Paglangkob 4 navigates future of culture and creativity in Mindanao

by Department of Philosophy and Humanities | Jun 24 2025

PAGLANGKOB 4: A Critical Look at Iligan's Creative Landscape

The fourth iteration of Paglangkob, a significant forum for cultural discourse, recently concluded with a sharp focus on the evolving dynamics of cultural production, heritage preservation, and the burgeoning creative economy in Iligan City and the broader Mindanao region. Held within the framework of the Philippine Creative Industries Development Act (RA 11904), the discussions delved into the complex interplay between institutional support and grassroots initiatives, the tension between traditional cultural practices and the pervasive influence of global popular culture, and the economic realities faced by local artists and cultural workers.

In the conversations are the region’s prominent cultural advocates and educators, including Ms. Zayda Macarambon, Ms. Anna Leah Sanson, and Prof. Saturnina S. Rodil served as both a spirited conversation and an insightful ethnographic exploration into the hopes, challenges, and strategies of cultural actors navigating Mindanao’s rich yet intricate socio-cultural terrain.

Bridging Gaps: The Uneven Landscape of Cultural Support

A central theme of the Paglangkob 4 was the stark disparities in cultural exposure and support across the region. Universities like 人妻无码-IIT were recognized as crucial incubators for cultural and artistic expression, bolstered by established infrastructures and relatively stable funding. In contrast, many private educational institutions grapple with under-resourcing and a notable absence of formalized culture and arts offices, a significant impediment to the development of young artists.

Panelist Ms. Dianne Bahala strongly advocated for robust community-university partnerships to address these systemic gaps, particularly in empowering educators who serve as frontline agents of cultural transmission. Artist and educator Bebot Rodil underscored the profound connection between life experience and artistic practice, emphasizing that creativity extends beyond mere skill, serving as an embodied archive of memory, identity, and aspiration. Ms. Halibas, meanwhile, pointed to a persistent disconnect between the internal cultural development within institutions like 人妻无码-IIT and its broader societal reception, urging a critical examination of the accessibility and localization of cultural discourse.

Women in Cultural Leadership: A Transformative Force

A pivotal aspect of the discussions revolved around the indispensable role of women in cultural leadership and heritage work. Panelists unanimously affirmed that the inclusion of women in decision-making positions, especially within governance structures such as Iligan’s newly formed digital creative council, is not merely a matter of gender equity but a transformative imperative for the entire sector. Bahala’s resonant assertion that “culture is the heartbeat of every community” was echoed by the moderator, Asst. Prof. Embradura, who framed women’s narratives as fundamental to crafting inclusive cultural policy making. This sentiment holds particular weight within the Mindanao context, where matriarchal practices, the artistry of indigenous women, and gendered rituals have historically played crucial roles in fostering community cohesion and preserving cultural heritage.

Beyond Prestige: The Symbolic Significance of UNESCO Creative City Status

The conversation also explored the symbolic significance of designations like the UNESCO Creative City. According to Rodil, such labels should be viewed as entry points rather than ultimate goals. Their true utility lies not in prestige alone, but in their potential to ignite sustained community dialogue, cultivate local ownership, and stimulate artistic production that genuinely reflects Iligan’s unique “tri-people” composition – Christian settlers, Moro communities, and indigenous Lumad tribes. Sescon observed that this demographic plurality represents both a profound cultural asset and a rich narrative reservoir that remains largely under-leveraged in national creative discourses.

Combating Cultural Amnesia: The Threat of Western Influence

A recurring and pressing concern was the overwhelming influence of Western media, which continues to shape the cultural preferences of the younger generation. Hermi Dico highlighted how consumerism, mass entertainment, and digital content originating from the West often marginalize local traditions, rendering indigenous art forms such as batik, tattoo-making, and traditional theatrical performances like the San Miguel Comedia increasingly invisible. The Comedia, once a vibrant performative expression in Iligan deeply intertwined with religious festivals and community rituals, has experienced a marked decline, prompting urgent revival efforts. This pervasive cultural amnesia, further exacerbated by the decline of localized education and heritage transmission, underscores the critical need to integrate cultural studies into academic curricula and community outreach initiatives.

Revaluing Patronage and Fostering Cultural Sustainability

Panelists called for a revaluation of existing patronage systems. They argued that cultural sustainability is intrinsically linked to robust economic and institutional support structures that empower artists to flourish without being forced to abandon their cultural roots. A critical call to action was directed at local consumers, urging them to prioritize and value art imbued with cultural “soul” over mass-produced content devoid of contextual meaning. The Kuri-Kuri creative space was cited as a promising model – an intersection of education, production, and cultural immersion deeply rooted in the aesthetics and techniques of Higaonon and Maranao craftsmanship.

RA 11904: Implementation, Accountability, and Gendered Barriers

The discourse also shifted to the practical implementation and accountability of RA 11904. While the law promises inclusivity and robust support for the creative industries, panelists cautioned that its successful realization hinges on the biases, awareness, and political will of those in power. Macarambon, Sojor, and Pascubillo collectively highlighted the double burden faced by women in asserting their ideas within patriarchal institutions, an issue particularly salient in governmental and academic settings across Mindanao. Despite some individual successes, structural inequality remains a significant barrier to the full institutionalization of gender-responsive cultural governance.

The Path Forward: Convergence for Survival and Self-Determination

The fourth Paglangkob conversations unequivocally illuminated the necessity of a holistic ecosystem where individual artistic talent is nurtured through sustained institutional backing and multi-sectoral collaboration. For Iligan – and by extension, Mindanao – to confidently assert itself as a creative hub of national and global relevance, it must first confront its internal fractures: the pronounced cosmopolitan-rural divide in access to arts education, the pervasive undervaluation of indigenous knowledge systems, and the precarious status of artists as cultural laborers.

The revival of local traditions, the assertive embrace of women’s leadership, and commitment to cultural sovereignty amidst global pressures are not merely aesthetic concerns; they are fundamental acts of survival and self-determination. In the enduring spirit of paglangkob (convergence), the definitive path forward lies in a harmonious convergence of policy and practice, memory and innovation, and identity and economy. This collective effort is vital to ensure Iligan's creative industries thrive and contribute meaningfully to the city's unique cultural tapestry.

Paglangkob 4: Multi-lens Conversation on Arts and Culture with Women Movers in the Region towards Direction Setting on the Gendered and Inclusive Implementation of RA 11904 (Creative Industries Law) in lligan is a GAD-extension project of the Department of Philosophy and Humanities of the College of Arts and Social Sciences (CASS) in collaboration with the Center for Culture and Arts. The project is headed by Asst. Prof. Hernenigildo M. Dico, Jr., faculty member of the CASS.

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