VOLUNTEER ART GROUPS AS FACILITATORS OF CULTURAL …icmr.crru.ac.th/Journal/Journal 7/Journal 7 9.VOLUNTEER.pdf · 2017. 1. 20. · (Sumner, 2012). Entwined with this figure is an

Volume 4 Number 1, January 2016

128

VOLUNTEER ART GROUPS AS FACILITATORS OF

CULTURAL DEVELOPMENT: EMPHASIS ON LOCAL

IDENTITY TO ENHANCE HUMAN AND SOCIAL

CAPITAL OPPORTUNITIES FOR THE POOR

(THE CASE OF ANGONO MUNICIPALITY IN THE

PHILIPPINES)

Morales, Mark Anthony Mateo

School of Urban & Regional Planning,

University of the Philippines, Philippines.

ABSTRACT

Poverty as experienced

through exclusion from socio-

economic, cultural, and other forms

of human activity denies people of

opportunities to fulfill themselves as

members of society. Its impact can be

encapsulated as a longstanding

pattern of inequality, supported by

figures that 1.38 billion people

worldwide still live below the

poverty line of US$ 1.25 per day and

with a social awareness that the poor

tend to be targets of discrimination

and exclusion. Interestingly, the

development of “culture” - known as

the collective expression and celebra-

tion of values and beliefs binding

people together – is a medium of

human growth and social relation-

ships; facilitating knowledge ex-

change and development oppor-

tunities for people engaged in its

mediums of expression, among them

education, sports, religion, and art.

With access to education a concern

among the poor, it was found that art

is a distinct cultural development

medium because it is able to reflect

local cultural features unique in a city

or community, while facilitating

skills development benefitting

disempowered members.

This paper chronicles how

volunteer art groups have grown in

number and importance in the

municipality of Angono, Rizal in the

Philippines, and how these

organizations provide not only skills

development opportunities to poor

individuals who are in need of

assistance as magnified with their

challenges to accessing education,

but also enhances their social

relationships as respected and valued

community members. Leaders of

these groups were interviewed and

their members were surveyed to

verify and reinforce secondary data

sets collected prior and during

fieldwork. Results point to an

important role that these groups play

in local cultural development policy

as spearheaded by government; a

grassroots development catalyst that


129

broaden institutional scopes enabling

cultural development - through art –

to benefit more those who are in most

need of its support.

INTRODUCTION

Poverty has been noted as a

longstanding pattern of inequality

supported by figures that as recent as

2005, 1.38 billion people worldwide

still live below the international

poverty line of US$ 1.25 per day

(Sumner, 2012). Entwined with this

figure is an awareness that the poor

are the most vulnerable targets of

discrimination and exclusion (United

Nations, 2010); a relationship seen as

to relate social aspects of marginali-

zation with poverty. Government

efforts in alleviating the exclusionary

plight of the poor through skills

development is well recognized;

foremost of which is making

education a right and not simply a

luxury among its citizens (Figure.1).

Unfortunately, there are societies

particularly from the developing

world - that find the full realization of

education‟s development impact

which should be accessible for all

easier said than done.

Figure 1. Education as a 'cultural service' medium.

As an example, education in

the Philippines is seen as a way to

develop skills that may be used to

improve a person‟s socio-economic

standing; skills that ultimately allow

people (especially those who are poor

and marginalized) to strengthen their

relationship with the community they

grew-up in (i.e. community relations)

as well as facilitate greater access to

social groups or communities where a

person may feel excluded and

marginalized as a result of being poor

(i.e. social access). However, it is

said that only seven out ten (7 of 10)

pupils who enroll in Grade 1 finish

the elementary curriculum, and from

the seven (7) who continue to

secondary, only three (3) are able to

complete the curriculum. From this

three, only one (1) completes tertiary

education (Durban & Catalan, 2012).

These figures are supported by

literature from other countries where

it is stated that not only do early

school leavers lack certificates, those

few years in school most likely do

not equip them with skills useful for


130

their future lives; further exposing

these people to a life of poverty and

marginalization (Blaak, Openjuru, &

Zeelen, 2013). In this regard, are

there other platforms - aside from

education - that can be used to

generate skills development oppor-

tunities especially for those who are

poor? Moreover, it is of interest to

know how such an alternative

development medium could facilitate

improved social relations and access;

precursors to the enhancement of

social capital especially to those who

are poor.

OBJECTIVES

This research seeks to

determine how cultural development

– through a medium of expression

that best celebrates identity features

unique to local communities and

cities – can be harnessed by govern-

ment to impact citizens especially

those deemed most vulnerable to

social exclusion (i.e. poor citizens).

From the realm of alternative skills

development that is accessible for the

poor, improved community relations

and social access, to its application in

broadening local tourism oppor-

tunities, this study investigates the

strengths and weaknesses of how

current cultural development policy

in the Philippines impacts the poor;

as well as how government uses

development partners (i.e. volunteer

art groups) so that policy mandates

are able to reach those in most need

of assistance and support (Figure.2).

Figure 2. Conceptual Framework.

CONCEPTUAL FRAMEWORK

Culture is defined as that of

tangible and intangible expressions

that people use to manifest their

respective cultures (Cochrane, 2006;

Throsby, 1999). Moreover, these

cultural expressions are qualities that

define people‟s common values and

beliefs; embodied in mediums

wherein these values and beliefs are

promoted, celebrated, and expressed.


131

Reviewed literature states that these

mediums are called „cultural ser-

vices‟; skills development platforms

that allow people to express the

cultural values and beliefs that bind

them as a community or society

(Throsby, 1999). Obtained through

cognitive development, recreation,

spiritual enrichment, and aesthetic

experiences (Church, A., Burgess, J.,

Ravenscroft, N., 2011), these values

and beliefs are both developed and

expressed through education, sports,

religion, and art (Cochrane, 2006;

United Nations, 2005). Amidst

previously mentioned concerns of

accessibility to education as observed

by this researcher in the Philippines

(i.e. ability to continue attending

school or university especially among

the poor), which of the other cultural

services would be a viable alternative

in using developed skills (based from

the said cultural service) in

improving relationships with the

people (i.e., community relations,

social access) engaged in the said

development medium?

Comparisons between the

abovementioned cultural services as

discussed bring forth a unique value

embodied through a lens of cultural

identity. Identity, defined as the

totality of cultural experiences that

characterize a person‟s sense of self

(He & Wang, 2014; Wilson, 1984), is

understood as the collective

embodiment of cultural values and

beliefs that bind people together; a

trait which enables a person to have a

sense of belonging and acceptance

with his or her community and

society. In this regard, it is observed

that education, sports, and religion

have taken a more uniform or

international set of identity themes or

features; similar regardless of place

or society in which it is being applied

or propagated. In contrast, cultural

expression using various art forms

(e.g. dance, painting, music, theater,

among others) have a unique feature

of being able to aesthetically express

local cultural identity traits as

embedded in a particular city or

society (Cochrane, 2006). In light of

this realization, it is believed that the

ability to express cultural identities

unique to a particular society give

„art‟ an advantage in promoting

improved social belonging and

acceptance in communities or

societies. This research seeks to take

a look at the role of identity (based

from the development of art-skills

that express one‟s local culture) in

society; positioned as a binding

medium in enhancing social relations

that lead to increased social capital

(especially for the poor). Moreover,

this article seeks to put forward the

role of volunteer art groups as

facilitators of cultural development,

as well as its impact for the poor who

gain human capital skills from these

groups; skills that allow them to

enhance social relations (improved

social capital) and collectively

improve their overall quality of

living.


132

RESEARCH SCOPE

This article forms a part of

this author‟s doctoral dissertation

made from October 2012 to August

2015. In-line with previous obser-

vations regarding deprived access to

education among the poor in the

Philippines (Durban & Catalan,

2012), efforts of identifying local

study areas (that use art as an alter-

native skills development platform)

were limited to the most populous

island mass within the Luzon Island

cluster in the Philippines. An internet

search among government websites

com-prising the fifty-one (51)

potential case study areas within the

island mass was initiated; looking for

local governments that specify

„culture‟ and „art‟ as key drivers in

their city or municipality‟s overall

development agenda (evident in

policy pronounce-ments stipulated in

each of the government unit‟s official

website). Out of this web-based

search, three (3) cases emerged where

government efforts of using culture

as a development catalyst in the city

also facilitates improved skills

develop-ment (through art) and social

relations; variables embodied through

the efforts of volunteer art groups that

highlight the role of „culture‟ and

„expression of identity through art‟ as

a means to influence enhanced social

capital. These study areas are the

municipality of Angono, and the

cities of Baguio and Makati (Figure.

3). For this article, the municipality

of Angono will be focused on. After

interviewing concerned national and

local government officers (in-charge

of cultural policy), requests were

made to the said local officials to

recommend and introduce art-

engaged volunteer groups that serve

as active government partners in

cultural development among the

study areas. Once contact was

established, interviews were con-

ducted with these volunteer groups to

determine in what ways these

volunteer groups are using culture,

through art, in-line with the cultural

development strategies of the local

governments that they are collabora-

ting with; with emphasis on how it

impacts the poor.

Figure 3. Luzon island proper showing chosen study area.


133

RESEARCH CONTENT

Literature on cultural policies

by government highlighting how

culture impacts the lives of the poor

is few and far between; most of the

literature encountered pertains to

„cultural development‟ as a policy

which focuses on construction and

expansion of facilities for urban

regeneration, diplomacy or exchange,

as well as funding for cultural

activities and events (Attanasi,

Casoria, Centorrino, & Urso, 2013;

Ogoura, 2009; Strom, 2003). With

this in mind, efforts to know if the

same policy thrusts are manifested in

the Philippines were made; a

developing society that is believed to

adequately represent a viable study

area that may show how cultural

development impacts the poor.

Cultural development in the

Philippines is led by the National

Commission for Culture and the Arts

(NCCA). Acquired NCCA policy

documents and interviews of NCCA

officials point towards „identifying,

preserving, and promoting cultural

features‟ as the national agency‟s

main and recurring policy theme;

classified though five (5) program

tracks namely: (a) Cultural

Education, (b) Cultural Diplomacy,

(c) Cultural Heritage Conservation,

(d) Culture and Development, and (e)

Artistic Excellence and Creativity

(Fig.4). Based from acquired data, it

was found that Philippine policy

thrusts share the same as that of other

countries: one which is focused on

„cultural development‟ itself.

Figure 4. Policy on Cultural Development based from 'Philippine

Development Plan'.

With regard to the role of

cultural development for the poor, it

was recognized by NCCA that its

policy efforts are reflective to parts of

the Philippine Development Plan

(PDP); the overall policy document

drafted by the current Philippine

administration. Created through the

National Economic Development

Authority (NEDA), the PDP is

considered as main policy guide by

the Philippine government for all its

governance functions. It is in this

policy document (PDP), with its key-

result areas specifying „poverty

reduction‟, does the NCCA policy on


134

cultural development find inspiration

or an implied, reflective policy

connection; though “Poverty allevia-

tion” is not directly mentioned or

addressed in the cultural development

plans of the NCCA. Specific cultural

programs and projects directly

mentioning „poverty reduction‟ was

not found; the reason being that the

main task concerning the social

needs1 of the poor is primarily

delegated to another government

agency, the Department of Social

Welfare and Development (DSWD);

tasked to develop and implement

social protection and poverty

reduction solutions for and with the

poor, vulnerable and disadvantaged

(Department of Social Welfare and

Development, 2015). An observed

pattern is that governance themes are

entrusted to specific government

agencies; each with their own

institutional mandates that other

agencies recognize. It is believed by

this author that, based from

interviews conducted with govern-

ment officials in-charge with cultural

development, caution is exhibited

with regard to „over-stepping‟ into

the mandates of other government

agencies (in the case of DSWD,

service provision to needs of the poor

and marginalized); thereby NCCA‟s

focus on the cultural development

mandate that was entrusted to them

(Morales, 2014a, 2014b). Amidst

notions wherein issues concerning

1 The social aspect of poverty is focused on

in this study, as mentioned in terms of „social

exclusion‟ as a result of poverty.

poverty is implied or reflected in

cultural policy, but not specifically

mentioned or listed in NCCA

program and project levels (i.e.,

national government level), focus

was moved towards the local level,

buoyed by an observation that

cultural development engagements

with the citizenry (i.e. communities

and individuals, especially the poor)

seems to be more evident at the local

level.

Angono municipality is fa-

mous in the artistic fields of painting

and music; especially through the

achievements of its most famous

sons: Carlos Francisco and Lucio San

Pedro; both awarded „National Artist‟

awards (painting and music, res-

pectively) by the Philippine govern-

ment; the highest honor given to

Filipino citizens in terms of culture

and the arts. Today, Angono is

known for the numerous art festivals,

shops, galleries, and artists‟ studios

dotting its streets; alongside an

artist‟s movement that is used by its

local government in efforts of using

culture – through art - as a develop-

ment catalyst for the municipality

(Angono MPDC, 2012). An observa-

tion on Angono‟s government policy

structure in cultural development

shows that its cultural development

agenda is integrated into its tourism

policy mandate and office; a culture-

driven tourism program that is

adapted for its citizens who develop

art-skills to be in a better position to

get employment (or at least a capacity

to continue their formal education)

based from the art-engaged industries


135

and opportunities embedded in

Angono municipality.

With regard to how national

policies in cultural development is

subsequently reflected in the local

level, it was found that on paper,

cultural policies of national govern-

ment are reflected in the provincial

level (or regional as the case may be),

and then passed-on to local

counterparts (Chan-Robles, 2015;

Morales, 2014b). However, inter-

views of local government officers in

Angono enabled this research to find

notions wherein a provincial govern-

ment with a development strategy

that does not prioritize „culture‟ as a

development platform tend to display

a lack of interest in focusing its

limited or constrained resources for

“cultural development” (affecting its

capacity to support culture and art-

engaged projects by its local counter-

parts). Local governments may

choose to directly apply for project

grants from the national government

through NEFCA grant, but compete-

tion is very high (Fig.5). Hence,

culture and art-engaged local govern-

ments independently source-out

funds and opportunities to promote

their respective cultural development

agendas (Morales, 2014b). With this

reality, local governments are seen to

have become creative in sourcing-out

partnerships with non-government

organizations (e.g. volunteer art

groups) to improve its governance

capacities (Morales, 2014b).

Figure 5. Cultural Development through Art from National to Local

Government level.

Mindful of initial discussions

connecting education as a cultural

development medium, and that

„inaccessibility to education‟ (i.e.

inaccessibility to skills development)

among the poor is prevalent, it was

deemed of value to study cultural

policies (through art) by Angono‟s

local government in terms of „skills

development‟ (i.e. art-based cognitive


136

skills) and improved social relations

beneficial especially for the poor. The

reason being is so that its citizens,

especially those who are poor, may

have alternative skills development

mediums (e.g. art-skills) that they

may use to continue education or

perhaps pursue employment oppor-

tunities (as a means of improving

their quality of living); as well as a

medium wherein they can improve

social relations with the communities

they are engaged with. In this regard,

it was found that Angono municipal

government highlights community or

social involvement in developing

skills for its cultural development

(through art) initiatives; seen as a

way to augment its resources (i.e.

service provision capacity of local

government) by engaging with

partner volunteer groups especially

from the community level. The skills

that members of volunteer art groups

are able to develop, with the

assistance of local government,

broaden the human and social capital

opportunities of the said members.

Later on this paper, we shall see that

a significant number of members of

accessed volunteer art groups are

poor; showing a direct connection in

how cultural development through art

is impacting the poor.

RESEARCH RESULTS

Amid efforts of improving

overall competitiveness of the

municipallity it governs, Angono‟s

local government was found to not

only highlight unique cultural

attributes as an urban development

platform (i.e., cultural development

through art-based tourism), but also

engage with locally based art-

engaged volunteer groups as a means

of augmenting its capacities in

implementing their respective

cultural development policies (Fig.6).

To be more specific, local

governments market its cultural

development programs and projects

as part of its tourism strategy;

promoting culture (art)-based jobs

and industries to improve the overall

competitiveness of Angono. At the

same time, participating volunteer art

groups share the technical expertise

of its members in the art-form/s that

each volunteer group specializes in;

performing or showcasing their

works in-line with the local cultural

projects and events spearheaded by

their government (and in which these

volunteer groups are involved in).

Alongside the role of art-engaged

volunteer groups actively

participating in the cultural projects

and events headed by local

governments as cited in this research,

interviews of leaders of these

volunteer groups reveal that about

half of its members are poor. In this

regard, there seems to be a conscious

effort by these groups in letting these

disadvantaged members of society

acquire membership to these

volunteer groups; and as this study is

finding-out, an impact of which is

that a means of acquiring notable art-

based skill-sets so as to create

opportunities for them to improve


137

social relations with the people and

communities they are engaging with.

Figure 6. Volunteer art groups as cultural development facilitators (using

local identity to enhance human and social capital opportunities esp. for the

poor).

A recurring theme of the

interviews of leaders of these

volunteer art groups were that many

of them were once poor themselves;

individuals who were able to achieve

relative success in a specific art-form

or discipline as a means to escape

poverty. As a result, these group

leaders simply wish to pass-on the

opportunity that was given to them to

another generation of artists;

especially those who like them before

- are mired in poverty. Beyond

acquiring art-skills, experiences

shared by interviewed volunteer

group leaders also point toward the

value of art-engaged volunteer groups

in promoting self-confidence among

its members due to art-skill sets that

they acquire and develop as a result

of group membership. Stories where

shared to this researcher wherein

deserving individuals trapped in

poverty their whole lives are given a

chance to become a member of an

art-engaged volunteer group, and

after some time learning valued

cognitive skill sets (i.e. art-skills),

these members start to excel and gain

self-confidence; resulting in greater

interaction with society in general, as

well as a further interest to mastering

the technical rigors of the art-form

which they are engaged in.

A side from active participa-

tion to local government projects and

events comprising its cultural

development agenda (logistic support

to government), providing skills

development opportunities for local

citizens are made possible by art-

engaged volunteer groups through

free seminars and workshops

(technical support) not only for its

members, but to local communities

and individuals that may find

themselves interested in a particular

art-form or discipline offered by a

particular group. Interestingly,

participation to local government


138

cultural events allow these volunteer

groups to take home prize winnings

from art-engaged contests and

competitions; winnings that are used

not only to facilitate operation

expenses of the group, but more

importantly to provide monthly

allowances to members who are in

most need of it namely, members

who are poor and marginalized

(financial support).

With regard to issues and

concerns raised by volunteer art

groups, it was found that a number of

its leaders - faced with the dilemma

of ensuring continued operation of

their group or allowance given to its

poor members - are forced to sell

their art-works or peg their

performance rates at a lower price to

sustain their group efforts; lowering

the professional standards of their

craft. Another pattern is that some

school-based volunteer group

members, faced with the lure of

employment prospects, tend to not

finish academic scholarships (it

should be noted that this is not

always the case). A number of

volunteer art groups show hesitance

in some offers of government support

(e.g., financial grants), due to the fear

of being used for political purposes.

It should be noted that financial

support by local governments for

these volunteer art groups tend to be

arbitrary in nature; and dependent

with the relationship established by a

particular volunteer group with the

local government it is engaged with.

A setback lies when another political

group gains power in the said local

government; there is a perceived

tendency that groups that are

connected with the previous

administration will not be prioritized

(support) by the newly seated

government officials. On the other

end, these volunteer art groups also

recognize that lack of government

support forces them to obtain funding

elsewhere; with efforts meant to

obtain funding taking time away from

mastering or developing their skills

further.

In terms of benefits to

members, leaders of interviewed

volunteer art groups mention stories

wherein they are able to pull-away

poor members from a life of gang

violence or drug addiction; using a

particular art-form or discipline as a

means to let its members (especially

those who are poor) to spend their

time in more productive pursuits.

Again with emphasis to group

members who are poor, gaining self-

confidence is also a well-represented

benefit cited by leaders of these

volunteer groups; alongside

developed art-skills that they may use

for to continue formal education

and/or obtain employment. To be

more specific, the cultural service

„education‟ is an effective catalyst in

alleviating people from poverty;

developing cognitive skill sets that

open employment opportunities that

collectively improve an individual‟s

quality of living. In connection with

this research, a person‟s excellence in

another cultural service (i.e., art) is

used as a bridge to access or continue

one‟s formal education (also a


139

cultural service); both being

development mediums that benefit

the poor. Moreover, these benefits

(i.e. developed art-skills, improved

self-confidence) allow said indivi-

duals to also improve their social

relationship with the community

where they are born in, as well as

other social groups and communities

wherein the same individual felt

socially excluded from due to his or

her status of being poor. Financial

allowances received as volunteer

group members and access to

education scholarship programs by

members (particularly those who are

poor) round up the benefits derived

from membership from these art-

engaged volunteer groups.

CONCLUSION

This article was made with

the intent of establishing how

volunteer art groups are assisting

local government in providing skills

development opportunities for indivi-

duals of a particular study area

(especially for the poor); mindful that

at the development of culture through

art - as a medium to increase city

competitiveness by creating

industries and development oppor-

tunities. In line with this, „cultural

development‟ through art has been

found to be entwined with tourism

agenda of Angono; interpreted as a

means by its local government to

highlight the unique cultural features

of the municipality (and thus used as

a development catalyst). It was also

brought to fore that policy

implementation of national govern-

ment (in cultural development) as it

influences lower government streams

is not being ideally fulfilled. There

are mechanisms in place (e.g. fund

grant) wherein local governments

may request national counterparts for

assistance; however, competition is

high and the chance of grant approval

for project proposal is low. In this

case, local governments become

creative in enabling itself to realize

its cultural development agenda;

among which is by engaging with art-

engaged volunteer groups as a means

of augmenting its ability to realize its

cultural development-through tourism

agenda amidst limitations in available

resources. As these art-engaged

volunteer groups act as government

partners in cultural development, it

became evident that many of its

members are poor; allowing these

poor members to access alternative

skills development platforms amidst

challenges faced in acquiring formal

education as a result of poverty.

Moreover, self-confidence of these

individuals are also improved;

together with developed art-skills,

this cognitive and non-cognitive

skills development not only improves

human capital, but also social capital

for these poor members (through

enhanced social relations and access)

All in all, accumulated findings

suggest a mutually beneficial

platform wherein cultural develop-

ment is used to improve city com-

petetiveness and governance capa-

cities of local government with


140

assistance of volunteer art groups,

while at the same time develop skill-

sets that improves the overall quality

of living for those who are in most

need of it.

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APPENDIX

Information about Angono Volunteer

Art Groups (5 groups)

1) Group 1 Information:

a) Visual-arts group established

2004; made up of young

generation of visual, theater,

literary, and musical artists

from Angono.

b) New generation of local

artists deviating from tradi-

tional ways of expressing,

appreciating culture and art

c) Meetings are held at houses of

officers, public spaces such as

parks, as well as restaurants

for smaller groups (depending

on number of attending

members)

d) Many members are minimum

wage earners who never had a

chance to go to an art school

or be in a university to learn

the formal rigors of their

chosen craft

Group Objectives:

a) Make public art available to

the masses; use streets, public

markets, transport terminals

and other public spaces as

exhibit and performance areas

(beyond traditional spaces, i.e.

galleries, museums)

b) Promote skills development

with people who cannot

afford to learn art as a means

of expression towards im-

proved self-worth, and as

supplemental forms of liveli-

hood

Group Projects:

a) Conduct free art workshops

and seminars, as well as

apprenticeship work (skills

development, training)

b) Participate in festival season

that local government con-

ducts annually; as well as that

of from outside Angono

c) Members generate income for

the group by selling of art

works, offer performances

(dance, music); use to fund

workshops, festival season

performances, financial sup-

port for members in need

Group Issues and Concerns:

a) Artists forced to sell his/her

work at a very low price to

help fund group project;

lowering the value of his/her


142

craft for the benefit of the

group

b) Sometimes are subjected to

public ridicule; due to perfor-

mances and audiences outside

traditional culture and art

spaces (i.e. transport termi-

nals, public markets vs. art

gallery, museums)

Benefit of Group to Members

(esp. those who are poor):

a) Allows members to gain

confidence in their abilities

and their craft; provide

opportunities of interaction

and learning bet. self-taught

and university-taught artists

b) Group allows poor members

to meet, interact, be friends,

and learn from formally

trained members; lead to a

creation of strong social

bonds among the group‟s

members

c) In turn, it‟s members,

especially those who are self-

taught or not as affluent as

compared to other members

cultivate a stronger sense of

accomplishment and self-

worth in the process


a) Community-based Orchestra

Band established in Angono,

Rizal in 2008

b) Band practices are mostly

held at the house band

conductor

Group Objectives:

a) To provide scholarship

assistance to talented students

belonging to underprivileged

families

b) To help the youth avoid

negative peer influences (e.g.

gangs, petty crimes) and

prevent drug addiction by

motivating them to become

part of a group that will aid

them use their talent in music

to achieve their dreams

Group Projects:

a) Negotiate with schools that

offer scholarships for

musically talented members

b) Participate in band

competitions and performance

invitations; tokens of

appreciation (usually financial

in nature) received from

participated events are added

to the scholarship fund

c) Members of the band are

provided with monthly

allowance to support their

school needs


a) While participating in local

cultural projects, group is

sometimes skeptical on local

government‟s real intention to

help group; they are thinking

that government might use

their organization for their

personal gain and rightful

credit will not be given to

them

b) With members coming from

primary, secondary, and


143

tertiary school levels, age

differences sometimes lead to

misunderstanding among

members

c) Romantic relationships among

members develop. Nothing is

wrong here, but when there

are misunderstandings among

couple members, their perfor-

mance as well as that of the

whole group is affected



a) Members (especially those

poor and marginalized) who

are able to discover their

artistic talents in music and

arts make use of these talents

in order to attain, continue

formal education

b) Access to social networks that

lead to employment oppor-

tunities

c) Serves as an escape away

from life of gang violence, as

well as drug addiction com-

mon problem among today's

youth


a) Visual arts group established

in 1979 and currently has

thirty-seven (37) active

members

b) Group prefers traditional

spatial locations (e.g. art

gallery, museum exhibits) in

expressing their craft

c) Meetings are held in art

gallery of group‟s head, or a

chosen restaurant

Group Objectives:

a) To support young artists in

expanding their knowledge,

skills, talents and advocacy

for culture and arts

b) To support campaign that art

works of said young, budding

artists will be recognized

locally as well as inter-

nationally

Group Projects:

a) Participation in summer art

workshops for interested

individuals

b) Seek commissioning of

artworks among potential

patrons; portion of earnings

will fund art scholarships for

poor but deserving students


a) A few members express

hesitation in local govern-

ment‟s promotional activities

on Arts and Culture due to

issues on corruption, as well

as too much politics that the

cultural group might be

caught in the middle

b) Group is uncertain if govern-

ment funds for cultural

development are used wisely

by concerned local agencies

in supporting culture and the

arts; and if said aid is really

extended to rightful citizens




144

a) Members (esp. poor) who are

able to use acquired artistic

skills in attaining or

continuing formal education



tunities



well as drug addiction com-

mon problem among today's

youth


a) School-based performing arts

group providing entertainment

and showcasing cultural and

modern-day dances

b) Band rehearsals are held in

their school‟s multi-purpose

hall

Group Objectives:

a) Provide assistance to talented

students through discounted

tuition fees

b) Showcase local talents and

prowess in dancing by joining

competitions that give honor

to their school, themselves, as

well as their community

c) Promote camaraderie and

team work among members,

sharing best practices that can

be applied and used by all

members

Group Projects:

a) Participation in school, as

well as local festivals and

events where cultural dance

performances are needed

b) Involvement to dance

competitions in order to apply

skills developed, as well as

have chance to win cash

prizes that group will use for

its expenses


a) Despite direct affiliation to a

government university, mini-

mal support is received from

the government; funding

needed by group is attained

through performance invita-

tions which promote culture

and art in the city/munici-

pality

b) Funds to sustain and maintain

the group (in terms of

costumes, props and other

materials and financial

assistance) are also provided

by private sector and other

non-government

organizations



a) Members (especially those

poor and marginalized) who

are able to use acquired

artistic skills in attaining or

continuing formal education



tunities



well as drug addiction


145

common problem among

today's youth


a) Community-based Drum and

Lyre Band established in 2010

b) Currently sixty-five (65)

active members including

majorettes

c) Members of the band usually

started out young as early as

Grade Four (elementary) until

High School

d) Meetings are usually held at

the town plaza or sports

center

Group Objectives:

a) Provide scholarship programs

for band members

b) Perform and showcase their

talents and earn resources

through competitions and

performance invitations

Group Projects:

a) Participation in local cultural

events (e.g. culture and arts

festivals)

b) Accepts performance

invitations to generate

resources and funds to sustain

the organization‟s needs


a) Lack of financial support

received from the govern-

ment; putting pressure for the

group to find funding

themselves

b) Sometimes, group feels ine-

quality in opportunities given

by the government.


(esp. those who are poor and

marginalized):

a) Enable individuals to acquire

skills that open employment

opportunities

b) Alternative for youth to spend

their free time; instead of

joining gangs or participating

in negative vices (e.g. drugs,

crime)

Documents

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