Human Settlements in the Barangays: What to Consider

                                   Source: https://guidetothephilippines.ph/articles/history-culture/best-philippines-small-towns-villages-cities

The Barangay, as the basic political unit, serves as the primary planning and implementing unit of government policies, plans, programs, projects, and activities in the community and as a forum wherein the collective views of the people may be expressed, crystallized and considered, and where disputes may be amicably settled (section 384, RA7160). As enumerated under section 17 (b) of RA 7160, the barangays are expected to deliver the following basic services and facilities:

·        Agricultural support services which include planting materials distribution system and operation of farm produce collection and buying stations;

·        Health and social welfare services which include maintenance of Barangay health center and day-care center;

·        Services and facilities related to general hygiene and sanitation, beautification, and solid waste collection;

·        Maintenance of Katarungang Pambarangay; (structure such as barangay hall is necessary)

·        Maintenance of Barangay roads and bridges and water supply systems;

·        Infrastructure facilities such as multi-purpose hall, multipurpose pavement, plaza, sports center, and other similar facilities;

·        Information and reading center; and

·        Satellite or public market, where viable.

Being at the forefront of local development and community resiliency, the barangay development councils are expected to ensure that government services reach the community especially the community’s basic needs as enumerated in in Batas Pambansa Blg. 220 which include, Water Supply; Roads and Streets; Drainage System; Solid and Liquid Waste Disposal; Parks and Playgrounds, and; Power Supply. Fundings for these services may be accessed by the barangays from higher local government units like their respective cities and municipalities and provinces as well as concerned national government agencies and even from the private sector.

The following are some basic requirements that the barangays have to consider as they establish these basic services:

1. Water Supply

·        Public water supply system should be made available, (Level 1 and Level 2 Water System). One communal faucet should serve 10 households.

·        Communal well can be located strategically not closer than 300 meters from each other.

·        Alternative water supply may be availed, e.g., rain water collector and other devices with water impounding capacity.

·        PD. 1067 also known as the Water Code of the Philippines emphasizes that the following belong to the state (Article 5) (a) Rivers and their natural beds; (b) Continuous or intermittent waters of springs and brooks running in their natural beds and the beds themselves; (c) Natural lakes and lagoons; (d) Seawater; (e) All other categories of surface waters such as water flowing over lands, water from rainfall whether natural, or artificial, and water from  agriculture runoff, seepage and drainage; (f) Atmospheric water, and; (g) Subterranean or ground waters. It also emphasized under Article 6 that the following waters found on private lands belong to the State: (a) Continuous or intermittent waters rising on such lands; (b) Lakes and lagoons naturally occurring on such lands; (c) Rain water falling on such lands; (d) Subterranean or ground waters; and, (e) Water in swamps and marshes.

·        The law also underscored that the owner of the land where the water is found may use the same for domestic purposes without securing a permit, provided that such use shall be REGISTERED, when required by the Council. The Council, however, may regulate such when there is wastage, or in times of emergency.

·        Under Article 51 of the same law states that “the banks of rivers and streams and the shores of the seas and lakes throughout their entire length and within a zone of:

3 meters in urban areas;

20 meters in agricultural areas, and

40 meters in forest areas, along their margins are subject to the easement of public use in the interest of recreation, navigation, floatage, fishing and salvage. No person shall be allowed to stay in this zone longer than what is necessary for recreation, navigation, floatage, fishing or salvage or to build structures of any kind.”

 

2. The following are planning standards for roads and bridges and planting strips:

A. Roads and Streets

·        National Road             = 30 meters

·        Provincial Road          = 15-20 meters

·        Municipal Road           = 10 meters

·        Barangay Road           = 7 meters      

·        Alley and Pathwalk     = 3 meters (60 m. max. length)

B. Planting Strips

·     Municipal Road  = 0.8 meters

·     Barangay Road = 0.4 meters

·     Roads should intersect at right angles as much as practicable.

·     Multiple intersection along major roads shall be minimized.

·     Distance between offset intersections should not be less than 20 meters.

·     Maximum block length is 400 meters. Block length exceeding 250 meters shall be provided with alley approximately at mid-length.

3. Drainage System

·        The drainage system shall be concrete lined canal with load bearing cover.

·        Drainage system shall drain into appropriate catchment area, water bodies or natural outfalls.

·        If applicable, underground drainage system shall be provided with adequate reinforced concrete pipes (RCP), catch basins, manholes/inlets and cross drains for efficient maintenance.

4. Solid and Liquid Waste Disposal

·        Garbage disposal system shall be in accordance with R.A. 9003.

·        The sewage disposal system shall be communal or individual septic tank conforming to the design standard of the Sanitation Code of the Philippines.

·        Whenever applicable, sewage disposal connections shall be to an approved public or community sewer system.

·        Section 10 of RA 9003 also known as the Ecological Solid Waste Management Act of 2000 provides that “the LGUs shall be primarily responsible for the implementation and enforcement of the provisions of this Act within their respective jurisdictions. Segregation and collection of solid waste shall be conducted at the barangay level specifically for biodegradable, compostable and reusable wastes: Provided, That the collection of non-recyclable materials and special wastes shall be the responsibility of the municipality or city.”

·        Also, under Section 32 of the same law provides that “there shall be established a Materials Recovery Facility (MRF) in every barangay or cluster of barangays. The facility shall be established in a barangay-owned or -leased land or any suitable open space to be determined by the barangay through its Sanggunian. For this purpose, the barangay or cluster of barangays shall allocate a certain parcel of land for the MRF. The determination of site and actual establishment of the facility shall likewise be subject to the guidelines and criteria set pursuant to this Act. The MRF shall receive mixed waste for final sorting, segregation, composting, and recycling. The resulting residual wastes shall be transferred to a long-term storage or disposal facility or sanitary landfill.

·        SEC. 13 of PD 856 also known as the Code on Sanitation of the Philippines emphasized that “to protect drinking water from contamination, the following measures shall be observed:

(a) Washing clothes or bathing within a radius of 25 meters from any well or other source of drinking water is prohibited.

(b) No artesian, deep or shallow well shall be constructed within 25 meters from any source of pollution.

(c) No radioactive sources or materials shall be stored within a radius of 25 meters from any well or source of drinking water unless the radioactive source is adequately and safely enclosed by proper shielding.

SEC. 90 also of PD 856 also known as the Code on Sanitation of the Philippines provides that the following requirements shall be applied and enforced:

(a) It shall be unlawful for any person to bury remains in places other than those legally authorized in conformity with the provisions of this Chapter.

(b) A burial ground shall at least be 25 meters distant from any dwelling house and no house shall be constructed within the same distance from any burial ground.

(c) No burial ground shall be located within 50 meters from either side of a river or within 50 meters from any source of water supply.

5. Power Supply

·        The barangay should be connected to reliable power source e.g., local electric cooperative, local electric franchise holder or the local utility company.

·        Provision of street lighting per pole shall be mandatory if poles are 50 meter apart, and at every other pole if the distance is less than 50 meters.

·        The barangay should be connected to reliable power source e.g., local electric cooperative, local electric franchise holder or the local utility company.

·        Provision of street lighting per pole shall be mandatory if poles are 50 meter apart, and at every other pole if the distance is less than 50 meters.

 

Museums: Repositories of Nation's Identity

                 Photo: https://www.spot.ph/arts-culture/the-latest-arts-culture/89304/new-visiting-hours-at-the-national-museum-of-the-philippines-a833-20220518

Museums play a vital role in preserving and promoting a country's rich cultural heritage. In the case of the Philippines, a country known for its diverse history and vibrant arts, museums have become essential institutions in the preservation and showcasing of Filipino identity. In this essay, we will explore the history and evolution of museums in the Philippines, discuss their importance, and provide a comprehensive list of notable museums in the country.

 

The history of museums in the Philippines dates back to the Spanish colonial era. During this time, the Spanish authorities established museums primarily to display religious artworks and artifacts. The oldest museum in the Philippines, the San Agustin Museum, was founded in 1957 and is located within the San Agustin Church in Manila. It houses religious artworks, antique ecclesiastical items, and artifacts that represent the country's religious traditions.

 

The evolution of museums in the Philippines took a tremendous leap forward during the American colonial period in the early 20th century. American influences led to the establishment of more systematic and modern museum practices. The American colonial government initiated the creation of the National Museum of the Philippines in 1901. This institution focused on collecting, curating, and studying the country's natural history and cultural heritage.

 

Throughout the years, museums in the Philippines have diversified their collections to cater to different aspects of Filipino society. Apart from the National Museum, several other institutions have emerged to specialize in various fields, such as art, history, and science. This evolution reflects the growing importance of museums as educational and cultural centers in the Philippines.

 

The importance of museums in the Philippines cannot be overstated. Museums serve as repositories of the nation's identity and memory, preserving artifacts and artworks that depict the rich history of the country. They also promote cultural appreciation and understanding among locals and tourists alike. Museums often conduct educational programs, workshops, and guided tours that allow visitors to learn about the country's heritage, traditions, and values.

 

Moreover, by showcasing Filipino arts, history, and sciences, museums contribute to the promotion and preservation of local arts and culture. They provide a platform for Filipino artists, researchers, and scientists to showcase their work, fostering creativity and innovation within the country's artistic and academic spheres. Museums also contribute to the tourism industry, attracting both domestic and international visitors who seek to understand and experience the unique aspects of Filipino culture.

 

Now, let us delve into a comprehensive list of notable museums in the Philippines, representing various fields and interests:

 

National Museum of the Philippines - Manila

Ayala Museum - Makati City

Mind Museum - Taguig City

Lopez Museum and Library - Pasig City

Bahay Tsinoy - Manila

Vigan Conservation Complex - Vigan City

Museum of Philippine Economic History - Iloilo City

Cordillera Museum - Baguio City

Rizal Shrine - Calamba City

Casa Gorordo Museum - Cebu City

HISTORY MUSEUMS (From the List of the National Historical Commission of the Philippines)

Metro Manila Cluster

1. Museo ni Jose Rizal Fort Santiago, Intramuros, Manila

2. Museo ng Katipunan, San Juan City

3. Museo El Deposito, San Juan City

4. Muso ni Apolinario Mabini - PUP, Sta. Mesa, Manila

5. Museo ni Manuel Quezon, Quezon Memorial Circle, Quezon City

6. Museo ng Pampangulong Sasakyan, Quezon Memorial Circle, Quezon City

Cavite Cluster

1. Museo ni Emilio Aguinaldo, Kawit, Cavite

2. Museo ni Baldomero Aguinaldo, Kawit, Cavite

3. Museo ng Pinaglitisan ni Bonifacio, Maragondon, Cavite

Batangas-Laguna Cluster

1. Museo ni Jose Rizal, Calamba City, Laguna

2. Museo ng Libingan sa Ilalim ng Lupa ng Nagcarlan, Laguna

3. Museo ni Apolinario Mabini, Tanauan City, Batangas

4. Museo ni Miguel Malvar, Sto. Tomas City, Batangas

5. Museo nina Marcela Mariño at Felipe Agoncillo, Taal, Batangas

6. Museo nina Leon at Galicano Apacible, Taal, Batangas

Bulacan Cluster

1. Museo ng Republika ng 1899, Malolos City, Bulacan

2. Museo ng Kasaysayang Pampulitika ng Pilipinas, Malolos City, Bulacan

3. Museo ni Marecelo H. Del Pilar, Bulacan, Bulacan

4. Museo ni Mariano Ponce, Baliwag City, Bulacan

Pampanga - Zambales Cluster

1. Museo ng Kasaysayang Panlipunan ng Pilipinas, Angeles City, Pampanga

2. Museo at Aklatan ni Diosdado Macapagal, Lubao, Pampanga

3. Museo ni Jose B. Lingad, Lubao, Pampanga

4. Museo ni Ramon Magsaysay, Castillejos, Zambales

Interregional Cluster

1. Museo nina Juan at Antonio Luna, Badoc, Ilocos Norte

2. Museo ni Jesse Robredo, Naga City, Camarines Sur

3. Museo ng Kasaysayang Pang-Ekonomiya ng Pilipinas, Iloilo City

4. Museum of Philippine Maritime History, Iloilo City

5. Museo ng Pamana at Kasaysayang Boholano, Loay, Bohol

6. Museo ni Jose Rizal, Dapitan City, Zamboanga del Norte

This list is only scratching the surface of the numerous museums found across the Philippines. Each institution offers its own unique collections and narratives that contribute to the preservation and celebration of Filipino heritage.

Source: https://talkai.info/chat/

UNESCO World Heritage Sites: Baroque Churches of the Philippines

 

                          Photo: https://catholink.ph/2022/03/baroque-churches-in-the-philippines-world-heritage-churches/

These four churches, the first of which was built by the Spanish in the late 16th century, are located in Manila, Santa Maria, Paoay and Miag-ao. Their unique architectural style is a reinterpretation of European Baroque by Chinese and Philippine craftsmen.

 

Outstanding Universal Value

Brief synthesis

 

The Baroque Churches of the Philippines is a serial inscription consisting of four Roman Catholic churches constructed between the 16thand the18th centuries in the Spanish period of the Philippines. They are located in separate areas of the Philippine archipelago, two at the northern island of Luzon, one at the heart of Intramuros, Manila, and the other in the central Visayas island of Iloilo.

 

This group of churches established a style of building and design that was adapted to the physical conditions in the Philippines and had an important influence on later church architecture in the region. The four churches are outstanding examples of the Philippine interpretation of the Baroque style, and represent the fusion of European church design and construction with local materials and decorative motifs to form a new church-building tradition.

 

The common and specific attributes of the churches are their squat, monumental and massive appearance, which illustrates a fortress/protective-like character in response to pirates, marauders and to the geologic conditions of a country that is prone to seismic activities. The churches are made either of stone (tuff or coralline limestone), or brick, and consolidated with lime.  They display specific features such as retablos (altars) of high Baroque style – (particularly seen in San Agustin Church, Intramuros), in the volutes of contrafuertes (buttresses) and in the pyramidal finials of wall facades – (particularly seen in Paoay Church), in wall buttresses separating criptocollateral chapels –(particularly seen in San Agustin Church, Intramuros) and in the iconography of the ornately decorated naïf/folk pediment expressing the local understanding of the life of Christ and demonstrated by the use of local elements (papaya, coconut and palm tree reliefs), and the depiction of  Catholic Patron Saints (St. Christopher) dressed in local and traditional clothing (particularly seen in the Miagao Church).  The fusion of styles is also seen in the construction of bell towers that are either attached to the main church structure (particularly seen in San Agustin, Intramuros and in Miagao churches) or detached from the main church (particularly seen in Paoay and Sta Maria churches) and lastly, in ceiling paintings in the tromp l’oeil style (particularly seen in San Agustin Church, Intramuros). The Baroque churches reflect excellent site planning principles following the Ley de las Indias (Laws of the Indies) enacted by Philip II in 1563 for all newly-discovered settlements within Spanish colonial territories.

 

Criterion (ii): The group of churches established a style of building and design that was adapted to the physical conditions in the Philippines which had an important influence on later church architecture in the region.

 

Criterion (iv): The Baroque Churches of the Philippines represent the fusion of European church design and construction using local materials and decorative motifs to form a new church-building tradition.

 

Integrity

 

The churches’ important attributes comprising its architectural ensemble and manifesting the uniqueness of their style, are all within the boundaries of the property. All elements of significance identified at the time of inscription are still very much present and none are eroded, with their dynamic functions associated with religious significance intact and well-maintained.

 

The churches’ fabric, to a considerable degree is well preserved, although some parts may have deteriorated due to environmental conditions and the passage of time.

 

Although areas covered by the churches and their surrounding complex have been recognized during inscription, buffer zones in some of them were undefined.  The recent delineation of buffer areas provides an added layer of protection to the core initially identified.

 

Authenticity

 

The Baroque Churches of the Philippines of the ‘Peripheral Baroque Style’ have maintained its authentic features and admirable building technology that is reflective of church architecture of 16th-18th centuries Spanish colonial period Philippines A potential threat to the property is the possible reconstruction of portions of some of the churches’ original ensemble which were not present during inscription, in the effort to ensure that the churches continue to function to best serve their congregations.

 

The efforts by the government geared towards responsible restoration and conservation have resulted in the retention of the original materials and substantial features of the baroque churches. 

 

The use of the Baroque churches as permanent sacred places devoted to acts of divine worship of the Catholic faith continues.

 

Protection and management requirements

 

Three churches and their land properties are legally owned, administered, and managed by their respective corporations sole while one church (San Agustin, Intramuros) is owned and managed by the Agustinian Order. The churches have been traditionally administered by church authorities and parishioners. Specific church Management Plans were not prepared at the time of inscription but the San Agustin Church in Intramuros is covered by the Management Plan of the Intramuros Administration. There is an overall management system where the National Commission for Culture and the Arts (NCCA) is the overall site manager. The NCCA works with its culturally affiliated agencies – the National Museum (NM) and the National Historical Commission of the Philippines (NHCP) who are the implementers of conservation and restoration projects.  Altogether the three agencies collaborate closely with the church authorities-owner of the property and with the stakeholders as well who are made aware of projects on the churches. The day to day management of the church is undertaken by the church authorities. There is a tri-partite agreement for the conservation and management of the World Heritage property as well as other nationally designated heritage sites. The main actors of the tri-partite agreement are the NCCA, the NM, the NHCP and the church authorities.

 

At the time of inscription, the properties had already been strongly protected by national legislation declaring them as National Cultural Treasures and as National Historical Landmarks through Presidential Decrees 260 and 375. The National Commission of Culture and the Arts provides for resources (funds) for its conservation, protection and regular maintenance.

 

The churches are presently covered and protected through RA 10066 (National Heritage Law) and RA 10086 (National Historical Commission of the Philippines Law). These legislations ensure their proper safeguarding, protection, conservation, management and use as religious structures, as declared National Cultural Treasures, National Historical Landmarks, and as World Heritage properties. A strong administrative protection system is in place through a Tripartite Agreement between the different national cultural government agencies while agreements between Church authorities and the Government have been entered into, especially the Accordo between the Holy See and the Republic of the Philippines on the Cultural Heritage of the Catholic Church in the Philippines, which was ratified on 29 May 2008. The Implementing Rules and regulations (IRR) of the 2009 Cultural Heritage Act of the Philippines, which is still in the process of being approved, states that the highest standards of conservation shall be applied to World Heritage properties and that its  authenticity, integrity and OUV shall not be allowed to be compromised.

 

Conservation and restoration are undertaken through offices under implementing national cultural agencies which ensure the regular monitoring of its state of conservation including its many concerns, threats and problems. The Canon Law on the pastoral care of the cultural heritage resources of the Church is likewise being applied by the Catholic authorities. The site manager of the Baroque Churches (NCCA) works with the NM and NHCP in ensuring that work is done according to World Heritage standards and in order to improve the conservation management processes so that the Outstanding Universal Value of the properties are maintained and properly managed. If in case repairs are done that involve the replacement of deteriorated parts, these are undertaken with care so that the replaced areas are differentiated from the original.

 

Both affiliated cultural agencies sit at the National Commission for Monuments and Sites (NCMS) as ex-officio members. A Technical Working Committee (TWC) has also been established within the NCCA composed of experts on conservation and its members ensure that the highest standards of conservation are afforded to World Heritage properties.  Both the NM and the NHCP are the implementers of projects in the Baroque Churches and they too sit as members of the NCCA, NCMS and TWC.

 

Involvement of local communities is strongly encouraged and they are considered important stakeholders where their views are listened to in consultative processes. Church authorities’ involvement in all aspects is vital and they also form an essential part of agreements to ensure that conservation is undertaken at their level, being owners of the properties.

Source: https://whc.unesco.org/en/list/677/

The following are some important description of these churches: 

Miag-ao Church – Santo Tomas de Villanueva Parish (Miag-ao, Iloilo)

Photo by Ryan Sia – Wikimedia Commons

Before the construction of its present church, the town of Miag-ao experienced church burnings and lootings twice in the mid-1700s. In December 1786, the present Miag-ao Church’s construction was started with the provision that it would be “built like a fortress” under the pastoral leadership of Fray Francisco Maximo Gonzales.

The Miag-ao Church features a baroque-romanesque style. Decorated with carvings of shrubs, the church’s facade displays Saint Christopher carrying the Child Jesus. At its center dominates a large stone sculpture of the parish’s patron saint, Saint Thomas of Villanova. Life-sized statues of the Pope and Saint Henry flank the facade’s entrance. Two belfries support the facade on both sides with one being two-storeys high and the other towering in three-storeys high. The church was finished in 1797 and in 1830, the left belfry was constructed with an additional structure to equal the height of the right belfry.

Paoay Church – Saint Augustine Church (Paoay, Ilocos Norte)

                                                Photo by Andrew Martin – Wikimedia Commons

With its construction started by Augustinian friar Father Antonio Estavillo in 1694, Paoay Church was completed in 1710. The church featuring European baroque style is adaptively constructed with enormous buttresses to increase structural integrity against destructive earthquakes.

Structured with 24 huge buttresses situated at the sides and back of the church, Paoay Church survived historical huge earthquakes. The church, detailed with coral stone blocks and brick walls, features not only baroque architecture but as well Javanese architectural style. In its facade, a carving of the Augustinian coat of arms can be seen.

At the side of Paoay Church stands a few meters away a bell tower that serves also as support against earthquake damage.

San Agustin Church – Archdiocesan Shrine of Nuestra Señora de la Consolación y Correa (Intramuros, Manila)

                                                 Photo by Patrickroque01 – Wikimedia Commons

 Starting its building in 1571, the San Agustin Church then named Iglesia y Convento de San Pablo was first built with nipa and bamboo. After it was burnt in 1574 due to the invasion of the Chinese Pirate Limahong in Manila, the church was reconstructed with wooden materials. With its low structural integrity against fire accidents, the church was again destroyed in 1583.

The design of San Agustin Church and its construction using adobe stones started in 1586. Since then, the church has been the oldest stone church in the Philippines. The church survived major earthquakes as well as the Battle of Manila during World War II.

Pedro Galende noted in his book Philippine Church Facades that the facade of the church was “built along neoclassic lines” with column sets in Ionic and Corinthian styles. Inside the church, vaulted ceiling displays frescoes of “intricate trompe l’oeil”. The church used to have two bell towers situated at its sides. After a series of strong earthquakes hitting Manila in 1880, its left bell tower was permanently removed.

Santa Maria Church – Nuestra Señora dela Asuncion Church (Santa Maria, Ilocos Sur)

                                                        Photo by Harrybalais – Wikimedia Commons

The Santa Maria Church in Ilocos Sur built by Augustinian Friars around 1765 situates on the top of a hill in the town of the same name. From the town’s edge, a stairway of 85 steps made in granite rock leads to the church.

Enforced with thick buttresses, the Santa Maria Church stands protected against earthquakes. The church served as a fortress during the Spanish era. Two cylindrical columns flank the church’s brick facade. The colossal bell tower standing nearby the church was situated in 1810.

 

WORLD HERITAGE SITES

In 1973, these four historical churches were declared National Cultural Treasures. Twenty years later, in 1993, UNESCO inscribed these four Baroque Churches in their list of world heritage sites.

 

REFERENCES:

Baroque Churches of the Philippines: https://whc.unesco.org/en/list/677/

Baroque Architecture: https://www.designingbuildings.co.uk/wiki/Baroque_architecture#:~:text=Baroque%20architecture%20is%20a%20style,features%2C%20sometimes%20leaving%20them%20incomplete.

History of Miag-ao Church https://www.miagao.gov.ph/about-miagao/history-of-miagao-church/

Paoay Church: https://app.philippines.travel/experiences/paoay-church

The History of the San Agustin Church: http://www.artesdelasfilipinas.com/archives/119/the-history-of-the-san-agustin-church

The Architecture of San Agustin: https://simbahan.net/2007/12/26/the-architecture-of-san-agustin/

San Agustin Church: https://www.lonelyplanet.com/philippines/manila/attractions/san-agustin-church/a/poi-sig/391173/357305

Santa Maria Church: https://app.philippines.travel/experiences/santa-maria-church

Nuestra Señora de la Asunción: https://www.wmf.org/project/nuestra-se%C3%B1ora-de-la-asunci%C3%B3n

Church La Nuestra Señora de La Asuncion, UNESCO SITE, Ilocos Sur, Philippines: https://heroesofadventure.com/listing/church-la-nuestra-senora-de-la-asuncion-unesco-site-ilocos-sur-philippines/

Source: https://catholink.ph/2022/03/baroque-churches-in-the-philippines-world-heritage-churches/

Salient Features of RA 10066 or the National Cultural Heritage Act of 2009

Republic Act No. 10066 - An Act Providing for the Protection and Conservation of the National Cultural Heritage, Strengthening the National Commission for Culture and the Arts (NCCA) and its Affiliated Cultural Agencies and for Other Purposes

                        Photo: https://elibrary.bmb.gov.ph/elibrary/books/national-cultural-heritage-act-of-2009-republic-act-no-10066/

 

Salient Features

SEC. 3. Definition of Terms. — For purposes of this Act, the following terms shall be defined as follows:

(a) “Adaptive reuse” shall refer to the utilization of buildings, other built-structures and sites of value for purposes other than that for which they were intended originally, in order to conserve the site, their engineering integrity and authenticity of design.

(b) “Anthropological area” shall refer to any place where studies of specific ethno-linguistic groups are undertaken, the properties of which are of value to our cultural heritage.

(c) “Antique” shall refer to a cultural property found locally which is one hundred (100) years in age, more or less, the production of which has ceased.

(d) “Archaeological area” shall refer to any place, whether above or under ground, underwater or at sea level, containing fossils, artifacts and other cultural, geological, botanical, zoological materials which depict and document culturally relevant paleontological, prehistoric and/or historic events.

(e) “Archives” shall refer to public and private records in any format which have been selected for permanent preservation because of their evidential, historical informational value; otherwise known as archival materials collections or archival holdings; the place (building/room/storage area) where archival materials are kept and preserved; and an organization or agency or part thereof whose main responsibility is to appraise, arrange, describe, conserve, promote and make archival materials available for reference and research, also known as archival agency.

(f) “Built heritage” shall refer to architectural and engineering structures such as, but not limited to, bridges, government buildings, houses of ancestry, traditional dwellings, quartels, train stations, lighthouses, small ports, educational, technological and industrial complexes, and their settings, and landscapes with notable historical and cultural significance.

(g) “Collector” shall refer to any person who or institution that acquires cultural property for purposes other than sale.

(h) “Commission” shall refer to the National Commission for Culture and the Arts (NCCA).

(i) “Conservation” shall refer to all the processes and measures of maintaining the cultural significance of a cultural property including, but not limited to, preservation, restoration, reconstruction, protection, adaptation or any combination thereof.

(j) “Cultural agencies” shall refer to the following national government agencies with their specific areas of responsibility: National Museum (cultural property); the National Library (books); National Historical Institute (Philippine history); National Archives (documents); Cultural Center of the Philippines (culture and the arts); and Komisyon sa Wikang Filipino (language).

(k) “Cultural education” shall refer to the teaching and learning of cultural concepts and processes.

(l) “Cultural heritage” shall refer to the totality of cultural property preserved and developed through time and passed on to posterity.

(m) “Cultural heritage worker” shall refer to an individual undertaking cultural heritage work.

(n) “Cultural institution” shall refer to entities engaged primarily in cultural work.

(o) “Cultural property” shall refer to all products of human creativity by which a people and a nation reveal their identity, including churches, mosques and other places of religious worship, schools and natural history specimens and sites, whether public or privately-owned, movable or immovable, and tangible or intangible.

(p) “Dealers” shall refer to natural or juridical persons who acquire cultural property for the purpose of engaging in the acquisition and disposition of the same.

(q) “Heritage zone” shall refer to historical, anthropological, archaeological, artistic geographical areas and settings that are culturally significant to the country, as declared by the National Museum and/or the National Historical Institute.

(r) “History” shall refer to a written record of past events relating to Philippine history.

(s) “Historical landmarks” shall refer to sites or structures that are associated with events or achievements significant to Philippine history as declared by the National Historical Institute.

(t) “Historical monuments” shall refer to structures that honor illustrious persons or commemorate events of historical value as declared by the National Historical Institute.

(u) “Historical shrines” shall refer to historical sites or structures hallowed and revered for their history or association as declared by the National Historical Institute.

(v) “Historical street name” shall refer to a street name which has been in existence for at least fifty (50) years and over time has been considered historic.

(w) “Important cultural property” shall refer to a cultural property having exceptional cultural, artistic and historical significance to the Philippines, as shall be determined by the National Museum and/or National Historical Institute.

(x) “Intangible cultural heritage” shall refer to the practices, representations, expressions, knowledge and skills, as well as the instruments, objects and artifacts associated therewith, that communities, groups and individuals recognize as part of their cultural heritage, such as: (1) oral traditions, languages and expressions; (2) performing arts; (3) social practices, rituals and festive events; (4) knowledge and practices concerning nature and the universe; and (5) traditional craftsmanship.

(y) “Intangible cultural property” shall refer to the peoples’ learned processes along with the knowledge, skills and creativity that inform and are developed by them, the products they create and the resources, spaces and other aspects of social and natural context necessary for their sustainability.

(z) “Library” shall refer to an institution where the collection of books, manuscripts, computerized information and other materials are organized to provide physical, bibliographic and/or intellectual access to the public, with a librarian that is trained to provide services and programs related to the information needs of its clientele.

(aa) “Museum” shall refer to a permanent institution that researches, acquires, conserves, communicates and exhibits the material evidence of humans and their environment for purposes of education or leisure.

(bb) “National cultural treasure” shall refer to a unique cultural property found locally, possessing outstanding historical, cultural, artistic and/or scientific value which is highly significant and important to the country and nation, and officially declared as such by pertinent cultural agency.

(cc) “Nationally significant” shall refer to historical, aesthetic, scientific, technical, social and/or spiritual values that unify the nation by a deep sense of pride in their various yet common identities, cultural heritage and national patrimony.

(dd) “Natural property of cultural significance” shall refer to areas possessing outstanding ecosystem with flora and fauna of national scientific importance under the National Integrated Protected Areas System.

(ee) “NCCA Portal Cultural Databank” refers to the specific domain in the Commission’s intranet for cultural information that is accessed only internally with control and confidentiality. It includes the registry of national cultural property.

(ff) “Prehistory” shall refer to the period of human history before the introduction of the forms of writing.

(gg) “Registry” shall refer to the Philippine Registry of Cultural Property which is the registry of all cultural property of the country deemed of significant importance to our cultural heritage.

(hh) “Restoration” shall refer to the action taken or the technical intervention to correct deterioration and alterations.

(ii) “Tangible cultural property” shall refer to a cultural property with historical, archival, anthropological, archaeological, artistic and architectural value, and with exceptional or traditional production, whether of Philippine origin or not, including antiques and natural history specimens with significant value.

     Sec. 5. Cultural Property Considered Important Cultural Property. - For purposes of protecting a cultural property against exportation, modification or demolition, the following works shall be considered important cultural property, unless declared otherwise by the pertinent cultural agency:

 

     Unless declared by the Commission,

 

     (a) Works by a Manlilikha ng Bayan;

 

     (b) Works by a National Artist;

 

     Unless declared by the National Museum,

 

     (c) Archaeological and traditional ethnographic materials;

 

     Unless declared by the National Historical Institute,

 

     (d) Works of national heroes;

 

     (e) Marked structure;

 

     (f) Structures dating at least fifty (50) years old; and

 

     Unless declared by the National Archives,

 

     (g) Archival material/document dating at least (50) years old.

 

     The property owner may petition the appropriate cultural agency to remove the presumption of important cultural property which shall not be unreasonably withheld.

 

     Sec. 7. Privileges for Cultural Property. - All cultural properties declared as national cultural treasures and national historical landmarks, sites or monuments shall be entitled to the following privileges.

 

     (a) Priority government funding for protection, conservation and restoration;

 

     (b) Incentive for private support of conservation and restoration through Commission's Conservation Incentive Program for national cultural treasures;

 

     (c) An official heritage marker placed by the cultural agency concerned indicating that the immovable cultural property has been identified as national cultural treasures and/or national historical landmarks, sites or monuments; and

 

     (d) In times of armed conflict, natural disasters and other exceptional events that endanger the cultural heritage of the country, all national cultural treasures or national historical landmarks, sites or monuments shall be given priority protection by the government.

 

     All cultural properties declared as important cultural property may also receive government funding for its protection, conservation and restoration. An official heritage marker shall likewise be placed on an immovable cultural property to identify the same as important cultural property.

 

     Sec. 12. Designation of Heritage Zones. - The National Historical Institute and the National Museum, in consultation with the Commission and the Housing and Land Use Regulatory Board or other concerned agencies, shall designate heritage zones to protect the historical and cultural integrity of a geographical area.

 

     Sec. 13. Maintenance of Heritage Zones. - A heritage zone shall be maintained by the local government unit concerned, in accordance with the following guidelines:

 

     (a) Implementation of adaptive reuse of cultural property;

 

     (b) Appearance of streets, parks, monuments, buildings, and natural bodies of water, canals, paths and barangays within a locality shall be maintained as close to their appearance at the time the area was of most importance to Philippine history as determined by the National Historical Institute; and

 

     (c) Local government units shall document and sustain all sociocultural practices such as, but not limited to, traditional celebrations, historical battles, recreation of customs, and the reenactment of battles and other local customs that are unique to the locality.

 

     Sec. 22. Renaming of Historical Streets, Buildings Designated as Cultural Treasure or Important Cultural Property. - The names of historical streets, parks, buildings, shrines, landmarks, monuments and sites designated as national cultural treasures or important cultural property shall not be allowed to be renamed by local or national legislation, unless approved by the National Historical Institute, and only after due hearing on the matter. Furthermore, for changes of names done to historical streets, parks, buildings, shrines, landmarks, monuments, and sites prior to the effectivity of this Act, the National Historical Institute may direct the local government units to restore their original names, also after due hearing.

 

     Sec. 35. Tax Exemptions on Donations. - All donations in any form to the Commission and its affiliated cultural agencies shall be exmpt from donor's tax and the same shall be considered as allowable deduction from the gross income in the computation of the income tax of the donor, in accordance with the provisions of the National Internal Revenue Code of 1997, as amended.

 

     Sec. 38. Incorporation of National Cultural Treasures and Important Cultural Property in the Basic Education System. - Within one (1) year from the effectivity of this Act, the Department of Education, in coordination with the Commission's Philippine Cultural Education Program, shall formulate the cultural heritage education programs both for local and overseas Filipinos to be incorporated into the formal, alternative and informal education, with emphasis on the protection, conservation and preservation of cultural heritage property.

 

     The Philippine Registry of Cultural Heritage Property shall likewise be incorporated into the formal, alternative and informal education by the provincial and local governments.

 

     Sec. 42. Creation of Sentro Rizal. - There is hereby created and established a Sentro Rizal whose main purpose is the promotion of Philippine arts, culture and language throughout the world.

 

     Sec. 43. Overseas Branches or Offices of Sentro Rizal. - Sentro Rizal shall have branches or offices in countries where there are children of overseas Filipino workers who need to be educated about their roots, as well as developed countries where there are large Filipino communities.

 

     Sec. 45. Services Offered. - The Sentro Rizal shall offer Filipino language courses for children and adults, as well as exhibits, small concerts, poetry reading, Philippine cuisine lessons in all Sentro Rizal branches.

Plaza System in the Philippines: A Spanish Colonial Legacy

 

                                                Photo: https://issuu.com/theseagull/docs/borderless_2023/s/20204510

The plaza system or complex during the Spanish period in the Philippines was a central aspect of the Spanish colonial government's urban planning and governance. It played a crucial role in the colonization and conversion of the archipelago. The plaza system was not only a physical space but also a symbol of power and control that enabled the Spanish rulers to maintain their authority over the local population.

Historically, the plaza system dates back to the early Spanish colonial period in the Philippines, which began with the arrival of Ferdinand Magellan in 1521. As the Spanish solidified their control over the islands, they established settlements and built towns following a grid pattern. These towns were typically centered around a plaza, which served as the heart of the community.

 

The plaza was a multi-purpose space that fulfilled various functions. It served as a place for religious activities, such as processions, fiestas, and religious ceremonies. It also functioned as a social gathering place for the locals, who would interact and socialize with each other in the plaza. Furthermore, the plaza was also used as a site for military drills and parades, exhibiting the Spanish military power to the local population.

The plaza system played a crucial role in the colonization and conversion of the Philippines. By establishing a plaza at the center of each town, the Spanish effectively brought the Spanish way of life to the local population. The plaza became a symbol of Spanish power and control, representing the assimilation of the native population into the Spanish colonial system.

 

As time went on, the plaza system evolved and developed. Eventually, the plaza became more elaborate, with the construction of grand structures such as churches, government buildings, and schools surrounding it. These buildings were designed to display the wealth and power of the Spanish rulers and Catholic Church.

 

The importance of the plaza system can still be seen today, as many Philippine towns and cities still maintain their colonial-era plaza complexes. These plazas continue to serve as gathering places for the local population. They are venues for various events, including concerts, festivals, and civic activities. The plaza remains a significant part of Filipino identity and serves as a testament to the country's colonial past.

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