Teachers and Trainers in Adult Education and Lifelong Learning

Teachers and Trainers in Adult Education and
Lifelong Learning
Professional Development in Asia and Europe
29-30 June 2009 in Bergisch Gladbach/Germany


Leonardo Rey S. Cariño
CULTURAL WORK and LIFELONG LEARNING
ANDRAGOGY: Professionalizing Development
Work in Delivery of Informal, Non-formal, and
Alternative Cultural Education (INFACE)
Initiatives the Philippine Countryside




Deutsches Institut für Erwachsenenbildung
German Institute for Adult Education


URL: http://www.die-bonn.de/doks/asem0913.pdf
Published: 10.06.2009
State of information: June 2009


This document is published with the following creative commons licence:

http://creativecommons.org/licenses/by-nc-nd/2.0/de/

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Contents:
1. Abstract...................................................................................................................... 3
2. Introduction ............................................................................................................... 4
3. Adult Education and/in Cultural Work..................................................................... 5
3.1. RA 7355 .............................................................................................................................5
3.2. Institute for Cultural and Arts Management ........................................................................7
4. Informal, Non-Formal, and Alternative Cultural Education (INFACE) Initiatives . 7
5. Adult Continuing Education in INFACE summit..................................................... 9
5.1. Philippine Educational Theater Association (PETA) ..........................................................9
5.2. Interfaced Programs on Cultural Caregiving ....................................................................10
5.3. Artists for Crisis ................................................................................................................10
6. DUNONG KATUTUBO: New directions in Professionalizing Development Work11
7. Conclusion............................................................................................................... 14
References................................................................................................................... 15

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1. Abstract
There are two worlds of realities present in many developing countries in Asia: the world of those
who live in the cities and those who are living in the rural areas. The Urban and rural divides are
worlds apart it is as if there are two sets of citizenry, two nations; Opportunities and access to
these opportunities do not even come in equal proportions. In the field of learning for example,
Access to education, its modes of delivery and even medium of transfer (teachers and trainers) in
the Philippine Provinces differ from the from the urban areas. While institutions of higher learning
provides the educational needs of the Urban folks, delivery of learning modules falls in the hands
of development workers, Artists and cultural workers deliver lifelong learning through informal,
non-formal, and alternative cultural education (INFACE) programming.
Conference workshop theme described as “the need for lifelong learning in all spheres of
professional life, and even in many spheres of Public and even personal life seems to be taken for
granted. The profession of persons who provide educational services of opportunities for learning
remains either diffuse at best or unnecessary. It appears that quite a lot of efforts have to be
dedicated by the individual andragogue in order to prove the credibility of the activity, and that
prevent this activity from being effective and efficient.” Incidentally, INFACE has similar objectives
that would be translated in to projects for funding by the committee:
? Professionalizing INFACE/Comm unity Work : design programs that support projects
focused on professionalized teaching and training in lifelong learning contexts
? Empowering INFACE/Community Work: identify ways to qualify teachers and trainers in
adult educators in Asian and European countries
? Legitimizing/Validating INFACE/Community Work : The NCCEd Intervention-
Professionalizing Formal, INFACE Lifelong Learning Education and training.
In the past 2 years, the National Committee on Cultural Education (NCCEd) has accelerated
efforts to initiate and support cultural education programs thematically covered by the Philippine
Cultural Education Plan (PCEP). Foremost in these initiatives is the training of trainers and
educators and curriculum and instructional materials development on culture-based subjects in the
basic and higher formal education levels. Aside from formal education system, the NCCEd also
addresses cultural education needs in the informal, non-formal and alternative learning systems
particularly those currently addressed by local government units (LGUs) and culture focused non-
governmental or people’s organizations (NGOs/Pos).
Called INFACE (Informal, Non Formal and Alternative Cultural Education), The committee project
will undertake an enquiry on the history natures and processes of engagement of cultural work in
the regions and communities and identify modalities and operative frameworks which PCEP could
adopt for its informal, non-formal, and alternative cultural education programming, it is hoped that
best practices in the grassroots level will be mainstreamed and replicated and resources could be
shared between an engaged network of LGU-NGO-PO partnership.
Online: http://www.die-bonn.de/asem/asem0913.pdf
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Leonardo Rey S. Cariño Is a Cultural Worker and an artist. He is involved in Lifelong Learning
teaching TVET courses and is involved in Informal, Non-Formal and Alternative Cultural
Education (INFACE) in Mindanao. He is an Executive Committee member of the National
Committee on Cultural Education of the National Commission for Culture and the
Arts.(NCCEd-NCCA). He established RMMC Teatro Amabahanon as training laboratory for
young contemporary artists in the field of cultural andragogy. He is currently a faculty member
and the community extension coordinator of the Ramon Magsaysay Memorial Colleges in
General Santos City, Philippines.
Professionalizing Development Work in Delivery of Informal, Non-formal, and Alternative
Cultural Education (INFACE) Initiatives the Philippine Countryside.
Leonardo Rey S. Cariño

“Culture comprises the whole complex of distinctive spiritual, material, intellectual and
emotional features that characterize a society or cultural group. It includes not only the arts
and letters but also modes of life, the fundamental rights of the human being,
value systems, traditions and beliefs”
UNESCO, 1982



2. Introduction
When the Act instituting a framework of governance of basic education, establishing authority and
accountability, thus renaming The Department of Education, Culture and Sports (DECS) as
Department of Education (DepEd) (otherwise known as Republic Act no. 9155) on August 11,
2001, programs for cultural education transferred to the National Commission for Culture and the
Arts. As consequence, the Philippine Cultural Education Plan (PCEP) was formulated and
operationalized. There have been efforts in cultural education by government and non-government
organizations- the PCEP is envisioned to consolidate and build from these initiatives.
The National Commission for Culture and the Arts (NCCA) is the enactment of Republic Act No.
7356 of April 1992. In all fronts the RA stipulates that to ensure the widest dissemination of artistic
and cultural products among the greatest number across the country and overseas for their
appreciation and enjoyment, the NCCA, with the cooperation of the Departments of Education,
Culture and Sports, Tourism, Interior and Local Government, Foreign affairs, and all other
concerned agencies public and private, is the government agency that is mandated to act on it.
Arts and culture promotion through education is stressed in 5 of the 11 mandates in Section 12 C
of RA No. 7356:
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? Cause to be established and developed an intensified arts education programs at all level
of the educational system public and private, to ensure meaningful arts integration across
the school curriculum
? Coordinate and provide technical and/or financial assistance for cultural events and related
activities such as cultural festivals, competitions, lectures, seminars forums, and symposia.
? Reorient tourism programs to become an instrument for popular education of our people
and other about the best of our heritage and creativity.
? Promulgate standards and guidelines for the protection and promotion of Filipino artists,
cultural workers and creative works
? Encourage and support the continuous training of cultural workers and administrators by
qualified trainers.
The NCCA has 19 national committees spread across the four sub-commissions: The Sub-
commission for the Arts, Sub-commission for Cultural Heritage, Sub-Commission for Cultural
Committees for Cultural Communities and Traditional Arts and the Sub-Commission for Cultural
Dissemination under which is the National Committee for Cultral Education (NCCEd). While all the
National committees have education components in each of their programs, the bulk of the
education concerns are in NCCEd.
Membership to the National Committee on Cultural Education (NCCEd) is institutional and
individual in nature. It shall consist of art and cultural educators (formal, Non-formal and Informal
who are committed in the advancement of the cultural education sector. The committee shall be
composed of educators or education experts in culture and arts in the following areas: media,
performing arts (Music dance and drama), Literary arts (Filipino and English), Visual arts, history,
social studies and Information Technology (IT). The budget allocation of the PCEP is funds the
projects of the NCCEd.



3. Adult Education and/in Cultural Work
3.1. RA 7355
The GAMABA and th e SLTs Republic Act No. 7355 “an act Providing for the Recognition of
National Living Treasures, Otherwise Known as the Manilikiha ng Bayan, and the Promotion and
Development of Traditional Folk Arts, Providing Funds Therefore, and for Other Purposes” or the
Manlilikha ng Bayan Act is the policy of the Philippine Government enacted into a law to promote
the county’s traditional folk arts for their cultural value the act also honors and support traditional
folk artists for their contribution to national heritage. It is trhough this law that traditional arts are
cultivated and passed on to future Generation of artists.
The Gawad Manlilikha ng Bayan (GAMABA) awardee are selected to having Technical and
Creative skill, Artistic Quality, community tradition, folk art tradition and character and integrity.
Aside from recognizing these traditional crafts persons, they are also expected to transfer the skills
of his/or her traditional folk art to the younger generation through apprenticeship or such other
training methods that are found to be effective. They receive one hundred Thousand pesos
(P100.000,00) initial Grant and ten thousand pesos (P 10.000,00) thereafter for life.
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The Manlilikha ng Bayan Awardees, using the initial grant from the government, were encouraged
to establish their own centers where they can revitalize their community’s artistic tradition. As
venues for learning, these centers will also be opened to visitors, researchers, and other artists
who may want to learn, observe, rediscover or just appreciate traditional arts.
By 1998, two GAMABA awardees, Salinta Monon and Lang Dulay formally opened their training
centers in Bansalan Davao del Sur and Lamdalag in Lake Sebu respectively. These training
centers were one of the first formally recognized “Schools of Living Tradition” (SLT). In the
Philippines, the School of Living Traditions is where a living master/culture bearer or culture
specialist imparts to a group of young people from the same ethno-linguistic community the skills
and techniques of doing a traditional art or craft. The mode of teaching is usually non-formal, oral
and with practical demonstrations. The site maybe is the house of the living master, a community
social hall, or a center constructed for the purpose*.
The UNESCO declares that there are two approaches to preserve cultural heritage: one is to
record it in a tangible form and conserve it in archives; the other is to preserve it in a living form by
ensuring its transmission to the next generations. The establishment of Schools of Living
Traditions (SLT) is in response to the second approach. While there are various facets of cultural
heritage that can be transmitted to the next generations, this program would like to specifically
focus on the transmission of indigenous skills and techniques to the young. It aims to encourage
culture specialists/masters to continue with their own work, develop and expand the frontiers of
that work, and train younger people to take their place in the future.
The program for the establishment of SLTs is also anchored on the mandate of NCCA to: (1)
conserve and promote the nation’s historical and cultural heritage by encouraging and supporting
the study, recognition and preservation of endangered human cultural resources such as weavers,
chanters, dancers and other craftsmen, as well as the conservation and development of such
artistic, linguistic and occupational skills that are threatened with extinction; and (2) preserve and
integrate traditional culture and its various creative expressions as a dynamic part of the national
cultural mainstream by helping set up or encourage, monitor and subsidize companion systems at
the regional, provincial and local levels, intended to develop traditional cultures such as arts/crafts
centers, preferably in community settings apart from the usual museum settings, where exponents
of living arts and crafts can practice and teach their art and enrich contemporary designs.*
A School of Living Traditions is community – managed, culture –focused, multi – stakeholders’ co-
initiative project of the Sub-Commission for Cultural Communities and Traditional Arts of the
National Commission for Culture and the Arts (SCCTA-NCCA) have the following objectives:

? Generally: It aims to provide a venue where a culture bearer/master, who embodies
the skills and techniques of a particular traditional art and form, imparts to a group
of interested youth the skills and techniques of such form.
? It shall be a resource base for cultural communities to achieve an improved quality
of life
? Specifically: Identify aspects/components of traditional culture and arts considered
to be important to a cultural community;
? Transfer these aspects/components to the young through the masters of the
community;
? Institutionalize a learning center for the perpetuation of the indigenous people’s
culture;
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? Integrate the program in the local school curriculum for wider participation and
dissemination; and
? Actively engage in the flouring of a viable cultural enterprises and vibrant cultural
tourism projects that are grounded on local culture and which preserve and promote
local knowledge.

The Concept of the SLT of teaching occupational skills Performing Arts, Indigenous dances,
Traditional songs and chants, Traditional music and instruments, Creative Industries, Handloom
weaving, Traditional crafts, Traditional culinary arts predated the other Philippine Adult Continuing
Education (ACE) design and methods, the Technical Vocational Education and Training (TVET) of
the Technical Education and Skills Development Authority (TESDA), albeit the SLTs lack the
institutional assessment and national regulation of TVET.


3.2. Institute for Cultural and Arts Management
By 2001 the Institute for Cultural and Arts Management (ICAM) was established. Short courses on
cultural management and related topics are offered every two weeks at the NCCA Building in
Intramuros, Manila. Cultural workers and artists from all over the Philippines have enrolled.
Participation from the regions has triggered renewed enthusiasm for cultural development in the
different parts of the country.
ICAM had devised an educational program that was least disruptive of the current duties and
responsibilities of the learners. Special five-day intensive courses on various aspects of arts and
cultural management was offered throughout the year at the NCCA Building and also offered
satellite courses in the regions. The courses were taught by experienced teaching staffs who were
themselves practitioners in the field of arts and cultural management. Classes were conducted
through lectures, discussions, case studies, group exercises and fieldtrips. Courses offered
include: Cultural Policies and Governance, Marketing 1: Building Audience for the Arts,
Management of Tangible Cultural Heritage, Marketing 2: Creating Loyal Customers, Cultural
Festival management. The regional satellite ICAM courses include Project Management in Arts
Organization, Cultural management for Development, Performing Arts Management and Cultural
Resource Management.
ICAM has operated from 2001 to 2004. The project has been suspended; a more flexible
Speaker’s Bureau Program was initiated. The speaker’s bureau pooled an inventory of experts that
are sent to lectures and workshops by NCCA to requesting parties. This makes the ACE in the
grassroots more learners’ need centered than the ICAM Set-up.



4. Informal, Non-Formal, and Alternative Cultural Education (INFACE) Initiatives
When the Department of Education, by virtue of the Proclamation 1081, became the Department
of Education, Culture and Sports (later became the Ministry of Education Culture and Sports by
virtue of Presidential Decree 1397) arts and cultural education along with sports gained strong
presence in the curriculum. However since the scope of the three disciplines is overwhelming,
lumping the three into one national agency it weakened the national agenda for culture, sports and
even education, that, by virtue of the enactment of RA No. 9155 when cultural agencies (Komisyon
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ng Wikang Pilipino, National Historical Institute, Records Management and Archives Office and the
National Library) were administratively attached to the NCCA and program for school arts and
culture remained part of the school curriculum, the following trend has been observed: (1) The
national cultural agenda gained focus, and (2) Education governance gained authority and
accountability. However, the dearth of experts (qualified educators in arts and culture and qualified
culture and arts practitioners as teachers for culture in DepEd), could result some setbacks in the
educational and cultural development of the Philippines.
Although the NCCA through its National Committees have been involved in Education projects
Since its creation (until the PCEP was formulated (1992-2000 period) NCCA has funded 425
training programs, conferences, workshops, lectures, etc. and spent around 73.3 Million pesos.
Around this time a more comprehensive, a more sustainable education program saw its need to be
formulated. The NCCEd since its formulation in 1997 has included teacher training programs for
in-service teachers from DepEd. The last executive committee (ExeCom) of the NCCEd included
teacher training programs with Higher Education Institutions (HEIs) diplomas for teachers.
As a committee, the NCCEd have been doing this study of INFACE vis-à-vis the formal education
system and have been trying to make INFACE into a niche particularly the indigenous knowledge
system. Work on a program for the distribution of logistics and resources, and the program thrust
for the next three years of the NCCED is under way and hopefully be incorporated into the thrust of
the next committee (each Execom has a 3-year term) during their term.
Called INFACE (Informal, Non Formal and Alternative Cultural Education), The committee project
will undertake an enquiry on the history natures and processes of engagement of cultural work in
the regions and communities and identify modalities and operative frameworks which PCEP could
adopt for its informal, non-formal, and alternative cultural education programming, it is hoped that
best practices in the grassroots level will be mainstreamed and replicated and resources could be
shared between an engaged network of LGU-NGO-PO partnership.
The Current Executive Committee of the NCCEd wanted to expand training programs for those
who are working in the Informal, Non-formal, Alternative Cultural Education (INFACE)convened
three Island wide (the Philippines is divided into three island groups, Luzon, Visayas and
Mindanao, in many NCCA Projects) consultation and a national summit. Conference/workshop
theme described as “the need for lifelong learning in all spheres of professional life, and even in
many spheres of Public and even personal life seems to be taken for granted. The profession of
persons who provide educational services of opportunities for learning remains either diffuse at
best or unnecessary. It appears that quite a lot of efforts have to be dedicated by the individual
andragogue in order to prove the credibility of the activity, and that prevent this activity from being
effective and efficient.” Incidentally, INFACE has similar objectives that would be translated in to
projects for funding by the committee.
The following statistics in terms of attendance of the island series consultations:
? LUZON Forum had 48 participants: 7 from local government units and 41 artists, cultural
workers, NGOs and arts councils representatives
? VISAYAS Forum had 42 total participants: 6 from local government units and 36 artists,
cultural workers, NGOs and arts councils
? MINDANAO had 44 total participants: 9 from local government units and 40 artists, cultural
workers, NGOs and arts councils representatives
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The paper also enumerated the following accomplishments and gains from the island series
consultations:
LUZON
? Provided working mechanism for interfaced work of an engaged network of cultural NGOs,
individual artists, and cultural workers
? Resolved to make cultural festivals inclusive of engaging relevant cultural concepts
VISAYAS
? Provided opportunity for the coming together of cultural activists after 20 years;
? Developed NCCA-approved project entitled “Documentation and Editorial Management of
Cultural Work History in the Visayas” by Gardy Labad and Nene Basilan (The proposal had
just gotten the Board’s approval.)
MINDANAO
? Provided the impetus for integration for the indigenous knowledge system in the NCCED
programming framework
? Paved the way for the development of DUNONG KATUTUBO program interface with
SCCTA
1. the indigenous knowledge system can be mainstreamed
2. the indigenous people’s culture must be sustained



5. Adult Continuing Education in INFACE summit

5.1. Philippine Educational Theater Association (PETA)

Wilson Billones presented the Curriculum and Pedagogical Development of PETA.
Wilson said the focus of his presentation is the program of PETA: its performance and trainings
and their artist-teachers. PETA came from the School of People’s Theater that started in 1967.
The concept of integrated theater arts incorporates different arts: music, creative writing, visual
arts, dance or body movement, and creative drama. This is the spine that binds the teaching of
their theater company.
There is likewise the belief in the balance of production with the following guidelines: Orientation,
Artistry and Organization. The creative process (RAESMA) is the “release to awareness to the
exploration of art materials mastery and application.” These are important components of
integrated theater arts. This is the direction PETA towards national theater movement.
The integrated theater arts approach is very friendly, Filipino, people-oriented, participatory and
empowers people. It is Collective, Critical (to the point of being progressive), Sensitive (recognizes
simple to complex), Sensitive to culture, Important in the realm of cultural education. In PETA this
is called creative pedagogy, which is important in cultural education. It is likewise important in
INFACE how to transfer resources to the next generation.
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There are several applications of creative pedagogy in PETA. Wilson discussed three:
? TAD – theater for aesthetic development
These are basic theater courses for children, teens and adults. There are also specialized courses
in acting, directing, playwriting, production design, creative dance, and theater management. The
objective is making people experts in theater and learning theater as an art form.
? TIE – theater in education
This is the use of theater for the use of education. This is theater in formal school settings. This
course is for teachers to learn the basic course in theater. It challenges teachers in math, science,
religion, etc. in using creative methods. It is a course for theater guild advisers.
? TFD – theater for development
This is theater for communities; theater for advocacy (for NGOs, people’s organizations, theater to
advocate issues. It is the use of creative pedagogy for development, and also for other causes
such as healing (disasters, trauma, social themes.) In line with this thrust, PETA has the Mekkong
partnership program with community people dealing with the issue of HIV AIDS.
The creative pedagogy as applied to organizational development also deals with the following
issues: gender sensitivity, environment advocacy, corporate world, promotion of human rights, and
research. PETA has four major programs: (a) Children’s Theater, (b) Teen Theater, (c) Women’s
Theater Program, which is suffering unavailability of funds, and (d) the Mekkong partnership
program.


5.2. Interfaced Programs on Cultural Caregiving
Lumad and Moro (Indigenous peoples of the Philippinjes) artifacts can be used for economic
progress. NCCA will be providing grants to the masters and their products be sold to a boutique
with in the NCCA. Opening a cultural identity shop on April 27 headed by Dr. David Baradas. They
are familiarizing the NCCA Finance Head Josie Maglalang with this plan to make a marketing
scheme in support of this shop. She hopes that the NCCA cooperative will get into the picture in
cooperation with various artists.
The “Interfaced Programs on Cultural Caregiving” is an extension of the SLT Projects. This is
loosely based on the Bangladesh experience of the GRAMI bank by Dr. Aristotle Alip. It was the
bank offers micro finance to women entrepreneurs. This opens a new opportunity where college
graduate children of minorities can participate economically or be gainfully employed. There is a
Memorandum of Understanding that covers this. Interfaced Programs for Cultural Caregiving
responds to one of the objectives of the School of Living Traditions and moves its stages forward.


5.3. Artists for Crisis
Artists for Crisis is an NCCA Project. This is a trainer’s training program that deals with issues in
art: for the self, for the community, for healing, the quick response in care-giving program. With the
NCCA as a cultural umbrella, in December 2008 they sent out an open letter to the Filipino artist
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Document Outline

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