Last October, a unique opportunity took us to Beijing for the “Protection and Development of Intangible Cultural Heritage (ICH) for ASEAN Countries“ seminar at the Central Academy of Culture and Tourism Administration. It was a shared learning experience, where fellows from across Southeast Asia exchanged stories of preserving their living traditions—stories that often mirrored our own.
The journey then led us to Xiamen (also known as “Egret Island”), a stunning coastal city in Fujian, China. Xiamen is a vibrant mix of Minnan (Southern Fujian) culture and international influences. I recall one of our colleagues in the literary world, Prof. Mac Tiu, mentioning that Xiamen is the very place his ancestors, and those of many Filipinos, once called home.
While Xiamen’s architecture and landscapes are famous, its true heart lies in its Intangible Cultural Heritage. This became clear as my team—consisting of Patmei Bello-Ruivivar and Oscar Casaysay, the head of the city’s Culture, Arts and Heritage Office—crossed the water to the famous islet of Gulangyu (Kulangsu). The short ferry ride, much like the one to our own Island Garden City of Samal, immediately sparked an idea: to find similarities that could offer insights into how ICH could be successfully championed on our island.
Gulangyu, a UNESCO World Heritage Site, instantly brought to mind the Island Garden City of Samal (IGaCoS). Both are distinct island destinations separated by a short distance from a major mainland city—Gulangyu from Xiamen, and Samal from Davao City. This shared island isolation creates a unique, protected environment, which serves as the perfect crucible for developing and safeguarding a distinct island identity.
Gulangyu is renowned not just for its beautiful composite architecture but for its captivating ICH: it is the Island of Pianos.
Its heritage is dominated by the unique adoption and cultivation of Western Classical Music. This influence was external, introduced by colonial powers and solidified by returning Overseas Chinese elites. This cultural immersion instilled a high level of aesthetic and musical education and created a uniquely harmonious, quiet living environment. The focus here is the preservation and performance of classical music (alongside local treasures like Nanyin opera).
In contrast, Samal is internationally recognized for its natural heritage—its pristine beaches, coral reefs, and eco-tourism.
Yet, Samal holds its own rich and often-unsung ICH. Its intangible heritage is deeply rooted in the Indigenous and Maritime traditions of the Sama people, encompassing fishing rituals, boat-building lore, and local dances. The goal here is the preservation of ancestral wisdom, folklore, and indigenous arts, centering life around the sea and nature.
My most crucial takeaway from this comparison is that the heritage of both islands is a direct result of their unique geographical and historical interactions: Gulangyu with the forces of global trade and colonial powers. Samal with its indigenous communities and the vast ocean.
They are both powerful examples where local identity is profoundly influenced by unique, non-material cultural expressions. Gulangyu provides a clear roadmap: by identifying and nurturing its unique blend of music, it has elevated its local identity to a global stage. Samal has the potential to do the same by championing its indigenous and maritime ICH, securing its cultural future while preserving its natural gifts.
These reflections are more than just thoughts; they are a call to action. They underscore the importance of appreciating and documenting our own rich, albeit undocumented, cultural heritage in Samal. That’s why it matters.
