Kapihan sa Karaang Balay Okkil

Enigmata Creative Circle, Inc.
Camiguin Polytechnic State College
in cooperation with the
Department of Education
Department of Science and Techology
and in partnership with and support of the
Metropolitan Museum
National Commission for Culture and the Arts

Kapihan sa Karaang Balay Okkil
A consultative forum among the ancestral and okkil art house owners
Camiguin School of Arts and Trade, Mambajao, Camiguin Island
February 25-26, 2006

Executive Summary
The forum was an initiative of the Enigmata Creative Circle, Inc., a private organization working on biodiversity and art education, and the Camiguin Polytechnic State College (CPSC) in line with their vision “Center for Excellence” for their Ecotourism program.

Camiguin is an island rich in history and cultural legacy, and because of this the provincial government supports and has its own initiatives on heritage conservation. Likewise, there are line agencies with roles included in their mandates to contribute to the preservation of local heritage, the same for the local government units as per Local Government Code of 1990 (Republic Act 7160). However, there remains a need for greater awareness among local planners and residents in Camiguin about proper conservation measures, including scientific procedures among others.

The consultative forum was just an initial assessment to identify historical landmarks needing urgent attention in Camiguin, and exploration of opportunities for partnerships and coordination, if only to salvage the visible remnants of our heritage, which is the face to our national identity.

Objectives
1. To increase participants’ awareness about the importance of cultural heritage and national identity, cultural and eco-tourism principles and practices, and mandates governing the protection of local heritage;
2. To explore opportunities for conservation programs;
3. To encourage stakeholder participation in the preservation and promotion of local culture.


Consultative Forum Schedule of Activities


I. Registration
II. Opening Salvo

III. Opening Remarks – Venus I. Lammawin, Ed.D., President, CPSC
The CPSC has a vision that its Ecotourism program would be a “Center for Excellence”. Thus, it initiates extension programs that would build capacities of its students, serve the local community and contribute to national development.

IV. Keynote Message – Gov. Pedro Romualdo, Camiguin Province
The Governor gave a brief history of Camiguin, also linking events to the changing culture and gave emphasis on the importance of preserving cultural heritage and maintaining peace in Camiguin. The Governor also provided information on the status of the island’s cultural heritage, i.e., the provincial government recently re-claiming the old church ruins from the Philippine National Bank after being on collateral. The same was the case of Katibawasan Falls. However, still not all cultural landmarks in the island belong to the provincial government, as there are some that even fall within private properties. Nonetheless, the provincial government of Camiguin continues to concert its efforts in conserving the cultural heritage of the island. In the case of ancestral houses, the provincial government has issued an Executive Order declaring the said houses in Camiguin as historical landmarks.

V. Introduction of Participants – Ms. Miriam de la Plaza, Head, DOST
The participants in the forum were Ecotourism major students at Camiguin Polytechnic State College, student representatives from Camiguin School of Arts and Trade, ancestral and Okkil art house owners in Camiguin, local historians, and the Local Government Unit (LGU), Department of Science and Technology (DOST) and Department of Tourism (DOT) representatives (see attachment for list of participants).

The head of DOST, in a brief statement conveyed the significance of DOST supporting efforts such as cultural heritage preservation. DOST, as one of its roles, extends technological support to such undertakings, including ensuring purity of research.

VI. Culture and Development – Mr. Mozart Pastrano
Culture is a people’s way of life—their communal values, beliefs, traditions and practices including how they deal with their environment. In Camiguin, for example, people have their rituals and ceremonies such as the Panaad, local arts such as dance, music and architecture, and many others.

In the light of existing local cultures and rich historical heritage, it is therefore important that any development initiative in the area should consider the local people and their cultural and historical heritage. This is with respect to the past and the existing identity of a people. This is the concept of culture-based development.

VII. Okkil Art – Prof. Al-Nezzar Ali
Okkil means to carve. It is also means carving, or any design of woodwork. Mostly found in Moro houses, okkil has been adapted by Filipinos dating back to pre-Hispanic times, and now could still be seen in Philippine ancestral houses that have survived the past century.

In the beginning, Okkil art was associated with the nobility especially during the Majaphait and Srivijayan Empires. Originally used in grave markers, the art was also placed in boats, specifically the serpent motif—believed to bestow protection and a safe journey to voyagers. Later on house designs adapted the stylized forms of Okkil, believed also to drive out evil spirits, while also functioning as house ventilation. With the rise of iconoclasm in the 8th century, other motifs such as foliage and other forms from nature were added to the designs, with the flowing design in the foliage motif also symbolizing the infinity of God’s power.

The existence of Okkil art in surviving Philippines ancestral houses is a proof of connection with our South East Asian neighbors long before the Europeans came. It is a legacy from a glorious past—allowing us to see how Okkil art played a significant role in the lives of our ancestors. But aside from seeing our connection with the rest of the continent, we also see the building of our own identity. Okkil art has taken its place in the history of Philippine society, but also evolved into unique forms. For instance, the panolong—an embellishment (and also with a supernatural purpose) bearing Okkil art and attached outside ancestral houses is uniquely Filipino. Okkil art alone could tell so much about our cultural heritage, and it’s only one of the many legacies still visible, but slowly diminishing in the island of Camiguin.

VIII. Commentary from Prof. Abesamis, Camiguin historian and Mr. Edwin Boborol, Municipal Planning Development Coordinator of Mambajao
Professor Abesamis, the historian of Camiguin gave a brief history of the island and also seconded the message and lecture imparted by the Governor and Prof. Al-Nezzar Ali respectively.

Mr. Boborol also gave a brief commentary, expressing future application of learnings from the forum in the development of Mambajao. The MPDC also expressed plans to work closely with the National Commission for Culture and the Arts (NCCA), particularly in the municipal zoning, so as to appropriately assess residential areas and ensure that ancestral houses and other cultural landmarks do not get demolished.

IX. Cultural Heritage Conservation: The Bohol Experience – Architect German Torero
The following is the Principle of Conservation:

It is better to preserve than to restore,
to restore than to reconstruct,
to reconstruct than to do nothing at all.

The above principle means that in conserving cultural heritage, as much as possible, only minimum intervention will be required. Remodeling—is not part of conservation at all.

In Bohol, Architect Torero in partnership with NCCA is spearheading a team of conservators. To date, they have restored old churches, towers, stone bridges and houses. The process of restoration includes documentation, i.e. before, during and after the intervention. Drafting is done, giving emphasis on measures and proportions, and pictures taken as well.

In the context developing cultural landmarks for tourism, comfort is important, meaning, some improvements would have to be done. In this case, the Principle of Reversibility should be applied, i.e., not permanent or irreversible, with the old structure still intact and no alterations done.

X. Legal Mandates for the Culture and the Arts – Atty. Trixie Angeles
Heritage means legacy. Heritage is part of our collective memory, and it makes us not forget.

Heritage precedes creation of national identity. National identity is the idea that we are one nation. It is what defines us as a nation—meaning, having one goal and one direction.

Heritage plays a role to national identity--it is evidence that we’ve been “there” and we could do it again. Heritage is keeping the faith. For instance, the balanghai in the 9th – 12th century is proof that we were crossing the Pacific long before the Vikings were crossing the Atlantic.

Heritage should be part of our everyday lives so as not to destroy it. To protect it, the Philippine Constitution recognizes historical treasures, and they may be restricted in its use and disposition. The state can police historical landmarks, i.e. protection of heritage, for the general welfare. There are many local and international laws under which certain Philippine cultural landmarks are under, e.g., selected churches across the country.

In the context of ancestral and Okkil art houses in Camiguin, private ownership will not supersede the public good. The people should guard against inappropriate development, and development is not synonymous with destroying heritage. In conserving the said houses in Camiguin, the direct beneficiaries would be the homeowners and the indirect beneficiaries would be the people who live in the community.

XI. Plenary Discussion
In organizing ancestral and Okkil art house owners in Camiguin, a good example would be how it was done in Carcar, Cebu. If there are already existing cooperatives or any kind of association, it will also be good to start with. The criteria for eligibility for a collaborative conservation would simply be how significant the houses are to the community; aesthetics would have its own merit as well.

In case of destruction or defacing of cultural landmarks, the first step in the legal procedure to apprehend is to get a Temporary Restraining Order (TRO), or report to the Environmental Management Bureau (EMB) of the Department of Environment and Natural Resources (DENR) for an administrative suit. Under the Cultural Treasures Act, there is a fine of P10,000, while under the Philippine Environment Law, the fine is P50,000 per day.

The NCCA provides technical assistance to heritage conservation efforts through various funding windows and services from lawyers, engineers and more.

XII. Creative Linkaging, Networking, Fund Sourcing and Sustainability – Mr. Cris Rollo
Mr. Rollo shared with the audience the education programs of the Metropolitan Museum of Manila. This included the Museum’s cultural education program which encourages the enhancement of traditions, rituals, and crafts in communities and how these could be capitalized to improve the economy. There is also youth education wherein participation is encouraged and the youth acquire a higher level of awareness on culture.

XIII. Cultural Presentation of Local Composeros

XIV. Cultural Tour to Selected Okkil Art Houses in Camiguin
A visit to selected ancestral and Okkil art houses in Camiguin was conducted, participated in by students and resource persons from the forum. The houses visited were belonging to the families Corrales, Chan, Neri, Francisco and Paderanga. Informal discussions were conducted together with the house owners, resource persons and students. The discussions ranged from history to significance of rooms and fixtures in the houses visited in the context of 19th and 20th century Philippine society.


Reflection and Analysis
Notable during the ancestral and Okkil art house visits were the excitement and passion of the house owners in preserving their ancestral houses and the history that goes with it, and great interest to get support from the local and national governments and willingness to go through the process requirements. There were also expressions of desire to get all Okkil art house owners organized so that any initiative would be from a collective decision. The vision is that Camiguin would not only be a site for eco-tourism but cultural tourism as well—in the end serving the local community, and contributing to national development.

The excitement, interest and willingness to have the ancestral houses in Camiguin be preserved for cultural heritage did not only come from the ancestral house owners but from the resource persons and experts who came for the lectures, discussions and ocular visits as well. Camiguin has always been known for eco-tourism because of the island’s sea and beaches, mountains, volcanoes, forests and rich biodiversity, but not much for cultural tourism, or if it is, not much emphasis is given on the ancestral houses in the island. The resource persons and experts from the national agencies who came for the activity were very surprised to find out and see evidences of a rich cultural heritage in Camiguin and are all in high spirits and willing to extend the national agencies’ expertise for the island to capitalize on this potential.

Another positive note were the expressions of interest to collaborate from local agencies such as the DOST and the Municipal Planning Development Office (MPDO) of Mambajao. The DOST is willing to extend its help in ensuring purity of research and by providing technical support; and the MPDO has signified coordination in the future which is the essence of responsible planning. CPSC also has its already existing extension program for cultural and eco-tourism. Some private organizations in the island are also supportive on these kinds of endeavors—the Enigmata Creative Circle, Inc. alone has already made initial documentation of existing Okkil art in the island, organized and facilitated several workshops in the past with regards to Okkil art, and continues to move forward the cause for cultural and eco-tourism.

In addition to the initial assessment of Okkil art houses in Camiguin, the resource persons and experts on culture and history also visited other cultural landmarks in the island, including the old church ruins in the municipality of Catarman and the Moro watchtower in the municipality of Guinsiliban. Based on the above concepts and principles they have discussed, there is much concern that changes made in the church ruins be reversed—not only for aesthetic reasons but also to arrest impending slow destruction of the old structure. The same holds true for the Moro watchtower in Guinsiliban.

Overall, there is a need for coordination, collaboration and participation of all communities in the island for a more pro-active and appropriate cultural development planning, preceding promotion of cultural and eco-tourism. These include the local residents of Camiguin, local government units and agencies, private corporations and organizations, and the academe among others.


Attachments:
Attendance Sheet

List of Resource Persons:
1. Atty. Trixie Angeles, Head, Speakers Bureau, National Commission for Culture and the Arts
2. Mr. Cris Rollo, Deputy Director, Metropolitan Museum of Manila; Chairman, Committee on Visual Arts, National Commission for Culture and the Arts
3. Prof. Al-Nezzar Ali, Maguindanaoan Okkil Expert
4. Architect German Torero, NCCA Executive Committee Member, Committee on Monuments and Sites; Professor, Architecture and Fine Arts Department, University of Bohol
5. Mr. Mozart Pastrano, Member, Dramatics Guild Sub-Committee, National Commission for Culture and the Arts

Reference Materials:
Presentation Materials of Resource Persons (for requests please contact the resource persons directly)

Prepared by: Elinor Abuton (Enigmata Consultant)