Arts & International Affairs Volume 5, Number 1, Summer 2020 | Page 66

WHOSE GOVERNANCE, WHOSE GOOD?
ing and learning. In the province of Batangas for example, Batangueno music, literature,
traditions, dance, food, and the arts are used to reinforce the learning of students and
make them reflect on the characteristics of a way or approach in life that is distinctively
Batangueno. Thus, culture-based education is used to instill a sense of national pride
and develop an individual’s identity as a nation. But more importantly, by preserving the
cultural memory, it is hoped that an individual will have a greater understanding of the
nation’s destiny amongst a community of nations. In general, “culture shall be utilized
as a catalyst for values formation and human rights education, promoting a culture of
peace, social justice, and sustainable development” (MTPDP-CA 2007-2010).
However, the resounding ‘yes’ that the NCCA has created a system or a mechanism that
truly supports the arts and cultural projects of communities all over the Philippines is
not devoid of problems or gaps. The organization of regional and local arts and cultural
councils and the creation of the PCEP has indeed helped in the dissemination of information
about the funding and technical support that the NCCA and its affiliates provide
to various communities. But the inherent geographical make-up of the Philippines
still posts a major problem in the dissemination of information, and therefore, it creates
problems in the dissemination of support. This is especially true to indigenous cultural
communities in far-flung areas where access to transportation and communication is
extremely difficult.
The NCCA also lacks the needed manpower to reach far-flung communities. Thus, the
NCCA relies heavily on the national committee members or community representatives
to assist them in information dissemination. Magsumbol (2010) shared that, “The committee
members are our contact to the communities. We depend on them because some
communities are so far that we can no longer go to them.” She also shared that communicating
and coordinating with community representatives is also difficult as these
representatives may not have easy access to communication tools, or it takes them days
to travel from their communities to the town proper where access to telephones and the
internet are available.
To solve this problem, the communities elect representatives who live closer to town
centers and have better access to communication. The problem with this is that it goes
against the idea of decentralization. Because the NCCA does not have satellite offices, it
needs to have as many contacts from different regions, municipalities, and towns. What
is ideal is that these contacts come from the communities both near or far from town
centers as much as possible. But this is not the case. The reality is that community representatives
live in town centers and no longer with their communities, to have access
to communication; thus, somewhat undermining the mandate of the Subcommission,
especially that of the SCCTA, to promote and disseminate the creation of artistic and
cultural products to the greatest number of Filipino people.
Adding to this problem is the fact that most SCCTA staff and community representatives
are not adequately trained as anthropologists or cultural administrators. Peralta (2010)
63