan.

Sa modyul rin na ito, iyong maiuugnay ang mga katangian na ito sa iyong mga gampanin at tungkulin bilang kasapi ng kinabibilangang institusyon. Ating gagamitin ang mga tunguhin ng inyong mga kinabibilangang institusyon, kasama ng iba pang mga pamantayan sa pagtataya ng mga programa at pagmumungkahi ng mga proyekto o produktong magpapakita ng iyong pagiging cultural leader.

Sa pagdaloy ng modyul na ito, inaasahang nailalapat mo ang iyong mga natutunan sa nakaraang mga modyul sa pagtataya at pagmumungkahi ng programa, proyekto, o produkto sa sektor ng kultura, bilang isang cultural leader. Inaasahan makikilala mo ang mga katangian ng isang cultural leader. Makabubuo ka din ng mga pamantayan ng isang makatao, makakalikasan, at makabayang programa at proyekto sa sektor ng kultura, At nakapagmumungkahi ka ng mga proyekto, programa, o produkto ayon sa mga tunguhin ng inyong mga kinabibilangang institusyon at iba pang mahahalagang pamantayan.

Iyong gagamitin ang mga katangian bilang isang cultural leader sa pagtataya (assessment) at pagmumungkahi (proposal) ng mga proyekto, programa o produkto sa iyong kinabibilangang organisasyon o samahan. Ang programang iyong tatayain at imumungkahi ay mainam na mayroong kinalaman sa sektor ng kultura.

Ang kabuuang panuto at rubric para sa mga gawing ito ay matatagpuan sa dulo ng modyul na ito.

Siyasatin: Hanap-Salita Hanapin mo ang mga salitang nakalista sa ibaba. Maaari mo itong bilugan o kulayan. Lagyan ng tsek (✓) ang mga salitang iyong nahanap na. Mainam din na iyong ipaliwanag ang bawat isang salitang ito ayon sa iyong natatandaan mula sa mga nakalipas na gawain.

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Ang mga salitang ito ay tumutukoy sa mga konseptong inyong tinalakay sa mga nakaraang modyul. Ang mga ito rin ay ilan sa mga aspetong dapat na nasasakop ng inyong pag-unawa at tungkulin bilang cultural leader.

Bilang pagpo-proseso, sagutin ang mga sumusunod na katanungan: • Alin sa mga konseptong ito ang iyo nang lubos na nauunawaan at alin naman ang hindi? Magbigay ng mga halimbawa.

• Gaano kalawak ang sakop ng pamumuno sa sektor ng kultura?

• Sa iyong paghihinuha, ano-ano ang mga katangiang dapat taglayin ng isang cultural leader?

Pamumuno Binibigyang kahulugan ng mga diksyunaryo ang salitang pamumuno, o leadership, bilang isang gawain kung saan ang isang pinuno ay pinamamahalaan ang isang pangkat ng tao o isang organisasyon. Sa pamamahalang ito, siya ay nagdedesisyon, kumikilos, kumikilatis, at humahatol tungo sa ikabubuti ng lahat. Ang isang

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pinuno ay isa ring kasapi ng samahan. Mataas man ang kaniyang katungkulan, siya pa rin ay kabahagi ng pangkat na kaniyang kinabibilangan.

Ikaw, bilang kasapi ng inyong organisasyon ay maaaring isa sa mga pinuno nito o di kaya naman ay mayroong pagkakataong pamunuan ito sa hinaharap. Ang iyong mga kaalaman at kasanayan tungkol sa inyong samahan ay isa sa mga susi upang maging mabuti at mahusay na pinuno.

Ang mga sumusunod ay ang anim (6) na pagtingin sa pamumuno. Ang mga ito ay mga pananaw lamang at walang isang pagtingin na totoo sa lahat. Ibig sabihin, ang isang pinuno ay maaaring nagpapamalas ng isa o higit pang mga sumusunod na pananaw.

• Ang pinuno bilang “great man”. Ayon sa pagtingin na ito, ang mga pinuno ay ipinapanganak na nagtataglay ng mga kasanayan sa pamumuno.

• Natatanging katangian. Ayon sa pananaw na ito, mayroong mga tiyak na katangiang nagdadala sa isang tao tungo sa pamumuno.

• Ang pamumuno ay “behavioural”. Ayon sa pananaw na ito ang kilos ng isang tao na bunga ng kaniyang kapaligiran na siyang nagtatakda naman ng kaniyang pagiging pinuno.

• “Transactional” na pamumuno. Sa pananaw na ito, mahalaga ang gampanin ng mga kaparusahan at gantimpala sa paghubog ng isang pinuno at sa pamamahala.

• Mapagpabagong pamumuno. Isinasaalang-alang ng pinuno ang mabuting ugnayan ng isa’t isa sa pananaw na ito.

• Pamumunong “situational”. Ayon sa pagtingin na ito, mayroong kakayahan ang pinuno na iangkop ang kaniyang sarili sa hinihingi ng pagkakataon.

Ang Cultural Leader sa Kanluran at Silangan Ang konsepto ng pinuno sa sektor ng kultura, o cultural leader, ay isang banyagang ideya. Hindi natin tinatawag na cultural leader ang mga pinuno ng ating lipunan na silang nangangalaga sa ating kasaysayan o tradisyon. Sila ay kilala natin bilang gat, datu, baylana, maginoo, mumbaki, imam, at marami pang iba. Mayroon din silang iba’t ibang pinagtutuunan ng pansin.

Ang pagiging cultural leader, bilang isang taong mayroong malawak na kaalaman at kakayahang pamahalaan ang maraming aspekto ng ating pamumuhay ay bunga ng Kanluraning kaisipan. Nagkaroon kasi ng isang yugto sa kasaysayan ng Europa, noong ika-18 na daangtaon, kung kailan naisip ng mga mamamayan nitong kaya nilang pag-aralan at kontrolin ang halos lahat ng bagay sa daigdig.

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Ngunit, itong nakalipas na dalawampung (20) taon lamang noong mabigyan ng malalimang pansin ang pagiging cultural leader. Ayon pa sa binasa ninyong artikulo ni Jonathan Price, nagmula ito sa mga polisiya ng United Kingdom na tumutugon sa kanilang pangangailangan mapamahalaan ang kanilang sektor ng kultura.

Makikita rin na ito ay nagmula sa mga umusbong na mga organisasyon at institusyong mayroong hilig, interes, at kakayahang pangalagaan ang kanilang kasaysayan, tradisyon, at pamanang kultural. Mula noon hanggang sa kasalukuyan, sama-sama nilang sinasagot ang katanungan, ano nga ba ang pagiging cultural leader?

Sa mga nakalipas na panahon, ang pamumuno sa sektor ng kultura sa daigdig ay inaasahang nakagagawa ng dalawang tungkulin. Ang una sa mga tungkuling ito ay ang matalinong pagdedesisyon. Ang pinuno ay inaasahang nakatutugon sa iba’t ibang hamong kinakaharap ng organisasyon o institusyong kinabibilangan. Ang pangalawa sa mga tungkuling ito ay ang paglutas ng mga suliranin. Ang pinuno ang siyang inaasahang makapagbibigay ng kalutasan sa mga problemang kanilang kinakaharap.

Sa kabila ng kahalagahan ng mabuting pagdedesisyon at paglutas ng mga tungkulin, hindi na lamang ito ang pinakamahalagang tungkuling dapat na pinagtutuunan ng pansin ng isang cultural leader. Sa makabagong panahon, ang mga ito ay tinitingnang gawain at tungkulin ng bawat isang kasapi ng isang samahan. Ang bawat isang kasapi, pinuno man o hindi, ay mayroong ng gampanin sa pagdedesisyon at paglutas sa mga suliranin ng sektor ng kultura.

Ayon kay Jonathan Price (2012), mayroon nang mas angkop na tungkulin ang isang pinuno sa sektor ng kultura, sa kasalukuyan. Ito ay hango sa Action Theory ni Hannah Arendt (1998), na binibigyang diin ang kahalagahan ng pagkilos (action) sa pamumuno. Ngunit, hindi lamang ito basta pagkilos ng pinuno, bagkus, ito ay tumutukoy sa kakayahan niyang kumilos at impluwensiyahan ang iba pang kasapi ng kaniyang kinabibilangang organisasyon o institusyon upang kumilos din. Tinawag ni Price ang kakayahang ito bilang mga dimensyon ng cultural leadership: 1. Entrepreneurial Cultural Leadership. Sa pamumunong ito, inaasahang ang isang pinuno sa sektor ng kultura ay mayroong kakayahang ituon ang atensyon at kilos ng lahat tungo sa ikatatagumpay ng organisasyon o institusyong kinabibilangan.

2. Generous Cultural Leadership. Kumikilos naman ang isang pinuno, ayon sa dimensyong ito, batay sa pangangailangan ng isang anyo ng kultura, na hinihikayat at inaasahan ang pakikiisa ng bawat kasapi.

3. Public Cultural Leadership. Sa dimensyong ito ng pamumuno, ginagamit ng lider ang kaniyang organisasyon o institusyon upang impluwensiyahan ang publiko tungo sa ikauunlad ng sektor ng kultura.

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Public Cultural Leadership Generous Cultural Leadership Entrepreneurial Cultural Leadership

Tatlong Dimensyon ng Pamumuno sa Sektor ng Kultura ayon kay Jonathan Price (2012) Nayong Pilipino Foundation

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Noong 2018, pinangunahan ng United Nations Educational, Scientific, and Cultural Organization (UNESCO) ang pagbuo sa Competence Framework for Cultural Heritage Management, o ang mga balangkas ng mga kasanayang kinakailangan tungo sa epektibong pamamahala sa mga pamanang kultural. Kasamang bumuo sa balangkas na ito ang kinatawan ng Association of Southeast Asian Nations (ASEAN) Secretariat, Southeast Asian Misnisters of Education Organization (SEAMEO), International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), International Council on Monuments and Sites (ICOMOS), International Labour Organization (ILO), at marami pang iba.

Competence Framework for Cultural Heritage Management (UNESCO 2018)

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Nilalayon ng Bangkok Competence Framework for Cultural Heritage Management na tukuyin ang mga kasanayan at kaalamang dapat taglayin ng isang cultural heritage worker at leader. Nais din nitong gabayan ang mga bumubuo ng mga pagsasanay sa sektor ng kultura at hikayatin ang pagkakaroon ng professional qualifications systems kung saan maaaring magkaloob ng mga sertipiko o lisensya sa larangang ito. Ang Bangkok Competence Framework for Cultural Heritage Management ay kinapapalooban ng mga pagpipiliang katangiang dapat na hinahasa sa mga kasapi at pinuno sa sektor ng kultura sa Asya at sa rehiyong Pasipiko, at sa ano-ano mang mga pangangailangan dito. Ang balangkas na ito ay binubuo ng mga kasanayan: 1.

Core, Managerial at Personal, na huhubog sa mga kasapi at pinuno sa sektor ng kultura sa pag ganap sa kani-kanilang mga tungkulin sa isang institusyong o organisasyong pangkul tura. Halimbawa ng mga kasanayang ito ay kaalaman sa batas, pananalapi, pakikipag-ug nayan sa iba, komunikasyon, at marami pang iba.

2.

Specialized Technical, na huhubog sa mga natatanging kaalaman kailangan sa isang laran gan sa sektor ng kultura. Halimbawa ng mga kasanayang ito ay ang kaalaman sa turismo, museo, pangkat etnolinggwistiko, kasaysayan, at arkitektura.

Pamumuno sa Sektor ng Kultura sa Pilipinas Ang pangangalaga, pagpapahalaga, at pagpapayaman sa mga kultura at sa iba’t ibang anyo nito sa Pilipinas ay mas matanda pa kaysa sa kasaysayan. Bago pa man dumating ang mga dayuhang mananakop sa ating kapuluan, ay mayroon na tayong kamalayan tungkol sa mga gawi, kilos, tradisyon, at paniniwala na mahalaga sa ating pamayanan.

Nariyan na rin ang mga bagay na salamin ng ating mga kaalaman at pag-unawa sa sanlibutan.

Mayroon na rin tayong mga paraan upang ang mga ito ay maipasa sa susunod na henerasyon.

Mga dayuhan, gaya ng mga Tsino at iba pang kaharian sa Timog-Silangang Asya, at ang mga Espanyol ang naunang nagtala at nag-aral sa kultura ng mga pamayanan sa sinaunang Pilipinas. Ginamit ng mga dTsino ang kaalamang ito upang kanilang mapalawak ang kanilang impluwensyang pang-ekonomiya sa bahaging ito ng daigdig. Nakatulong naman sa mga Espanyol ang kaalaman tungkol sa kultura sa kanilang pananakop at pamamahala sa kanilang bagong kolonya. Ang ilan sa mga Pilipinong nanguna sa pag-aaral sa kultura ng kanilang kapwa Pilipino, gaya nila Mariano Ponce, Jose

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Rizal, Pedro Paterno, Isabelo de los Reyes, at marami pang iba, ay namuhay noong ika-labing siyam na daangtaon lamang. Naging mainam namang sandata ng mga Pilipinong ito ang kanilang kaalaman sa sariling kultura upang lumaban sa mga mananakop. Sa pananakop naman ng mga Amerikano noong 1900s, ginalugad at sina liksik nila ang iba’t ibang bahagi ng Pilipinas upang maitala ang mga likas na yaman, kulturang materyal, at katutubong pangkat, sa kapuluan. Ginamit nila ito sa kanilang pagbuo ng makabagong imperyo.

Makalipas ng ilang dekada matapos lumaya sa mga mananakop, higit na binigyang pansin ang kultura at ang mga anyo nito sa panahon ng panunungkulan ni dating pangulo at diktador, Ferdinand Marcos. Sa mahabang panahon ng kaniyang pamumuno, nakabuo ang kaniyang administrasyon ng mga batas at polisiyang mayroong layuning pangalagaan at paunlarin ang kultura. Ang ating Nayong Pilipino Foundation, at ang Intramuros Administration ay ilan sa mga ahensyang binuo ng administrasyong Marcos upang bigyang tuon ang kultura ng bansa. Ang ilan sa mga malalaki at matatagumpay na hukay ng mga archaeologist ay pinondohan din ng pamahalaan. Si dating pangulong Marcos din ang bumuo ng PANAMIN, o ang Presidential Assistant on National Minorities, isang opisinang nanguna sa pagbibigay pansin sa mga indigenous people. Sa sektor na ito, higit na nakilala ang unang ginang na si Imelda Marcos. Sa pamumuno ni Imelda Marcos bilang gobernador ng Maynila noong 1970s, naipatayo, mula sa utang sa mga pandaigdigang bangko, ang ilan sa mga istruktura, gaya ng Cultural Center of the Philippines, Metropolitan Museum of Manila, Philippine International Convention Center, at Film Center, na naging ilan sa mga simbolo ng ating kultura. Sa kabila nito, ang kultura sa panahong ito ay iniayos, iniangkop, kinasangkapan ayon sa nais at luho ng pamahalaan, binago at ginawan ng kwento, at ipinagbili.

Sa kasalukuyan, iba-iba na ang ating pagtingin sa kultura. Nariyan pa rin ang iilang mga tao na gumagamit sa maraming anyo nito upang maisulong ang pansariling interes at para kumita. Ngunit, mas dumarami na ang mga taong mas nagiging sensitibo dito. Ikaw, bilang bahagi ng kursong ito, ay kabilang na sa mga taong kritikal ang pananaw tungkol sa kultura. Iyo nang nabatid na ang kultura ay hindi lamang isang kasangkapan. Alam mo na rin na ito ay dapat iginagalang, pinangangalagaan, pinag-aaralan, at pinagpayaman. Malinaw na sa iyo na ito ay isang mahalagang bahagi ng ating pamumuhay at pag-unlad.

Ang pananaw natin sa kultura at sa mga anyo nito noon ay hindi na pinapayagan sa kasalukuyan.

Hindi na natin inuuri ang mga tao batay sa kulay nito. Hindi na natin basta-basta kinukuha ang mga lupain at kagamitan ng mga katutubo. Hindi na lamang basta kapakinabangan ang nakukuha natin sa

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kalikasan. Hindi na natin maaaring ipilit ang nais nating kwento tungkol sa kultura. Hindi na lamang basta sayaw ang isang sayaw, o awit ang isang awit. Sa kasalukuyan, tinitingnan na natin ang kultura bilang buhay at gumagalaw na bahagi ng ating lipunan. Ito ay atin nang isinasa-alang-alang sa ating bawat pagdedesisyon at pagkilos.

Sa paglalarawan sa isang pinuno ng sektor ng kultura sa Pilipinas, ating sinusuri ang mga kaisipan mula sa labas sa pamamagitan ng mga pamantayan ng ating kultura. Sa ganitong paraan, hindi tayo nakakulong sa ating sariling pananaw at tayo rin nakatutuklas ng mga bagong paraan sa pamumuno.

Matapos mong alamin ang konsepto ng cultural leadership mula sa Kanluran at matunghayan ang kwento ng sektor ng kultura sa Pilipinas, tiyak na mayroon ka nang mas malinaw na imahe, sa iyong isipan, ng isang pinuno sa sektor ng kultura. Iyo na ring napagtanto na ang taong ito ay hindi kinakailangang maging maimpluwensiya o kilalang tao, bayani, o politiko.

Mula rin sa ating mga natutunan, maaari din nating bigyan ng dalawang mukha ang pagiging cultural leader: 1. pamumuno at pagsasa-ayos sa isang organisasyon o institusyong kinabibilangan, at 2. pangunguna sa sektor sa pamamagitan ng pagbuo at paglikha ng mga programa, produkto, at serbisyo.

Ayon pa kay Felice Prudente Sta. Maria, hindi lamang ito ang dapat na mapagtanto ng isang kabahagi sa pagpapanatili at pagpapayaman ng kultura. Aniya, mayroong mga responsibilidad ang isang pinuno sa sektor ng kultura, at ito ay dapat alinsunod sa pananaw ng humanismo at humanitarianismo. Ayon sa dalawang pananaw na ito, hindi lamang dapat natatapos sa pagkilala sa kakayahan ng mga tao ang pamumuno sa sektor ng kultura, bagkus, dapat din ang mga kakayahang ito at ang mga produktong nabuo mula dito ay nakapagpapabago at nakapag-aangat ng kalagayan ng mga mamamayan ng ating bansa. Ang mga responsibilidad ay ang mga sumusunod: 1. kilalanin ang mga katangian ng mga tao at pamayanan sa ating bansa; 2. naiuugnay ang nakaraan sa kasalukuyan at natututo mula sa mga aral nito; at 3. naitataguyod ang mga pagpapahalaga.

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Ang sektor ng kultura sa Pilipinas ay hindi lamang pinamumunuan ng iisang ahensiya, bagkus, ito ay pinagtutulungang panatilihin at paunlarin ng maraming institusyon at organisasyon sa bansa.

Ang ilan sa mga ito ay ang mga sumusunod: • Pambansang Komisyon sa Kultura at mga Sining (National Commission on Culture and the Arts, NCCA) • Pambansang Komisyon sa Kasaysayan ng Pilipinas (National Historical Commission of the Philip pines, NHCP) • Pambansang Komisyon sa mga Katutubong Mamamayan (National Commission on Indigenous Peo ples, NCIP) • Pambansang Museo (National Museum, NM) • Kagawaran ng Turismo (Department of Tourism, DOT) • Kagawaran ng Edukasyon (Department of Education, DepEd) • Kagawaran ng Ugnayang Panlabas (Department of Foreign Affairs, DFA) • Kagawaran ng Likas na Yaman at Kapaligiran (Department of Environment and Natural Resources, DENR) • Kagawaran ng Industriya at Kalakalan (Department of Trade and Industries, DTI) • Komisyon sa Wikang Filipino (KWF) • Pambansang Sinupan ng Pilipinas (National Archives of the Philippines, NAP) • Pambansang Aklatan (National Library, NL) • Film Development Council of the Philippines (FDCP) • National Book Development Board (NBDB) • Cultural Center of the Philippines (CCP) • Intramuros Administration (IA) • Nayong Pilipino Foundation (NPF) • at ang iba't ibang pribado at pampublikong organisasyon o samahan na nakikiisa sa mga adhikain ng sektor ng kultura sa Pilipinas Sa kasalukuyan o sa hinaharap ay ikaw magiging kabahagi ng isa o higit pang ahensiya o organisasyong nabanggit sa itaas. Mayroong silang iba’t ibang pagkakaunawa sa isang pinuno ngunit lahat ay iisa ang tunguhin pangalagaan, itaguyod, at paunlarin ang sektor ng kultura sa bansa.

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Pag-sipan: Diwa ng Cultural Leader Basahin ang mga artikulo at panoorin ang mga video sa internet na nakalista sa ibaba. Makatutulong ang mga ito upang palalimin pa ang iyong pag-unawa sa sektor ng kultura sa Pilipinas at ang pamumuno dito.

• Artikulong pinamagatang, “Developing a Filipino brand of leadership” ni Regina Galang Reyes, mula sa Philippine Daily Inquirer: https://business.inquirer.net/104623/developing-a-filipino-brand-of-leadership •Youtube Video, pinamagatang Philippine Arts and Culture in the Socio-Historical Context of Nation, Region and Globalization ni Reuben R. Cañete, Ph.D. (TVUP): https://www.youtube.com/ watch?v=ys6xUugCmF8 •Artikulong pinamagatang, “Felipe M. de Leon, Jr.: ‘We should be proud of Filipino genius and culture’” ni Lester Babiera, mula sa Philippine Daily Inquirer: https://lifestyle.inquirer.net/147727/felipe-m-de-leon-jr-we-should-be-proud-of-filipino-genius-and-culture/ Mahalagang sagutin ang mga sumusunod na katanungan habang ikaw ay nagbabasa at nanonood: •Paano tinitingnan ng pamahalaan at ng iba pang mga institusyon sa kasalukuyan, ang kultura ng Pilipinas?

•Ano-ano ang mga hamong kinakaharap ng isang cultural leader sa Pilipinas sa kasalukuyan at sa hina harap?

•Para sa iyo, ano ang diwa ng pagiging isang pinuno sa sektor ng kultura?

Pagtulungan: Mga Pamantayan sa Pamumuno Hatiin ang section sa apat (4) na pangkat. Ang isang pangkat ay inaasahang makabubuo ng sarili nitong pamantayan, o criteria, ng isang epektibong cultural leader o mahusay na pamumuno sa sektor ng kultura sa Pilipinas.

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1. Pumili ng isang representative mula sa inyong kinabibilangan pangkat na siyang gagabay sa lahat sa gawaing ito.

2. Hikayatin ang bawat isang kasapi ng inyong pangkat na magbigay ng kani-kaniyang saloobin tungkol sa mga katangian na dapat taglayin at wastong pagkilos na dapat na isinasagawa ng isang epektibong pinuno sa sektor ng kultura.

3. Alalahanin at gamitin ang inyong mga natutunan sa mga nakaraang modyul upang matulungan kayong bumuo ng inyong sariling pamantayan. Isa-isip din ang mga kaalamang natutunan sa modyul na ito.

4. Mainam na buuhin ang pamantayan ng isang epektibong pinuno sa sektor ng kultura ayon sa balangkas ng pagiging (a) makatao, (b) makakalikasan, (c) makabayan, at (d) makadiwa, at bigyan ito ng mga ispesipiko na katangian.

5. Lagyan din ng maikling paliwanag ang inyong nabuong pamantayan na nasasagot ang mga sumusunod na gabay na katanungan: a. Para sa inyong pangkat, ano-ano ang mga katangian ng isang epektibong pinuno ng sektor ng kultura sa Pilipinas? b. Para sa inyong pangkat ano-ano naman ang kayang gawin ng isang epektibong pinuno ng sektor ng kultura sa Pilipinas? c. Para sa inyong pangkat, ano ang ibig sabihin ng mahusay na pamumuno sa sektor ng kultura sa Pilipinas?

6. Isulat ang inyong nabuong pamantayan sa puting papel, kalakip ang mga pangalan ng bawat isang kasapi ng pangkat.

Gawin: Sariling Pagtataya Gamit ang inyong ginawang pamantayan, suriin mo ang iyong sariling kahandaan sa pagiging pinuno sa sektor ng kultura.

1. Sa isang malinis na papel, isulat ang iyong pangalan. Isulat din ang mga pamantayang binuo ng

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inyong pangkat. Lagyan din ito ng scale. Ang scale ay maaaring numero mula 1 hanggang 10. Maaari ding gumamit ng iba pang scale na sa tingin mo ay angkop sa gawain.

2. Bilugan ang numerong sa iyong palagay ay sumisimbolo sa iyong katangian, kakayahan o kahandaan sa bawat isang pamantayan.

3. Ipaliwanag nang maikli ang resultang lumabas ng iyong pagtataya sa iyong sarili. Sagutin ang mga sumusunod na katanungan: a. Sa iyong palagay, ikaw ba ay isang mahusay at epektibong pinuno sa sektor ng kultura? b. Ano-ano pang mga paghahanda ang iyong dapat gawin upang mapunan ang ilan sa iyong mga pagkukulang? c. Ano-ano pang mga paghahanda ang iyong dapat gawin upang mapanatili at mapagyaman ang ilan sa mga katangiang nasasaiyo na?

Buuin: Mungkahing Programa, Proyekto, at Produktong Kultural Hatiin naman ang section, sa anim (6) na pangkat. Bawat isang pangkat ay bubuo ng isang mungkahing program, proyekto, o produktong kultural. Ang mungkahing ito ay dapat na mapakikinabangan ng isa sa mga ahensiya, o institusyong pangkultura sa Pilipinas. Inaasahang ang ginawang pamantayan ng isang pagiging cultural leader ay maisasalin sa pagbuo ng mga mungkahing ito.

1. Sa isang malinis na papel, umisip ng isang programa, proyekto, o produktong pangkultura. Tukuyin ang layunin nito at iba pang mahahalagang detalye.

2. Tukuyin din ang ahensiya o institusyong pangkultura sa Pilipinas na maaaring makinabang sa iminu mungkahing programa, proyekto, o produkto.

3. Maaaring gamitin o paularin pa ang sumusunod na template na inihanda para sa gawaing ito:

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4. Samahan ito ng isang maikling paliwanag na nasasagot ang mga sumusunod na gabay na katanungan: a. Ano-anong mga balakid at hamon ang kakaharapin ng inyong iminumungkahing programa, proyekto, o produkto? Paano niyo ito nais tugunan? b. Sa paanong paraan makikinabang ang ahensiya o institusyong pangkultura sa Pilipinas na inyong tinukoy sa inyong iminumungkahing programa, proyekto, o produkto? c. Sa paanong paraan naman makikinabang ang sektor ng kultura sa Pilipinas, bilang pangkalahatan, sa inyong iminumungkahing programa, proyekto, o produkto? d. Paano kayo natulungan ng mga pamantayan ng isang epektibong cultural leader sa Pilipinas na inyo ring binuo?

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Mga Sangguni Babiera, Lester. 2014 Enero 19. Felipe M. de Leon, Jr.: ‘We should be proud of Filipino genius and culture’. Philippine Daily Inquirer. Nakuha noong 16 Agosto 2020, mula sa World Wide Web: https://lifestyle.inquirer.net/147727/ felipe-m-de-leon-jr-we-should-be-proud-of-filipino-ge nius-and-culture/.

Jennings, Nicola at Holly Jones. 2014. “Engaging hearts and minds: leadership and taking part”, sa A Cultural Leadership Reader. Pinamatnugutan nina Sue Kay, Katie Venner, Susanne Burns at Mary Schwarz, pahina 24-31. UK: Arts Council.

Murch, Anne. 2014. “Leadership through partnership”, sa A Cultural Leadership Reader. Pinamatnu gutan nina Sue Kay, Katie Venner, Susanne Burns at Mary Schwarz, pahina 96-99. UK: Arts Council.

Patel, Jigisha. 2014. “Doing the right thing: the ethics of cultural leadership”, sa A Cultural Leadership Reader. Pinamatnugutan nina Sue Kay, Katie Venner, Susanne Burns at Mary Schwarz, pahina 72-77. UK: Arts Council.

Price, Jonathan. 2012. The Construction of Cultural Leadership. ENCATC Journal of Cultural Man agement & Policy vol. 7(1): 5-16.

Sta. Maria, Felice Prudente. 2001. A Cultural Worker’s First Manual: Essays in Appreciating the Every day. Pasig City, Philippines: Anvil Publishing.

Reyes, Regina Galang. 2013 Enero 27. Developing a Filipino brand of leadership. Philippine Daily Inquirer. Nakuha noong 16 Agosto 2020, mula sa World Wide Web: https://business.inquir er.net/104623/developing-a-filipino-brand-of-leadership.

Summerton, Janet. 2014. “The place of practical wisdom in cultural leadership development”, sa A Cul tural Leadership Reader. Pinamatnugutan nina Sue Kay, Katie Venner, Susanne Burns at Mary Schwarz, pahina 114-119. UK: Arts Council.

TVUP. 2016 Disyembre 08. Philippine Arts and Culture in the Socio-Historical Context of Nation, Region and Globalization by Reuben R. Cañete, Ph.D. Youtube Video, nakuha noong 16 Agosto 2020, mula sa World Wide Web: https://www.youtube.com/watch?v=ys6xUugCmF8.

UNESCO. 2018. Competence Framework for Cultural Heritage Management. nakuha noong 16 Agosto 2020, mula sa World Wide Web: https://bangkok.unesco.org/content/compe tence-framework-cultural-heritage-management

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Part II

HERITAGE INTERPRETATION

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INTERPRETATIVE PLANNING, Maria Tanya Conlu

Planning to Interpret Interpretive planning is a strategic and collaborative process that seeks the most effective way to communicate messages about a site or heritage resource in order to give the visitor a meaningful experience. An interpretative plan is a management document that states the long term direction of a heritage site, defines its goals, and details the objectives and activities to reach these goals. Interpretative planners should know their resources and visitors so that they can outline the most effective way of giving them the information about a site.

At the end of this training module, the participants will be able to create their own interpretative plans for their sites or localities, incorporating the principles of interpretative planning and the values of cultural leadership. Specifically, cultural leaders will be able to discuss the definition, objective, content and process of interpretative planning for tourism development, formulate an interpretative plan for their respective sites or localities, and relate their interpretative plans to their context and increase pride in cultural and natural heritage through interpretative planning.

Participants will be assessed through participation in discussions and group work, individual exercises and their final project, the creation of their own interpretative plan.

Getting Involved: Sharing One’s Experiences On a piece of paper, draw one thing that symbolizes something about your own personal heritage. Afterwards, introduce yourself by stating your name, sharing one unique thing about you that you think none of your classmates share, and explaining your drawing to everyone. In doing the activity, please be guided with the following questions: What is your heritage? What is heritage to you?

What do you want to get out of this module?

Introduction to Heritage Interpretation Heritage, in a personal view, is an individual’s inherited sense of identity. This includes the attitudes, values, traditions, and even properties handed down by previous generations of your family or community. In a wider sense, heritage can be cultural and natural. According to UNESCO, we call natural features, geological, and physiographical formations, and delineated areas as natural heritage. These should either be the habitat of threatened species of animals and plants or natural sites of value from the point of view of science, conservation, or natural beauty.

These include natural parks, marine protected areas, zoos, aquaria, botanical gardens, and sanctuaries, among others. Cultural heritage, on the other hand, is objects and structures, such as monu-

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ments, buildings, or sites of valuable historical, artistic, or scientific information. They are tangible and intangible expressions of society and culture developed and used by a community that they passed on from their generation to the next. In the Philippines, the Local Government Code of 1991, under Chapter II, Section 16, stipulates that “…local government units shall ensure and support, among other things, the preservation and enrichment of culture…” thus it is part of our mandate to protect and promote our heritage resources.

Interpretation is communication that expresses the significance and meaning of a place. It is a communication process that aims to reveal relationships and meanings between cultural and natural heritage, through the entanglement of objects, landscapes, and sites. It goes beyond merely presenting information, but instead, it is a strategy to translate information to the people so that they can relate to it. In 1957, Freeman Tilden, founder of the United States National Park Service, defined heritage interpretation as “an educational activity which aims to reveal meanings and relationships through the use of original objects, by first-hand experience, and by illustrative media, rather than simply to communicate factual information”. Heritage interpretation, therefore, reveals relationships, deeper meanings, and insights by linking visitors’ thoughts and feelings with a nature park, a historic site, or a museum.

While heritage interpretation is an educational activity, visitors should find it an interesting experience. Remember, they are there, first and foremost, for leisure, so learning should be fun.

Interpretation is effective if visitors learn and remember the information you offer to them, so it is important that interpreters understand how visitors react to and retain information, emotions, and values. Through heritage interpretation, tour spiels become storytelling that gives more meaning to objects and sites, so that a visitor not only learns about the place but develops attachment and value towards it.

Interpretative Planning Planning is the process of thinking about all that is needed in order to achieve a goal. Interpretive planning is a strategic decision-making process that determines the most effective way to relay a message to guests and visitors while harmonizing site or institution goals, as well as considering resources and visitor experience. Instead of a textbook or newspaper article, information is conveyed through knowledgeable and engaging tour guides, curious artefacts, innovative interactive displays, and many other creative ways. The ultimate goal of interpretative planning is to define the visitor experience. It defines the interpretation and education goals of a site, recommends ways for visitors to get these experiences and makes sure that these first-hand opportunities are accessible.

Despite being written over half a century ago, heritage managers and interpreters today still find Freeman Tilden’s principles on heritage interpretation relevant. These are summarized into:

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1. PROVOKE - curiosity, attention, interest 2. RELATE - to everyday lives 3. REVEAL - the information through a creative or unique viewpoint 4. STRIVE FOR MESSAGE UNITY - all elements used should support the presentation of the message 5. ADDRESS THE WHOLE - all interpretations should relate to the main theme or message To come up with a good interpretative plan, several disciplines will be useful, such as education, journalism, advertising, psychology, tourism, mass communication, business management, and others. Always try to answer the questions: why would the visitor want to know this story, and what does it mean for them. We know that we have been successful in our interpretation if our visitors receive the message, understand it, will remember it, and possibly use it in some way.

Adequate pre-information such as orientation leaflets, instructions, and maps should be considered to prepare visitors for their experience. Another important thing to consider is safety and security issues of both the visitor and the resource.

Throughout the interpretative planning process, there are several principles and characteristics which should always be applied by interpretative planners. These include: • visitor-centeredness enhances intellectual and emotional connections between the visitor and the site; • actual and well-researched messages are based on sound scholarship and rooted in subject matter expertise; • planning is participatory and consultative in nature and involves different stakeholders; • planning is gender-sensitive as well as culture-sensitive and offers different points of view; • all-inclusive and non-discriminatory means that the plan does not discriminate culture, religion, race, ethnicity, age, etc. and provides access to learning for people with various abilities, learning styles, and levels of experience; • rights and copyrights-minded plans obtain Free and Prior Informed Consent (FPIC) and other permissions where applicable; • a budget-conscious plan is realistic with resources at hand; and • the plan should be sustainable.

The Interpretative Plan An interpretative plan is a management document that outlines and guides decisions about a site’s or locality’s interpretive program. It is created through a collaborative process involving

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several stakeholders including the site’s management, staff, interpretative specialists, heritage experts, and community members. It outlines goals and actions to create meaningful visitor experiences while protecting heritage resources. It establishes the long-term direction of the program and is broken down into annual action plans. This includes prescriptions for management, human and other resources, partnerships, capacity building, and funding.

An interpretative plan identifies stories and lays out when, where, how, why and to whom these will be told. It also identifies the factors that may help or hinder the implementation of these plans. Breaking down the WHO, WHAT, WHEN, WHERE, HOW, WHY, and TO WHOM will be the basis of our steps in formulating the plan.

There is no singular process, formula, template, or series of steps in creating an interpretative plan. Even the outline and contents of the plan itself will vary from site to site. There are many factors that will make each plan different from another, especially as each site or resource is unique and has its own story and context. The steps in creating an interpretative plan are as follows: Step no. 1: Create the team and engage stakeholders. Before you even start, first determine the “who”. Who will be involved in making the interpretative plan? In some instances, you will not have a choice whom you work with, but always make sure you have a combination of the authority, the expertise, and the capacity that you need in your team.

An effective interpretative plan is a collaboration among different stakeholders, including partner organizations with a role in the implementation of the plan, members of the public, and various stakeholders. These include your tour guide, your community member, your local government, a representative of the indigenous peoples in case they own the land of your site or you are showcasing anything of their culture, and anyone who may be useful or important to the creation of your plan. Have one person in charge of steering the core team, if this person is not you.

Step no. 2: Set the foundation. The foundation document sets the long-term direction and is ideally a ten-year strategic plan. The foundation document, sometimes called the Interpretative Master Plan, states the goals and context of the site. Most importantly, this answers the “why” of the plan, which becomes the basis for the other parts of the plan. Why do we need an interpretative plan? What is it for? What change do we want to see? Answering the “why” will define your goal.

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We may be familiar with strategic planning, which starts with creating a common vision.

Remember, though, that your interpretative plan is only one part of your institution. Your plan should always be aligned to the bigger plan, and your goals should contribute to the vision.

A goal is a statement of milestones to achieve your vision through your efforts. They are conditions that you want to accomplish. Examples of goal statements include: • to instill appreciation for traditional culture • to engage the youth in heritage conservation • to capacitate tour guides to talk about the architectural history of the site A goal can be broken down into short or medium-term objectives or outcomes. An objective is a specific target that will help you reach your goal. Objectives need to be SMART – Specific, Measurable, Attainable, Relevant, and Time-Bound.

Let us look into the alignment of an overarching goal to your interpretative plan goal. For example, a protected area management plan goal is: Recreate Pamitinan Protected Landscape into an exciting historic destination for Filipinos of all ages. You can break these down into keywords such as “recreate”, “exciting”, “historic” and “all ages.” From this, let us try to create an interpretative plan goal and objectives. Consider the example that follows: GOAL: Children appreciate the story of Andres Bonifacio and the Katipunan OBJECTIVE 1: to create interest in children through age-appropriate activities and inter pretation materials OBJECTIVE 2: to increase the number of park visitors aged 8-12 Step 3: Develop themes. After determining your WHY, the next step is to determine the “what”. What resources do you have? This should include all the elements of history, culture, language, and values of your site. What actual relics, artefacts, structures, natural resources, art materials, fossils, and other resources do you have that you can display? Do you have maps? Are there ongoing research and other activities on your site? From all these, what stories can you tell?

What are the messages you want to tell your visitors? All these messages should be organized into coherent themes.

Step 4: Know your visitors. “To whom” will you tell your story? No matter what you are communicating, it is very important to know who your receiver or audience is. Understanding our visitor profile is crucial if we want our interpretative plan to be effective. A visitor profile should include demographics (age, origin, sex, economic status, etc.) as well as visitor motivation. There will be different ways of communicating with different types of visitors, depending on their needs, experiences, and preferences. After you have studied your visitor, you can determine how you want to tell your story so that they can connect with your site and understand why it is important, relevant, and meaningful.

Telling a story involves the harmony among your content (the information you want to share), audience (the visitors to your site), and method (how you will tell them this story). Interpretation must provoke curiosity, attention, and interest in your visitor. The interpretive plan should Nayong Pilipino Foundation

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describe the mix of media required to send the message to specific audiences. Below is an example of a matrix of your communication strategy that will be part of your interpretative plan.

Step 5: Determine your media. This brings us to the method or the “how, “when”, and “where” of your interpretative plan. How will your stories be told, by what medium? By video, audio, visual, signs and labels, Virtual Reality, or personal? If by personal interaction, by whom?

When and where will this be told or put in place? Personal methods include: guided tour, point duty (guide stays at a certain station), roving guides, presentations, living history (drama or re-enactment), and interactive. Non-personal methods include: print (posters, brochures), signs and interpretative panels, self-guided programs, audio or audiovisual media, and interactive (simulated shows, 3D theaters).

Step 6: Put the plan together. Creating a ten-year plan can be overwhelming, but now that you have your “who”, “why”, “what”, “how”, “when”, “where” and “to whom”, go back to your foundation document. It is important to determine your specific, measurable, achievable, realistic, and timely (SMART) objectives in order to achieve your goals, then put together the other elements that you already have into a coherent plan. To reach your objectives, you should have a set of activities with corresponding outputs. An activity is a specific action or task that will help you achieve your objectives, and an output is the direct and tangible result of your activity.

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Let us go back to our example of a goal and a corresponding objective and add activities and output: GOAL: Children appreciating the history of Andres Bonifacio and the Katipunan OBJECTIVE: to create interest in children through age-appropriate activities and interpre tation media ACTIVITIES : • Animate the storytelling of the history of Pamitinan • Design an interactive simulation of the Katipuneros hiding inside Pamitinan cave • Set up an art studio for children to draw, paint, and create other artwork related to Pamiti nan landscape and history OUTPUTS: • A re-enactment drama of the history of Pamitinan is included in the children’s tour • A cave simulation room is built for children’s activities • An art studio is established for children The sample action plan template can help you put these important elements together. Consider the following:

An interpretative plan may be a short or a long document, but the important thing is it contains your interpretation goals, actions, decisions, and prescriptions on how to implement the plan.

Joining the Conversations: Review of Plans All the elements of your interpretative plan should come together to create a whole. Think of it as planning for your garden. Which plants should grow where and what height do you need?

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What arrangement of flower colors do you want to see? Where will you place your bench so that you get the best view?

For your individual exercise, browse through these three interpretative plans: • Mahone Bay Museum Interpretive Plan http://mahonebaymuseum.com/wp-content/uploads/2015/05/Mahone-Bay-Museum-Interpretive-Plan.pdf • Pease Park Interpretive Master Plan https://static1.squarespace.com/static/5c2d2da955b02c84384fe844/t/5ef298a360d70d7d518881ae/1592957103994/Pease+Park+IMP+Fi nal.pdf • Valdez Museum & Historical Archive Master Interpretive Plan https://www.valdezmuse um.org/wp-content/uploads/2016/10/Master-Interpretive-Plan.pdf tions:

Look for recurring elements in the three sites and answer the following processing ques-

• Which plan was most comprehensive? Most interesting?

• Did they clearly state their goals? What were the themes that you picked up? Did you find anything lacking?

• How would you make your own outline of an interpretative plan for your site or locality?

Working Together: Monitoring and Evaluation for Effectiveness Plans are never static. A good plan is responsive and adaptive to changes and can adjust at any point in the process. Planning is not linear but a cycle. Monitoring and evaluation, or M&E, is simply gathering data over time so that you can assess how you are doing against your targets. M&E should give feedback on all the steps of your interpretative planning and should signal you if revisions, updates, and other changes are necessary.

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M&E should be plugged into your interpretative plan, both in the foundation document and the action plan. Look for some existing interpretative plans, and list down the things that you think should be monitored in the site, and how you will monitor them. You may also choose to add a column in your table for easier tracking.

In doing the activity, try to ponder upon the following processing questions: What aspect of the interpretative planning and/or plan of a site should we monitor and/or evaluate?

How do you intend to monitor them? What resources should we need?

What is the importance of monitoring and evaluation, or M&E, in interpretative planning?

Putting into Practice: Putting Interpretative Plans in Context Your interpretative plan does not exist in a vacuum, and will always be subject to unforeseen changes and other issues. Think of issues that may arise that can affect the implementation of your interpretative plan. List these down and let’s brainstorm together how we can resolve some of these issues.

In doing the activity, please be guided by the following questions: Are there other plans into which your plan could or will be subsumed?

For a national park, for example, how does it fit into the Protected Area Management Plan?

For a local government tourism site, how does it fit into the Tourism Management Plan?

Your interpretative plan should be aligned with these bigger plans, and your interpretative goals should be contributing to the overarching vision of your sit.

Making it Happen: Planning Choose a heritage site to work on and create an interpretative plan for it. You may revise or add to the goals and objectives you had already written for your site. Prepare a written document for submission, which includes a master plan (the foundation document) and a three-year action plan, as well as a short version to be presented in class. This presentation may take on whatever form you choose as long as you are able to convey all your important points. The rest of the class will be critiquing your plans.

In formulating your plans, please be guided by the following questions: Why did you choose this particular site for this planning activity? What is its value?

What steps did you take to create your plan? What challenges have you encountered?

What was the most important lesson you have learned about interpretative planning from this exercise?

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References Chesapeake Bay Office, National Park Service. (2010). Interpretive planning tools for heritage areas, historic trails, and gateways. https://www.nps.gov/subjects/heritageareas/upload/In terp-Planning-Toolkit-for-Heritage-Areas-Historic-Trails-and-Gateways-2.pdf ICOMOS International Cultural Tourism Charter. (1999). Managing Tourism at Places of Heri tage Significance [Charter]. https://www.icomos.org/images/DOCUMENTS/Char ters/INTERNATIONAL_CULTURAL_TOURISM_CHARTER.pdf Interpret Europe. (2020). Fostering communities through heritage interpretation: Case studies from the Western Balkan region. Witzenhausen: Interpret Europe.

Interpretation Canada. (n.d.). About. Interpretation Canada. https://interpretationcana da.wildapricot.org/about National Parks Service. (2020, December 2). Interpretive planning. Harpers Ferry Center. https://www.nps.gov/subjects/hfc/interpretive-planning.ht m#:~:text=Interpretive%20planning%20is%20a%20strategic,expe riences%2C%20and%20ensures%20their%20accessibility Piacente, M. (2014, November 20). Interpretative planning: Contemporary practices [Conference presentation]. Reflections on Contemporary Practices in Interpretive Planning. University of Toronto. https://www.lord.ca/de/cache/resources_tools/35/f_Interpre tive-Planning-Contemporary-Practices-LordCulturalResources.pdf The Boudreaux Group, John Veverka & Associates. (2017). Clemson University interpretive plan [Report]. https://www.clemson.edu/about/history/taskforce/documents/Re port-3-10-2017.pdf Tilden, F. (1977). Interpreting our heritage (3rd ed.). The University of North Carolina Press. https://is.muni.cz/el/1421/podzim2017/MUI_338/Interpret ing_Our_Heritage__Chapel_Hill_Books_.pdf Tilkin, G. (Ed.), (2016). Professional development in heritage interpretation manual. https://ww w.interpret-europe.net/fileadmin/Documents/projects/InHerit/Manual-InHerit-EN.pdf UNESCO. (2019, November 27). Call for applications: Pilot regional course on interpretative planning at world heritage properties in Europe. UNESCO. https://en.unesco.org/news/ call-applications-pilot-regional-course-interpretative-planning-world-heritage-properties UNESCO Culture for Development Indicators. (n.d.). Heritage: Methodology manual [White paper]. https://en.unesco.org/creativity/sites/creativity/files/cdis/heritage_dimension.pdf UNESCO Institute for Statistics. (2012). 2009 Framework for cultural statistics handbook no. 2.

UNESCO Institute for Statistics. http://uis.unesco.org/sites/default/files/documents/measur ing-cultural-participation-2009-unesco-framework-for-cultur al-statistics-handbook-2-2012-en.pdf Veverka, J.A. (n.d.). What is interpretation? An overview of interpretive philosophy and principles. https://airandspace.si.edu/rfp/exhibitions/files/j1-exhibi tion-guidelines/3/What%20Is%20Interpretation.pdf

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INTERPRETATIVE GUIDING, Victor Estrella

Towards Effective Interpretation Effective interpretative guiding requires experiencing, thinking, critical reading, writing, and speaking about places, landscapes, and sites. An engaging tour guide employs a variety of ways of interpreting and telling stories about places, landscapes, and sites. The body, voice, emotions, and imaginations of the tour guide are powerful tools in interpretative guiding and advancing advocacies towards sustainable development.

This Module on Interpretative Guiding is an intensive course dedicated to tour guides and tourism and hospitality professionals. Effective interpretative guiding requires experiencing, thinking, critical reading, writing, and speaking about places, landscapes, and sites. This course allows you to try and carry them all out. Participants in this module realize that there is no single way of viewing and interpreting places, landscapes, and sites. Instead, there are several means of arriving at a compelling story. They also consider the changing contexts and relationships of stakeholders, which play a vital role in the rendering of an effective interpretative guiding. The Module on Interpretative Guiding develops effective interpretative guides, who optimize their bodies, voices, emotions, and imaginations as their innate and basic tools in interpretative guiding.

At the end of the module, trainees are able to conduct actual interpretative guiding employing different perspectives of interpreting and telling stories about natural and cultural places, landscapes, and sites in their own localities in the Philippines, incorporating advocacies towards sustainable development.

To successfully complete the Module on Interpretative Guiding, you are expected to produce a simulated and video-recorded interpretative guiding about your chosen place, landscape, or a site in your own locality or province, with the help of an earlier prepared script. Your script should tell us about the important information and the stories about your chosen place, landscape, or site demonstrating one or many perspectives offered during the course. This will be enriched by inquiry, collaboration, and application activities prepared in this module.

Getting Involved: Group Invisible Mural This exploratory activity is a collaborative activity. The class will be divided into three (3) groups. A group representative will lead his/her co-member in the conduct of the activity. Participants in each group look at a blank white screen. Someone from the group starts describing what he/she sees in the blank screen mural. Everyone imagines this description and another member of the group adds another element to that description. Please be clear as to the shape, space, color, position, and other elements described. The group ends the activity when all members have contributed to the mural.

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The following guide questions will help you in accomplishing the task: 1. What do you see in the blank screen mural?

2. What lines, shapes, colors, and other elements can you see in there?

3. In general, how would you describe the mural?

After the groupings, everybody will go back to the plenary and discuss the activity. The following processing questions will help in the flow of discussion: 1. How easy or difficult was the activity?

2. How much of your personal experiences helped you in contributing to the activity? What skills 3. from your work helped you in contributing to the activity?

4. How much of the mural are yours? How much of it was your groupmates’? What does this tell you about the mural?

5. How easy or difficult is it to describe what you see and do not see?

Was the mural really complete? Can other people add up to describe the mural further?

Perspectives on Landscapes and Sites We refer to various places and sites around us differently, based on how we view and interact with them. We call some home, workplace, sacred grounds, and nature, to name a few. For farmers and fisherfolks, for instance, there are places they call agricultural lands. For firefighters, police, and disaster response officers some places may be considered danger zones. Indigenous people call the places they associate their identities with as ancestral domains. Cultural workers are more comfortable using the term cultural sites to refer to some places and structures. For tourists and tour guides, we call them tourist attractions. The name we call these places and sites tells us something about the experiences of the people whenever they are in the area. And, each and every place has stories to tell.

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There are several ways of experiencing places and landscapes around us. There are also many ways of telling a story about these experiences. Places and landscapes are specific areas here on earth. They are composed of physical features, created out of soil, rocks, and water. However, beyond the physical aspect, places and landscapes are also created and affected by human’s ways of living. For example, the mountains of the Cordillera in Luzon are made out of rocks and sediments, but, indigenous communities made these highlands their home and modified many of its features.

Also, the Sulu archipelago in southwest Mindanao is not only a group of islands but also soil surrounded by water. Its islands are also places where the cultures of Tausug, Sama Dilaut, and Moro (Filipino Muslims) flourished.

Before we grasp the rudiments of interpretative guiding, a dynamic way of telling stories about a place, landscape, or site, let us, first, survey the different ways of making sense about a place, landscape, or site brought to us by anthropology, sociology, and history. We will equip you with an array of perspectives and means of interpreting them to empower you to tell a story.

Seeing the Landscape. Places, landscapes, and sites are primarily seen, viewed, and visualized. This is evident with some of the local terms we call them, like buyaen in Ilocano, tanawin in Tagalog, talan-awon in Bisaya, and kiritaon in Waray. The terms we use to call them, most of the time, convey the act of seeing or looking at something. Hence, we can interpret or tell a story about a place or site based on the particular way we see it.

However, we cannot see the entirety of a place or landscape all at once. The Pacific Ocean, the Mt. Hamiguitan Range Wildlife Sanctuary, the Tabon Caves, or the Bukidnon plateau are all too big for our eyes to perceive and too grand for our minds to fully comprehend. That is why we often frame a scene, choose a focus, or even cover an area of a place or landscape we see. This act of framing, choosing, and covering can be observed in our maps and plans, as well as, in our landscape paintings, posters, brochures, postcards, travel videos, and many more.

1. Choosing and Concealing. It is our natural tendency, as humans, to focus our attention on what is good and what is beautiful. This reflects on the places and landscapes we go to and present to others. As we concentrate our attention on these stunning places, like the tall buildings in Makati, we turn a blind eye to other areas we consider not worthy, such as the slums around Metro Manila.

We even use these beautiful landscapes as representations of the identity of our country and of what we hope for a world. But behind the aesthetics, according to anthropologist Barbara Bender, our choice of view can distort, hide, and/or mystify reality.

2. Be read like a written text. Means to say, what we see are open to many interpretations, which one can actually write or speak of. Like texts, these sites can have meanings that anyone can decipher or create. However, we should always be critical of the different meanings places and landscapes have to different people. These meanings might have been created out of a particular interest in the agenda attached to the place. Most importantly, meanings change over time. For instance, the island of Limasawa in Leyte is the birthplace of Christianity in the Philippines for many, but for some, it is among the places in the archipelago where Spanish colonization started.

3. Gazing. Gaze can be defined as an individual or a group of people’s intention to look at something. This intention comes from an awareness and perception of self and others. Since we are aware of our identities, and of the people around us as women, Filipinos, tourists, etc. as well as of our environment, we are sensitive to some aspects and features of the places and landscapes we are Nayong Pilipino Foundation

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in. An example of a gaze in a place or landscape is the intent to look at male and female signs (feminist gaze), such as phallic symbols. Seeing and visualizing the future generations in the places you view (sustainability gaze) is also a gaze. Focusing your attention on indications of colonialism (post-colonial gaze) in a place in the past is also an example.

By being aware of how we see the places, landscapes, and sites around us, we are able to be aware of the stories we tell and interpretations we infer about them. We can also lead other people to see the things we choose to see. More importantly, we can reveal what others are trying to hide and conceal from our plain sight.

Peopling the Landscape. An other set of perspectives that we will examine looks at places and landscapes in relation to the people and the society and culture they have created around them. Although these physical features are important in these perspectives, we will focus our attention on the individuals and groups of people exhausting these places and sites for their own various motivations. Thus, we can also interpret or tell a story about a place, landscape, or site based on the people living and interacting in them.

Since places and landscapes are part physical and part socio-cultural, human interactions can be important sources of information, inferences, and insights about them. We need to look into their behavior and actions whenever they are in these places. In doing so, we will be able to observe power relations between dominant groups of people, as well as, the minorities, and the marginalized.

Labouring. Places and landscapes are production spaces, too. They are where labour happens to produce goods and services. Sugarcane plantations in Negros are examples of production spaces wherein a basic commodity, is produced. In these places, we can observe the interactions of hacienderos, or landowners, and the sacadas, or the laborers. According to German philosopher Karl Marx, those people who have power over these places are those who own the land, and thus, control the mode of production. American geographer Don Mitchell suggests further that the physical changes that happen in a place or landscape, by way of agricultural and industrial processes, can directly cause changes in the lives of the people occupying it, as well.

Place-making. The French sociologist Pierre Bourdieu proposes that people, by interacting with other people, create a social space. This space might be at home, at the workplace, the supermarket, or elsewhere. In these places, the behavior or character of an individual or group of people is being developed. In return, our behaviors and habits have effects on both social and physical spaces. The mall can be an example of how our interaction with each other (buy and sell, market, etc.) created a structure, which in return, influences our lifestyle (fast-food, consumerist behavior, etc.).

Discoursing. French social philosopher Michel Foucault believes that people continuously create places and landscapes by just simply discoursing about them. When we discourse about a place, we communicate how we think and our knowledge about it, which constructs our influences and other experiences of that place. However, not everyone is able to effectively communicate his or her thoughts and has the power to argue strongly his or her claims. As a result, there are people who can control the knowledge about a place or landscape. For instance, we have regarded geologists, geographers, and environmentalists, who have been formally trained, as imposing sources of information about a place or a site. But then, the indigenous peoples, who have been interacting with the place or landscape all their lives, can also be authoritative sources of knowledge about these sites.

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Decolonizing. European and American societies tend to present and tell stories about places and landscapes in the “East” or the “orient” as mysterious and exotic. For instance, many writers refer to Southeast Asia as the land and islands of gold. And as a nation that had been subdued by Western colonizers, we blindly subscribe to this tendency. Palestinian American-born literary critic Edward Said calls this “orientalism”. He supposes that this is the fault of the colonizers and we can break away from this unpleasant interpretation towards ourselves if we decolonize. We have to realize that what they call the “East” is composed not of only one society and culture but many landscapes and peoples that are unique and similar to other societies and cultures of the world.

Experiencing the Landscape Our own personal experiences as well as the experiences of our people with a place, landscape, or site, are also good sources of stories and interpretations about them. The last set of perspectives that can help us come up with a story or interpretation of a place, landscape, or site, draws from our felt experiences.

Embodying. In this perspective, the sense of sight is not enough. In order to present a holistic depiction of a place, landscape, or site, we need to touch, smell, hear, and taste it too. French philosopher Maurice Merleau-Ponty believes that our body is the basis and channel of knowledge. We create knowledge, such as the stories and interpretations we tell by means of sensing the world around us. Our direct contact with the places and landscapes, therefore, can help us interpret them more. For example, by “being in” Bicol, by seeing the Mayon Volcano, listening to some Bicolanos as they converse with each other, and tasting the spicy Bicol Express, we will be able to promote the province meaningfully.

Dwelling. British anthropologist Tim Ingold stresses that if we consider our surroundings as our dwelling place, we will be able to infer and demonstrate more intimate information and insights about them. He adds that places and landscapes should not only be a disconnected physical feature, but instead, a quality of feeling and emotion, that is part and parcel of us, human beings. Stories told by the Mangyans about the Mts. Iglit-Baco National Park in Mindoro sure has an intimate take on it since they consider these natural features part of their home.

Performing. Also, we can tell a story of and interpret a place, landscape, or site by taking into consideration the practices and traditions of the people who continuously shape them. These practices can be in the form of simple everyday activities such as farming, going to the market, schooling, worshipping, and many more We can observe and participate in the celebration of Helobung Festival of the Tbolis of South Cotabato, to know more about their land, but we can also consider how they treat and take care of their environment, especially the lakes, waterfalls, and mountains of their homeland, to fully understand how important their landscapes to them.

Interpretative Guiding Interpretative guiding is the practice of conveying meanings to people about what they are experiencing in a particular place, landscape, or site. Beyond explanations, however, interpretative guiding tells stories that share information, insights, and/or persuade visitors to a certain perspective. Beyond appreciation, visitors are actively engaged in experiencing the place, landscape, or site.

In the process, natural and/or cultural features, as well as, the people who view, visit, or interact with them are being linked together meaningfully.

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After we have surveyed the different possible ways of producing a story or an interpretation about a place, landscape, or site, we shall now proceed to the essentials of using these stories and interpretations in guiding visitors and guests.

The term “interpretative guiding” was first used in the context of tourism by Betty Weiler and Sam Ham in 2002. As an approach, they consider interpretation as a principal component of the guiding process. It is what guides and docents do most of the time. They tell stories about and interpret their surroundings to visitors and guests for them not only to be informed but also to gain evocative experiences. Accordingly, the practice involves several components: Entertainment. Interpretative guiding is conducted, at the first level, to make the visit or the tour of a place, landscape, or site enjoyable. By explaining the meaning of things and features that can be interacted with during the visit, experiences are enriched and many of the intentions of the tour are satisfied.

1. Education. Interpretation serves as an effective educational tool. It delivers valuable information and insights to the intended audiences. Places and things are experienced first-hand and not only seen in books and screens. Discussions, as well as question-and-answer sessions, also develop higher-order thinking.

2. Communication. What the host community tries to convey to its visitors can be delivered through interpretative guiding. Throughout the process, both the guides and docents and the visitors express their thoughts to each other. It also presents informed choices about how to experience natural and cultural resources.

3. Advocacy. Interpretation helps in achieving many aims, such as cultural relativism, nationalism, sustainable tourism, and many more. It can cause positive change to human behaviors and attitudes towards a pressing issue or concern like sustainable living as well as the protection and conservation of our natural and cultural resources.

Achieving effective interpretative guiding requires a lot of practice. A guide or a docent cannot be good at it by simply reading this module overnight. It takes a lot of reading, writing, speaking, and thinking about and experiencing the place, landscape, or site. This module is just the first step in realizing success in the practice. In order to deliver an effective interpretative guiding, the following principles should be taken into consideration. The right amount of each and every principle mixed together will make the activity worthwhile 1. Brief and Concise Supporting Materials. Successful interpretative guiding does not rely on face-to-face interaction, alone. In point of fact, it starts with good printed materials, in the forms of signs, brochures, posters, scripts, pamphlets, or anything else available and appropriate. They are brief, concise, and coherent following a theme, not a topic. They are also a good mixture of creativity and organization. a. Itinerary. A good itinerary allows a smooth, and if possible, uninterrupted flow and movement of people and ideas in a place, landscape, or site. It is developed by an organization or institution, the travel agency, or the community based on many factors such as geography, accessibility, and theme. This should not be changed without the consent of the guests and visitors as well as the host community.

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b. Script. The script is the basis of the face-to-face interpretative guiding. This is the primary responsibility of the guide or docent. The script serves as his or her outline in the process of sharing information and insights about places. It follows the theme and may be apply ing a certain perspective about it. It presents the places, landscapes, and sites to the visitors, and at the same time, cues on the insights relevant to them. It should not bore the audience, as well.

Effective Interpersonal Communication. In actual tours, effective interpersonal communication 2. Between the guides and the visitors should be present. This allows for an immersive and direct experience for the visitors, as well as, smooth delivery of the tour or visit for the guides and docents.

Interpretative is not teaching or instruction, instead, it is a lively conversation. a. Engaging Participants. Effective interpretative guiding engages visitors and guests. It makes the places, landscapes, and sites relevant and the experience enjoyable to everyone. b. Conscientious Guides and Docents. They are professional, courteous, polite but also transparent and assertive. Guides and docents are objective and factual in the information and insights they provide. c. Approving Community. The community gives their consent to the activity. They are oftentimes involved in the planning and actual execution of the interpretative guiding.

Their ideas are reflected and/or consulted in the interpretation and their voices are heard.

3. Critical and Reflective Thinking. Effective interpretative guiding also develops critical and reflective thinking among each and every participant, might it be guides, docents, visitors, or guests. It allows the formulation of insights, conclusions, and questions.

4. Minimal Impact on Environment and/or Community. Responsible interpretative guiding advocates towards care for and conservation of the natural and built environment. It explains what constitutes acceptable behaviours and attitudes in the area. The activity demonstrates understanding and respect towards animal and plant lives as well as local culture. Also, it reduces resource use, energy, and waste.

Joining the Conversations: Unlikely Tour Guides After learning more about making interpretations and telling stories about places, landscapes, and sites, let us now listen to some of the actual stories in the field. Watch the following video clips about a boy and a dog who, in many ways than one, told stories about the places they “work” in, and in return, became the stories themselves.

Meet the Cambodian boy who speaks more than a dozen languages Premiered last 17 November 2018 https://www.youtube.com/watch?v=XJjzCBRMaso The 04:42-minute video was created by CNA/Mediacorp, a Singaporean public broadcast service, to tell the story of a Cambodian boy named Thuch Salik. He is the 14-year old souvenir-seller in Angkor Wat who caught the attention of the world by speaking twelve (12) languages in his trade.

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iJuander: Aso, nagsilbing tour guide sa isang Pinoy vlogger sa Batad!

Premiered last 16 November 2019 https://www.youtube.com/watch?v=CXG1sNul7Xg GMA Public Affairs, through its television program, iJuander, featured in this 09:09-minute video, Rambo, the tour-dog Batad, Ifugao. The local dog ushers tourists to areas and attractions in one of the Rice Terraces of the Philippine Cordillera inscribed by UNESCO as a World Heritage Site.

Ponder upon the following questions to help you appreciate the stories in the video clips: 1. Are the heroes in our stories tour guides? If not, who/what are they and what do they do?

2. What stories do Thuch Salik and Rambo tell their visitors? How do they tell their stories?

3. What do they offer to the tourists? What do the visitors gain from interacting with them?

4. How did they become part of the story of the place, landscape, or site?

5. What can we learn about making interpretations and telling stories from Thuch Salik and Rambo?

Working Together: Shape Space Study This creative drama activity encourages the participants of this course to use their bodies to create and show shapes for images and spaces. This collaborative activity delves deeper into how we perceive places, landscapes, and sites through our senses. The class will be divided into five groups.

Each group will have to think of shapes and spaces that would portray one tourist spot or destination. A representative will explain the shapes and spaces shown by each and every member of the group.

The following questions will guide you in accomplishing this group activity: 1. What tourist spot or destination did you choose to present? Why? 2. What shapes and spaces are you going to show using your body?

3. What is the relation of these shapes and spaces to the tourist spot or destination you are present ing?

4. What story do you intend to tell using these shapes and spaces you are showing?

5. How can the shapes and spaces, your bodies showed us, help in delivering the story you intend to tell?

After the groupings, everybody will go back to the plenary and discuss the activity. The following processing questions will help in the flow of discussion: • How were your senses part of the activity?

• Why are the body and the senses important in making interpretations and telling stories about places, landscapes, and sites?

• What have you learned about making interpretations and telling stories from the activity?

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Putting into Practice: Making the Script This is now the time to choose and present one place, landscape, or site from your locality.

In this activity, you are tasked to write your own interpretative guiding script about this, applying what you have learned so far. The script is more than just a document. It serves as your outline in the process of sharing information and insights about the places, landscapes, and sites you are presenting to your visitors. Your script should tell us about its important information as well as the stories.

This should be demonstrating one or many perspectives offered during the course.

Some Parts of an Interpretative Guiding Script • Introduction • Tour/Visit Reminders • Basic Information about the Place, Landscape, or Site • Some Stories and/or Interpretations to Tell • Advocacy • Closing Since you are the guide, the creator of your script, you can and should be creative in writing your piece. You can re-arrange, omit, or add some parts you deem necessary in effectively conveying your message in 10 minutes or less. Make sure to integrate your own personal brand! Remember, that the script is just a guide. It should not be the single most important source of your stories and interpretation.

Making it Happen: Video-Recorded Interpretative Guiding After making your own script, you are now ready to deliver your interpretative guiding. Your final task for this module is to come up with a 10-minute video recording of your actual interpretative guiding. Building from your script, deliver a short guiding about your chosen place, landscape, or site, where you share not only the significant information about it but most importantly, some engaging insights and persuading advocacies towards sustainable development.

Checklist in Making the Video ¨ My video is no more than ten (10) minutes long. ¨ My video follows the flow of my earlier-prepared script. ¨ My video is either in Filipino or English language. ¨ My video is clear and audible. ¨ My video is in MP4, WMV, or AVI file format.

The following questions will guide you in doing the video-recorded interpretative guiding: •What perspectives on places, landscapes, and sites have you used in framing and steering interpretative guiding?

•What creative interventions did you employ in order to make your interpretative guiding engag ing and fun at the same time?

• What outcomes do you hope for in making this interpretative guiding?

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References Bender, Barbara. 1993. “Stonehenge, contested landscapes (medieval to present-day)’, in Land scape: Politics and Perspectives. Edited by Barbara Bender. pp 245-279. Oxford, UK: Berg.

Bourdieu, Pierre. 1977. Outline of a Theory of Practice. Cambridge, UK: Cambridge University Press.

Duncan, James, and Nancy Duncan. 1988. (Re)reading the landscape. Environment and Planning D: Society and Space 6: 117–126.

Foucault, Michel. 1998. “Space, Knowledge, and Power (interview with Paul Rabinow)”, in Archi tecture Theory Since 1968. Edited by Michael Hays, pp. 428-439. Cambridge: MIT Press.

Ingold, Tim. 2000. The Perception of the Environment: Essays on livelihood, dwelling, and skill.

London, UK: Routledge.

Marx, Karl. 1959 [1818-1883]. Das Kapital, a Critique of Political Economy. Chicago, USA: H. Regnery.

Merleau-Ponty, Maurice. 1962 [1942]. Phenomenology of Perception. London, UK: Routledge.

Mitchell, Don. 1995. There’s no such thing as culture: towards a reconceptualisation of the idea of culture in geography. Transactions of the Institute of British Geographers 19: 102–116.

Poudel, Surya and Gyan P. Nyaupane. 2013. Role of Interpretative Tour Guiding in Sustainable Destination Management: A comparison between guided and Nonguided Tourists. Journal of Travel Research 20 (10): 1-14.

Said, Edward. 1978. Orientalism: Western Conceptions of the Orient. London, UK: Penguin.

Wei Hua Geoffrey Wall. 2012. Interpretative guiding and sustainable development: A framework. Tourism Management Perspectives 4: 80-85.

Weiler, Betty and Sam H. Ham. 2001. “Tour Guides and Interpretation”, in The Encyclopedia of Ecotourism. Edited by David B. Weaver, pp. 549-564. Oxford, UK: CABI Publishing.

Weiler, Betty and Sam H. Ham. 2002. Tour guide training: a model for sustainable capacity building in developing countries. Journal of Sustainable Tourism 10 (1): 52-69.

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DISCOVERY LEARNING AND INTERPRETATION, Maria Carissa Bernardo

Discover to Learn This module aims to help teachers make heritage education more meaningful in the classroom. It will provide tools, strategies, and other points for collaboration for teaching and learning.

Discovery learning is one of the methods to achieve meaningful learning in the classroom. Through discovery learning, heritage lessons, and projects become more personal to the students, and thus, hopefully, students are able to value their heritage and have the desire to protect or to take action in its protection.

At the end of the module, trainees are able to create lesson plans that will help the students become cultural leaders who are more appreciative and more proactive in promoting, protecting, and caring for their own cultural heritage.

To successfully complete the intensive course, you are expected to produce a lesson plan that will enhance and enrich the learning of the students of heritage interpretation through cultural resources, storytelling, and discovery learning. This will be enriched by inquiry, collaborative, and application activities prepared in this module.

Getting Involved: My Most Memorable Lesson As a teacher, think about your most memorable lesson in the classroom. In reminiscing about your most memorable lesson, try to answer the following questions: •What was your topic? How were you teaching?

•What were the students doing? How were the students engaged?

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To describe it more, please fill out the sheets that follow:

Heritage Interpretation The Department of Education (DepEd) of the Philippines has stressed the importance of cultural heritage as apparent with its education programs. DepEd, in coordination with the Philippine Cultural Education Program (PCEP) of the National Commission on Culture and the Arts (NCCA), is tasked to develop cultural heritage education programs both for local and overseas Filipinos to be incorporated into the formal, alternative, and informal education. The programs shall see to it the emphasis on the protection, conservation, and preservation of cultural heritage property as stipulated in sections 38 and 39 of Republic Act 10066, or the National Cultural Heritage Act of 2009.

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The Department of Education, the Technical Education and Skills Development Authority (TESDA), and the Commission on Higher Education (CHED), in consultation with the NCCA, will include in its teaching programs all over the country, the following cultural heritage education programs: • • •

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.

These goals of cultural heritage education can be achieved through effective and engaging heritage interpretation and discovery learning. Heritage interpretation is creating a connection between people to a cultural heritage site, concept, or object. It helps create a relationship or a connection by giving first-hand experiences to the people seeing it and to make the learning as meaningful as possible. We encourage an attitude shift. We want them to connect with and care more about the resource, place or event. Ideally, they then become advocates and become more mindful in caring for and protecting their cultural heritage.

According to Guy Tilkin (2018), the characteristics of a good interpretation are as follows:

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• Finds the deeper meaning. When students encounter your topic, and when they return to their daily lives, does this heritage information become more meaningful to them? Encourage them to go beyond the facts presented and search for deeper meaning.

• Experiential learning. Activities that engage the senses help a student learn best. Sensorial Experiences such as virtual or in-person museum tours, culture boxes, making artefacts, interactions, helps make the subject into a unique and complete learning experience • Makes connections. How can we connect our content to the participant? Do they feel connected to the past? Do they realize that the past is connected to their lives? Does the past also affect their decisions for their future? Let them feel this relation and they will want to learn more about the content.

• Promotes respect for all heritage. At the end of your lesson, students will hopefully be more mindful and respectful of the heritage presented and invoke possible feelings of protection and action towards its preservation.

Look to cultural heritage resources as tools in enhancing the classroom experience. Allow its physical features, context, and meaning to be explored, shared, and added to your lessons. These resources help understand a period in time and relate to people in the past and in the present.

Concrete objects. These use all the senses in experiencing a cultural heritage. It may be seen, heard, and felt thus heightening the sensory experience. This includes artefacts, architecture, art, music, landscapes, historical and literary documents.

Traditions and Practices. Use current traditions and practices to connect to other families, cultures, or the past. Examples can include: • Observe the community at local events such as birthdays, weddings, fiestas, and other celebrations and rites of passage. Compare the same event or holiday to other families. Document with pictures, interviews, etc.

• Make a cookbook or report of family recipes. You may look at how this recipe was passed on from generations through interviews. Study also the ingredients and why are these special to the community or the importance of this food source. You may document the recipes, pictures, and history of the recipe • If there are any awards, trophies, certificates displayed in your school, you can research the Nayong Pilipino Foundation

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awardees. Through interviews or old school articles and yearbooks, find out: What was their road to victory like? How were they celebrated? What are the lessons they learned Personal issues. Use universal themes to connect past events to current ones; good examples are: bullying, citizenship, diversity, and respect.

Community. The community is such an important resource. It is an instant connection to the student as it is familiar and the knowledge of the student is personal.

Trends. What are the current clothes, hairstyles, personal decoration, toys, etc? What do they say about the individuals or as members of a group? Interview classmates, take photographs and you can create a timeline or exhibit of the trends through the years. You may include old objects from the older generation as part of your presentation.

Storytelling is at the heart of any interpretation. They can easily transport people to a different time and place. Stories can make you relate to a character or experience, what they are going through, or ask you to empathize with what they are feeling. Stories may boost the imagination, heighten creative thinking, and may spark conversation, debates and commit the story into their memory. Therefore, we can enhance heritage interpretation through storytelling.

Tools for storytelling include body, voice, emotion, and imagination, to name a few. The elements of a story, on the other hand, are as follows: • basic structure: stories always have a basic beginning-middle-end • character: who is involved and what are their relationships • setting: where is it happening? What point in time?

• conflict: what is happening? What is the problem?

Here are some tips for the application of storytelling to heritage interpretation: • use emotions and create impact so that students may relate instead of just sharing information.

• make use of video clips and audio aides.

• make use of props, costumes, and materials in the storytelling.

• If possible, incorporate experiences such as walks, singing, preparing and eating food, handcrafts, improvisation, exhibits, silence and even searching heritage sites.

• use personal or unusual stories about historical figures or places.

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• do storytelling in imagined locations.

• encourage students to develop their own stories and participate in the storytelling.

• make use of stories and memories of the community members or locals to refresh a particular heritage. You may record these stories too in video, audio, and written forms. use themes in a story (example: Palawan Caves; theme: protection of nature).

• build a story around a research question.

Enhancing Classroom Experience through Discovery Learning Discovery learning is a method of inquiry-based instruction. Jean Piaget, Seymour Papert, and Jerome Bruner are the major proponents of the discovery learning model. In this model, students ask questions and independently search for answers to their own questions. Learning does not only mean receiving the information but more importantly, actively seeks for answers and solutions.

Students take responsibility for their own learning and develop skills that they will need to address these, such as conducting research, looking at the problem from every angle, reflecting, and evaluating the topic. They also assign meaning to important concepts and ideas, encourage them to build on past experiences and knowledge, use their own intuition, imagination, and creativity, as well as search for new information to discover facts, connections, and new truths.

According to Bruner, Discovery Learning is where "...learners construct new ideas or concepts based upon existing knowledge.” Thus, in discovery learning, students are: • learning by doing. They are active and experience the learning by being involved; • seeking information instead of simply receiving the knowledge; • constantly interacting and exploring.; • debating, asking questions, or performing experiments; • encouraged to cooperate and collaborate with others including seeking possible mentors; • comfortable using the knowledge they already have; and • more confident and realize that mistakes are just a part of the process and can lead to learning including misconceptions and other fallacies they may encounter.

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• Use applicable skills and knowledge. Don’t forget to build the basic skills needed to solve problems. Things such as research, interviews, taking notes, active listening, fact-checking should be developed and honed. Additionally, the students will see the importance while doing their project.

• Encourage Self-Guided Projects. Allow your students to research the subject matter or find answers to their own questions independently. They may use online resources, use social media platforms responsibly, learn from experienced professionals, use video sharing sites, watch online tutorials and lectures.

• Mistakes are Learnings! Mistakes are natural and are important parts of discovery learning.

Learners are able to see the results of their actions by making mistakes, They are also able to think of alternative approaches to these situations. However, feedback should be given as soon as possible to identify areas for improvement.

The discovery learning project can be developed through the following steps: 1. starting with the essential question (for what? so what? what now?); 2. designing a plan for the project; 3. creating a schedule; 4. monitoring the learners as well as the progress of the project; 5. assessing the outcome; and 6. evaluating the experience To identify the essential questions, think of the subject you are presenting, and list down what possible real-life situations or topics can arise. What is happening in your classroom, the community, the world? Select a question that students feel doable and they can make an impact on.

The question has to have meaning in their lives. Some concrete steps in guiding essential questions are as follows: • write down as many questions as you can about the topic; • write down every question exactly as it was stated; • do not stop to discuss, judge, or answer any question; • change any comments to questions; • use questions generated to one essential question to guide the class. You may take similarly themed questions. For example, in the statement, the Hyatt Hotel collapsed in Baguio due to a massive earthquake, the possible questions are: How strong was the earthquake? What happened to the people under the rubble? Were the people forced to leave after the earthquake? Why did it Nayong Pilipino Foundation

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take so long to rescue the people? What type of damage did the city have? How many people died?

How much of the city was destroyed?

• Facilitate a discussion in order to develop a unifying question based on the key theme of those generated. For instance, what impact did this event have on the people and city in the future?

What actions can we suggest to improve the search and rescue? How can we be more prepared for such disasters?

Consider the following samples of discovery learning in the classroom: Topic: Cultural Heritage Sites in the Philippines What historical objects, sites, and/or traditions in the Philippines are in danger of disappearing forever, and should be preserved? In this lesson, students examine a range of efforts to preserve history and culture. Which ones deserve saving for future generations?

Activity: Divide the class into groups, and assign each group one of the stories listed below to read on cultural preservation challenges in the Philippines. As a group, they should answer the questions below or add more questions to the list. Let them find ways to answer their own questions.

The following websites can help them learn about the issue being discussed: • https://newsinfo.inquirer.net/1407262/house-approves-bill-banning-structures-photobombing-view-of-national-shrines-landmarks • https://lifestyle.inquirer.net/210932/the-tboli-a-stry-of-massive-land-grabbing-through-the-centuries/ • https://www.rappler.com/nation/angono-petroglyphs The following questions are to be answered by the students. They may add more questions to them: •What things are threatening it?

• What has been done so far to protect it?

• Are you satisfied with the current situation of its protection? If not what can you personally do to help preserve what is being endangered?

Students can choose how to present their project in class (examples can include writing a blog, making a campaign poster, composing a song, acting out a skit, writing to their officials, etc.)

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Joining the Conversations: Discovering My Cultural Heritage Studying family heirlooms can enrich one’s discussion of cultural heritage. Little do we know, some things lying in our homes or offices already hold a very rich and personal story about our family history. Watch the video below and answer the questions after. Be ready to share and bring a picture or the actual object.

How Are Everyday Things Made Special by the Ayala Museum https://www.youtube.com/watch?v=RGx5f88R53s Choose a family heirloom (an object, recipe, story, song, or anything passed on from generations).

Tell its story. You may be guided by the following sharing questions: • Where did it come from? What is its purpose/function?

• How did it came to be in the family? What is its significance in the family?

• Where was it made? How was it made? Who used it? For what was it used?

• What special attributes does it have? Is there an oral or written history?

Discovery learning can be a bit challenging in the classroom as a teacher. However, its rewards are optimal for student learning. Let’s watch the video below and answer the reflection questions. You may type it on short bond paper and submit it via google drive.

Discovery Learning Center by UMBC https://youtu.be/bcuyHnVRJcE Answer the following reflection questions: • What do I appreciate about Discovery Learning/ Project Work in the classroom?

• How can I apply this in my classroom? Be specific.

• What are the obstacles or problems that I might face if I apply this to my class?

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Working Together: Personal Maps of the Community Taking note of unique and significant places that are not in the usual tourist maps are a fun way for getting to know the community in a more in-depth manner. Places such as cemeteries, famous restaurants, ancestral homes, parks, and other interesting places are points for exploration and discussion. Students will learn the value of local culture and traditions as primary sources.

Create a video, slide presentation, or a printed map of a walking tour of significant or unique places in your local community which visitors would be interested to know about. Historical places, local cemeteries, places with local legends, and places that have significance within your community play an important role. Plot sites on your map with descriptive material about each place. Research their history and interview people who may know something about their origin or know stories about them. Interview local people to find out more about place names and local history.

To help you accomplish the task, answer the following guide questions: • What are the unique and significant places in your community?

• Can you find old photos of these places?

• Do any places on your tour have names that don't exist on printed maps?

Putting Into Practice: Preserving Cultural Heritage Let’s read the following article on Indigenous People of Western Visayas seeking to preserve their cultural heritage: https://www.pna.gov.ph/index.php/articles/1082899 To process what you have read, please answer the following guide questions: • How can we improve the story being told? How can we come up with a story that is more personal for the audience?

• Using the Discovery Learning Approach- what essential questions would you like to ask?

• What project can we do to help solve the problem? How does this project’s timeline look like?

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Making It Happen: Lesson Planning At this point, let’s try to enhance a lesson plan or topic you are currently discussing in a class.

Choose a Philippine cultural heritage object, site, heirloom, space, or event. Make a story and present it. Do not forget the tips you can do to enhance your storytelling. Using the Discovery Learning Approach, what current problems or issues are arising from your chosen cultural heritage?

Finally, design a project plan. Use the provided template below: Name: Designation: Year Level: Choose a topic /event/concept you would like to work on or enhance (for Grade school teachers you may refer to the Department of Education’s MELC) TOPIC CHOSEN: Session: Cultural Resources to Enhance Interpretation

MAIN POINTS

NOTES/How will you use it to enhance your chosen topic

Concrete Objects

Tradition

Personal Issues

Community Maps Other important learnings and notes:

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Session: Storytelling to Enhance Interpretation

MAIN POINTS

NOTES/How will you use it to enhance your chosen topic

1.

2.

3.

Session: Discovery Learning to Enhance Interpretation:

Refer to your topic above, list down possible essential questions (EQ) that can arise that will lead to a discovery learning project.

1.

2.

3.

4.

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References Department of Education. (2016). K to12 Gabay Pangkurikulum: Araling Panlipunan. https://ww w.deped.gov.ph/wp-content/uploads/2019/01/AP-CG.pdf Failte Ireland. (2019). Sharing Our Stories - Interpretation as a Tool to Improve Visitors' Experience.

Interpret Europe. (2020). Fostering communities through heritage interpretation: Case studies from the Western Balkan region. Witzenhausen, Germany: Interpret Europe.

Inventionland Institute. (2018, April 23). Discovery Learning Method. https://inventionlandinsti tute.com/discovery-learning-method Nederlandse Unesco Commissie. (2020, August 20). Unesco Memory of the World - Why Documenta ry Heritage Matters [Video]. YouTube. https://youtu.be/Oni5Vga1WH8 TEDx Talks. (2015, October 16). Cultural heritage: a basic human need - Sada Mire at TEDxEuston [Video]. YouTube. https://youtu.be/d9ZHj4ihTog TEDx Talks. (2014, February 18). Intangible Heritage - Why should we care? | Prof. Máiréad Nic Craith | TEDxHeriotWattUniversity [Video]. YouTube. https://youtu.be/V4UQYem6Dvc Weibell, C. J. (2011). Principles of learning: 7 principles to guide personalized, student-centered learn ing in the technology-enhanced, blended learning environment. Retrieved July 16, 2021, from [https://principlesoflearning.wordpress.com].

Tilkin, G. (2016). Professional development in heritage interpretation: manual. Landcommanderij Alden Biesen.

Van Blerk, J. (2019). Federation of European Storytelling. FEST Survey on Storytelling in Heritage Contexts.

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WAYFORWARD: CREATIVITY AND CULTURE-BASED LEARNING FOR CULTURAL LEADERS

Wilson Billones, Maria Gloriosa Santos-Cabangon, Norberto Portales III, Ada Marie Tayao and Robert Andres The 21st-century learners are characterized by increasing connectivity, materialism, and information overload. They are multi-sensorial learners and multi-taskers. They have access to practically all types of news, information, data, and gossip (and fake news) available on the Internet. At the same time, however, the new world has brought in many challenges. Many people feel left behind by technological change and growing inequality. For education to be effective, a shift from the traditional educational practice of “knowledge transmission from those who know to those who don’t know” to a more reflective approach of inquiry, creativity, and critical thinking, is needed. Teaching and learning should not merely concentrate on honing the cognitive abilities of students/ participants, but should focus its attention on achieving “holistically developed Filipinos with 21st-century skills”.

The Faculty Members of the Cultural Leadership Institute during the Faculty Training in preparation of CLI Classes in the New Normal Emerging cultural leaders should be provided with the skills to filter, process, and challenge the daily barrage of information so that profound analysis and insight can be drawn. There is a need to develop their creativity towards innovative thinking and problem-solving. In order to increase student engagement, there is a need to develop learners’ intrinsic motivation to participate and learn in a blended learning environment by building their confidence through the use of arts in teaching. Art processes provide a platform to unpack, reflect and strengthen empathy, social connection, and discourse in a fun, creative, participant-centered, blended learning environment.

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The PETA Creative Pedagogy is a grounded theory using the power of theater to change the learner, the community, and society. It invites participants to explore and discover themselves, their community, and their environment through music, visual arts, dance and movement, creative writing, and drama activities. This distinct training process is designed to enhance classroom learning, immerse people in the arts, build a collaborative learning atmosphere, and expose them to the richness and diversity of Filipino arts & culture. It is the pedagogy of the 21st century!

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Studies have proven that creativity allows one to see the world differently and more openly, therefore, enabling the birth of fresh ideas and unblocking the ability to see problems as mere opportunities for success. Moreover, exposure and participation in the arts are linked

e to gains in cognitive capacity and critical thinking. Arts involvement can develop initiative, concentration, confidence, and teamwork. It connects people more deeply to the world. It provides opportunities that help build social bonds and community pride which cultural leaders need to internalize, emulate and promote.

Through creative pedagogies, CLI participants expressed what they learned from the MakaNayon module through ingenious performances.

Despite the challenges brought by the Covid-19 pandemic and the major shift in learning modalities moving away from the traditional face-to-face approach to remote learning modality- art processes are still necessary. The learners need conducive learning time and space at home and an endless supply of self-motivation to listen, watch, and participate through a small square screen. These challenges are faced head on by the strategies used in creative pedagogy.

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Contributors Robert Andres is presently an active Senior Artist-Teacher-Member of the Philippine Educational The-

ater Association (PETA) where he specializes in designing and facilitating workshops on theater arts (children, teen, adult), creative pedagogy/theater-in-education, theater for advocacy (mental health and psychosocial support, community-managed disaster risk reduction, gender sensitivity training, comprehensive sexuality education, cultural leadership, HIV AIDS STI, and organizational development, among others). He does freelance creative and educational projects on the side. He is also a CMMA-, KBP-, and Araw Values-awarded broadcast promotion and creative communications specialist for DZMM, WRR, ABS-CBN, Star Cinema, GMA 7, and TV5. He is a founding member of the LGBTQIA+ party list Ang Ladlad.

Julienne Baldonado is the co-founder of Kalikopan, Inc., a nonprofit organization focused on sustain-

able development and climate action through tripartite collaboration. Julienne contributed to the declaration of Indigenous and Local Communities Conserved Areas and Territories (ICCAs) in Mt. Apo in southern Philippines. She also engaged in other projects geared toward policy review on land access and gender equity as well as the strengthening of governance systems. Julienne is also a member of the Global Shapers Community Davao Hub, an initiative of the World Economic Forum and part of a network of young people driving dialogue and action in more than 145 countries. She graduated with a bachelor’s degree in anthropology at the University of the Philippines Mindanao. Julienne served as a faculty member of the Cultural Leadership Institute of the Nayong Pilipino Foundation. Currently, she is a lecturer at the Department of Social Sciences in UP Mindanao.

Maria Carissa Bernardo has been in the education sector for more than twenty years. She was

employed in a private international school but now consults for a non-government organization that helps build literacy skills and continues to create spaces where there is a love for learning in marginalized communities. She contributed a chapter to the book Multiple Intelligences Around the World, edited by Howard Gardner, Seana Moran, and Jie-Qi Chen. The edited volume, first published in 2009, is a compilation of how Gardner’s Multiple Intelligence Theory is applied in an international arena.

Wilson Billones is currently the Program Director of the Philippine Educational Theater Association

(PETA) - School of People’s Theater which manages all the year-round theater training at extension courses in the organization. He started as a Community Theater artist-teacher-organizer-researcher of the Dulampasigan Theater Company of Pasig City. He led the formation of many theater and cultural organizations and provided artistic and organization trainings and seminars of many cultural workers coming from the youth, schools, parishes, and other social sectors. He was an international scholar for theater and development courses sponsored by SEAMEO-SPAFA (Regional Center for Architecture and Fine Arts), German Deutsche Gesellschaft für Technische Zusammenarbeit (GTZ-Germany), Canadian Catholic Organization for Development and Peace, and the British Council-UK. He was a writer/consultant for the theater curriculum ng Department of Education Special Program in the Arts (for Elementary and for High School) and the Arts Track Theater Curriculum of Senior High School.

Maria Tanya Conlu is a conservationist, development worker, and indigenous peoples’ rights advocate.

Her work and interest have been on technical writing, program management, natural resources manage-

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ment planning for terrestrial ecosystems, and sustainable management of caves. She has a master’s degree in Environment and Natural Resources Management and an undergraduate degree in AB Communication. She is a commission member of the IUCN World Commission on Protected Areas (WCPA). She is currently a faculty of the Nayong Pilipino Foundation Cultural Leadership Institute for its intensive course on Interpretative Planning.

Victor Estrella earned his MA in Archaeology from the University of the Philippines (UP) Diliman. He

was an Asian Graduate Fellow at the Asia Research Institute (ARI) of the National University of Singapore (NUS) in 2016, a Writeshop Fellow at the Third World Studies Center (TWSC) of the University of the Philippines Diliman, and a Hughes Research Fellow at the Center for Southeast Asian Studies (CSEAS) of the University of Michigan, Ann Arbor, in 2018. He served as an intern at the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Italy in 2021. He currently teaches at the Ateneo de Manila University and the Philippine Normal University-Manila.

Maria Teresa Guia-Padilla is the Co-Founder of AnthroWatch, an NGO that works with indigenous

peoples. She has a disciplinary background in Humanities and Anthropology from the University of the Philippines-Diliman with more than 35 years of experience in social research, indigenous peoples advocacy, and gender. She is also the Chair of Non-Timber Forest Products-Exchange Programme Asia as well as Lilak (Purple Action for Indigenous Women’s Rights), NGOs that have a strong focus on indigenous peoples, environment, gender, culture, and sustainable development. She is a mother of three, grandmother of three, and lecturer, module writer, and technical adviser for the Cultural Leadership Institute of the Nayong Pilipino Foundation.

Andrea Natasha Kintanar is a graduate of BA History and MA Archaeology from the University of the

Philippines, Diliman. She was a high school teacher for history and literature for 3 years and spent another 3 years teaching humanities and social sciences courses in the tertiary levels. After this, she spent some years working in civil society organizations. She is a member of DAKILA as part of the Campaigns team, where she used to be the Director. She co-founded an NGO with her colleagues, called Tuklas Pilipinas Society, which aims to spread heritage consciousness in the Philippines through alternative education and public archaeology. Currently, she is pursuing her Ph.D. in Archaeological Heritage at the Eberhard Karls University of Tübingen, Germany. As part of her advocacy in heritage education, she recently wrote and published a children’s book entitled Bayani Biographies: Gregoria de Jesus. She worked at Nayong Pilipino Foundation as the Cultural Leadership Institute’s Program Head from June 2020 to October 2021.

Marian Rica Lodripas is a full-time development worker with 12 years of experience with non-profit

organizations as well as government agencies in development initiatives and advocacies. Her areas of specialization include monitoring and evaluation, research and communications, program management and coordination, and training and capacity-building. She has a Bachelor of Arts degree in Sociology and Anthropology from the University of the Philippines.

Patrick John Mansujeto is a graduate of Bachelor of Secondary Education Major in History from the Philippine Normal University, Cum Laude. Currently, he is finishing his MA in History at the University of the Philippines-Diliman. His research interest focuses on the history of aviation and naval history in the

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Philippines. He is a Third World Studies Fellow, an International Scholar of the Society for the History of Technology, and a member of the Young Leaders Program of the Pacific Forum. He is also a learning material developer, both as writer and editor, and teacher trainer for Araling Panlipunan and Philippine History for various publishing houses and companies in the country. He serves as the Learning Resource Head of the Cultural Leadership Institute of the Nayong Pilipino Foundation.

Mynabel Pomarin has been with Anthropology Watch, Inc. since 2003. Her academic background is in

social sciences and anthropology at the University of the Philippines Mindanao and Diliman. She has almost 20 years of work with indigenous communities and women’s groups in the Philippines and in Southeast Asia assisting through research, training, community development planning, lobby, and advocacy. At present, she works as a program officer for grants and advocacy on gender and women’s rights in a non-government organization working with indigenous peoples and local communities in Asia.

Norberto Portales III is a Senior Artist-Member and a Senior Faculty of the Philippine Educational

Theater Association. He is currently PETA’s curriculum director for Theater for Artistic Development leading in the innovation of online courses and training for the company. He is also a Freelance Actor for Stage, TV & Film, Acting Coach, Director, Organizer-Leader, Workshop Facilitator, and Trainer. He is the founder of Isprikitik Musical Improv, the only musical improvisation troupe in Metro Manila. He designs and facilitates different training and workshops for different communities, schools, and corporations. He was recently appointed as Co-Chairman of Forum for Theater Training and Education of the International Theater Institute – Philippine Centre. He represented the Philippines in the UNESCO-NGO Forum on the Role of Young People in the Protection of Tangible and Intangible Culture in Sofia and Sozopol, Bulgaria.

Elaine Saniel earned her academic degrees in tourism and urban and regional planning from the Univer-

sity of the Philippines - Diliman. With over ten years in the tourism industry, she has worked on several community-based tourism projects in the government, private, and development sectors. Her passion and commitment toward sustainable tourism led her to beautiful destinations such as Samar, Zimbabwe, and El Nido where she spent years honing her expertise. It is her lifelong goal to strike a balance between the impact of tourism on the environment and the community, and the challenges that come with it.

Diana Josefa San Jose is a graduate of Bachelor of Arts in Anthropology at the University of the Philip-

pines Diliman. Currently, she is working at the Non-Timber Forest Products Exchange Programme-Asia (NTFP-EP Asia), handling its program on indigenous food and health and community-based conservation. She also serves as the communications focal person of the Wild Foods, Biodiversity, and Livelihoods network and provides secretariat support to the ICCA Consortium's Youth for Territories of Life group.

She previously worked as a programs field staff of Anthropology Watch, Inc., a non-profit supporting indigenous peoples in the Philippines. She is part of the MakaTao team of teachers under NPF-CLI's MakaNayon program.

Erika-Rey Saturay is an anthropologist who obtained her BA and MA Anthropology degrees from the

University of the Philippines - Diliman. She works as a freelance researcher and writer and has worked on various projects with different sectors. She has done multiple design research projects with a consultancy firm, Curiosity Design Research. She has also worked in the development sector, under Anthropology

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Watch, Inc. and the Samahan ng Nagtataguyod ng Agham at Teknolohiya para sa Sambayanan. It is in the development sector that she was able to hone her skills in training and teaching. She is a wife and a mother of two. In her free time, she loves taking her kids out on nature walks, decorating the house, and doing an artsy thing or two.

Maria Gloriosa Santos-Cabangon is the Executive Director of the Philippine Educational Theater

Association (PETA) since 1993. She led the establishment of the PETA Theater Center, a dynamic hub for the arts in the Philippines and Asia. An artist-teacher and a specialist in teachers’ training for theater/drama education and arts management, she has conducted workshops on the use of creative pedagogy for education and advocacy, designed numerous programs, conferences, and written journals on culture and arts. She also held key positions in various networks such as the International Drama/Theater and Education Association (IDEA), the Conference of Asian Foundations and Organizations (CAFO), the National Commission for Culture and Arts – Committee on Dramatic Arts (NCCA-CDA), Philstage, to name a few. Beng is a University of the Philippines graduate of Bachelor of Arts in Economics and Master in Education – Curriculum Studies. She is also a member of the Pi Gamma Mu International Honors Society and the Honor Society of Phi Kappa Phi.

Ada Tayao is a senior artist-teacher of Philippine Educational Theater Association (PETA). She has been

part of the company’s productions both onstage and backstage. She has also facilitated workshops for artistic development, creative pedagogy, and community development both locally and internationally.

Ada is an independent singer-songwriter. She composes songs and is one of the founding members of Isprikitik Improv, a Manila-based musical improvisation group. Before pursuing her career as an artist-teacher, Ada was a full-time elementary school teacher.

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