Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento (SAMBIT): Implications to CAS

CENTRAL BICOL STATE UNIVERSITY OF AGRICULTURE Calabanga Campus Calabanga, Camarines Sur

RESEARCH PROGRAM PROPOSAL

SENTRO NG ARTISTIKONG MANLILIKHA NA BUMUBUO NG IDENTIDAD AT TALENTO (SAMBIT): IMPLICATIONS TO CULTURE AND ARTS SUSTAINABILITY A research program proposal presented to the College Dean of Arts and Science, Campus Research Division and CBSUA – Calabanga Campus Administrator for approval, support and implementation

DR. ROSA C. UBANO-CID Associate Professor 2 Proponent & Program Leader

RICHARD G. CASTOR Instructor 1 Proponent and Program Leader

2015

TABLE OF CONTENTS CENTRAL BICOL STATE UNIVERSITY OF AGRICULTURE ........................... 1 TABLE OF CONTENTS ........................................................................................ 2 RESEARCH PROGRAM OVERVIEW ................................................................. 3 SENTRO NG ARTISTIKONG MANLILIKHA NA BUMUBUO NG IDENTIDAD AT TALENTO (SAMBIT): IMPLICATIONS TO CULTURE AND ARTS SUSTAINABILITY ................................................................................................ 8 Chapter One .......................................................................................................... 9 INTRODUCTION ............................................................................................. 9 Significance and Motivation ....................................................................... 13 Aims, Objectives and Research Questions ................................................. 13 Chapter Two........................................................................................................ 21 Literature Review ........................................................................................... 21 Sustainability............................................................................................... 21 Culture and Arts .......................................................................................... 24 The collaborative play-creating process..................................................... 26 Theatre arts in Education ........................................................................... 27 Theatre and community development .......................................................28 Chapter Three ..................................................................................................... 29 Research Context ............................................................................................ 29 SAMBIT: From Samahang Bagong Inog Sa Tanghalan (SamBIT) to Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento . 29 Chapter Four ....................................................................................................... 35 Research Methodology and Methods ............................................................ 35 Methodology: Understanding Research Paradigm ................................... 35 Qualitative Research Approach & Thematic Analysis ...............................38 Research Design and Methods ................................................................... 39 Reference List ..................................................................................................... 43 APPENDIX A ...................................................................................................... 45 SURVEY & Interview Questionnaire ............................................................. 45

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RESEARCH PROGRAM OVERVIEW RESEARCH PROGRAM:

SENTRO NG ARTISTIKONG MANLILIKHA NA BUMUBUO NG IDENTIDAD AT TALENTO (SAMBIT): IMPLICATIONS TO CULTURE AND ARTS SUSTAINABILITY

RESEARCH PROJECT 1: SAMBIT Alumni and Organization’s Contribution to Culture and Arts, Community and Human Development: An Impact Assessment STUDY 1: SAMBIT alumni‘s contributions to community and culture and arts development STUDY 2: SAMBIT organizational contribution to community and culture and arts development RESEARCH PROJECT 2:

SAMBIT Story and Development: An ethnographic study STUDY 1: Historical documentary of SAMBIT STUDY 2: SAMBIT. Roadmap 2038

RESEARCH PROJECT 3:

SAMBIT in “An Pasyon ni Kristo”: Process management documentation

RESEARCH PROJECT 4: ISAROG: Retelling and staging an oral narrative STUDY 1: Retelling Isarog STUDY 2: Staging ISAROG, critical analysis and production book RESEARCH PROJECT 5:

NAZARENE: Retelling and staging an oral narrative STUDY 1: Retelling Nazarene STUDY 2: Staging Nazarene, critical analysis and production book

RESEARCH PROJECT 6: Design and Evaluation of SAMBIT Theatre Arts Program for children, youth and women STUDY 1: Theatre Arts Manual 1: Basic Acting Workshop for youths & children STUDY 2: Theatre Arts in Advocacy: The case of OSYs STUDY 3: Theatre Arts monitoring and evaluation tools STUDY 4: Theatre in Development: Acting and gender development advocacy STUDY 5: Theatre Arts and Stage: Managing productions RESEARCH PROGRAM TEAM Program Leader(s) Richard G. Castor  Rosa C. Ubano-Cid Project Leader(s) Rosa C. Ubano-Cid  Dariel A. Palmiano  Richard G. Castor Study Leader(s) Dariel A. Palmiano  Rosa C. Ubano-Cid  Richard G. Castor  Michelle G. Mojico  Mariss G. Encinares

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PROGRAM TITLE:

Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento (SAMBIT): Implications to Culture and Arts Sustainability

The aim of this research program is to support sustainable development of culture and arts through a theatre arts group (and their products) and thereby publish books and journal articles relating to SAMBIT‘s implications to culture and arts sustainability. In order to carry out this aim, the following are its general objectives: 1. Assess the overall impact-contribution of the organization and alumni to community, culture and arts, and human development; 2. Write a developmental story of SAMBIT through an ethnographic study; 3. Document a street play production and its management process; 4. Relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece; 5. Design and evaluate theatre arts programs (workshops, trainings and productions) for children, youth and women; and 6. Publish books and journal articles borne of the research projects‘ output.

The general objectives of this research program will be addressed through research projects which will be discussed and presented below.

RESEARCH PROJECT 1:

SAMBIT Alumni and Organization’s Contribution to Culture and Arts, Community and Human Development: A Impact Assessment

STUDY 1: SAMBIT alumni‘s contributions to community and culture and arts development STUDY 2: SAMBIT organizational contribution to community and culture and arts development Objectives The overarching objective of this research is to identify SAMBIT‘s contribution to culture and arts, community, and human development.

Specifically, this investigation seeks to achieve the following objectives: The main objective of this research project is to write historical and 1. To determine the socio-economic and demographic profile of SAMBIT alumni; 2. To identify level of community involvement of SAMBIT alumni; 3. To ascertain contribution of alumni to community development; 4. To identify organizational factors and attributes which has influenced personal; and professional growth of alumni; and 4

5. To determine alumni and organization‘s contribution to culture and arts.

RESEARCH PROJECT 2: SAMBIT Story and ethnographic study

Development:

An

STUDY 1: Historical documentary of SAMBIT STUDY 2: SAMBIT. Roadmap 2038 The main objective of this research project is to write historical and developmental account of SAMBIT. Specifically, this investigation seeks to: 1. Identify and qualify key player (s) and/or key stakeholders involved in the establishment and development of SAMBIT; 2. Collect, organize and write their narratives/testimonials including materials (photographs, videos, notes, etc.); 3. Write the organization‘s history; and 4. Document the 25-year development plans of SAMBIT RESEARCH PROJECT 3: SAMBIT in “An Pasyon ni Kristo”: Process management documentation STUDY 1: SAMBIT members as Actors and key players on street play production play

STUDY 2: SAMBIT members as production staff behind the street

Objectives This project aims to document the management and processes in the production of An Pasyon ni Kristo. Specifically, the research project endeavors to: 1. Narrate the process of involvement and management of a theatre group in a street play production; 2. Identify management theory used in the process; 3. Gather recommendations for the improvement of the management process RESEARCH PROJECT 4: ISAROG: Retelling and staging an oral narrative STUDY 1: Retelling Isarog STUDY 2: Staging ISAROG, critical analysis and production book 5

Objectives The core objective of this research project is to relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece. Specifically, this investigation seeks to: 1.

2.

3.

4.

5.

Discuss the process of retelling an oral narrative into script/play Identify theory used in retelling an oral narrative Analyze the value of a literary piece Translate multi-lingual the literary piece Analyze critically a stage play and its production book

RESEARCH PROJECT 5:

NAZARENO: Retelling and staging an oral narrative

STUDY 1: Retelling the historical development and devotion to the Black Nazarene STUDY 2: Staging NAZARENO, critical analysis and production book Objectives The core objective of this research project is to relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece. Specifically, this investigation seeks to: 1.

2.

3.

4.

5.

Discuss the process of retelling an oral narrative into script/play Identify theory used in retelling an oral narrative Analyze the value of a literary piece Translate multi-lingual the literary piece Analyze critically a stage play and its production book

RESEARCH PROJECT 6: Design and Evaluation of SAMBIT Theatre Arts Program for children, youth and women STUDY 1: Theatre Arts Module 1: Basic Acting Workshop for youths STUDY 2: Theatre Arts Module 2: Basic Acting Workshop for children STUDY 3: Theatre Arts in Advocacy: The case of youths in rehabilitation STUDY 4: Theatre Arts Module 3: Acting and gender advocacy STUDY 5: Theatre Arts and Stage: Managing productions Objectives The central objective of this research is to design and evaluate theatre arts program and production for children, youth and women. Specifically, this research seeks to: 1. Design training, workshop and production modules and/or materials 2. Design tools for evaluation 3. Implement theatre arts programs and productions for children, youth and women 4. Evaluate training, workshops and productions 6

RESEARCH PROGRAM SCHEDULE Research Project 1

May 2015 to June 2017

Research Project 2

May 2015 to November 2017

Research Project 3

May to December 2016

Research Project 4

May 2015 to April 2017

Research Project 5

May to December 2016

Research Project 6

May 2015 to December 2017

RESEARCH PROGRAM TEAM Program Leader(s) Richard G. Castor Rosa C. Ubano-Cid Project Leader(s) Rosa C. Ubano-Cid Dariel A. Palmiano Richard G. Castor Study Leader(s) Dariel A. Palmiano Rosa C. Ubano-Cid Richard G. Castor Mariss G. Encinares Michelle G. Mojico

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SENTRO NG ARTISTIKONG MANLILIKHA NA BUMUBUO NG IDENTIDAD AT TALENTO (SAMBIT): IMPLICATIONS TO CULTURE AND ARTS SUSTAINABILITY

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Chapter One INTRODUCTION

Twenty seven prolific years of theatre productions, training and education, thousands of memberships and innumerable contributions to community development speaks more of a mission. That mission is to make culture and arts embedded in education and towards sustainable community development. For the last two decades, the Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento (SAMBIT) as an organization has carried its flag to promote Philippine culture and arts through informal education as workshops, trainings, performances and productions. It is no wonder that the school for which it represents became popular not only in staging creative performances but also in producing graduates who are now culture and arts advocates-practitioners in their respective DepEd schools.

SAMBIT as an organization and SAMBITeans as alumni evoke layers of meaning, context and aspirations for community camaraderie, cultural and artistic advocacy and support to institutions in education, religion and local governance. This however needs further investigation as there had been very little if none material to support such claim despite obvious manifestations. A theater organization takes the lead therefore in instigating positive and lasting change in the community. Sloman (2011) recognize the increasing role and potential of theatre as a useful tool for international community development.

The participatory theatre approach was deemed to have greatest impact, hence must be central to practice (Sloman, 2011). A case in point is the Goggles project (Wright, Markle and Wuench, 2013) in Canada. The project used street theatre to engage University stakeholders in discussing about 9

sustainability. Goggles project added to the literature by demonstrating that using creative acts has the potential to shape cultural transformation towards sustainability (Wright et al, 2013). In like manner, SAMBIT with its annual programs resembles the latent opportunity for sustaining culture and arts.

The United Nations Environment Scientific and Cultural Organization (UNESCO) Thematic Think Piece explored the relevance of culture to sustainable development – Throughout the past decade, statistics, indicators and data on the cultural sector, as well as operational activities have underscored that culture can be a powerful driver for development, with

community-wide

social,

economic

and environmental

impacts.

Notable relevance resides on cultural sector‘s contribution to the economy and poverty alleviation. Cultural heritage, cultural and creative industries, sustainable cultural tourism, and cultural infrastructure can serve as strategic tools for revenue generation, particularly in developing countries given their often-rich cultural heritage and substantial labor force.

Cultural and creative industries represent one of the most rapidly expanding sectors in the global economy with a growth rate of 17.6 % in the Middle East, 13.9 % in Africa, 11.9 % in South America, 9.7 % in Asia, 6.9 % in Oceania, and 4.3 % in North and Central America.

Promoting this sector requires limited capital investment, involves low entry barriers and can have direct impact on vulnerable populations, including women. In Ecuador, recent studies show that the formal and private cultural activities contributed 4.76% to the 2010 GDP and in the same year, 2.64% of the total employed population worked in cultural occupations. Almost 60% of the latter were women.4 Furthermore; the tourism sector has become one of the world‘s fastest growing economic sectors.

Gross worldwide tourism receipts grew at an average rate of 7 % from 1998 to 2008, with 12 % for the Least Developed Countries for the same period.5 Cultural tourism - that relies on tangible and intangible cultural assets - accounts for 40 % of world tourism revenues.

Investment in culture and creativity has proven an 10

excellent means for revitalize the economy of cities.

Today, many cities use cultural heritage and cultural events and institutions to improve their image, stimulate urban development, and attract visitors as well as investments. Most Middle-Income Countries are developing vibrant culture sectors and initiatives and request assistance in this area.

Culture-led development also includes a range of non-monetized benefits, such as greater social inclusiveness and rootedness, resilience, innovation,

creativity

and

entrepreneurship

for

individuals

and

communities, and the use of local resources, skills, and knowledge.

Respecting and supporting cultural expressions contribute to strengthening the social capital of a community and fosters trust in public institutions.

Cultural factors also influence lifestyles, individual behaviour, consumption patterns, values related to environmental stewardship, and our interaction with the natural environment. Local and indigenous knowledge systems and environmental management practices provide valuable insight and tools for tackling ecological challenges, preventing biodiversity loss, reducing land degradation, and mitigating the effects of climate change.

The UN Inter-agency projects, implemented under the MDG-F Achievement

Fund carried out

in

recent

years,

have

demonstrated

concretely the power of culture to respond to gender issues, to health and environment concerns, to challenges in the areas of education and livelihoods – let alone the fact that these projects have generated new jobs, new market opportunities, and greater income levels, that they have improved living conditions and fostered community-based economic growth, and contributed to empowering individuals.

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The challenge for many culture oriented organisations and businesses is how to balance aspirations for cultural enrichment (e.g., retaining strong elements of traditional culture such as values, language and knowledge) with more modern elements of advancement, growth, commerce and economic development. In the Philippines and elsewhere in the world, these challenges are being addressed by a large number of ethnic groups, culture organisations, government institutions that emphasise good governance is required in order to carry out strategies for capacity building, planning, leadership, and accountability. Organizational values are often reflected in the organisation‘s goals and objectives, custom and protocols, collective relationships, economic direction and strategic planning. The values are apparent in behaviour, transparency, accountability, participation, ethics, marketing, social and cultural responsibility and performance, and environmental standards.

Achieving the right governance has been identified as significant in forming the strategic framework, leadership, and intrinsic behaviour for incorporating and practising values — our research with a number of businesses shows that it is extremely difficult to integrate cultural heritage and values into an organisation without first establishing effective corporate governance. Belief in these values is critical from the top. It is also essential to have a robust organisational and planning context, or reporting framework, in which to articulate, implement, measure and report performance and progress towards desired goals and outcomes.

Governance provides the essential framework and systems to establish and achieve: purpose (single or multiple) and focus leadership, management, and decision–making alignment of shareholder aspirations and cultural values with the organisational vision, goals and objectives successful 12

integration of cultural values into the business organisational performance accountability effective methods to measure and report performance and regular evaluation sustainable development aspirations and goals.

We propose that a cultural dimension could be added to many reporting frameworks.

Significance and Motivation Having been considered as critical towards the achievement of sustainable development, the recognition of culture and arts entities, programs, projects and activities is quintessential for any development to take place. While there are many ramifications of culture and arts groups and advocates, there remains to be wide gap in understanding what these implications towards culture and arts sustainability.

As researchers, our primary motivation links to our passion for culture and arts. One of us is a scholar of management and sustainability; another has a doctorate on educational management and another one who is proficient on literature and English language. The common denominator though resides on our involvement with the theatre arts group known as SAMBIT. In this research program, we wish to encapsulate implications of a theatre arts organization and practitioner towards sustainability of culture and arts. The literatures above presented elaborate yet comprehensive discussion on the merits of understanding culture and arts in achieving global development.

Aims, Objectives and Research Questions The aim of this research program is to support sustainable development of culture and arts through a theatre arts group (and their products) and thereby publish books and journal articles relating to SAMBIT‘s 13

implications to culture and arts sustainability. In order to carry out this aim, the following are its general objectives:

1. Assess the overall impact-contribution of the organization and alumni to community, culture and arts, and human development; 2. Write a developmental story of SAMBIT through an ethnographic study; 3. Document a street play production and its management process; 4. Relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece; 5. Design and evaluate theatre arts programs (workshops, trainings and productions) for children, youth and women; and 6. Publish books and journal articles borne of the research projects‘ output.

The general objectives of this research program will be addressed through research projects which will be discussed and presented below.

RESEARCH PROJECT 1:

SAMBIT

Alumni

and

Organization’s

Contribution to Culture and Arts, Community and

Human

Development:

A

Impact

Assessment STUDY 1: SAMBIT alumni‘s contributions to community and culture and arts development STUDY 2: SAMBIT organizational contribution to community and culture and arts development 14

Objectives The overarching objective of this research is to identify SAMBIT‘s contribution to culture and arts, community, and human development.

Specifically, this investigation seeks to achieve the following objectives:

1. To determine the socio-economic and demographic profile of SAMBIT alumni; 2. To identify level of community involvement of SAMBIT alumni; 3. To ascertain contribution of alumni to community development; 4. To identify organizational factors and attributes which has influenced personal; and professional growth of alumni; and 5. To determine alumni and organization‘s contribution to culture and arts.

Statement of the Problem 1. What is the socio-economic and demographic profile of SAMBIT alumni?

2. What is the level of community involvement of SAMBIT alumni?

3. How have their involvements contributed to community development?

4. How has SAMBIT influenced attributes of alumni‘s personal and professional life?

5. What areas and aspects of SAMBIT (as an organization) contributed most to the development of an artist? (Is it the basic acting workshop, training, rehearsal, production, family-like experiences, etc.?)

6. What are alumni and organization‘s contributions to culture and arts?

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RESEARCH PROJECT 2: SAMBIT

Story

and

Development:

An

ethnographic study STUDY 1: Historical documentary of SAMBIT STUDY 2: SAMBIT. Roadmap 2038 The main objective of this research project is to write historical and developmental account of SAMBIT. Specifically, this investigation seeks to: 1. Identify and qualify key player (s) and/or key stakeholders involved in the establishment and development of SAMBIT; 2. Collect, organize and write their narratives/testimonials including materials (photographs, videos, notes, etc.); 3. Write the organization‘s history; and 4. Document the 25-year development plans of SAMBIT

Statement of the Problem 1. Who are the key players and/or key stakeholders involved in the establishment and development of SAMBIT? 2. How can the narrative/testimonials including materials be collected, organized and written?

3. What is the history of the organization?

4. What is the 25-year development plan of SAMBIT? RESEARCH PROJECT 3:

SAMBIT in “An Pasyon ni Kristo”: Process management documentation

Objectives

16

This project aims to document the management and processes in the production of An Pasyon ni Kristo. Specifically, the research project endeavors to: 1. Narrate the process of involvement and management of a theatre group in a street play production; 2. Identify management strategy (ies) used in the process; 3. Gather recommendations for the improvement of the management process

Statement of the Problem 1. What is the involvement and management process of a theatre group in a street play production?

2. What management strategy (ies) is use in the process?

3. What recommendations can be given for the improvement of the management process?

RESEARCH PROJECT 4: ISAROG: Retelling and staging an oral narrative STUDY 1: Retelling Isarog: An evaluation of a literary piece STUDY 2: Staging ISAROG, critical analysis and production book Objectives The core objective of this research project is to relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece. Specifically, this investigation seeks to: 1. Discuss the process of retelling an oral narrative into script/play 2. Identify theory used in retelling an oral narrative 3. Analyze the value of a literary piece 17

4. Translate multi-lingual the literary piece 5. Stage the narrative in a production 6. Analyze critically a stage play and its production book Statement of the Problem 1. How did an oral narrative turned into play?

2. What theory was used in the retelling of an oral narrative?

3. How is the literary value of the script analyzed?

4. How is it translated?

5. How has it been staged?

6. What resource material can be developed?

RESEARCH PROJECT 5:

NAZARENO: Retelling and staging an oral narrative

STUDY 1: Retelling the historical development and devotion to the Black Nazarene STUDY 2: Staging NAZARENO, critical analysis and production book Objectives The core objective of this research project is to relate the process of retelling an oral narrative, writing a script towards analysis and evaluation of a literary piece. Specifically, this investigation seeks to: 1. Discuss the process of retelling an oral narrative into script/play 2. Identify theory used in retelling an oral narrative 3. Analyze the value of a literary piece 4. Translate multi-lingual the literary piece 5. Analyze critically a stage play and its production book

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RESEARCH PROJECT 6: Design and Evaluation of SAMBIT Theatre Arts Program for children, youth and women STUDY 1: Theatre Arts Module 1: Basic Acting Workshop for youths STUDY 2: Theatre Arts Module 2: Basic Acting Workshop for children STUDY 3: Theatre Arts in Advocacy: The case of youths in rehabilitation STUDY 4: Theatre Arts Module 3: Acting and gender advocacy STUDY 5: Theatre Arts and Stage: Managing productions Objectives The central objective of this research is to design and evaluate theatre arts program and production for children, youth and women. Specifically, this research seeks to: 1. Design training, workshop and production modules and/or materials 2. Design tools for evaluation 3. Implement theatre arts programs and productions for children, youth and women 4. Evaluate training, workshops and productions

Statement of the Problem 1. What framework is use in the module design for SAMBIT‘s theatre arts training, workshop and production?

2. What are evaluation tools for assessing Theatre Arts Program?

3. How are theatre arts program for children, youth and women implemented?

4. How are they assessed?

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Conceptual Framework

Culture & Arts Sustainability Theatre in Education

Theatre Arts

SAMBIT

20

Chapter Two Literature Review

“We hold the future in our hands, together, we must ensure that our grandchildren will not have to ask why we failed to do the right thing, and let them suffer the consequences.”

~ UN Secretary-General Ban Ki-moon, 2007

This chapter covers a review of literature which spans from a broad discourse on sustainable development and sustainability, encapsulating the challenges and opportunities embedded with it, through to the succinct but comprehensive discussion of the imperatives of culture and arts sustainability.

Then, a review of current thinking on community and theater arts development as well as theories from which this current investigation will be underpinned. The chapter concludes with a summary of concepts reviewed and a brief overview of a theater arts group which this study will be contextualized.

Sustainability Sustainable development continues to be one of the most contested concepts both in theory and in practice, as scholars and practitioners grapple with an accurate definition and contextualization. From the academic, commercial, public and political spheres, the terms sustainable development and sustainability evoke ―so many different things to so many different people‖ (Robinson, 2004, p. 373) and convey confusion and conceptual 21

ambiguity (Norton & Toman, 1997; Banerjee & Bonnefous, 2011). With hundreds of proposed definitions (Shao, Li, & Tang, 2011), it is ―considered vague, pluralistic, grounded in different value systems and incommensurate paradigms‖ (Gladwin et al., 1995; Manderson, 2006; Osorio et al., 2005 in Clifton & Amran, 2010 p. 122). Jabareen, (2006), in a critical review, pointed out ―the lack of operative definitions and disagreement over what should be sustained‖ (p.179).

Sustainability is essential to all life forms on this planet (Gould & Lewis, 2009; Osorio et al., 2005; Wissenburg, 2001). Sustainability, according to Collins and Kearins, (2010) is a dynamic state: ―A broad systems-level concept that transcends entity and national boundaries to embrace notions of equity, equality, and futurity in relation, but not limited to economic, social, and environmental conditions that supports life for all‖ (p.500). Filho and Schwarz (2008) refer to sustainability as: ―Methods, approaches and processes via which economically, socially and environmentally sound development may be pursued, a process which is ethically acceptable, morally fair and economically sound‖ (p.498). Inyang, Schwarz, and Mbamalu (2009) emphasized the importance of having a greater commonality in defining sustainability from across disciplines, otherwise narrowing the term that is agreeable to the broader groups from the academe and industry. With the human population set to rise to 9 billion by 2050, definitions of sustainable development must be revised to include the security of people and the planet (Griggs et al., 2013).

Accordingly, Quental et al. (2011) and Pawłowski (2008), proposed additional dimensions to substitute and augment the traditional three-pillar approach.

The limited capacity of this three-pillar approach to encompass a variety of 22

sustainability issues has led Quental et al. (2011) to the following new set of main policy pillars:

• sustaining natural capital – biodiversity, water, air; • sustaining life support systems – ecosystems, ecosystem services, resources; • minimizing human impacts – climate change, pollution, waste, desertification, population growth; • developing human capital – human rights, political liberties, learning, equity, health, wealth; • developing social capital – solidarity, community, culture; • developing economy – economy, agriculture, consumption, employment, technology; •

developing

institutions

–

good

governance,

democracy,

transparency, public participation, international cooperation (p.27).

Meanwhile, Pawłowski (2008) argued that apart from the economic, social and environmental dimensions, technical, legal and political dimensions should be added. More recently, Griggs et al. (2013) reframed the UN paradigm of three pillars of sustainable development and redefined the Brundtland Commission‘s definition as ―development that meets the needs of the present while safeguarding Earth‘s life-support system, on which the welfare of current and future generations depends‖ (p.306). A proposed six sustainable development goals to compliment the Millennium Development Goals have been laid out in a unified framework (Griggs et al., 2013). A summary of all these dimensions of sustainable development is presented in a 23

matrix form (Table 1). It can be deduced from the table how the three pillars of sustainable development is translated into several pillars and goals to realistically achieve a desired end-state which is sustainability.

Culture and Arts There is a great deal of knowledge about the operations and procedures of theatre programs (Bennett, 2001; Gonzalez 2006; Lazarus, 2004), but there is less research about the intrapersonal and interpersonal processes that occur for the youth involved (Bramwell, 1996; Catterall and Darby, 1996; Cockett, 1996; Errington, 1999). To better understand these less visible processes, this article looks to the field of positive youth development. Kaczmarek and Riva (1996) state that positive youth development— or, as they name it, optimal adolescent development— is a radical shift that moves adolescent research away from the study of pathology to the study of well-being. By focusing on how youth build up their self-confidence, resilience, and other protective factors, researchers are better able to understand how youth reject deviant and self-destructive behaviours, deal with the life crises and day-to-day stressors, and embrace healthy and self-constructive behaviours. In general, the field of positive youth development is more focused on prevention, and less on intervention. In the past 10 years, there has been an explosion of literature on the topic of positive youth development. For example, Breinbauer and Maddaleno (2005) offer the most current theoretical models on positive youth development, while Catalono et al. (2004) provide an extensive investigation on specific programs that promote positive youth development. For his part, Ungar (2004) adds to this field by providing ways for organisations to nurture hidden resiliency in troubled youth. However, 24

there is currently little research that specifically examines theatre for positive youth development. The literature on positive youth development suggests that the examination of social interactions and leisure activities with peers, friends and other groups may help to better understand how to reinforce the natural protective factors in youth today. There is a great deal of evidence that indicates strong links between youth development and extra-curricular activities within the field of counselling psychology (Biddy and Posterski 2000; Blewitt and Broderick 1999; Canadian Institute for Health Information 2005; Eccles and Barber 1999; Elmen and Offer 1993; Larson and Kleiber 1993; McNeal 1998; Offer and Schonert-Reichl 1992; Tonkins et al. 2005) and theatre education (Belliveau 2005; Boal 1995; Gonzalez 2006; Lazarus 2004; Nicholson 2005; Taylor 2003; Wagner 1998; Way 1967). Rauner (2000), writing about caring in youth development and community life, describes development less in terms of turning points and more with regard to continuity. For her, development is a process, not an event. She examines caring (or, in academic terms, pro-social behavior) as the necessary relational ingredient needed to foster continuity in adolescent growth. Her work highlights a wide range of organizational models that aim to foster positive youth development and community. For her part, Joan Lazarus (2004) presents ways to build positive and productive communities — communities where theatre and student learning are interwoven and equally respected. The foundation of her work is based on the concept that theatre education 5 should focus not solely on performance, but more importantly on learning.

The theories presented by Larazus and Rauner, among others, strongly support the model discussed here.

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The collaborative play-creating process The collaborative play-creating process is a theoretical model that emerged from several years of working with secondary students. It features nine key themes that weave theatre and self. For the purposes of this article, we define theatre as an event or space where people come together to create, participate in and/or witness live performances. Theatre can occur on a traditional stage surrounded by elaborate lighting and a sound system, or in a bare classroom with desks pushed aside. Regardless of the environment, the ultimate purpose of theatre is to bring people together (Rohd 1998). We use the term self as the combination of all facets of an individual: thoughts, feelings, movements, memories, experiences and behaviours, whether they are public or private, imagined or real (Biddy and Posterski 2000). Self is not a constant state, but rather a fluid one. Self is determined by how we perceive and define our identity, and our identity is shaped greatly through our interactions with others. Some aspects of ourselves are well developed, while other parts lie dormant, waiting to be discovered. Self evolves over time, and changes from situation to situation (Breinbauer and Maddaleno 2005).

The nine themes are represented by two separate yet interwoven components: theatre and self. The theatre section is composed of four overlapping play-creating steps: scriptwriting, rehearsing, performing and reflecting. The self-section comprises five developmental stages for performing arts youth: inclusion, control, intimacy, empowerment and vision.

Now let‘s examine the process and meaning behind the nine emerging themes. It is important to remember that the ordering of these themes is unique from person to person, and from play to play. While the themes are 26

explained separately, in an actual theatre creation environment, these themes are operating simultaneously, and often in a chaotic and non-linear way.

Before we explore the nine themes, an explanation of the hub group is necessary. We have discovered that the success of the collaborative playcreating process depends heavily on the quality of the hub group. The hub group consists of senior students (usually around 10–20 of them) who are responsible for key aspects of the collaborative play-creating process (i.e. directing, choreographing, singing coach, band leader, scheduling, ticket sales, set design, and so on). Based on skills, maturity and past experiences, ideal student-leaders are selected for the hub group. These students are expected to guide the community by mentoring peers, defusing conflicts before they build up, and inspiring ideas for the play. The purpose of the hub group is circular: the members of the hub group act as leaders and positive role models for their younger peers, and in turn they organically pass on the knowledge, skills and overall philosophy of the collaborative play-creating process to future leaders and participants.

Theatre arts in Education Eisner (1999), questions "Does experience in the arts boost academic achievement?‖ Art plays big part in schools curriculum in a way that subjects such as humanities is being offered because according to American Alliance for Theatre & Education (2014), numerous studies have demonstrated a correlation between drama involvement and academic achievement compared from peers who do not experience the art.

Based from Study of Missouri Public Schools (2010n.p.), arts education had a significant effect on the academic and social success of their students.

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Those with greater arts participation were more likely to come to class, avoid being removed and graduate. Similarly with The Arts Education Partnership (2004n.p.), determines that ―students, who received more arts education did better on standardized tests, improved their social skills and were more motivated than those who had reduced or no access.‖ Correspondingly, the Centre for Arts Education (2009 n.p.) reported that ―those with the highest graduation rates also had the greatest access to arts education and resources.

The research in this study and others like it has found that many at-risk students cite participation in the arts as their reason for staying. Participation in these activities has a quantifiable impact on levels of delinquency, truancy and academic performance.‖ Furthermore the appreciation to arts is equated to more being open to new knowledge that‘s why people connected to arts succeed in terms of education. For the reason of art is an essential part of public education. From dance, music, theatre and other source of arts, it gives children a unique means of expression, seizing their passions and emotions, and allowing them to explore new ideas, subject matter, and cultures. Thus Dr. Bergeson T, (2001) states that art brings joy in every aspect of human life.

Alike with Grytting, C. (2000) explains that art education, nurtures joy of learning, supports growth and prepares leaders intellectually, emotionally, and socially.

Theatre and community development

28

Chapter Three

Research Context

SAMBIT: From Samahang Bagong Inog Sa Tanghalan (SamBIT) to Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento Revisiting Yesteryears, Celebrating Today, Envisioning Tomorrow

Two and a half decades ago, when the Philippines is just recovering from its pains and losses during the Marcos regime and Bicolanos are gaining strengths on its diverse cultural heritage, the Calabanga National School of Arts and Trades (CNSAT) in Calabanga, Camarines Sur realized that one way of carrying out its mission as a learning institution is to create an avenue for students‘ artistic expressions. Thus, in 1988 a theater arts group was conceptualized. With the theatrical talent and skill of the newly-hired teacher Miss Rosa C. Ubano, then School Administrator, Dr. Eliseo H. Lachica entrusted her the responsibility to form the dramatic guild.

The following year turned out to be a humbling experience. With the assistance of Dr. William M. Espejo, Artistic Director of the Naga College Foundation Cultural Arts Center (NCFCAC) and former mentor of Miss Ubano, the group was formally organized in January 1989. Ten high school students underwent a Basic Acting Seminar – Workshop with Dr. Espejo at the Naga College Foundation, Naga City.

29

Series of stage performances through one-act tragic play and realistic drama were the workshop‘s output. The administration and students lauded every presentation giving the group courage and inspiration to continue with their passion for theater arts. The organization was then named Samahang Bagong Inog sa Tanghalan (SamBIT) resembling rawness and freshness of young talents performing on stage.

Subsequently, members of the group grow in numbers. SamBIT continuously trained and showcased students‘ theater arts and leadership skills with their activities and performances. SamBIT also became an integral part of school programs and events.

In 1993, however, the organization made a remarkable feat by reaching out to the community. The Nutrition Month celebration at Calabanga (Octagon) People‘s Center was enlivened by the presentation of SamBIT. At the same time the group performed Biblical presentations during Fiesta, Aguinaldo masses at Our Lady of La Porteria Parish and Immaculate Conception (Quipayo) church. SamBIT‘s performances on a wider audience have helped the school in bridging the gap especially on community involvement to government‘s programs, and in evangelizing God‘s words to His people.

From 1993 to 1997, SamBIT successfully staged school, church and street presentations. SamBIT extended its community service through extensive productions of Living Rosary, Panuluyan, the Calabanga street play ―An Pasyon Ni Kristo‖ and several regular invitations both by church and the local government unit. Then in 1998, the organization once again made history in staging a teachers‘ play production. Characters of the play were portrayed by teachers and some non-teaching staff.

30

At the brink of the new millennium, the group also conducted Basic Acting Seminar Workshop for elementary and high schools in Calabanga. The year 2003 became a breakthrough for SamBIT when they won First Place in the 2nd Bicol Pastores Dance Festival. It then opened opportunities for greater artistic expressions with the inclusion of Dance Theater in its scope.

Major developments in the organization have taken place lately.

SamBIT became a member of the prestigious LUSONG, Luzon Theater and Cultural Network in 2004. Its participation to distinct theater arts group such as NCFCAC through the staging of ―INA‖, the story of the Bicol Patroness, Nuestra Señora de Peñafrancia and other plays as well as involvement to the Brahma Kumaris, Naga City Chapter broadened SamBIT‘s scope and audience. Establishing a strong linkage to similar groups and organizations helped SamBIT update its practices and heighten quality of service to the school and community.

Another notable extension activity of SamBIT is its involvement to Radio drama of the Caritas Marae, DWRV 98.3 FM, and ―The Mother‘s Touch.‖ Students along with their Artistic Director, Miss Rosa C. Ubano and Adviser, Mr. Vicente M. Lita brought to life the characters in the radio drama.

The radio program reaches out to a vast audience region wide and via the internet. Indeed, SamBIT as a cultural and artistic organization has been at the fore of touching hearts and minds of Bicolanos not only as stage performers but also as radio-voice talents.

The conversion of CNSAT to Calabanga Polytechnic College (CPC) in 1994 and recently to Camarines Sur State Agricultural College (CSSAC) in 2001 has not dwindled SamBIT‘s role in developing students and promoting culture and the arts towards national identity. Instead SamBIT, with the 31

continuous support of Dr. Salvador V. Calisura, CSSAC-Calabanga Campus College Administrator and through its leaders fortified the organization with the revision of the Constitution and By Laws and statement of their Vision and Mission.

As years unfold, SamBIT soars high and far reaching the vast field of theater and arts. The group appreciates the boundless ground for artistic expression to where the strengths of its members abound, lately the development of its Creative Dancers and Choral Group.

SamBIT has built alliances and strong linkages with the prime movers of local events such as the Star Productions of Naga City as it collaborates in the staging of the annual Bicol Popstar from 2005 – 2007 and Solo Parents Anniversary in May 2007. Likewise the Knights of Rizal – Naga City Chapter entrusted the group with the re-enactment of the Heroic death of our national hero on the occasion of Rizal Day in December 2007. Similarly, the group created a seemingly lifelong adherence to the Calabanga Network for Talents and Arts Development and Advocacy (CANTADA) for its yearly production of ―An Pasion ni Kristo‖. Recently, the organization inspired and thereby partnered with the CSSAC Main Campus‘ CPAG (CSSAC Performing Arts Guild) in almost all its culturally-related endeavors.

As it envisions uplifting students‘ cognition of theater arts and its proliferation, SamBIT will continue inspiring its members with brighter optimism from the new administration of Dr. Alden S. Bonot, Dean of Institute and Technology, Calabanga Campus – with its promise to continuously support the cause of the 20-year old dramatics guild.

Since then SamBIT produced numerous stage performances of varied interests ranging from cultural, religious, and educational backgrounds.

32

Hundreds of talents were also developed by the organization. SamBIT with its commitment to continuously uphold to the ideals of arts and culture along social, religious and educational pursuits becomes a well spring Filipino culture and arts. SamBIT‘s faith, pure, and honest intentions to sustain human development are some of the reasons why it has endured the test of time.

SAMBIT with its Artistic Director has produced locally written script.

Most notably, the biblical and religious-based such as An Pasyon ni Kristo, Living Rosary, Mabathalang Awa sa Buhay ni Sister Faustina. Recently, in 2013, SamBIT changed its name as Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento. The change was mainly to keep itself abreast to the changing landscape of its role in the community. Likewise, this seeks to broaden and deepen its commitment in theater arts, youth and community development.

SAMBIT in 2015 made tremendous success in various areas of development. SAMBIT Alumni Association although organized in 2008 was registered to the Securities and Exchange Commission (SEC) as a non-stock non-profit organization giving the alumni broader means of serving the community and wider sphere of artistic expression. A research outlining the group‘s contribution, impact and future was approved for funding and support at the University level. The research and extension program comprehensively target culture and arts sustainability targeting publications of theater arts manual, compendium of scripts written by the artistic director, research journals and books covering the organization‘s historical account and roadmap to the 50th anniversary. For several PASUC National Cultural and Arts Festival, SAMBIT represented Bicol Region for the Dance Category. The 33

group won 5th Place for the Philippine Folkdance Rural in 2014 and 2nd Runner Up in the 2015 Philippine Indigenous dance category. Indeed, with its mission to champion artistic and cultural excellence inspires the future of SAMBIT.

34

Chapter Four Research Methodology and Methods

This chapter starts with an explanation of the methodology used to inform, justify and guide the research design. At the outset, we would like to establish and concur with Fierke (2004) in distinguishing methods from methodology. The former consists of concrete tools of inquiry, while the latter pertains to those basic assumptions about the world we study (Fierke, 2004; Pouliot, 2007).

The investigation followed the constructivist research

paradigm through an exploratory multiple case study approach, investigative, documentary and ethnographic approaches which seek to construct and reconstruct dominant theories presented here. Following the methodology is a thorough discussion of the methods for a mixed method (predominantly) qualitative research, including procedures for data collection, analysis and interpretation, and report writing. The chapter closes with sections on the role of the researcher; strategies for validating findings, proposed narrative structure of the study, and ethical issues.

Methodology: Understanding Research Paradigm The aim of this investigation is to explore and understand sustainability concepts in terms of culture and arts through a theater group, hence the constructivist paradigm of inquiry (Denzin & Lincoln, 1994; Glaser & Strauss, 1967; Guba & Lincoln, 1994; Lincoln & Guba, 1985). The basic tenet of this theoretical worldview or paradigm is that people active in the research process advance socially constructed reality, and that they attempt to comprehend the 35

complexity of lived experience from the perspectives of those who live it (Mertens, 2010; Schwandt, 2000). Pouliot (2007) argued that in order to develop objective and subjective knowledge, a constructivist methodology needs to be interpretive, inductive and historical.

Before going further, an imperative to the understanding of research paradigm is the knowledge of terms such as ‗ontology‘ (nature of the ‗knowable‘ or reality, also nature of being and existence),

‗epistemology‘

(relationship of the inquirer and the known or knowable), ‗methodology‘ (how should the inquirer go about finding knowledge) and ‗axiology‘ (moral dimension and/or ethics of the situation) (Robert Wood Johnson Foundation - Qualitative Research Guidelines Project, 2008). In Guba and Lincoln (2005) ontology, epistemology, methodology and axiology are four basic belief systems which aid in the definition of certain research paradigms. Four research paradigms include the postpositivism, transformative, pragmatism and constructivism. The latter is usually associated with theories and concepts such as naturalistic, phenomenological, hermeneutic, symbolic interaction, ethnographic, qualitative and participatory action research (Lather, 1991; Guba and Lincoln, 2005; Mertens, 2010). This research adhered to the constructivist research paradigm.

Constructivist researchers use the term constructivism more generally, seeing hermeneutics as a way to interpret the meaning of something from a certain standpoint or situation. Clegg and Slife (2009, p. 26) further explain the concept of hermeneutics by citing the work of ―Martin Heidegger (1927/1962) [who] argued that all meaning, including the meanings of research findings, is fundamentally interpretive. All knowledge, in this sense, is developed within a pre-existing social milieu, ever interpreting and 36

reinterpreting itself. This perspective is usually called hermeneutics (Mertens, 2010).

The constructivist paradigm emphasizes that research is a product of the values of researchers and cannot be independent of them. Early on, Guba and Lincoln (1989) developed a framework for ethical practice of qualitative research based on a revised understanding of the researcher researched relationship. To this end, they put forth the criteria for rigor as

trustworthiness

and authenticity,

including

balance

or

fairness

(inclusive representation of stakeholders in the process of the research), ontological authenticity (make respondents aware of their constructions of reality), educative authenticity (educate others of the realities experienced by all stakeholder groups), catalytic authenticity (enable stakeholders to take action on their own behalf), and tactical authenticity (training participants how to act on their own behalf). Lincoln (2009) reinforced these as appropriate criteria for constructivists and added reflexivity, rapport, and reciprocity as additional criteria that have emerged, and noted that along with their emergence have come additional ethical tensions. How can a researcher from a group imbued with unearned privileges by virtue of social class, language, race/ethnicity, gender, or other attributes establish rapport in an ethical manner with

people

who

do

not

share

such

privileges?

Constructivists also borrow notions of ethics from feminists in the form of combining theories of caring and justice as holding potential to address issues of social justice in ways that are both respectful of the human relations between researchers and participants, as well as to enhance the furtherance of social justice from the research (Christians, 2005; Denzin, 2003; Lincoln, 2009; Noddings, 2003). Hence, constructivists‘ writings on ethical principles 37

are moving closer to alignment with those of transformative researchers (Mertens, 2010) Creswell (2013) uncovered characteristics of constructivist approach as follows: The researcher addresses the process of interaction among individuals, and focuses on the specific context in which people live and work in order to understand historical and cultural settings of the participants.

Also, in order to generate and/or inductively show a theory or pattern of meaning, questions are open-ended so that participants can share their views.

The researcher seeks to understand the context or setting of the participants through

visiting

this

context

and

gathering

information

personally

(interpretation shaped by the researcher‘s own experiences and background); and generating meaning from the data collected in the field.

Qualitative Research Approach & Thematic Analysis Qualitative methods rely heavily on textual and image data. The research projects herein proposed will be collected, analyzed and presented in a qualitative approach. The basic intention is to interpret words and images presented systematically and in consonance with the relevant methodology for a qualitative type of research. The use of case study approach as exemplified in Creswell (2014) will be emphasized in four of the research projects.

Thematic analysis is a method designed to identify, analyse, and report patterns – themes – within data (Braun & Clarke, 2006). It is a rigorous process which requires further researcher‘s involvement and interpretation as

38

it moves beyond counting explicit words or phrases (Guest, MacQueen and Namey, 2011). This type of qualitative analysis identifies and describes both implicit and explicit concepts within the data known as ‗themes‘. This type of analysis uses techniques such as theme identification, word searches and data reduction methods (Guest et al, 2011, p.17). ―Thematic analysis can be used to build theoretical models or to find solutions to real-world problems‖ which concurs with the theory building nature of case study design and problemsolving ethos of an action research (Guest et al, 2011, p.17; Eisenhardt and Graebner, 2007; Gilmore, Krantz and Ramirez, 1986). Building theory from case studies is more and more gaining popularity and relevance among research approaches most notably forming ―disproportionately large numbers of influential studies‖ (Eisenhardt and Graebner, 2007, p. 30).

Research Design and Methods Layers of community inquiry will be set up to explore various conceptions of SAMBIT‘s contributions to the community and culture and arts development. These inquiries will form vital part in establishing support to arguments presented for this investigation. Multiple data gathering measures will be implemented as 1) survey to former members, 2) structured and semistructured interviews with alumni, community members and other organizations or agencies, 3) focus group discussion of alumni officers and other SAMBIT stakeholders, 4) documentary analysis, 5) consultation with experts, 6) performance and training-workshop evaluation, 7) observation and 39

8) reflective journal writing. We likewise propose various modes of data collection such as mail, email, Facebook, personal (face to face) and phone in order to reach all possible and important stakeholders for this research. The interview and survey questionnaires (see Appendix) will be written in English but will be translated into Bicol and Filipino to ensure that language will not be a barrier in communicating ideas. A pilot test for all research instruments will be scheduled to ascertain the appropriateness of the materials.

Respondents of the Study For the entire research program, there are various research respondents which will be considered. Research project 1 and 2 will both investigate on alumni and organizational contributions as well as aspirations for SAMBIT. This will entail ideas and responses from former SAMBIT members and those members of the community being served by the organization or by an alumnus. Research project 3 will similarly look at alumni and community members‘ cognition on the role of SAMBIT in the management of the street play production an An Pasyon ni Kristo. Thus, for this project those who have been previously cast and commissioned to facilitate the production will be the respondents for the particular investigation.

Writing a literary piece and staging said piece will be the highlight of the fourth research project. After writing the piece, the researcher will invite panel of experts to critically evaluate the value of the literary piece and will be expected to share insights as to how the piece could be improved. During the staging of the literary piece, performance evaluation forms will be given

40

randomly to audience to assess the overall soundness of the play as well as the script.

The fifth project deals a lot with writing modules and reference materials. After careful observation and conscientious writing stage, authors of the reference material will invite target audience to evaluate the materials and will endeavor to improve the design.

RESOURCE REQUIREMENTS For six (6) research projects with 12 respective research studies and considering the methods presented in the methodology and methods chapter, the following is the summary of budget for the research program: Unit

Ream pcs pcs pcs box pc Unit Unit

person person person person person person

Quantity

Supplies & Materials Bond paper (A4) (SURVEY 600*5) Ballpen (token) Folders Mailing envelopes Ink (black and colored) USB 64 GB Riso (ink) Book binding Laptop computer Video camera Mini DVD Video editing (post process)

40

Unit Cost

Total Cost

120.00

4,800.00

700 50 600 6 5 5 48 2 1 30 4

10.00 5.00 1.50 1,600.00 2,000.00 1,800.00 300.00 25,000.00 40,000.00 45.00 7,000.00

7,000.00 250.00 900.00 9,600.00 10,000.00 9,000.00 14,400.00 50,000.00 40,000.00 1,350.00 28,000.00

Honoraria Program Leader Project Leader Study Leader Enumerator Statistician Editing

2 4 2 5 1 3

10,000.00 8,000.00 6,000.00 6,000.00 3,000.00 3,000.00

20,000.00 32,000.00 12,000.00 30,000.00 3,000.00 9,000.00

Focus Group Discussion Meals (#pax x meal) Token (participants)

20 20

200.00 300.00

4,000.00 6,000.00

41

Travel Expenses Library research Interview

20,000.00

Communication Mobile load

10

Miscellaneous

500.00

5,000.00 5,000.00

TOTAL

321,300.00

42

Reference List About Asia and the Pacific: UNDP. (n.d.). Retrieved September 23, 2013, from http://asia-pacific.undp.org/content/rbap/en/home/regioninfo/ Adomssent, M., Fischer, D., Godemann, J., Herzig, C., Rieckmann, M., & Timm, J. (2012). Call for papers for a special issue addressing ―Higher Education for Sustainable Development: Moving the Agenda Forward.‖ Journal of Cleaner Production, 23(1), I–III. doi:10.1016/S09596526(11)00523-3 Akgün, A. A., van Leeuwen, E., & Nijkamp, P. (2012). A multi-actor multicriteria scenario analysis of regional sustainable resource policy.

Ecological Economics, 78, 19–28. doi:10.1016/j.ecolecon.2012.02.026 Almers, E. (2013). Pathways to action competence for sustainability—Six themes. Journal of Environmental Education, 44(2), 116–127. doi:10.1080/00958964.2012.719939 Anderson, M. W., Teisl, M., & Noblet, C. (2012). Giving voice to the future in sustainability: Retrospective assessment to learn prospective stakeholder engagement.

Ecological Economics, 84, 1–6. doi:10.1016/j.ecolecon.2012.09.002 Ang, F., & Van Passel, S. (2012). Beyond the environmentalist‘s paradox and the debate on weak versus strong sustainability. Bioscience, 62(3), 251– 259.

Anonymous. (1998). Documentation: ASEAN vision 2020. ASEAN Economic Bulletin, 14(3), 325–328.

Asia-Pacific-Disaster-Report-2010.pdf. (n.d.). Retrieved September 23, 2013, from http://www.unescap.org/idd/pubs/Asia-Pacific-Disaster-Report2010.pdf Association of Southeast Asian Nation. (n.d.). Overview. Retrieved September 23, 2013, from http://www.asean.org/asean/about-asean/overview Barr, S., Gilg, A., & Shaw, G. (2011). ―Helping People Make Better Choices‖: Exploring the behaviour change agenda for environmental sustainability.

Applied Geography, 31(2), 712–720. doi:10.1016/j.apgeog.2010.12.003 Batra, M. M. (2012). The sustainability challenge and its business solution.

Competition Forum, 10(1), 182–190.

Beretti, A., Figuières, C., & Grolleau, G. (2013). Behavioral innovations: The missing capital in sustainable development? Ecological Economics, 89, 187–195. doi:10.1016/j.ecolecon.2013.03.004 Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology.

Qualitative Research in Psychology, 3(2), 77–101. doi:10.1191/1478088706qp063oa Breiting, S., & Mogensen, F. (1999). Action competence and environmental education. Cambridge Journal of Education, 29(3), 349–353.

Brockbank, A., & McGill, I. (1998). Facilitating reflective learning in higher education. Buckingham: Society for Research into Higher Education and Open University Press.

Burt, R. S. (1997). The contingent value of social capital. Administrative Science Quarterly. 42, 339-65.

Bussy, N. M. de, & Kelly, L. (2010). Stakeholders, politics and power: Towards an understanding of stakeholder identification and salience in 43

government. Journal of Communication Management, 14(4), 289–305. doi:10.1108/13632541011090419 Chalkley, B. (2006). Education for sustainable development: Continuation.

Journal of Geography in Higher Education, 30(2), 235–236.

Christians, C. (2005). ‗‗Ethics and Politics in Qualitative Research.‘‘ Pp. 139– 64 in Handbook of Qualitative Research. 2nd ed., edited by Norman K. Denzin and Yvonna S. Lincoln.Thousand Oaks, CA: Sage Clegg, J., & Slife, B. (2009). Research ethics in the postmodern context. In D. M. Mertens & P. E. Ginsberg (Eds.),The handbook of social research ethics. Newbury Park, CA: Sage Cohen, M.D., March, J.G. & Olsen, J.P. (1972). A garbage can model of organizational choice. Administrative Science Quarterly. 17, 1-25.

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APPENDIX A SURVEY & Interview Questionnaire (Questions link to database, history, personal impact, APK, hopes & dreams for SAMBIT) A. Member’s survey form and interview guide (Bikol) Pangaran Status Name of spouse No. & names of Children Address 1 Address 2 Email Skype id (Optional) Year of Membership (workshop batch)

_______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________

Gender Nationality

___________ ___________

Contact Info 1 Contact Info 2 Date of Birth Year of Graduation Years in the Organization (as member)

___________ ___________ ___________ ___________

Current Occupation and Agency/Company Years in Service Annual Salary Position/Nature of work (description) If your current work isn‘t your first, list former occupation or workplace Affiliation(s)

Trainings/Professional development

Educational Background Elementary Secondary College Post Graduate How did you become member of SAMBIT? Pano ka nagin myembro kan SAMBIT?

45

___________

What memorable performances have you had as member?

Ano an pinaka memorable mong inayunan na pasali kan ika myembro pa?

What made the experience memorable?

Ano ta ini an eksperyensya na saimong narurumdoman How many presentations and where have you had them?

Pirang pasali asin sain nangyari an mga ini?

Is there a SAMBIT tradition? Which and what is the story behind?

Anong tradisyon kan SAMBIT an pirmi mong narurumdoman? Arin asin ano an estorya kaini?

What areas or aspects of the organization do you feel are most consistent?

Sa pagmati mo anong aspeto kan organisasyon an dai nahahali o sagkod ngunyan yaon pa giraray?

What values or principles have you learned from SAMBIT? Anong maray na prinsipyo o kaugalian an nanudan mo sa SAMBIT? Which SAMBIT experiences have taught you the most?

Arin 0 anong eksperyensya sa SAMBIT an nakanood ka?

What aspect of the organization shaped/ influences your career and personal choices?

Anong aspeto kan SAMBIT an naka impluwensya sa saimong propesyon o pagpili kaini?

What experiences in the organization have helped you in your profession?

Anong eksperyensya sa organisasyon an nakatabang sa saimong propesyon o trabaho?

What is your role in the workplace, community?

Ano ka an katungdan mo sa saimong kumunidad?

How does this role relates to your SAMBIT experience?

Pano an katungdan mo nagkaigwang relasyon sa saimong eksperyensya sa laog kan SAMBIT 46

What aspect(s) in your life are you able to associate with SAMBIT? Anong aspeto kan buhay mo an pwede mong sabihon na may relasyon sa saimong pagigin SAMBIT?

Would you know of any SAMBIT success story?

Ano an aram mong estorya sa pagtalubo o pag-uswag kan SAMBIT? What do you consider as your contribution to the community? To culture and arts?

Bilang sarong SAMBITeans ano an saimong naginibo para sa saimong kumunidad?

Sa lado kan kultura o arte (culture and arts)?

What dreams and aspirations do you hope to be for SAMBIT? Ano an saimong pangaturugan para sa SAMBIT o gustong mangyari para sa organisasyon mong ini?

What contributions can you give back?

Ano man an saimong pwedeng magin balos o maitatao sa SAMBIT bilang sarong nagin myembro o parte kaini?

Any idea for the grand (30th, 35th, 40th‌) reunion?

Ano an saimong suhestyon para sa pagselibrar o reunion sa ika-30, ika-35, ika 40 asin ika- 50 taon kaini?

When are you most available for a reunion (December, April, May)?

Ano an pinaka gusto mong bulan na makaka atendir ka sa reunion, Disyembre, Abril o Mayo?

What do you consider SAMBIT‘s strength? Weakness?

Ano sa paghuna mo an kakusugan kan SAMBIT? An kaluyahan kaini?

What opportunities, threats do you consider?

Ano sa paghuna mo an mga oportunidad asin kaulangan para sa SAMBIT? APK: Have you been part of APK? What role? Which year (s)?

Ano nagin parte ka kan Pasyon ni Kristo (APK)? Ano an mga papel mo? Anong mga taon ini?

47

APK: How did you participate in the management of the street play?

Ano an partisipasyon mo sa pagmanihar kan APK? APK: What is APK in your life?

Ano an APK sa saimong buhay?

APK: How has your role in APK helped you in your personal and professional career?

Pano nakatabang an APK sa saimong personal na buhay asin sa saimong propesyon?

APK: What do you consider your greatest takeaway/benefit(s) from the play?

Ano sa paghuna mo an pinakadakulang naitabang o naitao kaini sa saimo?

APK: Why do you think APK is still around?

Sa paghuna mo, tano ta nagdadanay an APK?

B. Community survey form Name Address 1 Address 2

_________________________ _________________________ _________________________

Gender Contact Info Date of Birth

____________ ____________ ____________

Current Occupation and Agency/Company Years in Service Annual Salary Designation/Nature of work (description) If your current work isn‘t your first, list former occupation or workplace What is SAMBIT? Ano an SAMBIT? How have you been acquainted/related to/with SAMBIT? Ano an relasyon mo o pano ka nagin parte kan SAMBIT? Are you able to share a good story about SAMBIT? What is the story?

Kun makakaistorya ka manunungod sa SAMBIT, ano ini?

48

Do you know of a SAMBIT member who has inspired you, others or the community to be better? (Please elaborate) Igwa ka po nin aram na myembro kan SAMBIT na nagtao saimong inspirasyon o nakapagtao sa kumunidad nin maray na kontribusyon?

APK: What is SAMBIT‘s role to the street play?

Ano an katungdan kan SAMBIT sa An Pasyon ni Kristo sa Calabanga?

APK: How has the group‘s involvement impacted the play?

Pano nakakataong inspirasyon o impluwensya an SAMBIT sa APK? Are you, or have you been part of SAMBIT‘s training, workshops and productions?

How was the experience?

Kun ika po nagin parte kan mga workshop o trainings na itinatao kan SAMBIT, ano po an masasabi mo sa mga ekspersyang ini? Ano an naitao kan mga ini sa saimo?

What do you think is the role of SAMBIT in the community? To culture and arts?

Ano sa paghuna mo an katungdan o naitatabang kan SAMBIT sa kumunidad? Sa lado kan kultura asin arte (culture and arts)?

How do you think can SAMBIT support your community?

Sa paghuna mo po, nakakatabang daw an SAMBIT sa kumunidad o sa banwaan?

What do you consider SAMBIT‘s strength? Weakness?

Ano po sa paghuna mo an kakusugan kan SAMBIT? An kaluyahan kaini?

What opportunities, threats do you consider?

Ano po sa paghuna mo an mga oportunidad asin kaulangan para sa SAMBIT?

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CENTRAL BICOL STATE UNIVERSITY OF AGRICULTURE – CALABANGA College of Arts and Sciences Research and Extension Development Center Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento (SAMBIT) ng CBSUA - Calabanga Calabanga, Camarines Sur

THEATER PRODUCTION SURVEY

CENTRAL BICOL STATE UNIVERSITY OF AGRICULTURE – CALABANGA College of Arts and Sciences Research and Extension Development Center Sentro ng Artistikong Manlilikha na Bumubuo ng Identidad at Talento (SAMBIT) ng CBSUA - Calabanga

Calabanga, Camarines Sur

THEATER PRODUCTION SURVEY

Mahal naming taga-panuod,

Mahal naming taga-panuod, Para sa pagpapaunlad ng kaayusan sa Pagtatanghal na ihinahatid ng SAMBIT, malugod po naming kayong hinihikayat na magbigay ng taos pusong pagsusuri tungkol sa produksyong “ISAROG”.

Para sa pagpapaunlad ng kaayusan sa Pagtatanghal na ihinahatid ng SAMBIT, malugod po naming kayong hinihikayat na magbigay ng taos pusong pagsusuri tungkol sa produksyong “NAZARENO”.

Pangalan: ____________________________ Tirahan: _______________________ Contact No. ___________________ Layunin ng panunuod: _____________________ Edad: ______________ Paano nalaman ang pagtatanghal na ito: (Lagyan ng tsek) ____ kaibigan ______ kasapi sa produksyon ____ anunsyo ___ iba pa(pls. specify) _________________

Pangalan: ____________________________ Tirahan: _______________________ Contact No. ___________________ Layunin ng panunuod: _____________________ Edad: ______________ Paano nalaman ang pagtatanghal na ito: (Lagyan ng tsek) ____ kaibigan ______ kasapi sa produksyon ____ anunsyo ___ iba pa(pls. specify) _________________

Bilugan ang bilang ng tumutugmang kasagutan ayon sa inyong opinyon.

Bilugan ang bilang ng tumutugmang kasagutan ayon sa inyong opinyon.

Batayan ng pagbibigay ng puntos 1- Hindi natugunan 2- Labis na hindi sumasang-ayon 3- Hindi Sumasang-ayon 4- Sumasang-ayon 5- Labis na sumasang-ayon Nakapagpamalas ng 1 2 3 4 5 angking galing at husay ang mga kalahok (actors) Naipaabot sa mga 1 2 3 4 5 manunuod ang mensahe ng dula Nailapat at nagamit ng tama at buong husay ang mga sumusunod: 1 2 3 4 5  Tunog at Musika 1 2 3 4 5  Costume 1 2 3 4 5  Make-up 1 2 3 4 5  Props 1 2 3 4 5  Set Design 1 2 3 4 5  Make up Pangkalahatang 1 2 3 4 5 pagtatanghal

Batayan ng pagbibigay ng puntos 1- Hindi natugunan 2- Labis na hindi sumasang-ayon 3- Hindi Sumasang-ayon 4- Sumasang-ayon 5- Labis na sumasang-ayon Nakapagpamalas ng 1 2 3 4 5 angking galing at husay ang mga kalahok (actors) Naipaabot sa mga 1 2 3 4 5 manunuod ang mensahe ng dula Nailapat at nagamit ng tama at buong husay ang mga sumusunod: 1 2 3 4 5  Tunog at Musika 1 2 3 4 5  Costume 1 2 3 4 5  Make-up 1 2 3 4 5  Props 1 2 3 4 5  Set Design 1 2 3 4 5  Make up Pangkalahatang 1 2 3 4 5 pagtatanghal

Paano makatutulong ang produksyon sa aspetong pangispiritwal? ________________________________________ ________________________________________ ________________

Paano makatutulong ang produksyon sa aspetong pangispiritwal? ________________________________________ ________________________________________ ________________

Puna/Suhestiyon: Puna/Suhestiyon: ________________________________________ ________________________________________ 50__________________________________ __________________________________ Lagda/Petsa

_______________________________________ Lagda/Petsa