There is a lot to unpack when discussing Intangible Cultural Heritage (ICH), as it doesn’t often enter mainstream conversations about arts and culture. In Davao City, however, ICH is beginning to gain traction. This is largely thanks to the new Office of Culture, Arts and Heritage and discussions around the city’s bid to become a UNESCO Creative City, joining others like Dumaguete (City of Literature) and Quezon City (City of Film).
It was therefore a significant opportunity when Davao Historical Society Trustees Patmei Ruivivar and I, along with Oscar Casaysay (head of the Office of Culture, Arts and Heritage), were invited to a two-week program in Beijing. The “Seminar on Protection and Development of Intangible Cultural Heritage for ASEAN countries,” held from October 24 to November 6, was hosted by the Central Academy of Culture and Tourism Administration. It showcased China’s successful strategies in ICH, particularly the innovative integration of heritage into the modern economy.
The seminar was immersive, providing a sharper lens to view ICH through our own practices. One interesting discussion was on cultural appropriation, which our hosts said is not a concept in their culture. Their perspective is that for heritage to survive, it must grow and adapt; otherwise, it will fade away. The courses offered valuable insights, especially on using new media in tourism, developing creative cultural products, and establishing “Digital Boxes” for widespread promotion.
Beyond the classroom, we enjoyed field trips to World Heritage Sites like the Great Wall and the Temple of Heaven. A study tour to Xiamen City was also mind-blowing, especially our visits to the Minnan Intangible Cultural Heritage Museum and Gulangyu, a major tourist island off the coast.
Throughout the seminar, we discussed how we in Davao City could inject more enthusiasm into promoting our own local treasures and build on the Philippines’ existing UNESCO-inscribed ICH.
The Philippines actually has a robust framework for appreciating living heritage, anchored in national law and community practices. We were one of the first countries to adopt UNESCO’s definition of ICH through Republic Act No. 10066 (the National Cultural Heritage Act of 2009). This law names the National Commission for Culture and the Arts (NCCA) as the primary body responsible for safeguarding ICH.
In the country report Patmei presented at the seminar’s conclusion, she highlighted key Philippine initiatives. One is the Gawad sa Manlilikha ng Bayan (GAMABA), or “National Living Treasures Award,” which honors individuals who practice traditional arts. By providing prestige and grants to masters—like Magdalena Gamayo (Abel weaver) or the late Samaon Sulaiman (Kutyapi musician)—the award uplifts their entire community, creates pride, and ensures skills are passed on. She also highlighted the Schools of Living Traditions (SLTs), which are non-formal learning centers, supported by the NCCA, where cultural masters teach their skills directly to young people.
Our official UNESCO-inscribed ICH includes the Hudhud Chants of the Ifugao, the Darangen Epic of the Maranao, the Aklan Piña Handloom Weaving, and the Buklog of the Subanen.
We still have a long way to go in documenting and promoting our own ICH, much of which has gone unnoticed. With our multi-ethnic and diverse culture, we must act quickly to safeguard these traditions before time and globalization cause us to lose this vital part of our identity.
