EZEKIEL BANTOK

PAMELA CABIDOY
KNELL CAMA

FEBUARY 9. 2018
REGION 3: PROPOSED CULTURAL HUB

GOALS
To propose a hub that will become the center of knowledge for both social and cultural history of
all provinces of Central Luzon and to determine solutions on how to effectively accommodate
local tourist and residence. The goal of this study is to create community and collaborate with
organization to raise awareness in terms of history, culture and traditions.

OBJECTIVES
● To establish historic and cultural complex in the region as hubs for cultural
education, entertainment, and tourism.
● To obtain data about the culture and traditions of provinces of region 3.
● To provide opportunities in creating and maintaining strong communities.
● To create facilities where local tourist and residence can obtain knowledge of the different
culture and history of every province in the region.
● To discover strategies on how to increase the amount of audiences that will use the
facility.
● To create commercial spaces that retails different traditional handicrafts and dishes of
different provinces.
● To provide commercial facilities that will create opportunity of employment to the
residence nearby.
● To exhibit and promote the beauty of different festivals traditional events and the
indigenous people of region 3.
● To help and support nearby institutions for their research especially concerning about the
social and cultural history of region 3.

FACTS
CENTRAL LUZON AT A GLANCE

Envisioned to become the INDUSTRIAL HEARTLAND of the Philippines and the Asia Pacific; an
international transshipment hub; and a showcase of a vibrant and competitive AGRICULTURE
SECTOR, Central Luzon is the logical destination for investments and leisure.

A growth region in the Philippines that contributes significantly to the national economy, Central
Luzon is home to a number of industrial estates and economic zones with efficient water, power
and telecommunication facilities; port facilities; road networks that create synergy between and
among the economic and tourism points of Subic, Clark and the seven provinces; and, a strategic
location that offers accessibility for the movement of people, goods and service from the North to
Manila.
A distinct advantage in consideration of the Asia-Pacific Rim, Central Luzon’s highly strategic
location was enough for the United States Government to locate their biggest naval and air
military facilities outside the US mainland. The former SUBIC NAVAL BASE AND CLARK AIR
BASE FACILITIES which were turned over to the Philippine government in 1991, now two of the
country’s premier economic zones.

Central Luzon combines the advantages of an international airport, a seaport, industrial and
agricultural areas, tourism and leisure sites, support services, and major thoroughfares. The
complementation of each of these elements enhances the strengths of the region as an
investment destination.

The region contains the largest plain in the country and produces most of the country's rice
supply, earning itself the nickname "Rice Granary of the Philippine” or “Rice Bowl of the
Philippines”. • Central Luzon covers a total land area of 18,230.8 km2 and occupies the central
portion of the island of Luzon. The region is landlocked by Pangasinan and Nueva Vizcaya on the
north; Metro Manila, Cavite and Rizal on the south; Aurora and Dingalan Bay on the east and
Palauig Bay and Subic Bay on the west. •Region 3 is bestowed with a combination of towering
mountains, extinct and active volcanoes, lush verdant farmlands, and natural sea harbours.
•Region 3 is composed of 7 provinces, 14 cities, 116 municipalities, and 3,102 barangays.

*Based from statistics of RCP (Regional Comprehensive Plan) of Region III*

PROVINCES OF REGION 3

AURORA
"LAND OF THE GOLDEN SUNRISE” AND"GATEWAY TO THE PACIFIC"
Before 1979, Aurora was part of the province of Quezon. Aurora was, in fact, named after Aurora
Aragon, the wife of Pres. Manuel L. Quezon, the president of the Philippine Commonwealth, after
whom the mother province was named.

FESTIVALS

● Suman Festival (February 14-

February 19)
○ The celebration includes a parade of
uniquely designed floats, trade exhibits, fairs,
and competitions. The suman is a sweet sticky
native rice cake, and it is used to decorate the
main streets and houses in Baler during the
festivity.

●Sabutan Festival (August 25)

○Sabutan Festival in the town of San Luis,
province of Aurora highlights the importance of
growing palm trees locally called Sabutan on
the community's economic well being.

DELICACIES
“Pakumbo”
Pakumbo is more like the Bukayo’s version of Aurora. They both tastes the same but one thing
that makes Pakumbo more distinctive is the size of the coconut strips. The strips are notably
 larger than the regular strips used for Bukayo (a sweet
cocounte delicacy originated in Lingayen, Pangasinan).
Pakumbo is a sweet delicacy prepared by simmering strips of
young coconut meat in coconut water, brown sugar, vanilla
and pandan leaves. These are then cooked for four hours.
“Suman De Baler”
Suman is glutinous rice cooked in coconut milk
and wrapped in buri palm leaves. Its preparation
and cooking time are shorter than the pakumbo.
The most notable thing you’ll notice with their
suman is the red-ish or sometime purple-ish color.
Aside from Coconut products, Aurora is also
known for their “Pinawa” or brown rice and this is
where Suman De Baler were made of! The suman
is sweet enough and you don’t need to dip it into
sugar to enjoy it.

ARTS &CRAFTS

BATAAN
The capital of Bataan is Balanga City and it is bordered by the provinces of Zambales and
Pampanga to the north. The peninsula faces the South China Sea to the west and Subic Bay to
the north-west, and encloses Manila Bay to the east. The Battle of Bataan is famous in history as
one of the last stands of American and Filipino soldiers before they were overwhelmed by the
Japanese forces in World War II. •The Bataan Death March was named for this province, where
the infamous march started. This is also the location of the Bataan Nuclear Power Plant located in
the Municipality of Morong.

FESTIVALS

● Banga Festival (April 23- April 30)

○ The Banga Festival is a week-long event celebrated in the city of Balanga City,
Bataan. It is said that the name Balanga, which is the capital of Bataan, came from
the word “banga,” the tagalog term for pot used in cooking. The Banga Festival is
celebrated to remind the Balangueños of their humble beginnings. The festival is
 celebrated alongside the feast of St.
Joseph in April 28. To commemorate
this humble beginning of the now
progressive city, the Banga Festival is
being celebrated.

● Pawikan Festival (Last

Sunday of November)
○ The Pawikan Festival is held
yearly at the Pawikan Conservation
Center in Morong, Bataan. The main
activity here is the releasing of the
baby pawikan, which are hatched in the
conservation center.
Every year, during the festivities, they invite
visitors and thousands of students from the
provinces to promote awareness and also be
treated to some street dancing, sand
sculptures, a showcase of local products, and
witnessing how the hatchlings go back to the
sea.

DELICACIES

TINAPA/ SMOKED FISH

Bataan has their own delicacy named ‘tinapa’. This is
very common as a homecoming treat or locally known
as pasalubong. The milkfish or ‘bangus’ is the top choice
for tinapa that comes in boneless and savory, ready for
that craving appetite. Tinapa can be sold at the market
of Balanga city

Pancit ng Bataan - "pancit palabok with tons of

tinapa"
ARTS &CRAFTS

The primary traditional industry of Bataan is fishing.

It is the home of thousands of fishermen whose
industry has spawned a unique craft of net and
fishtrap making. Nets produced in Bataan take on
various forms and shapes like the panli, kalukutok,
pambonot, pansiliw, panitig, mananacag hipon, panglusong, hila-hila, kitang, pangapak, bintol,
salambaw, dala, bating, pangalabaw and the gulgureta. Each net type responds to various needs
and uses. There are also various fishtraps like the saluhin, paclang, aguila, panghipon and
pangalalo.

BULACAN
"The Gateway to the Northern Philippines" A first class province of the Republic of the Philippines
located in the Central Luzon Region (Region 3) in the island of Luzon, 50 km north of Manila (the
nation's capital), and part of the Metro Luzon Urban Beltway Super Region. Bulacan was
established 15 August 1578.
Bulacan prides itself on its rich history. The province figures prominently in Philippine history.
Many national heroes and political figures were born in Bulacan. The province was also one of
the first to revolt against Spain.
The province is honored as one of the 8 rays of the sun in the national flag. It is the home of the
"Three Republics." These are the Republic of Real de Kakarong de Sili (1896) in Pandi, the
Republic of Biak-na-Bato (1897) and the First Philippine Republic in Malolos (1899–1901).
Today, Bulacan is among the most progressive provinces in the Philippines. Its people — the
Bulaqueños (or Bulakenyo in Filipino) - are regarded as highly educated, enterprising and
industrious. •It is well known for the following industries: Marble and Marbleized Limestone,
Jewelry, Pyrotechnics, Leather, Aquaculture, Meat and Meat Products, Garments, Furniture,
High-Value Crops, and Sweets and Native Delicacies, and a wide variety of high-quality native
products. •Several rivers irrigate the province of Bulacan; the largest one is that of Angat.

FESTIVALS

● Obando Town Fiesta (May 17- May 19)

○ Couples who want to have children join the
Obando Fertility Rites. Each day celebrates the
feast of one of the town’s patron saints: San
Pascual Baylon (St. Paschal) on the 17th, Santa
Clara (St. Clare) on the 18th, and Nuestra Señora
de Salambao (Our Lady of Salambao) on the
19th. A long procession sings “Santa Clara
Pinung-Pino” while performing the fertility dance
ritual, followed by images of the patron saints.
 ● Pulilan Carabao Festival (May 15)
○ The fiesta is held in thanksgiving for a
yearlong bountiful harvest and in honor of
Pulilan’s patron saint, San Isidro Labrador (St.
Isidore the Farmer). The main attraction is the
parade of carabaos, which are made to kneel
down in front of the church while a priest blesses
each of them.

● Pagoda Festival (First Sunday of July)

○ Every First Sunday of July, the town of
Bocaue in the Province of Bulacan celebrates the
fluvial Bocaue Pagoda Festival, the Pagoda sa Wawa,
which commemorates the discovery of the miraculous
cross floating on the Bocaue river 200 years ago.

● Singkaban Festival: Linggo Ng Bulacan (3rd

week of September)
○ Singkaban Festival is an annual provincial
event of Bulacan where Bulakenyo culture and arts
are featured in a week-long celebration. It showcases the
traditional arts of the literary form “Balagtasan,” folk dances, and
traditional songs known as “kundiman.”

DELICACIES

Chicken Kinulob, Kinulob na Itik/Manok - "native chicken slow-cooked in

the traditional palayok with pork stomach, vegetables and aromatics; it comes
with rich liver and calamansi sauce;” a Polo specialty
Chicharon Buchi - assorted chitterlings in San Jose del Monte

NUEVA ECIJA
A landlocked province of the Philippines located in the Central
Luzon region. Its capital is Palayan City. Nueva Ecija borders,
from the south clockwise, Bulacan, Pampanga, Tarlac,
Pangasinan, Nueva Vizcaya, and Aurora.
Cry of Nueva Ecija is the 1896 revolutionary battle led by
General Mariano Llanera - Mariano Llanera, manned and
assisted by General Manuel Tinio of Gapan City, Nueva Ecija and Colonel Alipio Tecson of
Cabiao, Nueva Ecija who later on became Brigadier General. The battle was fought in Cabiao,
Nueva Ecija. Alipio Tecson became Gobernadorcillo of Cabiao, Nueva Ecija.

FESTIVALS (Last Saturday of March)

● Taong Putik Festival (June 24)

○ VIn the Philippines, as in other
Catholic countries, June 24 is observed as
the feast day of Saint John the Baptist. The
day offers an excuse to engage in revelry
such as dowsing water on unwary people. In
Aliaga, Nueva Ecija, in Barangay Bibiclat,
hundreds of devotees of the village's patron
saint, John the Baptist, transform themselves
into "mud people" -- literally "taong putik."
The locals call the ritual Pagsa-San Juan.
Outsiders call it the Taong Putik Festival, an
event -- an experience -- that has recently
caught the attention and interest of the tourism sector.

● Kariton Festival
○ Kariton, which means rig-cart drawn
by carabao, is celebrated during the annual
celebration of the founding anniversary of
Licab town on March 28. Kariton plays a
significant part in the history of Licab. Don
Dalmacio Esguerra, the town’s founding
father, used kariton when he left San
Nicolas, Ilocos Norte until he finally settled
and found this town in Licab. In fitting
recognition of the significance of this very
important farm equipment, the LGU of Licab
adopted “Kariton Festival” as the town’s official festival. The event features a
parade of colorfully-dressed kariton floats, Search of Outstanding Licabenos, Agri-
aqua trade fair and beauty pageant.
 Tanduyong Festival
○ The Tanduyong Festival is a yearly
festival in San Jose City, Nueva Ecija in the
Philippines. The people in San Jose give
thanks to a blessed harvest of tanduyong.
The tanduyong is a kind of an onion here in
the Philippines. Because of a good harvest
here in San Jose the city was been called
the Onion Capital of the Philippines. Every
year the city celebrates the festival during
the month of April. During the festival the
people filled the street and the dancer wear
a colorful costume.

● Tsinelas Festival (August 6-

25)
○ In Nueva Ecija, Tsinelas
Festival is celebrated annually in
Gapan City, Nueva Ecija to
represent the vital role and
importance of tsinelas. This festival
is aimed at bolstering the new city’s
claim as the North Slippers Capital.
It also commemorates the cityhood
of Gapan. It is highlighted in three
weeks event from August 6 to 25
such as street dancing from where dancers wear tsinelas as they dance, the trade
fair sports activities, the search for “Mutya ng Lungsod ng Gapan”, and especially
the center of attention of everyone which is the parade of 7-foot
replica of tsinelas that is traditionally-prepared every year. There is
also a wide array of different kinds of slippers available for
everybody especially the shopping tourists.

DELICACIES

Tilapia ice cream

Tired of the usual rocky road and vanilla ice cream? How about a nice
big helping of tilapia ice cream? Daerry’s novelty ice cream is one of the
products of the Central Luzon State University (CLSU), developed as a
response to the challenge to make use of tilapia, a type of freshwater fish. Ingredients include all-
purpose cream, condensed and fresh carabao's milk, chopped walnut and diced cheese, as well as
steamed tilapia flakes!

Puno’s ice cream is a company set on providing the Filipino community with frozen delights and
dairy products that will surely keep the customers waiting more. A small business that started and
 prospered in Cabanatuan City Puno’s Frozen Dairies
Promises satisfaction in every scoop of ice cream that
you will surely enjoy

Puno’s Ice Cream and Sherbet is a well-known ice

cream brand in Cabanatuan City, Nueva Ecija. The
company was founded by Atanacio and Simeona Puno.
They decided to put up the ice cream business to send
their 9 children to school since money was difficult to
access at the time.

Now, Puno's Ice cream and Sherbet is widely known not just in Cabanatuan CIty, but in other
Cities here in Nueva Ecija. Puno’s Ice Cream and Sherbet with its perfected taste and quality of
products for five decades now, is the premium Ice Cream Manufacturer in the entire City of
Cabanatuan. Thus far, Puno’s Ice Cream and Sherbet is known as the “makers of quality made-
to-order ice cream and sherbet” in Cabanatuan City and is the established brand in the entire
City.

PAMPANGA
A province of the Philippines located in the Central Luzon region. Its capital is the City of San
Fernando. Pampanga is bordered by the provinces of Bataan and Zambales to the west, Tarlac
and Nueva Ecija to the north, and Bulacan to the southeast.
The word pampang, from which the province's name originates, means river bank.The province is
home to two Philippine Air Force air bases, Basa Air Base in Floridablanca, and Clark Air
Base.The inhabitants of Pampanga are generally referred to as Kapampangans (alternatively
spelled Capampañgan), Pampangos, or Pampangueños.The population has produced two
presidents, three chief justices, a senate president, the first Filipino cardinal and many
outstanding personalities in public service, education, diplomacy, journalism, the arts and
sciences, entertainment and business.

FESTIVAL

● Sinukwan Festival (1st-2nd week of december)

 ○ The Sinukwan Festival relives the Kapampangan spirit with a week-long calendar
of cultural revivals capped by a grand street-dance parade in the streets of San
Fernando. Organized annually by the Save Pampanga Movement, th festival
memorializes Aring Sinukwan (King Sinukwan), god of ancient Kapampangans.

● Giant Lantern Festival

/ Ligligan Parul (2nd week of
december)
○ The dynamic interplay
of lights and color that
precisely move with the
rhythm of music, the
magnitude of size and their
intricate designs, these are
what spectators get to marvel
at as the Giant Lantern of San
Fernando is the event that the
province of Pampanga is
mostly known for. And it is
because of these giant
lanterns and the San Fernando lantern-making industry that the City of San
Fernando has been dubbed as the "Christmas Capital of the Philippines".

DELICACIES

Sisig
Pampanga is known sisig central, thanks to Aling
Lucing. Her sisig is what started it all when she
decided to mix the different left-over cuts of the pig
(including the face) and combined them with either
chicken or pork liver. Aling Lucing’s is definitely a
must-try, especially if you only have time to check out
one place in Pampanga.

Tibuk-tibuk
Tibuk-tibuk is one of Kapampangan’s best-tasting
desserts. Tibuk-tibuk is made from carabao’s milk
and has a latik on top. A hint of dayap zest (local
lemon) is added.
TARLAC
“Melting Pot of Central Luzon” and “Sugar Capital of Luzon”
45. •Tarlac is subdivided into 17 municipalities and 1 city. These divisions are further subdivided
into 511 barangays. The province comprises three congressional districts. •The province is
situated at the center of the central plains of Luzon, landlocked by four provinces: Pampanga on
the south, Nueva Ecija on the east, Pangasinan on the north, and Zambales on the west. • In the
southern half of the province Kapampangan is the spoken language whereas Ilocano and
Pangasinan dominate the northern half. Tagalog, being the country's national language, is widely
understood throughout the province.

FESTIVAL

● Malatarlak Festival
○ The Malatarlak Festival takes its name from a
variety of grass that is native to the Luzon area.
The plant is celebrated with sumptuous
pageantry that’s characterized by school children
dressed in grass-inspired costumes, who dance
to the beat of traditional music. The Rice Cake
Festival falls on the same day. Tarlac City’s
annual Malatarlak Festival takes over the city
during this fun and lively celebration that has a
packed program of events and activities for
visitors of all ages.
DELICACIES

Iniruban or nilubyan is a famous Tarlac delicacy originating

from the town of Camiling. It is a type of rice cake made with
burned young sticky rice, coconut milk and sweetener; usually
sugar, or tagapulot, hardened sugarcane molasses.

Dried Kamias
If you like tamarind and sour things, you'll love these
dried candied kamias (tree cucumber). It's juicy, and
has that sugary-and-sour thing going.
ZAMBALES
Is the second largest among the seven provinces of Central Luzon. The province is noted for its
mangoes, which are abundant from January to April.
Zambales is served by the Subic Bay International Airport, which is located in Cubi Point in the
Subic Bay Freeport Zone. The Freeport Zone is host to many tourist attractions which include
casinos, beach resorts, parks, beachside huts and cottages and historical sites. The province's
name came from the word zambal, which is a Hispanized term for Sambali. •Zambales Day is
celebrated every August 30. Zambales has two pronounced seasons: dry from October to June,
and wet from July to September. Sambal, Tagalog, and Ilocano are the three main languages of
Zambales. Zambales is a rich source of Nickel & mountain.

FESTIVAL

● Zambales Mango Festival (Month of April)

○ The event is a celebration of a
bountiful harvest of mangoes and other
agricultural products which the province is so
known for. It is aimed to highlight the must-
see attractions and places of interest in all its
towns. Among the activities during the event
include Hataw Saya Street Dancing
Competition, trade fair and exhibit, Lakbay
Zambales Cycling Competition, PINAKA
Product Display, Mango Fruit Stand
Competition, Agri-Karera ng Kalabaw, Huli
Mo, Biik Mo, Alaga ko si Bantay Competition,
Sand Sculpting Competition, Mango Mixing
Bartending Competition, Mango Ultimate Dance Showdown, Mango Jam and Pie
Making and much more.

● Sibit-Sibit Summer Festival (4th Week of April)

○ The name Sibit-Sibit was derived from
the name of small paddle-driven bancas
used for fishing during the early days
when Brgy. Barreto was yet called Sitio
Maquinaya. During fiestas, fisherfolk
hold banca race using pure human
strength to win the competition. Today,
the festival competition includes
motorized banca race and sail boat
competition to add fun and excitement
to the activity. In the summer of 1996,
the idea came to mind when then
barangay Kagawad Carlito A. Baloy set
 sail to stage the 1st Sibit-Sibit Festival at Driftwood Beach. It was held yearly but
later was shelved for various reasons.

● Domorokdok Festival
Date: May 3 - 4
Venue: Botolan

This Festival is fast becoming one of the most popular in Zambales, also incorporating
“Miss Botolan” and “Miss Botolan Tourism” beauty quests, this is a 2-day spectacular of
Street Dancing, Bands, Beauty contests all culminating in the competition of the “Best and
most colorful Street Dancing group” in the Municipality.

DELICACIES

Zambales mango remained to be the sweetest,

according to the Department of Agriculture
(DA), although production of the fruit slid
down.

Pastillas de leche (soft), Pastillas -

carabao’s milk candy and, "unlike the ones
from Bulacan, it does not have any sugar
coating"

Culture and Tradition

Central Luzon has a very diverse cultural heritage and colorful traditions, owing to the influence of
Spanish, American and Japanese colonizers, as well as the presence of different Ethnolinguistic
groups – Aetas, Sambals, Capampangangs, Tagalogs, Ilocanos and Pangasinenses.

More than half of the population in the region speaks Tagalog, which is attributed to the large
Tagalog-speaking provinces of Aurora, Bataan, Bulacan and Nueva Ecija. Capampangan is the
next most widely spoken dialect in the region, used by people from Pampanga and Tarlac.
Ilocano, the third most dominant dialect in the region, is spoken in the provinces of Zambales,
northern Tarlac and northern Nueva Ecija which are close to the Ilocano-speaking provinces of
Pangasinan and the Cordilleras.

Among the region’s festivities, celebrations and religious sites, the most prominent include the
Carabao Festival and Obando Fertility Rites in Bulacan; the Giant Lantern Festival and Lenten
Rites in Pampanga; and the Mango Festival in Zambales. Central Luzon is also noted for
products such as furniture, Christmas lanterns, jewelry, marble products, meat products and
sweets and delicacies. Centuries-old churches, ancestral houses, as well as historical
monuments serve as landmarks that depict the rich cultural heritage of the region.

Investment Priority Areas

⇒ Manufacturing & Subcontracting ⇒ Healthcare & Wellness Products & Services

⇒ Infrastructure & Support Infrastructure Projects ⇒ Training & Learning Institutions
⇒ Agriculture ⇒ Power Generation
⇒ Agribusiness ⇒ Logistics
⇒ Fishery ⇒ Waste Management Facilities
⇒ Forestry ⇒ Export-Oriented & Crafts & Products Industries
⇒ Fresh & Processed Food ⇒ Social Enterprise
⇒ ICT & BPO Services ⇒ Tourism

INDIGENOUS PEOPLE OF REGION 3

AETA PEOPLE
The Aeta (pronounced as “eye-ta,”), Agta
or Ayta are an indigenous people who live
in scattered, isolated mountainous parts of
Luzon, Philippines. They are considered to
be Negritos, who are dark to very dark
brown-skinned and tend to have features
such as a small stature, small frame, curly
to kinky afro-like textured hair with a higher
frequency of naturally lighter hair color
(blondism) relative to the general
population, small nose, and dark brown
eyes. They are thought to be among the
earliest inhabitants of the Philippines, preceding the Austronesian migrations.

The Aeta were included in the group of people termed “Negrito” during Spanish colonial rule as
Negritos. Various Aeta groups in northern Luzon are known as “Pugut” or “Pugot,” a name
designated by their Ilocano-speaking neighbors, and which is the colloquial term for those with
darker complexions. In Ilocano, the word also means “goblin” or “forest spirit.”

Mining, deforestation, illegal logging, and slash-and-burn farming has caused the indigenous
population in all parts of the Philippines to steadily decrease to the point where they number in
the thousands today. The Philippines affords them no protection. In addition, the Aeta have
become extremely nomadic due to social and economic strain on their culture and way of life that
had previously remained unchanged for thousands of years.

Demographics
The life expectancy at birth of the Aeta is just 16.5 years, with only a third of children surviving to
adulthood at 15 years – at which point life expectancy is still only 27.3 years. Young women reach
full adult height (average 140 cm) at age 12 or 13.

Culture
● Language
All Aeta communities have adopted the language of their Austronesian Filipino neighbors,
which have sometimes diverged over time to become different languages. These include,
in order of number of speakers, Mag-indi, Mag-antsi, Abellen, Ambala, and Mariveleño.
● Religion
There are different views on the dominant character of the Aeta religion. Those who
believe they are monotheistic argue that various Aeta tribes believe in a supreme being
who rules over lesser spirits or deities, with the Aeta of Mt. Pinatubo worshipping “Apo
Na”. The Aetas are also animists. For example, the Pinatubo Aeta believe in
environmental spirits such as anito and kamana. They believe that good and evil spirits
inhabit the environment, such as the spirits of the river, sea, sky, mountain, hill, valley and
other places.
 No special occasion is needed for the Aeta to pray, although there is a clear link between
prayer and economic activities. The Aeta dance before and after a pig hunt. The night
before Aeta women gather shellfish, they perform a dance which is partly an apology to
the fish and partly a charm to ensure the catch. Similarly, the men hold a beedance before
and after the expeditions for honey.

In the mid-60s missionaries of the American-based Evangelical Protestant mission group

New Tribes Mission, in their effort to reach every Philippine tribal group with the Christian
Gospel reached out to the Agtas/Aetas. The mission agency provided education including
pastoral training for natives to reach members of their own tribe. Today, a large
percentage of Agtas/Aetas of Zambales and Pampanga are Evangelicals. Jehovah’s
Witnesses also have members of the Aeta people. (See 1993 Yearbook of Jehovah’s
Witnesses)
● Practices
The Aetas are skillful in weaving and plaiting.
Women exclusively weave winnows and mats. Only
men make armlets. They also produce raincoats
made of palm leaves whose bases surround the neck
of the wearer, and whose topmost part spreads like a
fan all around the body.
● Art
A traditional form of visual art is body scarification.
The Aetas intentionally wound the skin on their back,
arms, breast, legs, hands, calves and abdomen, and then they
irritate the wounds with fire, lime and other means to form scars.
Other “decorative disfigurements” include the chipping of the teeth.
With the use of a file, the Dumagat modify their teeth during late
puberty. The teeth are dyed black a few years afterwards.
The Aetas generally use ornaments typical of people living in
subsistence economies. Flowers and leaves are used as earplugs for
certain occasions. Girdles, necklaces, and neckbands of braided
rattan incorporated with wild pig bristles are frequently worn.
● Music
The Aeta have a musical heritage consisting of various types of agung ensembles –
ensembles composed of large hanging, suspended or held, bossed/knobbed gongs which
act as drone without any accompanying melodic instrument.
AGTA POEPLE
Commonly referred to as Negritos, Agtas do
belong to the Negrito ethnolinguistic group. There
are many Agta tribes, scattered over Regions I to
V in the island of Luzon. The Casiguran Dumagat
Agtas can be found on the eastern coast of
Aurora Province in Central Luzon Region.

Agtas are characteristically short, dark-skinned,

kinky-haired, thick-lipped, and small-nosed. Their
traditional clothing is tapis (skirt) for women and
bahag (breechcloth) for men. Breastfeeding
mothers wear uban, a piece of fabric slung from the shoulders. Most men scar their bodies, using
various designs that have been passed down to them by their ancestors. Today, most Agtas have
abandoned their tribal attire for “civilized” clothes.

Traditional Agta houses are built in clusters and made from indigenous materials such as
bamboo, wood, talahib (cogon), coconut leaves, and abaca bark. Agtas as young as 14 marry the
partner chosen by their parents. Hunting is their main means of subsistence. They use pointed
sticks called galud to kill birds, wild deer, monkeys, and wild pigs. Agtas exchange part of the
meat and some forest products for starchy food and other goods with nearby farmers. Their other
traditional means of livelihood are farming and fishing. Today, however, many Agtas take on
seasonal jobs, such as copra and charcoal making, and gold panning.

The Agtas worship the spirits of their ancestors or Anitos; their rituals include dances and a
depiction of hunting movements. They have no formal leaders. The old males in their community
only serve as consultants for arbitration purposes.

The spiritual, health, livelihood, education, and literacy needs of the Agtas are a big challenge to
the government.

DUMAGAT TRIBE

Brief Background
Bulacan is one of the places in the Philippines
where ethnic groups still exist- the Dumagat
tribe. An estimate of 745 families of this
indigenous group reside in the towns of
Norzagaray, San Jose del Monte and Donya
Remedios Trinidad (DRT).

According to Brother Edwin Cardel, the

Provincial Dumagat Administrator, the group of Dumagat originally lives in Sierra Madre. But
since the mountains are continually being devastated through illegal logging, mining,
deforestation and ethanol project, the Dumagats decided to leave the place and find a stable
living condition.

There are 20 settlements, 20 chieftains and 20 Tribal Health Workers in those three towns of
Bulacan where the Dumagats live. These Tribal health workers are assigned to help the Dumagat
patients if they need medical assistance. In addition, Brother Edwin said the Chieftain and Tribal
Health workers are given a thousand pesos per month as allowance.

Tribe Adversities
Despite the benefits the Dumagats receive, the fact that problems still come their way cannot be
erased.

Poverty is the major problem that the Dumagat group faces. Families can rarely afford to buy food
that is sufficient for a day.

“Kapag walang kita 'yong asawa ko saging na lang kinakain namin, nangunguha na lang kami
diyan pati 'yong ibang gulay. 'Yong mga bata nagtitiis na lang din, wala naman kami magagawa
kasi walang pera eh,” said Lablyn Hilpus, 20-year-old Dumagat and a mother of two.

Second problem is the supply of electricity. The Dumagats just use lamp or flash light that their
municipality gives them.

“Wala rin kaming kuryente. Mahirap kapag gabi na kasi madilim na talaga dito sa labas namin.
Gasera lang ang gamit namin dati tapos 'yong munisipyo namigay ng flash light, may radio rin
diyan,” said Analyn.

Meanwhile, according to Brother Edwin, one of the reasons why the local government does not
want to have an access of electricity in the part along the Angat Dam is that there’s a possibility
that the people (outsiders) who will live there will pollute the river.

Poor shelter and housing is another problem of the Dumagats. If there is a typhoon, they are
worried for their houses since those were only built using light materials like bamboo and pulpy
leaf of plants like the coconut. Though they do not experience flood, they are afraid that their
houses will be blown by strong winds.

Furthermore, the land that the houses of the Dumagats were built is under the possession of the
government. The government plans for a rehabilitation along the Angat river, and this leaves no
other choice for the residents rather than to leave their homes.

Next is the schooling adversities. Since poverty is the major problem, the education of the
Dumagats is severely affected. With no money, there is no education. Often times a Dumagat had
to stop studying because of financial instability.

Source of Livelihood
Several of the Dumagats work as fisherman like the parents of Analyn. They leave the house at
night and will come back in the morning of the following day.

Brigido Salongga and his eldest son work as carriers of fish. According to him, one cooler of fish
costs ten pesos. Frequently, they manage to carry 40 to 50 coolers of fish everyday, but the
money that has been paid to them will be divided to five or more persons. Only 50 to 100 pesos
will be taken home a day.

Furthermore, they also sell Rattan and also have mini sari-sari store. But Salongga admits it is
still not enough to sustain the needs of his family.

Meanwhile, Rosalya Calderon, 47, and a resident of Angat for almost 20 years, works as
scavenger of garbage. Sometimes she also sells rattan and bamboo to earn money to buy food.
Since her husband cannot work due to certain illness, she considers herself as the breadwinner
of their family, which is very hard since she has eight children.

To sum it all up, the Dumagats commonly work as fisherman, and rattan and bamboo sellers.
Since they were not able to finish their studies, it is very hard and almost impossible for them to
find a job that can give them adequate salary.

Education Status
Though the government gives the Dumagat tribe an access in system and program in Angat, the
children have very limited opportunities for basic education. Most of them cannot go to school but
instead work in order contribute to the family income and ration. This is yet another indication of
how poverty affects access to basic needs. Though knowledge is one of the very important things
that a person should have, poverty obstructs their way to gain knowledge.

But now, education for the minority group is one of the priorities of the local government though it
is still on process. According to Brother Edwin, they have a formal and non-formal education. The
non-formal education allows children to be taught basics like writing and reading even under trees
or in the mountains.

A school was donated by the Chinese people as their contribution to the Dumagats, wherein
about 70 Dumagat children are currently enrolled. The Department of Education (DepEd) also
built elementary schools for the Dumagat that is located in DRT- the Sitio Pinaganakan Primary
School and Sitio Basyo Day Care.

Also, through the help of Provincial Governor Wilhelmino Sy-Alvarado in his scholarship program,
10 out of 20 Dumagats have been given a chance to enroll in universities, having passed in the
scholarship examination.

Usually, the Dumagat who enrolls in college only get a 2-year course. But there is a Dumagat
who finished educational course for four years. At present, there are about six Dumagats enrolled
in Bulacan Polytechnic College (BPC) and one in Bulacan State University (BSU).
Religious Philosophy
Before, the Dumagats do not have a religion but they believe in spirit wherein they called it as
“Makedetet” (tantamount to Jesus in Roman Catholicism). They do not go to church, instead they
go to a sacred place wherein they believe that the spirit of Makedetet stays. The Mount Irit that is
the navel of the Sierra Madre, is considered as the place of worship for the Dumagats.

But then, as time goes by, this culture of Dumagat gradually disappeared due to many religions
that came in their place like Born Again, Seven Day Adventist, Hecuba, and Mormons that lead
them to have a different religions and beliefs.

Some of them embraced the religion of Seven Day Adventives wherein they are not allowed to
eat pork, catfish, shrimps and snail. Through this many religion that came in the life of the
Dumagat, Brother Edwin Cardel considered it as a disadvantage for the reason that they lose
their unity.

Access to Government
The Local government gave the Dumagat group a right to a proper health care. Anyone who
needs medical assistance can directly go to Mrs. Norma, who is in charge in the health of the
Dumagat people, financially speaking.

The Local government also gave some goods for the Dumagat people. According to Brigido
Salongga, every year they receive a kilo of rice, can goods and other food from the government.
They also gave them flash light and lamp that serve as their light at night since they do not have
an access to electricity. Another was radio that serves as their television.

Moreover, the present administration has a program entitled “Pantawid Pamilya Program”
wherein several Dumagats were given goods.
ILONGOT

The Ilongot are a forest people that live in

Nueva Vizcaya Province in Luzon. Also known
as the Ibilao, Ibilaw, Ilungut, Ilyongt, Lingotes,
they are former headhunters and live in an
enclave and have resisted attempts to
assimilate them. [Source: Encyclopedia of
World Cultures, East and Southeast Asia
edited by Paul Hockings (G.K. Hall &
Company, 1993)]

The Ilongot are primarily in slash-and-burn agriculturalist, hunters and fishermen. They grow
maize, manioc, rice, tobacco, sugar and vegetables and moves their fields once a year. Fields
cleared from virgin forest are used for five years and left fallow for eight years. The men hunt with
dogs several times a week and all meat are shared equally among the all households and
consumed immediately. Sometimes longer hunting trips take place. Here the meat is dried. Fish
are taken with nets, traps, spears and poison.

The Ilongot also collect forest products such as rattan for their own use and to trade, forge their
own knives, picks and hoes. Item they obtain through trade include bullets, cloth, knives, liquor
and salt. Much of the trading is done to obtain goods for bride payments.

Traditional Ilongot religion revolves around helpful and dangerous supernatural beings. Illnesses
is believed to be caused by supernatural beings who lick or urinate on their victims. Shaman
preside over curing ceremonies, and spirits are kept away by bathing, smoking and sweeping.
Before the 1950s, when Protestants missionaries arrived in their homelands, the Ilongot had
never been exposed to major world religions. Now many are evangelical Christians.

The Ilongot are buried in a sitting position. If a woman died in childbirth or experienced a violent
death her hands tied to her feet to prevent her "ghost" from roaming.

Ilongot Society
There is no formal leadership in Ilongot society. Informal leadership lies with sons and brothers
who have oratorical skills and have acquired knowledge of myths, ceremonies and genealogies.
The oratorical skills are known as purun, which women reportedly can not understand.

Disputes are sometimes settled by giving offenders ordeals to establish their innocence. More
often than not they evolve into feuds settled through head hunting raids. A death in a household
requires a young man in that house avenge it. A pig is sacrificed when headhunters return. Some
feuds are settled with negotiations and exchanges, many go on for a long time.

Young men are expected to engage in a successful head hunt before marriage. Prospective
marriage partners usually exchange gifts, work together in the fields and have sex before the get
married. Pregnancy speeds up the process which is finalized until the two families who are going
to be unified have settled all their disputes. Marriages are usually monogamous and cousins are
preferred partners.

Ilongot youth have traditionally had their teeth filed as an act of initiation into adulthood. In 1947,
Laurence Lee Wilson wrote: “Sometime in their middle teens, the maidens and youths have their
teeth filed down. A group of her boyfriends will rally round a girl in her house and hold her down
tight while one cuts her teeth down - no matter how much she screams from the excruciating
pain. After the operation, one lad will take a pencil-sized twig from a guava tree or the stem of a
batac plant, heat it in the fire, and rub the warm bark on the teeth: thus, stopping the blood and
easing the pain. Thereafter the shortened teeth are strong for chewing - even bones, and picking
the teeth after eating is unnecessary. When it is all over, wreaths are hung up and a gala time is
had with basi [fermented wine], chicken, and rice. [Source: Teresita R. Infante, [Source:
kasal.com *^*]

Ilongot Life
The Ilongot have traditionally lived a semi-nomadic life in groups with around 180 or so
members. Each group is made up of several settlements, which in turn have four to nine
household, with five to 15 nuclear families and 40 to 70 individuals. Settlements are set up by
their fields and are moved whenever they clear new fields. Houses are built on pilings 15 feet off
the ground and have walls made of grass and bamboo,

Members of the Ilongot tribe are probably the closest things to real life Tarzans. Using 30-foot
pieces of rattan Ilongots travel through the thick jungle by swinging from tree to tree. One end of
the rattan vine has a hook on it which is hooked around a tree limb. Holding on to the vine with
their hands and toes the tribesmen are to able to swing from one branch to another.

The Ilongots wear plain or dark blue or black loincloths with a colored band around the hips. A
long red or black band is tied around the hands and no shoes are worn. Their handmade guitars
often use human hair for strings. Maybe the Ilongots don't hunt heads anymore, and maybe they
do it because there is no cat gut or steel around ot make strings for their guitars.

Ilongot Country in 1910

Cornélis De Witt Willcox wrote in “The Head Hunters of Northern Luzon”: “ These people, the
Ilongots, although very few in number, only six thousand, stretch from Nueva Vizcaya to the
Pacific Coast, inhabiting an immense region of forested and all but inaccessible mountains. Over
these they roam without any specially fixed habitation. They have the reputation, and apparently
deserve it, of being cruel and treacherous, as they certainly are shy and wild. It was these people
who killed Doctor Jones, of the Marshall Field Museum, after he had been with them eight or nine
months. [Source: “The Head Hunters of Northern Luzon” by Cornélis De Witt Willcox, Lieutenant-
Colonel U.S. Army, Professor United States Military Academy, 1912 <>]

Now our Government in the Philippines, by and through and because of Mr. Worcester, had
made repeated efforts to reach these Ilongots, to bring them in, as it were, and only recently had
these efforts met with any success. For one thing, it is a very serious matter to seek them out in
the depths of their fastnesses if only because of the difficulty of reaching them; many of them
even now have never seen a white man, and would escape, if I recollect aright, on the approach
of our people. But in 1908 some fifty of them did “come in,” and, gaining confidence, this number
grew to one hundred and fifty in 1909. They, or some of them at least, now sent an invitation to
Mr. Worcester to come and see them, and he accepted on condition of their making a trail, saying
that they could not expect a man of his stature to creep through their country on his hands and
knees. This trail they had built, and they had assembled at Campote, four hours from Dúpax, for
this first formal visit; It was the desire of Mr. Worcester that this visit should be happy in all
respects; for, if not, the difficulties of intercourse with this people, already great, would be so
seriously increased as to delay the civilizing intentions of the Government for many years to
come. <>

“We rode off at about two o’clock, passing under numberless bamboo arches, on an
astonishingly good road, built by Padre Juan Villaverde. About two miles out we left the road,
turning off east across rice-paddies, and then followed a stream, which we crossed near the foot
of a large bare mountain facing south. Up this we zigzagged four miles, a tiresome stretch with
the sun shining full upon us. But at the top we had our reward: to the south reached a beautiful
open valley, its floor a mass of green undulations, its walls purple mountains blazing in the full
glory of the afternoon sun. At the extreme south, miles away, we could make out Las Salinas, Salt
Springs, whose deposits sparkled and shone and scintillated and danced in the heated air.
Grateful as it would have been to rest at the top and enjoy the scene, we nevertheless had to turn
our backs upon it, for we had yet far to go over an unknown trail, and it was most desirable to get
in before dark. So, we turned and now plunged into a forest of tall trees so thick overhead and so
deeply buried in vines, and creepers and underbrush generally, that just as no light got in from
above, so one could not see ten yards in any direction off the trail. This effect was no doubt partly
due to the shades of evening, and to our being on the eastern slope of the mountain. <>

“And that trail! The Ilongots, poor chaps, had done their best with it, and the labor of construction
must have been fearful. But the footing was nothing but volcanic mud, laterite, all the worse from
a recent rain. Our ponies sank over their fetlocks at every step, and required constant urging to
move at all. Compared to the one I was riding, Bubud was a race-horse! Cootes, Strong, and I
kept together, the others having ridden on. As the day grew darker and darker, the myriad notes
of countless insects melted into one mighty, continuous shrill note high overhead, before us,
behind us, in which not one break or intermission could be detected. Anything faster than a walk
would now have been unsafe, even if it had been possible, for at times the ground sloped off
sharply down the mountain, the footing grew more and more uncertain, and part of the time we
could not see the trail at all. Indeed, Cootes’s pony stepped in a hole and fell, pitching Cootes
clean over his head, and sending his helmet down the mountain-side, where Cootes had to go
and get it. <>

“Soon after this, though, the forest thinned perceptibly, the trail grew better, and we met Connor,
who had turned back to see how we were getting on, and who informed us we had only one-half
hour more before us. Going on, we were greeted by a shout of welcome from our first Ilongot,
standing in the trail, subligate, or gee-stringed, otherwise stark naked, and armed with a spear,
the sentinel of a sort of outpost, equally naked, with which we soon came up. They were all
armed, too, spears and shields, and all insisted on shaking hands with every one of us. You must
shake hands when they offer to, an unpleasant matter sometimes, when you notice that the man
who is paying you this attention is covered with toenia imbricata, or other rare tropical skin
disease. Noblesse oblige, here as elsewhere; besides, a consideration for your own skin may
require you to put aside your prejudices. The trail now turned down over a broad, cleared hog-
back, at the flattened end of which we could see two shacks and a temporary shed for our
mounts. Smoke was rising cheerfully in the air and people were moving about. This was
Campote.”

Ilongot Head Hunting

Cornélis De Witt Willcox wrote in “The Head Hunters of Northern Luzon”: “So recently as 1907
they made a descent on Dúpax, killing people and taking their heads. When they mean to kill a
man fairly, according to their ideas, they hand him a fish. This is a signal that he must be on his
guard: to refuse the fish is of no use, because by so doing one puts one’s self beyond the pale,
and may be killed in any fashion. We heard a story here of a Negrito stealing a pig from two
Ilongots who had a Negrito brother-in-law. Failing to recover the pig, they decided that they [38]
must have a Negrito head, and so took their brother-in-law’s. Pig-stealing, by the way, in the
mountain country is regarded much as horse-stealing used to be out West. Besides the spear and
head knife, the Ilongots, like the Negritos, with whom they have intermarried to a certain extent,
use the bow and arrow, and are correspondingly dreaded. For it seems to be believed in Luzon
that bow-and-arrow savages are more dangerous than spear-and-ax-men; that the use of this
projectile weapon, the arrow, induces craftiness, hard to contend against. An Ilongot can silently
shoot you in the back, after you have passed. A spear-man has to get closer, and can not use an
ambush so readily. [Source: “The Head Hunters of Northern Luzon” by Cornélis De Witt Willcox,
Lieutenant-Colonel U.S. Army, Professor United States Military Academy, 1912 <>]

According to some accounts, the Highlanders, in throwing the spear, give it a rotation around its
longest axis, twirling it rapidly in the hand as this is brought up before the throw. In other words,
they have discovered that a rotating spear has greater accuracy than a non-rotating one. If this is
true, this discovery is worthy to be bracketed with the use of the fire-syringe by the Tinguians of
the North, and by certain other wild people of the Archipelago.

Ilongots Appearance
Cornélis De Witt Willcox wrote in “The Head Hunters of Northern Luzon”: “The next morning we
turned out early, and got our first real “look-see.” Campote is completely surrounded by
mountains, the hogback dropping off into the valley below us. About four or five hundred people
had assembled, men, women, and children. As a rule, they were small and well built, but not so
well built as the tribes farther north. The men were fully armed with spears, bows and arrows,
shields, and head-knives; gee-strings apart, they were naked. Some of them wore on the head
the scarlet beak of the hornbill; these had taken heads. [Source: “The Head Hunters of Northern
Luzon” by Cornélis De Witt Willcox, Lieutenant-Colonel U.S. Army, Professor United States
Military Academy, 1912 <>]

“Quite a number, both men and women, had a small cross-like pattern tattooed on the forehead;
the significance of this I did not learn. The shield is in one piece, in longitudinal cross-section like
a very wide flat V open toward the bearer, the top terminating in a piece rising between two
scoops, one on each side of the median line. The women had on short skirts and little jackets (like
what, I am told, we call bolero jackets), the bosom being bare. Around the waist they wore bands
of brass wire or of bamboo stained red and wound around with fine brass wire. These bamboo
bands were pretty and artistic. You saw the children as they happened to be; the only thing to
note about them being that they were quite bright-looking. What the men lacked in clothes they
made up in their hair, for they wore it long and some of them had it done up in the most absolute
Psyche knots. Such earrings as we saw were worn in the upper cartilage of the ear. It may be
remarked, too, that the women had a contented and satisfied air, as though sure of their power
and position; we found this to be the case generally throughout the Mountain Country.” <>

Meeting with the Ilongots

Cornélis De Witt Willcox wrote in “The Head Hunters of Northern Luzon”: The purpose of the visit
being to cultivate pleasant relations with and receive the confidence of these shy people, the real
business of the day was soon opened. Mr. Worcester took his place in the shade of his shack,
and proceeded to the distribution of red calico, beads, combs, mirrors, and other small stuff, the
people coming up by rancherías (settlements or villages); none of the highlanders seem to have
any conception of tribal organization, a condition no doubt due to the absence of communications.
A cabecilla, or head man, would receive two meters, his wife one, and others smaller measures.
This sort of thing was carefully studied out, so far as rank was concerned, for it would never do to
give a common person even approximately as much as a cabecilla. One ranchería would take all
red beads, another white, another blue, and so on. Not once did I see a trace of greediness or
even eagerness, though interest was marked. The whole thing was conducted in the most orderly
fashion, the various rancherías awaiting their turn with exemplary patience. [Source: “The Head
Hunters of Northern Luzon” by Cornélis De Witt Willcox, Lieutenant-Colonel U.S. Army, Professor
United States Military Academy, 1912 <>]

It was now mid-day. The various arms, shields, and other things we had bought were collected to
be cargadoed back to Pangasinán. Among them, alas! were not two beautiful head-knives, which
their wearers had absolutely declined to part with on any terms whatever. They resisted the
Governor-General even. I give a photograph here of a knife and scabbard that Connor sent me
on later. It is a handsome one, but not as handsome as those two jewels! <>

“Our last performance was to look at the garden and to see the school at work, making thread
and rope, weaving mats, and so on. I take it that this school was really the significant thing at
Campote, apart from the significance of the occasion itself. We spent but little time over it,
however, our interest in the arts of war having left us only a few minutes for those of peace.
Nevertheless, here is a beginning that will bear fruit, and in the meantime Connor rides alone and
in safety among these wild people, which proves a good many things, when you select the right
man to do your hard work. <>
 “Mr. Worcester expressed the liveliest satisfaction with the meeting. These people, returning to
their rancherías, he said, would talk for a year of their treatment at the hands of the Americans, of
the gift of palay (rice) to four hundred people, for two days, to say nothing of two vacas (cows)
and of other gifts. Next year, he hoped, half of them would come in; besides, the start made was
good; the presence of so many women and children were a good sign, and equally good was the
total absence of old women. For these are a source of trouble and mischief with their complaints
of the degeneracy of the times. They address themselves particularly to the young men, accusing
them of a lack of courage and of other parts, taunting them with the fact that the young women
will have none of them, that in their day their young men brought in heads, etc. Thus, it has
happened, especially when any native drink was going about, that trouble has followed. It is the
practice, therefore, of our Government when arranging these meetings to suggest that the old
women be left at home, and if so left, it is a good indication.” <>

Ilongot Dances and Sports

Cornélis De Witt Willcox wrote in “The Head Hunters of Northern Luzon”: “The issue over,
dancing began. In this only men and boys took part, to the music of small rude fiddles, tuned in
fifths, played by the men, and of a queer instrument consisting of two or three joints of bamboo
with strings stretched over bridges, beaten with little sticks by the women. The fiddles must be of
European origin. The orchestra, seven or eight all told, sat in the shade, surrounded by an
admiring crowd. Among them was a damsel holding a civilized umbrella over her head, whereof
the stick and the rib-points were coquettishly decorated with white horse-hair tied in little brushes,
doubtless furnished by our white pony. [Source: “The Head Hunters of Northern Luzon” by
Cornélis De Witt Willcox, Lieutenant-Colonel U.S. Army, Professor United States Military
Academy, 1912

“The dancing at once fixed our attention. Two or three men, though usually only two, took
position on the little terreplein below the shack, and began a slow movement, taking very short,
formal, staccato steps in a circle against the sun. Keeping back to back and side to side, they
maintained the whole body in a tense, rigid posture with the chest out, head up and thrown back,
abdomen drawn in, right hand straight out, the left also, holding a shield, eyes glazed and fixed,
knees bent forward. Between the steps, the dancers would stand in this strained, tense position,
then move forward a few inches, and so on around the circle. After a little of this business, for that
is just what it was, the next part came on, a simulation of fighting: and, as everything before was
as stiff, strained, and rigid as it was possible to be, so now everything was light, graceful, agile,
and quick; leaps forward and back, leaps sideways, the two combatants maneuvering, as it were,
one around the other, for position. It was hard to realize that human motions could be so graceful,
light and easy. Then head-knives were drawn, and cuts right, and cuts left, cuts at every part of
the body from the head to the ankles, were added to the motion; the man on the defensive for the
moment making suitable parries with his shield.
“The dance completed, the dancers would advance and face Mr. Worcester, put their heels
together in true military fashion, hold their arms out right and left, and make a slight inclination of
the head, a sort of salute, in fact, to the one they regarded as the principal personage of the party.
 The dancing was followed by archery, the target
being a small banana stem at some thirty paces.
This calls for no especial comment, except that
many hits were made, and many of the misses
would have hit a man. More interesting was an
ambush they laid for us, to show how they
attacked. While collecting for it, to our
astonishment the entire party suddenly ran in all
directions at top speed and hid behind whatever
offered. On their return, in four or five minutes,
they explained that a spirit had suddenly
appeared among them, and that they had had to
run. On our asking how they knew a spirit had turned up, they asked if we had not noticed leaves
and grass flying in a spiral. As a matter of fact, some of us had, a very small and very gentle
whirlwind having formed for a second or two. They had seen it, too, and that was the spirit.” <>

NATIONAL ARTIST OF REGION 3

Francisco Balagtas (born Francisco Baltazar y de la Cruz; April
2, 1788 – February 20, 1862), also known as Francisco Baltazar, was a
prominent Filipino poet, and is widely considered one of the greatest
Filipino literary laureates for his impact on Filipino literature. The famous
epic Florante at Laura is regarded as his defining work.

The surname "Baltazar", sometimes misconstrued as a pen name, was

a legal surname Balagtas adopted after the 1849 edict of Governor-
General Narciso Claveria y Zaldua, which mandated that the native
population adopt standard Spanish surnames instead of native ones.
His mentor was José de la Cruz, otherwise known as Joseng Sisiw.

LEGAL BASIS
RA 7356 AN ACT CREATING THE NATIONAL COMMISSION FOR CULTURE AND THE
ARTS, ESTABLISHING NATIONAL ENDOWMENT FUND FOR CULTURE AND THE ARTS,
AND FOR OTHER PURPOSES

SECTION. 6. Culture for the People. The creation of artistic and cultural products shall be
promoted and disseminated to the greatest number of our people. The level of consciousness of
our people about our own cultural values in order to strengthen our culture and to instill
nationhood and cultural unity, shall be raised formally through the educational system and
informally through extra-scholastic means, including the use of traditional as well as modern
media of communication.
SITE SELECTION

LOT 1
Location: Mining Road Angeles, Pampanga
Size: 7.7 Hectares
Zoning: Residential district 2
Description: A 7.7 residential zoned based on CLUP 2010-2020 zoning map along Mining Road
Angeles, Pampanga. The site contains a lot of trees and some old perimeter walls around the
site. The site is also surrounded by residential area
LOT 2
Location: Pulung Bulu Angeles, Pampanga
Size: 13.7 Hectares
Zoning: Residential district 2
Description: A 13 hectares residential zoned based on CLUP 2010-2020 zoning map along
Pulung Bulu Road Angeles, Pampanga. The site contains mild trees and there is no perimeter
wall that surround the site. The site is also surrounded by residential area in southern part, and a
manufacturing corporation is located in western part of the site, the northern part is an open
space that also contains mild number of trees.
LOT 3
Location: Fil-Am Friendship Highway, Pampang Angeles City, Pampanga.
Size: 14.8 Hectares
Zoning: Residential II
Description: A 10.1 hectares Residential II zoned based on CLUP 2010-2020 zoning map along
Fil-Am Friendship Highway, Pampang Angeles City, Pampanga. The site is flat land contains mild
number of trees and grass. The site southern part is nearby Pampanga hotel, and all the
remaining sides is residential area
SITE CRITERIA
CRITERIA LOT 1 LOT 2 LOT 3
(Mining Road) (Pulung Bulu) (Pampang)

SIZE 7.7 hec 13.7 hec 10.1 hec

(The site was able to
meet the required area 8 10 9
for the cultural hub and
for future expansion)

BUILDABILITY The site is rich and The site is rich and The site is rich and
(The composition of full of trees and grass. full of trees and grass. full of trees and grass.
land of its surrounding But adjacent into a
such as plant, grass, memorial/cemetery
trees and more. Should
be able to build facilities
9 5 9
with large area of
space)

ACCESSIBILITY The road along the The road along the The road is directly
(Since the scope of the site is connected into site is connected into accessible to Fil-Am
proposal is regional, the a pandan road. a Mcarthur highway. Friendship Highway
site should be able to
access by the nearby
cities, provinces of the
7 8 10
whole region)

TRANSPORTATION 600 meters from 1 km from Savemore 1 km from angeles

(The site should be Angeles Arayat Terminal Sapangbato terminal
located nearby terminals Terminal
and can be accessed by
roads since it is a public 8 7 7
project)

LAND ZONING Residential Residential Residential

(The land should meet
the proper zoning to be
legally acceptable and
will not go through 8 8 8
process of land
conversion)

ACCESS TO UTILITY
(The site should have
access to service
utilities such as water,
electricity, network.)
The site is located in an The site is located in an The site is located in an
urban area of angeles urban area of angeles urban area of angeles
city. Therefor it has city. Therefor it has city. Therefor it has
access to utilities access to utilities access to utilities
10 10 10

TOTAL 50 48 53
BACKGROUND AND JUSTIFICATION OF THE SITE

The Site is located in the Municipality of Angeles situated in the northern part of the province of
Pampanga that has the coordinates of 15.1450° N, 120.5887° E. The site sloping according to the
the CLUP of angeles city, the site is from Level to very gently sloping (0 - 3%). The site is also a
buildable one based on the land use zoning of angeles city, it is designated as a built-up area.

The road connecting to the mcarthur highway gives and easier accessibility to the site and very
convenient for commuting since jeepneys coming from Angeles Sapangbato Jeepney Terminal
that headed to angeles city passes trough the site that has been selected and it is connected into
a highway which is routed for different provinces in region 3.

The location of site can also help the nearby Cultural center such as Center for Kapampangan
Studies to offer depth around a single subject and can also provide an opportunity to engage with
smaller, less well-known venues in a grouping. furthermore, the site may have a lead venue, it
could also consist of a group of less prominent organisations that form an exciting mix of cultural
showcase.
ZONING MAP
SITE ANALYSIS

Angeles City has a generally flat to rolling topography. As shown inFigure 4-5, the city has some
hilly areas in Sapangbato in the west, but is generally flat going to the east. In terms of elevation,
Angeles City is between 60 – 440 meters above mean sea level. Also shown in Figure 4-6 is the
drainage map of Angeles City consisting of several creeks, predominantly draining to the Abacan
River, the city’s main drainage/river channel. The combination of sandy soil type, generally flat to
rolling slope, good elevation, and availability of natural drainage provided by its network of creeks
and river, are among the intrinsic advantages of the city as regards to natural drainage. However,
it has to address its localized flooding problems by upgrading its man-made drainage systems to
accommodate the growing volume of surface run-off during rainy season. If not with those physical
advantages earlier mentioned, localized flooding in the city will be more pronounced.
The Metropolitan Clark Area Pampanga is said to be at the crossroads of regional development
by virtue of its location advantage. Its major urban areas have rapidly grown into a metropolitan
area or central place serving not only the requirements of Pampanga but of the region as well.
The proper mix of resource endowment, human capital stock, and proper infrastructure support
made this happen. Shown in Figure 7-9 is the schematic diagram of the Metropolitan Clark Area.
The urban core starts from Sto. Tomas all the way to Mabalacat and to include the adjoining
municipalities of Mexico, Bacolor, and Porac. The urban fringe would be the rest of Pampanga
and to include Bamban and Concepcion, Tarlac. Due to access provided by the established road
systems, the Metro Clark Area could be easily accessed by the neighboring cities of Gapan,
Olongapo, Meycauayan, and Tarlac.
If population is linked and paired with these urban centers, it can be observed from the inferred
hierarchy that the biggest of population in Central Luzon is in the province of Pampanga. This is
exactly in the crossroads of MacArthur Highway, the Gapan-San Fernando Olongapo Road,
Subic-Clark-Tarlac Expressway (SCTEx) and North Luzon Expressway (NLEx). Angeles City is
strategically located in this regional urban development corridor. These and the complementing
effects of the different economic zones and transportation infrastructure facilities in Central Luzon
(Figure 7-8) put Angeles City on top of the list of major urban development centers in the country.
So we concluded that CFZ, CIA,SCTEx, NLEx, McArthur Highway, GSO Road, the proposed
North Rail and the economic strengths of the urban core (Mabalacat City, Angeles City, and City
of San Fernando) and the urban fringes (Magalang, Arayat, Bacolor, Guagua, etc.), the
Metropolitan Clark Area in Pampanga will become the most bullish growth center in Central
Luzon and the strongest Local tourist magnet in the country.Angeles City is located at the heart of
Metropolitan Clark area.

REPORT ON THE PAMPANGA DISTRIBUTION OF TRAVELERS

SWOT ANALYSIS
STRENGTH
● Nearby cultural organizations
● Academic institutions in the vicinity
● Land owned by Local Government Unit
● The location is in the urban area of
angeles city.
● Proximity to multi family and single-
family community.
● Direct access from Fil-Am Friendship
highway.
● The site has road perimeter.
● Near the Cultural and educational
Foundation of angeles city.
OPPORTUNITIES
● The implementation of the Proposed
Cultural Hub will encourage people to
visit and became a venue for different
gatherings.
● Will presumably increase the local
tourist that will be visiting Angeles city
● The land size will provide opportunity
for the future expansion of the cultural
hub.
WEAKNESS
● 1 km from the nearest transport
terminal
● The site has different existing
commercial structures.
TREATH
● The site contains a huge number of
trees that is threatened to be removed
once the proposal is implemented.
● The sound that will be coming from
different events will have a chance to
resonate and compromise the neighbor
residence nearby.
● There a small amount of people that
inhabit illegally, they may be
transferred into different place.
CONCEPTS
USERS

Artisans- Artisans are professionals who have honed their hands-on artistic skills in a particular field.
They may make unique handwoven fabrics, leather items, ceramics, blown glass, or jewelry, to
mention a few possibilities. With skills in the fine arts, they add finishing touches to their work, such as
painting, sketching, or engraving. Many artisans are self-employed, meaning they are able to set their
own hours.

Job responsibilities of an artisan include:

● Utilize a high level of creativity

● Select materials and tools
● Use artistic techniques like drawing, sculpting, and painting
● Design and create decorative, original products
● Present and display items to the public

Craftsmen- A craftsman is someone who, like an artisan, is highly skilled in their craft. However, the
important difference with craftsmen is that they aim replicate for mass consumption. Instead of
producing many different unique pieces, craftsmen work to make exact replicas of specific types of
functional, utilitarian objects. Their methods may sometimes be traditional, though in many settings’
assembly lines and advanced computer equipment are now used, and the 'craft' is extremely
technical. Craftsmen can work with wood crafts, tiles, and other types of materials.

Job responsibilities of a craftsman include:

● Construct and assemble products for consumers

● Observe safety protocols
● Ensure technical specifications are met
● Use power tools and advanced computer technology
● Operate mechanized equipment

Dancers- people who present their talent by performing different folk dances of the country

Musicians- A musician is a person who plays a musical instrument or is musically talented. Anyone
who composes, conducts, or performs music is referred to as a musician. ... Examples of a
musician's possible skills include performing, conducting, singing, rapping, producing, composing,
arranging, and the orchestration of music.

Guides- A tour guide or a tourist guide is a person who provides assistance, information on
cultural, historical and contemporary heritage to people on organized tours and individual clients at
educational establishments, religious and historical sites, museums, and at venues of other significant
interest, attractions sites.

Administrates- An administrator is a person whose job involves helping to organize and supervise
the way that an organization or institution functions.
Tourists- Someone who visits a city, town, or historic site just for the pleasure of exploring it can be
described as a tourist

Visitors/Guests- Visitor, caller, guest, visitant are terms for a person who comes to spend time with
or stay with others, or in a place. A visitor often stays some time, for social pleasure, for business,
sightseeing, etc

ORGANIZATIONAL CHART
DESIGN GOALS AND OBJECTIVES
DESIGN GOAL
● To Design a Cultural hub that will showcase the famous culture, history, and tradition of
Central Luzon.
● To design a common ground for local and foreign tourist that will develop tourism and
cultural resources in the philippines

Design Objectives
● To provide facilities that will help people to understand the different cultural aspects of
every province in region 3.
● To make a place that will provide both educational and recreational activities for the
visitors of the cultural hub.
● To showcase all the cultural artifacts and replicas of different indigenous people along the
central luzon.
● To create a place that will allow visitors to retail all the famous handicrafts and delicacies
that were known for a particular province.
● To provide a facility that will accommodate cultural shows and events that will educate and
entertain visitors.

DESIGN CONCEPT
The term "ORGANIC ARCHITECTURE" strives to unify space, to blend interiors and exteriors,
and create a harmonic built environment not separate or dominant from nature but as a unified
whole. Frank Lloyd Wright's own homes, Taliesin in Spring Green, Wisconsin and Taliesin West
in Arizona, exemplify the architect's theories of organic architecture and lifestyle.

The researcher came up with the concept to show how we strive and develop our history and
culture with the help of natural environment. This concept shows no matter what culture we are
from, we all depend on the natural resources around us. This structure will harmonize the
relationship of our culture to mother nature.

This concept means that it will imitate the true nature where we belong and incorporate it to our
culture and traditions. And the Organic design will signify that the proposed structure is stable as
a cave and Aesthetically beautiful as nature.

Moreover, this concept will serve as an interpretation of nature’s principles in buildings. This
shows that buildings should be a product of its place and its time. By implementing this concept to
this proposed cultural hub, it will intimately connect the users to a particular event in the place and
the place itself in the present.
FORM CONCEPT
MANGO FRUIT
● The mango fruit is the national fruit of the Philippines
which has been a part of the culture and tradition of
the Philippines especially to the province of Zambales
and their mango festival and since the aim of this
proposal is to educate and showcase the culture and
traditions in the Philippines particularly Central Luzon.

SAMPAGUITA
● The sampaguita layout form of the site will symbolize
the beauty of both Architectural design and the
Culture and traditions that will be shown in the entire cultural hub. The sampaguita form is
also good a shape due to its symmetrical and centralized form that can be an advantage
for easy access and better relationship of structures.

COLOR CONCEPT

DESIGN CONSIDERATIONS
Safety- Secluded spaces should be avoided in the public access area.

Location- Location in a core central area, ensures easy access for the public and would act as a
better crash-out space.

Transport- Better transportation linkage in the hub, increases the number of regular visitors and
new tourists.

Crowd Management- Managing the crowd without any congestion, traffic, overlap is necessary.
Traffic conditions should be kept in mind.

Narrative- The complex should be designed with a storyline, that leads the user to the climax,
with increasing interest.

Collection- Low level environment connects the user with space

Access Gates- With more access gates, the crowd management is better. Avoiding overlapping
traffic should be considered as well.

Multi-User- Spaced designed for all kinds of people- children, teens, adults, elderly,
handicapped, etc. would enhance the spatial usage.
Multi Activities- Multiple activities/ functions throughout the year ensures a very active bustling
successful space.

DESIGN FACILITIES
Cultural and Community Infrastructure Defined

Cultural and community infrastructure can be defined as community services, facilities and
networks which support individuals, families, groups and communities to meet their social needs,
to maximise their potential for human development and to enhance community wellbeing.

They include:
• Universal facilities and services such as education, health, open space, recreation and sport,
safety and emergency services, religious, arts and cultural facilities, community meeting places; •
Lifecycle targeted facilities and services such as those for children, young people and older
people; and
• Targeted facilities and services for groups with special needs such as families, people with a
disability, Aboriginals and people from culturally and linguistically diverse backgrounds.

Utilising the above definition, this assessment includes the following cultural and community
facilities:
• Community Halls/Meeting Rooms;
• Community/ Multipurpose Centres;
• Neighbourhood Centre;
• Youth Facilities;
• Libraries;
• Art Galleries;
• Museum; and
• Performing Arts Centres.

More detailed definitions of these facilities are provided below in Table 1, together with an outline
of the current facilities within these categories. While the focus for this Plan is on those facilities
that are Council’s responsibilities, it is acknowledged that there is a need to include consideration
of key facilities that belong to other levels of Government and the private sector to the extent that
their functionality impacts on provision of facilities by Council. As such, the information in Table 1
contains information about a broad range of community facilities within the LGA.
BUBBLE DIAGRAM
 BEHAVIORAL ANALYSIS
 LIBRARIAN

ASSIST ASSIST
PEOPLE PEOPLE
GUARD LUNCH/ RESTROO TIME
ENTRY TIME IN SEARCH SEARCH EXIT
CHECK DINNER M OUT
FOR FOR
INFO. INFO.

 SECURITY PERSONNEL

SECURES MAINTAIN
THE LUNCH/ RESTROO S
ENTRY TIME IN TIME OUT EXIT
SAFETY OF DINNER M SECURITY
PEOPLE MEASURES

 TOUR GUIDE

GIVES GIVES
INFO INFO
GUARD LUNCH/ RESTROO TIME
ENTRY TIME IN AND AND EXIT
CHECK DINNER M OUT
TOUR TOUR
VISITORS VISITORS

 MANAGER

ORGANIZ ORGANIZ
GUARD E AND LUNCH/ RESTROO E AND
ENTRY TIME IN TIME OUT EXIT
CHECK SUPERVIS DINNER M SUPERVIS
E E

 ASSISTANT MANAGER
OFFICE OFFICE
WORK WORKS
AND AND
GUARD LUNCH/ RESTROO TIME
ENTRY TIME IN ASSISTIN ASSISTIN EXIT
CHECK DINNER M OUT
G G
MANAGE MANAGE
R R
 SECRETARY

GUARD DELIVER LUNCH/ RESTROO DELIVER

ENTRY TIME IN TIME OUT EXIT
CHECK REPORTS DINNER M REPORTS

 ARTISANS/ CRAFTSMEN

OPEN OPEN
GUARD LUNCH/ RESTROO TIME
ENTRY TIME IN DISPLAY DISPLAY EXIT
CHECK DINNER M OUT
&SELL &SELL.

 PERFORMERS (DANCERS & MUSICIAN)

WAITING/
PARTICIPA
GUARD PRACTICIN LUNCH/
ENTRY TE AND PACK UP TIME OUT EXIT
CHECK G/ DINNER
PERFORM
RESTROOM
  TOURISTS AND VISITORS

SHOPPING
WATCH AT
GUARD LUNCH/ ENTER
ENTRY
CHECK
WAITING TOUR
DINNER MUSEUMS
PERFORM SOUVENIR EXIT
ANCES COLLECTI
ONS

 DESIGN STANDARDS
*TIME SAVER STANDARDS FOR ALL BUILDING TYPES*
MUSEUMS
A new museum, even in this small stale, cannot function efficiently unless it respects the general
principles of museography and the special possibilities for applying them which are provided by
the particular circumstances governing its construction. There are certain museographical
considerations which must have a decisive influence on the structure of the building, for instance,
on the arrangement of the rooms or the type of roof chosen, and which are therefore of technical
importance in the construction. Consequently, the successful planning of a museum entails the
well-considered choice and unerring application of these deciding principles, whose chief
theoretical and practical aspects which are:
● Natural Lighting - Daylight may coma from above or from the side. In the former case
suitable skylights will be provided in the ceilings of the exhibition rooms. In the letter case,
one or more walls will be pierced by windows, the height and width of which must be
decided according to individual requirements.
● Lighting from Above -This type of lighting, sometimes called overhead lighting has long
been favored by the designers of museums, for it presents certain obvious advantages:
○ A freer and steadier supply of light, less liable to be affected by the different
aspects of the various rooms in the building and by any lateral obstacles (other
buildings, trees, etc.) which might tend, by causing refraction or by casting
shadows, to alter the quantity or quality of the light itself.
○ The possibility of regulating the amount of light cast on the pictures or other
exhibits and of securing full and uniform lighting, giving good visibility with a
minimum of reflection or distortion.
○ The saving of wallspace, which thus remains available for exhibits.
○ The maximum latitude in planning space inside the building, which can be divided
without requiring courtyards or light shafts.
○ The facilitation of security measures, owing to fewer openings in the outside walls.
● Lateral Lighting -This is provided either by ordinary windows of various shapes and
sizes, placed at suitable intervals in the walls, or by continuous openings; both windows
and openings may be placed either at a level at which people can see out of them or in
the upper part of the wall.
● Utilization and Division of Space -In designing a museum
the architect will also be decisively influenced by the way in which it is intended to utilize
and divide the space to be devoted to the displays. This, too, is of course closely
connected with the question of lighting.
● The Exterior -A museum which is to be built in an isolated spot or reserved space (park,
garden, etc.) needs to be surrounded by an enclosure, especially if the site forms part
of an extensive area. For the visitor, this enclosure will provide a foretaste of the
museum's architecture, and thus must not constitute a "psychological barrier," though the
fundamental aim of security, which it has to serve, must not be sacrificed. If, on the
contrary, the museum is to overlook a public street, it will always be advisable:

○ To separate it from the stream of traffic

by a belt of trees or even by flowerbeds.
○ To set back the entrance in a quiet corner.
○ To allow space for a public car park.
● Arrangement -Any general plan of construction which entails an apportionment of
premises is closely bound up with the purpose of the museum and the nature, quality, and
principal components of its collections. Each type of museum has different requirements,
which may be met by various architectural methods.
○ Museums of art and archaeology. The size of the rooms and height of the ceilings
will be determined by the nature and dimensions of the works to be exhibited. It is
not difficult to calculate a practical minimum capable either of accommodating old
paintings, which are usually large, or medium-sized modern canvases; a suitable
room might measure about 16 by 23 ft, with wall accommodation to a height of
about 14 ft. In the case of furniture, or of examples of decorative art (metal, glass,
ceramics, textiles, etc.) to be displayed in showcases, the ceiling need not be as
high. If pictures and sculpture are to be shown separately, their settings must be
different from the point of view of space and lighting. For silver, jewelry, or precious
objects, it may be better to use showcases set in the wells-which can thus be
equipped with locking devices and anti burglar safeguards lit from within, the
rooms being left in semidarkness. Rooms lit by artificial means rather than by
sunlight are best for drawings, engravings, watercolors, and textiles. Such rooms
may be long and narrow rather then square-rather like corridors or galleries-as the
visitor has no need to stand back in order to look at the exhibits, which will be
arranged in showcases against the longest walls.
○ Historical or archival museums. These need less space for the showcases in which
their exhibits are placed, and comparatively large and numerous storerooms for
the documents kept in reserve. Relics and papers are best shown in rooms
equipped with suitable protective devices and artificially lighted, though some use
may also be made of indirect natural light.
○ Ethnographic and folk museums. The exhibits are usually displayed in showcases.
They are often large and cumbersome, requiring a good deal of space.
Considerable space is also needed for reproducing typical surroundings, if this is
done with genuine pieces and properties or full-sized replicas. Strong artificial
lighting is generally used as being more effective than daylight.
● Entrance However many outside doors may be found necessary for the various museum
services (but these should be as few as possible, to facilitate supervision and security
measures), there must be only one public entrance, placed quite separately from the
others. This should lead into a vestibule where certain essential services will be located-
 sale of tickets, information service, and sale of catalogs and postcards. In a small museum
one person will of course be responsible for all this, and the necessary installation must be
carefully planned to ensure the most practical form and arrangement.
● Exhibition Rooms-Shape and Requirements A museum in which all the rooms are the
same size becomes very monotonous. By varying their dimensions and the relation
between height and width-and also by using different colors for the walls and different
kinds of flooring-we provide a spontaneous and unconscious stimulus to attention.
Galleries intended for permanent exhibitions may, on the contrary, be of considerable size,
though it is never advisable for them to be more than about 22 ft wide, 12 to 18 ft high,
and 65 to 80 ft long.

PLANNING
The basic objective of the Museum is to collect, preserve, study and exhibit significant objects of
the community, and provide related educational services in order to increase public knowledge
and stimulate creative activity. This statement should have further definition by incorporating a
reference to the type of collections, whether human history, natural history or art.
A good museum includes these basic functions: (1) curatorial, (2) display, (3) display preparation,
(4) education. In order to realize both objectives and functions, certain facilities and spaces are
essential.
There must be sufficient diversification of spaces to allow each function to be undertaken
separately while at the same time combining certain activities in a single area as required for
economy in a small museum. Because of the many and varied kinds of tasks which a museum
has to perform, it is absolutely impossible to maintain good housekeeping and curatorial
procedures without separation of functions into separate rooms. This relation between functions
and physical facilities is summarized in the following.

LIBRARIES
SPACE REQUIREMENTS
● The program statement, which includes objectives, activities, and requirements, will spell
out total needs in terms of square feet of floor space. Generally speaking, the total need
may be divided into five categories:
○ Space for books
○ Readers
○ Staff
○ Group meetings
○ Mechanical operations
○ All other (stairways, elevators, tbilets, etc.)
● Actual space allocations will tend to vary in accordance with the library service program in
relationship to community needs.
Spaces for Books
● Despite the fact that there is considerable variation in the size of books, there are several
reliable formulas which may be used to estimate the amount of space required for books.
These are: open reading rooms, 7 volumes per linear foot, or 50 books per foot of
standard height wall shelving, or 100 books per foot of double-faced shelving; bookstack
areas, 15 books per square foot (includes aisles), or 2 books per cubic foot. Approximately
50 longplay phonograph records may be shelved in one lineal foot of wall shelving. It is
important to note that these formulas are
given for full capacity. Under normal
conditions, one-third of each shelf
should be left for future expansion.
Space for Readers
 Reader seating requirements should be
determined for at least 20 years ahead.
Two principal sources of information
which library building planners will find
equally useful for this purpose are first, a
careful analysis of purely local needs,
and second, existing proven formulas
applied as a basic guide. The most
important factor in determining reader
space needs are of course the reading
potential of the people who will use the
library. A conveniently located, attractive
library will stimulate dramatically
increased library use. Serious errors can
result when estimates are based on use
of the old, existing library.

Space for Staffs

 A checklist of staff work areas should
include (1) administrative offices, (2)
work rooms, and (3) staff lunch and
lounge rooms. Administrative offices
should include a combination librarian's
office-trustee room; spaces for the
assistant librarian and a secretary-
receptionist; business office; and other
related offices. Work room areas should
be provided for technical processing;
reference, circulation, extension, and
other departments; subject specialists; and supply storage. Comfort facilities for the staff
 should include cooking and lunchroom areas as well as appropriate locker, lounge, and
toilet facilities for both men and women. Comfortable working conditions contribute to
effective personnel administration as well as to efficient library service.

Meeting Rooms
 With the exception of the very smallest libraries, most public libraries should provide some
group meeting space, at least one multipurpose meeting room. At the other extreme, a
small auditorium and a series of conference rooms may be required. The services
proposed by the library together with community needs for facilities of this type will be the
final determinants.

AMPHITEATERS
SPACE REQUIREMENTS
An outdoor theater can be planned to seat as many as 3,000 spectators without the use of
amplification for the actors' voices. What is
recommended, however, as an upper limit for the seating, is about 2,500. The suggestions in this
outline are scaled for a structure of between 1,500-2,000 seats, which is nearer the ideal.

OUTSIDE THE THEATER

1. Parking Lot (or Lots) should be-
o Large enough to handle one car for every three spectators.
o Designed to permit convenient and speedy exit following the performance, with
good access from traffic routes.
o Surfaced with gravel or asphalt and provided with good drainage under all
conditions.
o Well lighted for ease and security in parking and walking.
o So, arranged as to permit the quick departure of any car in case of an emergency
during the performance.
o Convenient to the box office and the entrance to the theater. Located where the
noises and lights of late-arriving cars will not disturb the performance.
o Well-marked with signs.

2. A Business Office
o If the theater is on or very near a main traffic route, the office of the manager may
be placed at the theater.
o Usual practice, however, is to have this office in the center of the nearest town
where it is readily accessible to patrons stopping in hotels and motels.
o In any case, the business office should have an information center and display
space in addition to work space for the manager and promotion director and their
assistants.
o It should include a place for the display of folders, a desk for handling rooming
accommodations, and the like.
 3. A Box Office
o Convenient to both the parking lot and the entrance to the theater. With shelter for
patrons buying tickets in bad weather.
o Provided with windows for advanced sales, reserve seats, and general-admission (if
any), clearly marked with prices.
o With telephone connections to the business office (if not in the same building) and to
the stage.
o Near toilet facilities and a water fountain.

4. The Entrance to the Theater

o Well marked, simple, and attractive.
o Near enough to the parking lot to keep older people from tiring themselves while
getting to the theater.
o Far enough away from the lot to let patrons lose the sound of traffic and fall under the
quiet spell of the general setting before stepping into the theater.
o Sometimes provision can be made for bringing very old or crippled patrons by car
along a separate path right to the theater entrance.

5. A Separate Entrance and Parking for Cast

and Crew

The Auditorium
The most satisfactory seats seem to be either sturdy metal and canvas folding chairs or chairs
with tough, preformed plastic seats. These can be lifted for cleaning, tilted to avoid water puddles
during a rain, and can be stored indoors when not in use at the close of the season. All seats
should be clearly numbered. The width of each seat should not be less than 18 in. and need not
be more than 23 in. A comfortable width is about 21 in. The distance between rows of seats
should be 3 ft. their details about the auditorium which need to be kept in mind are:
 Toilet facilities, placed and housed where they are convenient to both sides of the
auditorium but are not noisy, and of sufficient number to accommodate the peak
requirements which occur just before performance and during an intermission.
 Rain shelters on both sides of the seating area or at the back, for use in case of sudden
showers.
 Concession booths on each side (walled in to reduce the noise of refrigerators and the
handling of bottles).
 Good paving (not loose gravel which is very noisy) and good drainage everywhere.
 Sufficient auditorium lighting to let patrons read their programs easily, and high enough to
be out of their eyes.
 Signs placed where they will indicate clearly to the patrons where the various sections of
seats are, as well as the toilets and the refreshment centers.
  A public address system for announcements to the audience on rainy nights.

THE STAGES
The usual arrangement of acting areas in an outdoor theater is a large main stage and two
smaller side stages in front of the proscenium wall and to the right and left of the main stage. This
plan allows for flexible and continuous action since, by taking a scene off to one of the side
stages, it permits the technical crew to change a setting on the main stage. Thus, the play does
not have to be broken at any point, except for the intermission. These features are recommended
for the main (central) stage:

1. A level 3 It above the base of the lowest row of seats in the auditorium.
2. A proscenium opening of about 70 ft.
3. A depth of about 40 It from the line of the proscenium walls. (The apron in front of this line
should be as narrow as possible.)
4. Plenty of wing space-at least 50 ft-at each side of the acting areas.
5. A height for the proscenium wall on each side of the opening of 16 to 18 ft and of a length
sufficient to mask from the audience all activity back stage.
6. An appearance for the proscenium well which is simple, fairly neutral, and thoroughly in
keeping with both the natural setting of the theater and the style of the play being
performed (log, board, stone, or brick).
7. Level ground, well drained and preferably surfaced with either cement or asphalt (where
scene changing does not require a smooth clear floor, the dancers can be helped by
giving them several inches of send as a dance cover).
8. Some amphitheaters have been built with a second, slightly higher, level with one or two
longitudinal steps leading up to it, about 20 ft upstage, in an effort to increase the variety
of acting spaces available. Careful consideration should be given to its effect on scene
shifting, dancing, or other theater uses before this is incorporated as part of the permanent
design.
9. In some cases, it will be necessary to include anchoring devices for jacks, flanges, and
stage braces supporting heavy movable scenery set directly and permanently into the
hard surface of the stage floor.
10. Electrical outlets for stage lighting and for the convenient attachment of cable to special
effects such as campfires.
11. Circuits for an intercommunication system between departments.
12. Unless a steep embankment or a clump of tall trees can serve as an acoustical
background, a high wooden or masonry wall should be erected behind the stage to
provide a sounding board at the rear of the acting areas. There should be masking wings
for side entrances on the main stage and for mounting of lighting equipment and for
convenient scene shifting space. A back wall for a 70-ft proscenium opening would be
about 110 ft. These features are suggested for each of the two side stages (right and left
of the proscenium opening):
  A level 2 ft above that of the main stage (5 ft above the base of the lowest row
of seats), with easy access from both backstage and the main stage.
 The area covering a quarter of a circle with a radial center on the proscenium
wall of the main stage, starting about 30 ft back from the opening (giving a cut-
of-pie-shaped acting space on the side stage of about 30 by 30 ft with the
curve toward the audience).
 No proscenium frame of any kind is needed for this side stage (the proscenium
wall of the main stage forms the rear wall for these side stages).
 Three steps or a ramp at the front corner to connect the aide stage with the
apron of the main stage.
 Level ground, drained and surfaced like the main stage.
 A door or concealed passageway connecting this stage to the wing of the main
stage for the use of actors.
 Considerable working space, right or left, beyond this acting area for the
manipulation, and possibly the storage, of scenery and properties to be used
on this stage. (If these are to be stored backstage in a wing of the main stage
and brought out front when needed an adequately concealed passage should
be provided for them.) Careful thought must be given to the fat background of
the three stages. The view of the stage and beyond it to the trees or distant
mountains should be attractive and mood creating from the moment the
spectator first comes into the theater area.

THE BACKSTAGE AREA

In the wings:
1. There should be plenty of free space for the assembling of actors, the organizing of
groups, and the massing of crowd voices for offstage effects.2.
2. Property tables should be placed in locations convenient to both sides of the main stage
and the entrances to the side stages. 3.
3. There should be adequate spaces for the storing and sheltering of the portable scenery
units and properties. 4.
4. There should be proper drainage in every part. 5.
5. All the permanent wiring should be run under ground where it cannot trip the actors or
interfere with the movement of scenery and properties. 6.
6. Some controlled Illumination should be provided for backstage operations, well shielded
so no direct or reflected lighting will be seen by the spectators. 7.
7. There should be sufficient specs for the drying of scenery, costumes, and properties the
morning after a rain. 8.
8. A bulletin board for nightly directions to actors and technicians should be set up in a free
and convenient spot, a little away from any of the main traffic lanes onto the stage. 9.
9. There should be an efficient intercommunication system over which messages can be
sent from one side of the stage to the other, from the stage manager to the electrician, the
organist, and the house manager.
The ores behind the main stage should not be used for any large operation. There should be no
lighting here except what may be planned for stage effects, and all trees should be left standing to
maintain a good background screening for the stage pictures.
A spacious passageway should be provided for the actors end technicians who have to cross
behind stage from one wing to the other.