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Cultural Education in the Philippines: An Impact Assessment
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Bonnet, M.P.D., Melegrito, M.L., Songco, E.A., Caranto, M., Magat, H.G. & Hernandez, P.J.S. (2018). Cultural
Education in the Philippines: An Impact Assessment. Asia-Pacific Journal of Student Affairs, 3, 1-30.
Cultural Education in the Philippines: An Impact Assessment
Ma. Paquita D. Bonnet1, Ma. Lourdes Melegrito1, Evelyn A. Songco2, Melfi Caranto3,
Henry G. Magat3, Philippe Jose S. Hernandez2
1
De La Salle University, Manila, Philippines
2
University of Santo Tomas, Manila, Philippines
3
Jose Rizal University, Pasig City, Philippines
Abstract
This impact assessment covers the period of 2002-2012, during which the
National Commission for Culture and the Arts—through the National Commission for
Cultural Education—implemented projects faithful to the Philippine Cultural Education
Program, as well as provided grants to various individuals, groups, and institutions.
Guided by the qualitative research principles and using Grounded Theory
methodologies in analyzing data and the Logic Framework by Ellen Powell, focus
group discussions and key informant interview were held in various regions. Over all,
results show a significant positive impact and subsequent change in the scholar-
beneficiaries, for the interventions touched at the very heart of it all—culture, heritage,
identity. The interventions and investments are indeed laudable, and such noteworthy
efforts need to be continued and made more systematic in order to ensure the
optimization of its potential.
A more systematic cultural education roadmap is desirable, but this must be
carried out in close and efficient coordination with the Department of Education and
other concerned agencies, like the Department of Tourism, local government units, and
Department of Environment and Natural Resources, among others.
Introduction
The Philippines is a culturally diverse nation estimated to have 110 ethno-
linguistic groups living in over 7,000 islands. To instill patriotism and love for the
Filipino culture among its citizenry, the National Commission on Culture and the Arts
(NCCA) was created by virtue of Presidential Executive Order No. 118, to serve as the
inter-agency commission of the country to coordinate cultural policies and programs.
Under the auspices of the NCCA is the National Committee on Cultural
Education (NCCED) which systematically implements cultural education in the country
whose flagship project is the Philippine Cultural Education Program (PCEP)
conceptualized in 2002 that provides the framework in understanding and appreciating
Philippine culture and its manifestations through the various initiatives and projects
implemented.
1
Figure 1 encapsulates the vision, guiding principles, strategies and programs that
enable the PCEP implementation in attaining the three broad outcomes: (1) appreciation
of Philippine culture; (2) cultural literacy; and (3) social transformation. Anchored on
culture, the guiding principles of PCEP indicate the development of Kakanyahan, one’s
cultural uniqueness (selfhood); bayan, the appreciation and love for the country and its
cultural heritage (nationhood); and pamayanan, the local community where cultural
heritage resides, discovered, promoted, sustained and preserved (community-hood). It
identifies the venues of cultural education in the cited formal, non-formal and informal
sectors supported by legislative actions, financial support and collaborative
partnerships.
VISION A Nation of Culturally Literate and

Empowered Filipinos
GUIDING
PRINCIPLES KAKANYAHAN BAYAN PAMAYANAN
STRATEGIES AND
PROGRAMS FORMAL EDUCATION
TRANSFORMATION
TRAINORS’ TRAINING PROGRAM
SOCIAL
NON-FORMAL EDUCATION
CULTURAL EDUCATION PROGRAM FOR

CULTURE MAP
PHILIPPINE
INSTRUCTIONAL
ARTISTS’ AND CULTURAL WORKERS’

MATERIALS
CULTURAL
LITERACY
CULTURAL EDUCATION PROGRAM FOR PEOPLE IN
GOVERNMENT AND CIVIL SOCIETY
COMPETIENCIES / STANDARDS
CULTURAL EDUCATION PROGRAM PHILIPPINE CULTURE

MINIMUM LEARNING
FOR MEDIA
APPRECIATION OF
INFORMAL EDUCATION
LEGISLATIVE / EXECUTIVE ACTION

ADEQUATE FINANCIAL SUPPORT
COLLABORATIVE PARTNERSHIPs
Figure 1. PCEP2.0 Work Program Flowchart
2
This research aims to assess the impact of implemented projects of the Philippine
Cultural Education Program (PCEP), the Initiated Projects and Grants Program of the
National Committee on Cultural Education (NCCED) for the years 2002-2012, with the
end-view of developing efficient measures in assessing NCCA performance henceforth.
The independent impact assessment was delegated to the Research Team of the
Philippine Association of Administrators of Student Affairs (PAASA), Inc.
Impact Assessment and Logic Framework

Impact assessment “employs the systematic collection of information about the
interventions or activities, characteristics and outcomes of programs in order to make
judgments about the program, improve program effectiveness, and/or inform decisions
about future programming” (Patton, 1997, p. 23). It helps in planning, implementation,
evaluation, and communicating results more effectively. The research proponents made
use of the Logic Framework Analysis adapted from the work of Taylor-Powell (2008) as
basis for assessing the effects or changes that occur in the beneficiaries of various
interventions financed, sponsored, granted or supported. This Logic Model (Figure 2)
has the following components: INPUTS (What is invested - RESOURCES) – OUTPUTS
(What is done - ACTIVITIES)– OUTCOMES (What CHANGES OR BENEFITS result -
IMPACT).
Inputs – refer to the tangible and intangible resources invested to run a project or
program: personnel, time, technology, money, materials and equipment
that allow achievement of desired outputs.
Outputs – are strategies, interventions and activities conducted that reach
targeted participants/populations: workshops, meetings, camps,
publication, curriculum, media releases, website, and field days, among
others; also refer to the characteristics, number, and reactions of those
participating in the project or program that lead to outcomes.
Outcomes – are changes or benefits for individuals, families, groups, businesses,
organizations, and communities. These indicators of learning, action and
impact in various levels of cognitive, affective and behavioral domains,
point to changes in social, economic, civic, and environmental sphere.
Outcomes occur along a path from shorter-term achievements to longer-
term achievements (impact).
In the Outcomes-Impact Learning Component, data are gathered to obtain

information about what people know, what people do, what they have, what they
think, feel or want.
3
Knowledge indicates what people know, how well they understand

something as an offshoot of an intervention. This validates the attainment
of program objectives.
Beliefs, Attitudes, and Aspirations refer to psychological states—the
perceptions people hold, their thoughts, feelings, ideas, judgments or
ways of thinking.
In the Outcomes-Impact Action Component, behavior refers to what people

do, what they have done in the past, do now, or plan to do in the future. This action
component assesses practices, patterns of decision-making, policy formulation, and
social action indicative of action component.
The Outcomes-Impact Component assesses the effect of the program in

the social, economic, civic and environmental life.
4
Program Planning and Evaluation
Inputs Outputs Outcomes-Impact

Activities Participatio Learning Action Impact
n
S What do What do we Who needs What do How do What kind
I we need have to do to we think we think of impact
T to achieve to ensure • participat the the can result if
U our goals? our goals e? participant participant the
A are met? • be s will s will participants
T involved? know, feel, behave or behave or
I • be or be able act act
O reached? to to do differently differently
N Staff after after after
/ Volunteer Workshops participati participati participatio
P s Meetings on in the on in the n in the
R Time Camps Number program? program? program?
I Money Curriculum Characteristi
O Masterials Publications cs
R Equipmen Media Reactions Awareness Behavior
I t Website Knowledg Practice Social
T Technolog Projects e Decisions Economic
I y Partners Field Days Attitudes Policies Civic
E Skills Social Environme
S Aspiration Action ntal
s
Ellen Taylor-Powell (2008)
Assumptions External Factors
EVALUATION
Figure 2. Logic Model Framework
Assumptions are the beliefs about the program and how the people involved
think how the program will work. These underlying beliefs are validated in the process
of research and gained experience.
5
The environment in which the program exists includes a variety of external

factors that can influence the program's success. The external factors include the
cultural milieu, the climate, economic structure, housing patterns, demographics,
political environment, background, experiences of program participants, media,
changing policies and priorities and these may have a major influence on the
achievement of outcomes. They not only influence the initiative but are influenced by
the initiative.
Taylor-Powell (2008) asserts this model includes a specific focus on participation
or reach. Participation was part of the Bennett hierarchy of program effectiveness; reach
is a concept that Montague (1997, 1994, as cited in Taylor-Powell, 2008) uses in
discussing the 3 Rs of performance: resources, reach, results; which is also discussed in
McLaughlin and Jordan’s article on logic models (1999, as cited in Taylor-Powell, 2008).
According to Taylor-Powell, good program design depends on a clear articulation and
understanding of the target audience; and activities are designed based on audience
characteristics and expected outcomes flow from those participants. Evaluators must
track and report participation data. Who are those that evaluators work with and how
many? Thus, in the logic model participation is explicit - who to target, who to reach
and as a result, what outcomes can be expected or are achieved.
Research Questions
This Impact Assessment of Cultural Education focuses on outcomes of the
various interventions and will answer the following questions:
1. To what extent were the interventions identified in the PCEP Program from 2002-
2012 produce the intended benefits?
a. On cultural literacy, education, and appreciation,
i. Were the program beneficiaries/respondents’ cultural awareness,
understanding and appreciation broadened and what are its manifestation?
1. What were the insights / learning of those involved in the intervention?
2. What were the areas of the implementation of the intervention that
beneficiaries are happy about?
ii. Did the program beneficiaries/respondents initiate the development,
implementation and integration of cultural programs, projects and activities
in their institutions/communities? What are these initiatives?
iii. Were there greater cultural involvements in their institutions/communities as
a result of the program beneficiaries’ initiatives?
b. On social transformation,
i. Were the programs able to empower cultural workers and become agents of
transformation?
6
ii. Were the programs able to transform relationships through promotion of

equitable, just, peaceful, productive and inclusive relationships within
households, communities and environment?
iii. Were the cultural program interventions able to develop interdependent and
empowered communities?
iv. Was there a marked change in policies, systems and structures of
governance?
c. On sustainable preservation and management of cultural heritage at the local

level,
i. Were there efforts undertaken to articulate the historic, economic, and
cultural context of the community through a comprehensive reading and
inventory of the place?
ii. Were there commitment to reinforce and enhance the community’s identity
through an understanding of its historic, cultural, economic and social
context?; and
iii. Were there implemented policies, regulations, and incentives that support
and enhance this evolving identity through a local implementation
framework and culture and arts programming?
2. To what extent were the NCCED projects and programs cause changes among those
involved in their implementation?
i. What were the opportunities that opened to the beneficiaries after the
intervention?
ii. What were the challenges encountered during and after the intervention?
iii. What were the personal and professional gains acquired in attending the
intervention?
iv. What specific skills were acquired due to the intervention?
v. What specific values were learned from the intervention?
vi. What were initiatives done as a result of the intervention?
3. What was the overall impact on the intended beneficiaries?
i. What were the achievements of beneficiaries attributed to the intervention?
ii. What were changes in behavior have resulted from the intervention?
iii. What changes in decision-making occurred due to participation in the
intervention?
iv. What policies have changed due to the participation in the intervention?
v. What specific social actions were borne out of the beneficiaries’ participation
in the intervention?
vi. What were the environmental, political, economic and social impacts
attributable to the interventions?
7
4. To what extent were resources being spent efficiently?

5. What can be done for the programs to be better designed in order to achieve the
intended outcomes?
i. What were the areas that need improvement in the interventions?
Significance of the Study

This impact assessment contributes to the body of knowledge that defines and
promotes cultural education in the Philippines, particularly the National Commission
on Culture and Arts. Specifically, the desired outputs of this impact assessment are the
following:
1. the qualitative evidence of impact in the personal, professional, community
and national levels in the three areas, namely, cultural literacy, social
transformation and sustainable management of cultural heritage;
2. consolidated multi-stakeholders’ recommendations to enhance positive
impact and mitigate the negative impact; and
3. concrete mechanisms at all levels, to address the cited stakeholders’
recommendations;
4. development of an Assessment Tool that indicates impact on the recipients of
the program or projects, on the community or on the nation.
Scope and Limitations

This Impact Assessment covers ten years of project and program implementation
of the Philippine Cultural Education Program, the National Committee on Cultural
Education and its Grants program. The PAASA Research Team identified the
Kaguruang Makabayan Writeshops and Graduate Diploma on Cultural Education
participants - scholars to be the respondents in the focus group interviews, and conduct
key informant and individual and group interviews in order to triangulate data in
assessing the impact on the implementers, recipients of the program, as well as
community and societal stakeholders. Purposive sampling was used specifically as the
program implementers of earlier years are not available at the time of data gathering.
Research Method
The Research Paradigm
Figure 3 depicts the status of implementation between the inputs of the
Philippine Cultural Education Program and NCCED projects and grants programs and
the outputs for the intended beneficiaries of the formal, non-formal, and informal
sectors. The outcomes or impact of programs and projects are then determined vis-à-vis
8
the indicators for cultural literacy, social transformation and appreciation of Philippine
culture through the sustainability management of cultural heritage.
Inputs Outputs Outcomes

Related Literature Philippine Culture Cultural Literacy,
PCEP Vision Map Education and
Minimum Learning Appreciation
Guiding Principles Competences
Instructional Social Transformation
Strategies Materials
Teacher Training Sustainable Management
Programs and Projects Graduate Diploma/ of
Certificate Program Cultural Heritage and
Government Funding Other Programs and Development
Projects in Formal
Non-formal
Informal
Structures

Figure 3. The Research Paradigm
Indicators of Outcomes
Outcomes answer the question "So what?" What difference does the investment
of resources and the education or training make? How does an educational intervention
create change in the person, in the community and in the country in general? The
outcomes identified in the Philippine Cultural Education Program 2.0 and NCCED
initiated projects and programs were matched with outcomes of UNESCO and other
related literature and were focused on cultural literacy, social transformation and
sustainable management of cultural heritage. The indicators of each of the broad
outcomes are the following:
Outcome 1 Cultural Literacy
Indicator 1.1 Increase in awareness and understanding of culture
Indicator 1.2 Deeper appreciation and acceptance of cultural identity and diversity
Indicator 1.3 Greater cultural involvements in their institutions or communities
Indicator 1.4 Can communicate, interact and work positively with other cultural
groups
Indicator 1.5 Use of technology in cultural education
Outcome 2 Social Transformation

Indicator 2.1: Evidence that cultural workers act as empowered agents of
transformation
Indicator 2.2: Relationships among cultural workers become inclusive and productive
9
Indicator 2.3: Evidence of interdependency among cultural workers and their

communities
Indicator 2.4: Marked change in policies, systems and structures of governance
Outcome 3 Appreciating Local Community Context

Indicator 3.1: Broader and deeper understanding of historic and cultural context
Indicator 3.2: Mechanism to ensure that the wealth of information covert in the
community is revealed, enhanced, and maintained over time
Outcome 4 Building Cultural Community Identity

Indicator 4.1: Projects/activities that reinforce community cultural identity and enhance
understanding and appreciation of community cultural context and
values
Outcome 5 Local Community Implementation Framework

Indicator 5.1: The presence of local legislation and executive implementing ordinances
which support the conservation, preservation and sustainability of
community cultural identity.
Outcome 6 Provision for Arts and Culture Programming

Indicator 6.1: Mechanisms, programs and projects that provide education on cultural
and historical context of a community and creating opportunities for
participation in community life through festivals, events and
performances, interactive classes and workshops, and a variety of other
activities
Locale, Populationm and Participants of the Study

This study was conducted in 14 cities and municipalities across the country. The
right basis for defining respondents in a qualitative data gathering like the Focus Group
Discussion (FGD) or Key Informant Interviews (KII), is not representativeness and
random drawing, but the respondent from whom the researcher learn the most about
the subject of the research (Roberto, 2012). The respondents totalled 108 across cities.
Focus Group Discussions

Nine (9) localities served as hosts for the Kaguruang Makabayan FGDs, while five
(5) others dealt with Graduate Diploma for Cultural Education FGDs.
Key Informant Interviews

Key informants are individuals who serve as implementers, professors, directors
and/or key agents in the various programs and projects of the PCEP and NCCED whom
10
the Research Team can learn the most. Interviewees from Albay, Cebu, Lake Sebu
Ancestral Domain in South Cotabato, and Laguna participated in the research.
Data Gathering Instrument

Two researcher-designed questionnaires were constructed for the purpose of
obtaining qualitative data from the respondents and from which indicators were
extracted to be used in the assessment of the local government units.
Data Gathering Procedure

Formal communications were sent to the Schools Division Superintendents for
permission. Due to K-12 curriculum and the red alert advisory from the military with
territorial issues in Mindanao, planned visits to other areas were not part of the study.
Data Processing Technique and Analysis

The electronic records of the FGDs were transcribed, organized and processed
for analysis. The videos and photos were organized per locality and stored
electronically. Qualitative data analysis such as explication de text, coding, categorizing
and memoing were utilized.
Presentation of Results
The State of Philippine Cultural Education Program vis-à-vis PCEP Agenda.

Based from the Report of NCCA Project Monitoring and Evaluation Division (Flores, A.
2008 to Mid 2012) PCEP has eleven (11) identified objectives and their status of
accomplishment are presented in Table 1.
Table 1.
PCEP ‘s 11-Point Agenda and Outputs
PCEP AGENDA OUTPUTS
1. Establish an index from Around 8,000 data from 17 Regions were collected as a result
the existing body of of Regional Cultural Mapping using Dr. Prospero Covar’s
knowledge on Total Environment Framework (TEF). The 17 regions are
Philippine culture and NCR, CAR, ARMM, Ilocos Region, Cagayan Valley, Central
arts; Luzon, CALABARZON, MIMAROPA, Bicol, Western
Visayas, Central Visayas, Eastern Visayas, Zamboanga
Peninsula, Northern Mindanao, Davao Region,
SOCCSKSARGEN, and CARAGA.
11
2. Define essential cultural A list of about 600 icons constituting the Essential
knowledge that will Knowledge On Philippine Arts, Culture and Heritage for
complement each the Basic Education Curriculum (EKPACHBEC) was turned
minimum learning over to the Instructional Materials Council Secretariat of the
competencies per grade Department of Education last September 2010, for integration
level; and mainstreaming in the basic education curriculum.
The icons are listed per minimum learning competency per

grade level (and even per grading period). Same list were
being farmed out by DepED to publishing houses who are
interested to bid for DepED book production in 2011-2012
Another round of consultation and review was scheduled in

2012 to come up with an updated list of Essential Cultural
Knowledge corresponding to K-12 minimum learning
competency requirements.
3. Ensure utilization of PCEP, in partnership with National Commission on

Philippine Cultural Language and Translations, has produced the Sagisag Kultura
Index and the Essential (Cultural Icons) Para Sa Batayang Edukasyon K-12. The
Cultural Knowledge; project is the production of resource books/materials
containing the first 800 cultural icons with write-up in
Filipino, photos and/or illustrations.
4. Develop basic NCCED-PCEP has started working on the “Mother-Tongue-
instructional materials; Based Multi-Lingual Education (MTB-MLE)-based Sagisag
5. Create, inventory and Pangkultura Resource Books” with teaching guide and lesson
package culture and exemplars for all the 17 regions. Completion of these
arts kits and self- materials written both in vernacular (Using the DepEd-
contained modules for mandated major languages) and Filipino. The set of resource
cultural education; books will initially showcase a total of 1,700 icons (100 per
region).
5. Provide comprehensive Informal, Non-formal and Alternative Cultural Education

trainer’s training and Good Governance (INFACE) Trainings across all
paradigm for artists and regions
cultural workers;
6. Establish continuing Currently developing a Masteral Program for Culture and
education program for Arts Studies for artists and cultural workers
artists and cultural
workers;
12
7. Institutionalize culture PCEP has partnered with Local Government Units, the
and arts programs in academe, culture and arts organizations, non-governmental
formal, non-formal and organizations and had trained a total of 4,623 participants:
informal education; 930 for good governance and 3693 for INFACE and 2,880 for
Kaguruang Makabayan.
8. Cause the enactment of * PCEP is already included in Republic Act 10066 dubbed as
national legislation or the National Heritage Law
executive actions for the
structure of cultural
education in all sectors
and for the
implementation of the
PCEP;
9. Establish an NCCA- With NCCED as an oversight committee, PCEP is now
based structure to operating under a Task Force headed by a Director.
ensure effective
implementation; and
10. Establish mechanism PCEP Task Force is currently taking advantage of its
for planning and Achievements; representation in the Teachers Education
implementation of the Council in Consultative meetings, Teacher Participation to
PCEP at the local and trainings and scholarship is always coursed through the
national levels. DepEd Main Office translated to Memorandum, and GDCE
Achievement Reports are also submitted to DepEd
Secretary– all towards exploring possibilities of integration
and institutionalization of the program in the Basic Education
Curriculum (BEC).
Interfacing with the Technical Working Group (TWG) for
Cultural Education in the Commission for Higher Education
is also being done to consult and facilitate approval of
culture-based curricula of partner HEIs.
Funded Projects by the National Committee on Cultural Education (NCCED)

NCEED funded a total of 120 projects amounting to over P73 million within ten
years. The biggest volume of projects was conducted in 2008, 2009, and 2011
respectively when PCEP 2.0 was in full swing. Various projects funded were cultural
camps, cultural mapping, education conferences and policy-making endeavours,
training for teachers and non-teachers, government employees, environment, language
and cultural groups as well as tourism and research. Despite the limited funding for the
last 10 years, the programs and projects of NCCED and PCEP are testament to the
13
support of government to culture and the arts. Figure 3 shows the graphic
representation of NCCED programs and projects in percentage.
Series1, Students’
Trainings, 4, 3%
Series1, Others*,
9, 7%
NCEED Programs
Series1, PCEP 2002-2012 Teachers/
Projects, 8, 7% TeachingRelated
Trainings
Series1, Teachers/ LGU Training &
Teaching Related Workshops
Series1, LGU Training Trainings, 55, 46%
& Workshops, 44, PCEP Projects
37%
Figure 3. NCCED programs and services in percentage
The NCEED 10-year program gave greater weight on cultural education through
the training and workshops of teachers. Forty-six percent (46%, n=55) of its efforts and
funding were allocated to teachers’ training whereas thirty seven percent (37%, n=44)
were for programs conducted to aid the regions in the implementation of various
cultural heritage and festivals. Seven percent (7%) was allocated to various cultural
organizations to support in cultural education efforts. Among the said grantees were
the following: Artist Welfare Project Inc. (AWPI), Heritage and Arts of the Philippines,
Inc. (HAPI), Linangan ng Imahen Retorika at Anyo, Inc. (LIRA), Ayala Foundation,
Cordillera News Agency Foundation, Sigmalon Foundation for Culture and the Arts,
Philstage, PETA, and Computer Professionals, Inc. Moreover, seven percent (7%) of
NCEED’s funded projects goes to the Philippine Cultural Education Program Task
Force while about three percent (3%) allocated to students’ training.
Projects and Programs of the National Committee on Cultural Education
The initiated projects and programs of NCCED aimed at increasing the

competency level of cultural workers in their awareness and understanding of culture.
These are:
a) Kaguruang Makabayan National Consultative Workshop Series on Culture-
based Teaching of the MAKABAYAN Curriculum;
b) Certificate Program / Graduate Diploma in Cultural Education, a post-
baccalaureate training program for basic education teachers;
c) National Cultural Mapping Project to consolidate a national cultural index
based on 300 entries per region;
14
d) Island-clustered National Summit on Community-Based Informal, Non-

Formal and Alternative Cultural Education (INFACE) programs of local
government units and culture-focused non-government and people’s
organization;
e) Sagisag Kultura ng Pilipinas Project which was implemented with the NCCA
National Committee on Languages and Translations which produced
an almanac-type resource book on 800 regional icons;
f) Sagisag Kultura (ICONS) Para Sa Batayang Edukasyong K+12, a resource
book on 100 cultural icons per region written in vernacular in aid of
Mother-Tongue Based instruction; and
g) National Conference on Cultural Education and Lifelong Learning and the
National Training on Culture and Governance for Local Government
Units.
Kaguruang Makabayan (KAGUMA). This is a four-island-clustered (Luzon,

Visayas, Mindanao and NCR) teacher training initiative since 2008 in the formal
educational system for public school teachers. This is organized in the summer months
of April and May and lasts for three days. The intervention is designed as a general
introduction to culture-based educational philosophy and prepares the teachers in
developing lesson exemplars using integrative and interactive teaching approaches and
methodologies intended across the Basic Education Curriculum. The target participants
of the intervention are a minimum of 600 teacher-participants nationwide yearly. From
2008 to 2012 KAGUMA trained 2,880 Public School Teachers which is 3% higher than
the target of 2,800 participants.
The following topics were incorporated in the program of KAGUMA:

1) Mainstreaming the Philippine Cultural Education Program’s Essential
Cultural Knowledge in Basic Education Curriculum
2) Malikhaing Guro as Teaching Philosophy and Methodology
3) Mother-Tongue Multilingual Education as a Platform for Culture-Based
Lessons
4) Lakbay-Hai: Local Heritage Sites as Learning Resources
5) Culture and Heritage as Organizing Frame for Developing Culture-Based
Lessons
6) Overview of UBD as Curriculum Framework in Developing Culture-Based
Lessons
7) Discipline-Based Arts Education and Multiple Intelligence as Teaching Tools
15
Graduate Diploma on Cultural Education, initially named Certificate Program

in Cultural Education, is the institutionalization of a credit-earning post-baccalaureate
teachers’ enhancement scholarship program. This is an HEI-based residential program
for in-service of DepEd teachers which earn a student 24 units that can be credited for
his/her Master’s degree, an offshoot of the Kaguruang Makabayan seminar.
The GDCE is a two- summer program conceptualized to offer academic courses
on the different facets on cultural education; deepen appreciation and acceptance of
diverse cultural beliefs as well as continue the learning process to a higher level. It
covers a total of 432 hours of intensive training focused at integrating functional
understanding of the local and national history, culture, heritage and the arts into the
five core subject areas – Social Sciences, Languages, Science, Math and MAPEH. It
requires participant-scholars to produce researches on local history, reflection papers,
and group and individual lesson exemplars on culture-based basic education. The
NCCED-PCEP have already partnered with 15 HEI-implementers since 2008 with about
953 in-service teachers on GDCE scholarship program. Table 2 shows the 15 partner
universities in the Graduate Diploma in Cultural Education across the country.
Table 2.
Partner Institutions in Cultural Education
Certificate Program in Cultural Education Graduate Diploma in Cultural Education
Partner Universities Additional New Partner Universities
1. Southwestern University 12. Enverga University oundation, Lucena

City
2. Bicol University, Legazpi, Albay 13. Palawan State University, Puerto

Princesa City, Palawan
3. Colegio de San Juan de Letran, Calamba 14. St. Paul University, Surigao City
City, Laguna
4. JH Cerilles State College, Pagadian City 15. Western Mindanao State University,
Zamboanga City
5. Miriam College Foundation, Quezon

City
6. University o Regina Carmeli with
Bulacan Arts, Culture and History, Inc.,
Malolos City
7. Central Mindanao University, Bukidnon
8. Bulacan State University, Malolos City
16
9. Cebu Normal University, Cebu City
10. Isabela State University, Cauayan City
11. La Salle University, Ozamis City
The National Cultural Mapping Project aimed to consolidate a national cultural

index based on 300 entries per region with categories that include natural and built
heritage, intangible heritage and movable heritage. The Philippine Cultural Index
Project was completed in April 2005 under the direction of Dr. Prospero Covar using
the Total Environment Framework which represented the Filipino’s cognition of his
own cultural environment, divided into Kalikasan (Nature) and Kalikhaan (Culture). The
cultural dimension of the total environment framework, Kalikhaan (Culture) is divided
into three: (1) society (Lipunan); (2) arts and crafts (kalinangan); and (3) communication
arts (talastasan). Around 8,000 data from 17 Regions were collected as a result of the
Regional Cultural Mapping Project in 2008, with terminal reports in various
presentation styles. Cultural mapping is also used as a teaching strategy in the
KAGUMA and Graduate Diploma in Cultural Education. From the Cultural Index
sprang the 1000 Sagisag Kultura contained in the CD format of cultural icons.
Island-clustered National Summit on Community-Based Informal, Non-

Formal and Alternative Cultural Education (INFACE) programs of local government
units and culture-focused non-government and people’s organization. Case studies of
Malolos, Bulacan and Mauban, Quezon showed the successful implementation of
INFACE.
Sagisag Kultura ng Pilipinas Project was implemented with the NCCA National
Committee on Languages and Translations that produced an almanac-type resource
book on 800 regional icons; and Sagisag Kultura (ICONS) Para Sa Batayang
Edukasyong K+12, a resource book on 100 cultural icons per region written in
vernacular was done in aid of Mother-Tongue Based instruction.
DISCUSSION OF IMPACT AND OUTCOMES
On Cultural Literacy
Knowledge. The participants of KAGUMA were happy about the high standard
of knowledge imparted to them by the facilitators (N=15); the workmanship expected
from their outputs and the extensive content of the program with various strategies
affecting the three domains: cognitive, affective and psychomotor. Strategies used were
dance, music, drama, acting, directing, script writing, pantomime, among others. The
17
participants feel that they were given the chance to discover their potentials and
enhance their skills as teachers. Ninety five percent (95%) of the participants rated their
experience with KAGUMA between 9 and 10 from the range of 1-10; 10 as highest and 1
as lowest.
Moreover, the participants were happy with the following topics: Philippine
culture and the arts (n=6); dance, festival management, cultural icons, organization of
theatre/cultural troupe, integration of culture and arts in the performing arts, culture
based Lesson exemplar (n=2), media-based documentation, research and extension
(n=2) and theater arts (n=3).
The Kaguma participants cited in particular the discovery of new and validation
of their teaching strategies. To wit, “kasi nung hindi pa ko nakaka-attend ng Kaguma, hindi
ko alam kung tama yong ginagawa ko, kung tama yong sinasabi ko. Nang umattend ako ng
Kaguma, na-realign lahat … na tama pala ito…ito pala yung connection nito… at navalidate
ang natutunan ko way back in college”.
Moreover, another participant revealed “mas naging equipped ako,
knowledgeable dun sa sinasabi ko. Unlike before binabasa ko lang, kung ano lang napulot ko
sa binabasa ko. Now, mas knowledgeable na ko kasi na-experience ko na, at the same time,
nakita ko na rin kung paano ko siya iha-handle”.
Another confirmed that “nakakagawa ako ng sarili kong module by integrating
everything into a piece of learning na maiintindihan ng mga bata”; while another teacher
employed “critical analysis” in order to emphasize the story behind cultural events and
celebrations.
Based on the terminal reports of the GDCE and interviews of the key informants
and program implementers, the program identified an increase in awareness of teachers
on culture and the arts, pedagogical knowledge, teaching strategies and a deeper
valuing of their cultural heritage. This has also been observed among the other graduate
students during the cultural presentation organized by the students enrolled in the
GDCE. Moreover, the quality of inputs, lectures, field experiences and class creative
outputs greatly influenced the outcomes of the GDCE.
Beliefs, Attitudes, and Aspirations The participants who at first didn’t

understand the relevance of the KAGUMA and the need to travel to another island for
the training had completely changed their attitude as the training revitalized their
interest in Philippine culture and their sense of nationalism. They vowed to inculcate
nationalism and local culture among students through their lesson planning, classroom
activities and decorations. In particular, the respondents from South Cotabato had their
classrooms transformed into mini-museums while in the Bicolandia, cultural arts
outputs of students were all over the school, the playground, the classrooms and the
walls. Moreover, the Kaguma participants acknowledged that they have changed and
gained from the training professionally.
18
Outcomes-Impact Action Component. Kaguma also widened the opportunities

for professional career. One of the participants realized after the training, “mas
napagtibay ko na pwede pala akong maging mas mahusay na facilitator, I gained more
knowledge regarding culture-based at nakapag-echo ako thrice already”; “ honestly, kung
wala yong Kaguma training ko, wala ako sa level ko ngayon; hindi po ako nakapag-Master’s”.
A participant’s enthusiasm extended to her family by planning and going on
trips to visit places not only in their island cluster but also in the country. Another
became resourceful by re-visiting their local cultural spots and had a deep resolve to
promote local tourism and lobbying in the local government to improve their historical
place.
The Kaguma did not only affect the participants but the trainors and facilitators
as well in terms of their commitment to share their expertise with the teachers. Aside
from personal and professional gains from the Kaguma training, a participant cited
“ang impact nito ay sa mga bata na tinuturuan ko - sa mga organization nila outside school;
“pag magaling ako at tumatak sa kanila yung ginagawa ko, these students with organizations
outside the school, in the barangay would invite me to share what I taught them in the
classroom…lumawak ang classroom ko, hindi lang sa apat na sulok ng silid aralan kung di sa
komunidad na, and these I have experienced already”.
Cultural mapping as a learning module during the Kaguruang Makabayan

(KAGUMA) training and Graduate Diploma on Cultural Eduation
Impact – Learning Component. Respondents of the Focus Group Discussion

cited that cultural mapping helped them learn to appraise primary sources as references
and sources of history and information; improvement in research skills online (n=2);
learning to use story and history telling (n=2); discovering indigenous skills, such as
puso making (hanging rice in coconut leaves), blacksmithing, and visual artistry, among
others.
Beliefs, Attitudes, and Aspirations From the point of view of the facilitator of the
cultural mapping strategy (KII, NCR 2014): “Ang dami kong learnings, like nakakatuwa
yung mga remote islands…sila talaga nakikinabang. The urban areas are highly
opinionated and they can always get away with it…very challenging i-map ang urban
areas, particularly changing the mindset…pero for the remote islands, the cultural map
ang matitira riyan.. habangbuhay…so gagamitin talaga nila yan”.
The facilitator also shared his own attitudes on the work on culture and the arts
specific to cultural mapping. He cited “iba yung feeling ko...ang dami kong magagandang
memories sa mapping: early morning mamamana kami ng hito; i-mi-meet ko yung mga tao
sa katayan ng baboy; hahanapin naming kung papano ginagawa ang sisig; from the start to
finish, ipapa-document ang proseso, grabe talaga - yung ganung range ng experience…
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it’s a full life. I had a good run, and I’m very happy, and I’m sure my students also have
a fun time. Minsan pag may nakakasalubong ako, magpapa-selfie pa sila. This is the
dream... I do academic, field work and go to remote places and I understand people... I
become whole”.
On the side of the cultural mappers, they have these to say: “I learned to be
resourceful, creative, compare and contrast data gathered”; “I have the opportunity to
do cultural mapping of towns and sitios”; “creating presentation in so short a time, and
do short movie or film of the indigenous processes of manufacturing cultural
materials”.
The respondents gained personal development in terms of paradigm shift. They
developed deeper appreciation of the cultural heritage of their locality. They became
more conscious of the beauty of the material and the non- material cultures around
them. A case in point is a Science teacher who now sees the park as both a cultural site
and a place to collect organisms.
Deeper appreciation and acceptance of cultural identity and diversity. In 2010,

the PCEP formulated the framework and guidelines for the MLCs per level; conducted
regional consultations and in 2011, validated and published the MLCs. A list of about
600 icons constituting the Essential Knowledge on Philippine Arts, Culture and
Heritage for the Basic Education Curriculum (EKPACHBEC) was turned over to the
Instructional Materials Council Secretariat of the Department of Education in
September 2010, for integration and mainstreaming in the basic education curriculum.
A review of some books published and used by the high school students
wasdone by the PAASA Research Team to provide an evidence–based impact of the
integration of culture-based competencies in the curriculum. Samples of Grade 7 and 8
books were reviewed.
Schools which are using the above-cited books have minimal evidences of
integration of cultural icons in the reviewed books. Books contain learning materials
and exercises that enable the students to a deeper understanding of their culture and
heritage in at least two academic disciplines. A more purposive and systematic
integration of cultural icons in the books is desired. Moreover, the K-12 curriculum
demands new sets of books integrating the outcome-based education and these are still
work in progress. As much as the NCCA through the NCCED had already submitted
the matrix of cultural icons for integration in the curriculum and eventually in the
books, these will have to be assessed later on.
The GDCE student-scholars, on the other hand, have identified greater
appreciation of history and cultural heritage. They are proud of their local culture
(n=10) and heightened their desire to transmit the beauty and richness of their culture to
the next generation through well-written and culture-integrated lessons (n=5). They
asked their own students to interview local historians and discovered locals who are
20
much advanced in age to be resource persons in the retelling of local cultural heritage
(RAk3). The classes also exposed the graduate students to various cultural places which
are used as experiential examples to their own students.
In general terms, we still have the questions “do our young people still play our
local games of ‘sipa, piko, tumbang preso, jackstone, Chinese garter’ in our
playgrounds, plazas and open spaces? Do we still have our children choose to sing
Filipino music by our Filipino artists, or are they well-versed with foreign music? In our
homes and workplaces, how many of our children use locally made products “kasi mas
mura at matibay” or do we see more products at home made in more developed
economies? These and more undending questions haunt us in answering the “so what?’
In addition, the participants of NCCED and PCEP projects and programs in the
FGDs have identified the impact of these initiatives in their personal and professional
lives after a year, five years or more. Do these learning translate into family or
community initiatives or advocacy? The respondents of the Impact Assessment
identified that through the various NCCED projects and programs, they were able to
understand cultural identity and diversity; and realized that their pupils are differently
unique from subcultural groups all across the country (multicultural). Through the
NCCED interventions, the respondents got inspired with creative and excellent Filipino
products in the market; they have increased their self confidence in teaching and in
their professional life; and definitely and positively changed their perspective of their
cultural identity.
Impact of Government Funding to Arts and Culture. The “so-what” question on

government investments to cultural education would be “were the investment
transformed into outcomes?” In education, specifically cultural education, the outcomes
may not be seen in the short-term but in the long-term. Considering that the teacher
training initiatives which took most of the resources of the NCCED were implemented
in at least five years, the number of grantees or scholars is very limited as against the
total population of teachers in the basic education. Mathematical computation result
may not be encouraging.
However, in the classes of those who went through the interventions, behavioral
change and student’s consciousness and value system maybe immeasurable.
Educational metrics may not give us the desired outcomes at the short-term, but
character change may be observed in the way our students (who were supposed to be
graduates of the GDCE intervention through their teachers) deal with each other,
choose Filipino products, promote multi-culturalism, participation and engagement in
their locale, workplace, community or barangay. Regrettably, due to the limited number
of teachers who have undergone the training for culture-based education, we might not
be able to observe the impact of these interventions on their graduates. Moreover, the
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culture - based approach is not yet viewed as a national educational and development
strategy for values formation and transformation.
On social transformation
The scholars of KAGUMA and GDCE as cultural workers have been empowered
as individuals. However, as education deals with life skills and values development,
impact in the personal, relational and professional levels from the standpoint of
teachers may have been translated in their decisions to buy products made locally,
exposed their students to culturally rich heritage in their locale, appreciate the beauty
and importance of their place but their training may not have been translated into
advocacies in their local communities.
The participants in the Focus Groups Discussions admitted that their only way of
cultural influence is confined in the classrooms. Some of their supervisors even do not
believe in the culture-based educational approach and that the teachers feel alone and
unsupported in this endeavour. There is a real need to promote interdependency
among cultural workers as well as participate actively in local policy-making, systems
upgrade, and governance structure.
Government investment in cultural education may be influencing particular
participants-scholars in pushing for a more culturally literate population. There is still
so much to be done, though, as the whole gamut of educational sector is not yet
convinced on the usefulness of culture-based education as a way forward. The cultural
educators admit that culture must be integrated purposively and systematically in the
curriculum in all levels and in all subject areas. Unless government, the education sector
and school administrators recognize and put up with this challenge, our population
may always be wanting in the authentic Filipino values and cultural heritage amidst
globalization.
On sustainable preservation and management of cultural heritage at the local level

Appreciating Local Community Context
The NCCA through its project with the local government of Mauban , Quezon,
namely, the Intangible Heritage Management and the Cultural and the Cultural
Mapping of historical and cultural sites, “Mauban, Quezon cannot be where it is now.”
This is the message of the Senior Tourism Program Officer of the Mauban. These two
projects provided them a comprehensive reading or inventory of the historic and
cultural sites of their town. It also facilitated in helping the community begin to develop
a voice for and appreciate its chronicle.
In the case of Malolos, Bulacan, the research and photo documentation of the 100
icons of the city broadened the cultural horizon of the key stakeholders of culture and
arts of the City of Malolos. This project increased their interest and likewise enhanced
the cultural development of the city (Sta. Ana, 2014).
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Building Community Cultural Identity
On the question if the NCCA projects have provided reinforcement in enhancing

cultural identity, training participants claimed that it has widened their horizon in
community culture. The Intangible Management Training raised their consciousness on
cultural heritage. Cultural Mapping, on the other hand, led to greater awareness,
appreciation and interest in locale’s history and culture (Calleja, 2014). Furthermore,
through the Likas Makabayan Project, the teachers, artists, and students were given the
necessary, knowledge, skills and orientation on cultural education which contributed in
the enhancement of the cultural teaching capacity (Nanong & Datur, 2014).
In the same vein, major projects of Malolos City such as the enrichment of the
Fiesta Republika, enhancement of the Barasoain Musuem and continuing support to
the Barasoain Kalinangan Foundation widened the cultural horizon of Cultural Office
staff, local community artists and students and influenced other local communities in
the region. (Sta. Ana, 2014). It has led to further appreciation and of the local
community culture.
Local Community Implementation Framework

On the presence of local legislation and executive implementing ordinances
supportive of the conservation, preservation, and sustainability of community cultural
identity, it can be claimed that the decisions of the local government may be considered
as executive directives that support institutionalization of community cultural heritage.
The first one is the decision of the local government to preserve the three historic sites
in Mauban, namely, Rizal Park, Public Bath and Sea Wall with Gat. The formation of
good cultural programs such as the Day Tour and Island Tour which are considered as
regular and sustained programs of the Tourism Office, facilitate awareness building.
Moreover, the Museum which is a repository of cultural and historical artefacts does
not only preserve culture, it is also a venue for cultural awareness.
In the case of Malolos, Bulacan, there is no local legislation and executive
implementing ordinance which was created to support the conservation, preservation
and sustainability of community cultural identity. The local government, however,
allocates a certain amount for the cultural development projects of the city.
Arts and Cultural Programming

On the mechanisms, programs, and projects that provide education on cultural
and historical context of a community and creating opportunities for participation in
community life, the Mauban Tourism Office, in partnership with NCCA, organized and
facilitated different cultural programs through festivals, events and performances,
interactive classes and workshops, and a variety of other activities. Through these
23
activities, the public school teacher participants gained not only additional knowledge
and skills on culturally-based teaching methods but learned more about culture.
Moreover, the youth participants appreciated and resolved to apply their newly
learned artistic skills in the revitalization of cultural organizations in their schools and
communities. While the participants in the creative writing and visual arts have formed
an organization that will coordinate schools and community-based efforts in their fields
in Quezon province. Furthermore, through their projects, individuals and groups were
awarded and given recognition.
The summer theater workshops, cultural exhibits, and film festival in Malolos,
Bulacan provided venues for cultural awareness and appreciation. The participants did
not only enjoy the activities, their cultural horizon also widened and deepened. The
certificate programs, however, did not only increase their knowledge and skills in
cultural teaching methodology, it has also built cultural consciousness and commitment
to cultural development (De Jesus, 2014).
Conclusion and Recommendations

This impact assessment brought forth the fact that the Philippine Cultural
Education Program and the other projects and programs of the National Committee on
Cultural Education of the NCCA have impacted the beneficiaries, implementers, and
the local communities in terms of the achievement of the broad outcomes stipulated in
the plan.
On cultural literacy, education, and appreciation, the respondents and
beneficiaries have broader awareness, understanding and appreciation of culture and
the arts as evidenced in their responses to questions during the focus group discussions
and interviews at the personal and relational level among their peers and colleagues.
The respondents acknowledged the skills that they developed from the various
interventions, programs, and projects of the NCCED. Among these were
program/project formulation, project implementation, writing, choreography,
workshop facilitation, communication and listening skills, integration of culture and
arts in other subject areas, module development, improved learning and teaching
strategies, adaptability and self-confidence.
Some of the program beneficiaries initiated the development, implementation,
and integration of cultural programs, projects and activities in their institutions and
communities. Foremost of which were the glaring change of classroom decorations
where cultural icons are displayed and interactive activities and manipulative bulletin
boards are used to spark cultural awareness and appreciation. Participants- scholars of
KAGUMA and GDCE made mention of becoming District trainers, Officer-in-charge of
their department, initiate dramatic workshops and become speakers on culture and the
arts in their locality as they are acknowledged as scholars of NCCA. Whenever there are
school functions and programs, the beneficiaries of NCCED projects and programs lead
24
their colleagues and students in organizing art contests, poster making contests, or
producing artistic dance, drama and musical numbers for their community. Moreover,
the local government units take pride of their participants-scholars from NCCA that
they make them or promote them as local tourism officers, tour guides or knowledge
sharer to various visitors of their cities, barangays or tourist spots.
On social transformation, the programs and projects of PCEP and NCCED
empowered cultural workers and made them agents of transformation. As cited in
earlier discussion, the various interventions and funding from NCCED transform
relationships among households, families, communities, and the environment. The
cultural mapping projects in particular impacted the local citizenry in understanding
and promoting their local heritage and boosted their pride of where they live and their
cultural wealth. Accordingly, the community who became part of these projects and
programs develops inclusive and interdependent relationship among themselves and
their local leaders and other stakeholders.
As cited in the two cases presented herein, the cultural investment of
government in the development of cultural workers created somehow a movement of
change in policies, systems, and structures in the local government units through the
creation of local culture and arts councils, local tourism units and the passing of the
National Heritage Law. Moreover, the law on ancestral domain highlights the country’s
acknowledgement and recognition of the cultural communities in the land.
On sustainable preservation and management of cultural heritage at the local
level, there were efforts undertaken to articulate the historic, economic, and cultural
context of the community through a comprehensive inventory of cultural heritage as
cited in the case studies earlier presented. In terms of commitment to enhance
community identity, the local government units in collaboration with the NCCA have
continuing programs and projects for the non-formal and informal sectors through the
INFACE interventions.
As cited in the NCCA website (October, 2014), there are projects and
programs all over the Philippines which are supported by the Commission that
promote culture and arts development. Additionally, in the two cases presented, there
were efforts to enhance the local evolving identity and evidences of culture and arts
programming in the local context. The case studies though could not be generalized as
the situation all around the Philippines. There are still a lot of challenges in terms of
inculcating appreciation of cultural heritage among the young in the digital age.
However, the local governance units can also create the ambiance of cultural
transmission through the promotion of local heritage sites using the platforms of
facebook, twitter and other social media in order to capture the interst and
consciousness of our young people.
In the context of improving the implementation of the programs and projects of
PCEP and NCCED, the respondents and implementers of these interventions
25
enumerated challenges and areas for improvement that merit serious consideration by
the concerned agencies.
1. The Department of Education can have a share in the funding of seminars, as the
beneficiaries are public-school teachers. This can help address the budget
concerns for the extension of the three-day seminar into a five-day training.
2. Continuing support to various artists in producing artistic materials and works
3. A continuing education program for cultural workers and their colleagues from
other disciplines in order to push the culture-based education in schools and
colleges.
4. The NCCED can lobby for the inclusion of cultural education questions in the
Licensure Examinations for Teachers. This can be feasible if the Master’s degree
program can later on be offered as a specialization for the bachelor’s program in
education. Another prospect for the GDCE is for it to become a full-blown
Master’s program and not just a certificate program of 24 units that will lead to a
Master’s degree.
5. Organize PCEP and NCCA Library database and create documentation system
with available library personnel for assistance to library users. Terminal Reports
must have soft copy in pdf format for easier access.
6. Host Kaguma seminars intended for Department of Education officials, like the
division superintendents, supervisors, and principals, etc.
7. Improved communication system in the Local Government Units pertaining to
funding requests or approval of projects.
8. Improved accounting procedures so that the funds for the scholars, projects and
programs are released on time.
9. Rationalize criteria for the Graduate Diploma on Cultural Education
10. Digitize list of scholars, schools and their outputs must be available.
11. Ensure developmental programming for Local Government Units participants in
INFACE: introductory, basic, advance
12. Come up with indicators of cultural awareness such as use of artefacts to
decorate offices, assessment indicators for activities.
13. Program Implementation
13.1 Competency-based checklist for GDCE scholars
13.2 Competency-based assessment for different workshops and courses.
13.3 Competency-based criteria for regional school for GDCE.
13.4 Equitable distribution of GDCE implementers
13.5 Come up with standards for graduate competency of scholars and faculty
13.6 Determine when to disengage the university, school, college to be on their
own to lead an MA in Cultural Education
13.7 Tracer studies of scholars of NCCA
26
13.8 Inclusion of tribal education in the formal curriculum for cultural

preservation
14. Additional funding for scholars and dramatic arts group
15. Strategic Plan Consideration
15.1 There should be a national strategy for cultural education in this country.
15.2 Strategy on establishing museums, etc.
15.3 Inclusion of DepEd heads in training for optimum translation of seminar
insights.
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Cultural Education in the Philippines: An Impact Assessment

Article · January 2018

Evelyn Songco Henry Magat

SEE PROFILE SEE PROFILE

Philippe Jose Santos Hernandez

The user has requested enhancement of the downloaded file.

Cultural Education in the Philippines: An Impact Assessment

VISION A Nation of Culturally Literate and

CULTURAL EDUCATION PROGRAM FOR

ARTISTS’ AND CULTURAL WORKERS’

CULTURAL EDUCATION PROGRAM PHILIPPINE CULTURE

LEGISLATIVE / EXECUTIVE ACTION

Figure 1. PCEP2.0 Work Program Flowchart

Impact Assessment and Logic Framework

In the Outcomes-Impact Learning Component, data are gathered to obtain

Knowledge indicates what people know, how well they understand

In the Outcomes-Impact Action Component, behavior refers to what people

The Outcomes-Impact Component assesses the effect of the program in

Inputs Outputs Outcomes-Impact

Assumptions External Factors

Figure 2. Logic Model Framework

The environment in which the program exists includes a variety of external

ii. Were the programs able to transform relationships through promotion of

c. On sustainable preservation and management of cultural heritage at the local

4. To what extent were resources being spent efficiently?

Significance of the Study

Scope and Limitations

Inputs Outputs Outcomes

Figure 3. The Research Paradigm

Outcome 2 Social Transformation

Indicator 2.3: Evidence of interdependency among cultural workers and their

Outcome 3 Appreciating Local Community Context

Outcome 4 Building Cultural Community Identity

Outcome 5 Local Community Implementation Framework

Outcome 6 Provision for Arts and Culture Programming

Locale, Populationm and Participants of the Study

Focus Group Discussions

Key Informant Interviews

Data Gathering Instrument

Data Gathering Procedure

Data Processing Technique and Analysis

The State of Philippine Cultural Education Program vis-à-vis PCEP Agenda.

PCEP ‘s 11-Point Agenda and Outputs

PCEP AGENDA OUTPUTS

The icons are listed per minimum learning competency per

Another round of consultation and review was scheduled in

3. Ensure utilization of PCEP, in partnership with National Commission on

5. Provide comprehensive Informal, Non-formal and Alternative Cultural Education

Funded Projects by the National Committee on Cultural Education (NCCED)

Figure 3. NCCED programs and services in percentage

Projects and Programs of the National Committee on Cultural Education

The initiated projects and programs of NCCED aimed at increasing the

d) Island-clustered National Summit on Community-Based Informal, Non-

Kaguruang Makabayan (KAGUMA). This is a four-island-clustered (Luzon,

The following topics were incorporated in the program of KAGUMA:

Graduate Diploma on Cultural Education, initially named Certificate Program

1. Southwestern University 12. Enverga University oundation, Lucena

2. Bicol University, Legazpi, Albay 13. Palawan State University, Puerto

5. Miriam College Foundation, Quezon

8. Bulacan State University, Malolos City

9. Cebu Normal University, Cebu City

10. Isabela State University, Cauayan City