Philippine Creative Industry

Philippine Creative Industries Mapping:
Towards the Development of a

National Strategy
Objectives of the Study

a) determine the creative industries
contribution to the economy;
b)analyze the situation per sector and
identify the enabling and hindering
factors for the growth of the sector;
c) identify opportunities for further
development and improvement; and
d) recommend strategies that both the private and
public sectors can adopt to propel the industrys
growth.
Six Major Fields of Creative

Industries
Heritage and the Fine Arts
Design and Architecture
Audio-visuals
Printing and Publishing
Creative Services
Science and Technology
METHODOLOGY
Creative Economy ValueChain
Five Cs of the Creative

Economy Value Chain
Chaining
Capacitating
Communitizing
Clustering
Converging
Chaining, Capacitating, Communitizing,

Clustering and Converging in a Creative
Sector
FRAMEWORK
Understanding the
Philippine Creative
Economy and its
Potentials for Growth
Creative Field
Heritage and the Fine
Arts
Industrial Design and
Architecture
Publishing and
Printmedia
Creative Sectors Involved

Performing Arts Visual/Literary Arts
Traditional Arts and Crafts Cultural
Sites
Packaging Design Textile/Fashion
Design
Interior Design Architecture
Product Design (Hardgoods)
Print Media (News) Books and
Magazines
Dissertations/Articles
Audiovisuals
Broadcast (TV/Radio) Film

New Media (Internet/Mobile Devices)
Science and
Technology
Research & Development in

Manufacturing
(Electronics and Communication, Food,
Drug, Housing and Transport) ICT
Animation and Gaming Advertising
and Graphics Recreational Services
ITES
Creative Services
Creative Field
Creative Originators

Arts
Artists (Choreographers,
Painters, Writers etc) Local and
Indigenous Communities

Architecture
Product Designers, Architects,

Interior Designers and Fashion
Designers,
Craftsmen
Writers, Lay-out Artists,
Researchers, Authors
Publishing and
Printmedia
Audiovisuals
Writers, Artists, Directors,

Creative Director, content and
Substance Providers etc
Science and
Technology
Inventors, Designers, Culinary

Scientists, Research and Product
Development Units, Doctors,
Engineers
Artists, Gaming /Rides Inventors,
Creatives Director, Graphic
Designers and Recreational
Designers
Creative Services
Creative Field
Creative Enablers / Facilitators

Arts
Special Art Schools and Universities,

LGUs, Local and National Art Guilds

Architecture
Special Training Schools and

Universities, LGUs, Local and National
Art Guilds, Artisans
Publishing and
Printmedia
Special Art Schools and Universities

and LGUs
Audiovisuals
Special Talent Centers / Groups/

Schools
Production Houses
Science and
Technology
Schools and Universities, LGUs, Local

and National Science Guilds
Creative Services
Special Schools and Universities, LGUs,

Local and National Tourism Guilds
Creative Field
Creativity Transformation
Mechanism

Arts
Production Houses/Guilds, Events

Companies, Sponsoring Groups from
Govt and Private Institutions.

Architecture
Manufacturing Firm, Production

Firm, Product Factories, Design
Companies, Entrepreneurs
Publishing and
Printmedia
Publishing Companies, and Printing

Houses
Audiovisuals
Film Production Companies, TV and

Radio Companies, Content Providers
Science and
Technology
Manufacturing Firms, Factories,

Laboratories, Real Estate Companies,
ICT Investors
Creative Services
Advertising Firms, Design and

Graphic Arts Studio, Recreational
Planners and Design Firms
Creative Field
Creative Product

Arts
Show (Dance, Music Theater etc),

Fine Art Product, Tourist
Attractions

Architecture
Model Housing Units, Product

Collection, New Packaging Design,
Structure and Design
Publishing and
Printmedia
Magazines, Books, News Paper,

Journals
Audiovisuals
TV/Radio Show, Web Site and, Film

Outfits
Science and
Technology
New Food Variety, Drug, Cosmetic,

New Engine, New Appliance
Transportation Innovations
Creative Services
Advertisement, Game, Animated

Product, Recreational attraction
Creative Field
Arts
Architecture
Creative Distribution
Mechanisms
Theaters, Stage Venues, Galleries,
Exhibit Halls and Local Sites, LGU,
Govt
Real Estate Co, Fashion Houses
and Brands, Packaging
Distributors
Publishing and
Printmedia
Book and Magazine Stores,

Newspaper stands, Web
Audiovisuals
TV/Radio Networks, Cinemas and

Special Theaters, Record
Companies
Retail and Wholesale
Stores/Outlets , Exhibits,
Drugstores etc.
TV/Radio Networks, Mass
Transport, Advertising Avenues,
Print Media, Amusement, gaming
and recreational Facilities
Science and
Technology
Creative Services
Creative Field
Creative Market Potential and

Indicators
Heritage and the

Fine Arts
Art Services, Libraries and Museums generated

Php271M in revenue in 2003.
There are 12,000 employees engaged directly in the
performing arts.
Industrial Design
and Architecture
Clothing/Apparel: Top 2 Export.

Furnitures: Top 6 Export, an increase of 31.3% from
2007.
Costume Jewelry 140 establishment with more than
10,000workers.
More
than3000
5,000
Establishments
engaged in printing.
In 2003,
direct
basket manufacturers.
More than 60% are small in size and more than 70% are
located in MM.
There are 373 Screens in the Philippines, 60% are in MM.
Film Industry has 0.98% share in GDP in 1998. In 2003,
the film industry generated more than Php29B. Total
employment contribution is 36,000. ABS-CBN posted Php
598M in net income for the first half of 2008
Publishing and
Printmedia
Audiovisuals
Science and
Technology
Creative Services
$28B Manufacturing Revenue in the first half of 2008

(Electronics). It employs almost 1M permanent and casual
workers in the country.
Php 85B Revenue for the Pharma Industry dominated by
Multinationals.
$105M Revenue in 2005 with 50 major animation outfits
in the Philippines.The Animation Industry contributes
7000 to the countrys employment pool.
ITES contributed to more than $500M in 2001 with more
than 60000 employees.
Creative Field
Public Institutional
Involvement

Arts
Architecture
NCCA, NHI, LGUs, CCP, DepEd,

CHED,
NCCA, NHA, CHED, DTI
Publishing and
Printmedia
PANA, PIA, National Library, DTI,

OPS, NCCA
Audiovisuals
MTRCB, OPS, LGUs, DOTC, NCCA,

Adboard
Science and
Technology
Creative Services
DOST, DOTC, BFAD, DOH, NCC,

CHED, DTI
Adboard, DOTC, DOT, CHED, DTI
Economic
Contribution of
the Creative
Industry
Global and Regional Perspective

US$424.4 Billion (2005) Value of
world exports of creative industry
products and services
3.4% of world trade
US$227.4 Billion (1996) Value of world exports

of creative industry products and services
Source: UNCTAD
World Exports of all Creative Industry Products and Services

by Subgroup, 1996 and 2005
Subgroup
All creative industries (3)
All creative goods (4)
All creative services (5)
Heritage
Arts and craft goods
Other cultural services
Visual arts
Visual arts goods
Performing arts
Music goods
Publishing & printed
media
Publishing goods
Audiovisuals
Audiovisual goods
Audiovisual and related
services
New media
Media goods
Design
Design goods
Creative services
Architectural and related
services
Advertising and related
services
Research and development
services
Personal, cultural and
recreational services
Value
(millions of
S)
227,451
189,214
38,237
15,760
14,738
1,022
10,331
10,331
5,100
5,100
As % of all As % of total world

creative
exports
industries (goods/services) (2)
1996 (1)
100.00
83.18
3.50
16.82
2.87
6.72
6.28
0.27
0.44
0.08
4.40
4.40
0.19
2.17
2.17
0.09
Value
(millions
of S)
424,427
335,494
88,933
26,692
23,244
3,448
22,149
22,149
14,924
14,924
As % of all
As % of total world
creative
exports (goods/
industries
services) (2)
Growth rate
2005 (1)
1996-2005
100.00
6.4
79.04
3.21
6.0
20.96
3.50
8.8
5.99
5.4
5.22
0.22
4.3
0.77
0.14
12.9
4.97
7.9
4.97
0.21
7.9
3.35
13.5
3.35
0.14
13.5
32,180
32,180
6,682
355
13.71
13.71
2.84
0.15
0.60
0.01
44,304
44,304
18.182
664
9.95
9.95
4.08
0.15
0.42
0.01
3.4
3.4
10.5
7.6
6,327
6,804
6,804
119,706
119,706
38,236
2.69
2.90
2.9
50.98
50.98
16.29
0.48
0.13
2.22
-
17,518
12,035
12,035
218,173
218,173
88,779
3.93
2.70
2.70
49.00
49.00
19.95
0.70
0.12
2.09
-
10.7
6.5
6.5
6.2
6.2
8.7
9,828
4.19
0.74
27,722
6.23
1.11
10.9
5,008
2.13
0.38
15,703
3.53
0.63
12.1
13,336
5.68
1.00
17,990
4.04
0.72
3.0
10,064
4.29
0.76
27,364
6.15
1.10
10.5
Creative Industry in the

Philippines
The core copyright-based industries

consist of:
Press and literature
Music, Theater, Opera
Motion Picture and Video
Radio and Television
Photography
Software and databases
Visual and graphic arts
Advertising
Core copyright-based establishments made up 31.38
percent of all large establishments, employed 320,871
or 12.18 percent of the total, and provided Php324
billion or 5.37 percent of GDP in 2006
The radio and television sector was the most
significant contributor to GDP, bringing in 3.45 percent
and in terms of productivity.
Size and contribution of Philippine Copyright-based

Number of Establishmentsindustries
Employment
Value Added
Sector and Industry
Number
(Large Establishments)
Agriculture and mining
% of Total
21,242
Number
% of Total
2,633,495
(P000)
VA as % of
GDP*
Value
Added per
Employee
(P000)
2,074,911,477
34.39%
788
928
4.37%
147,989
5.62%
38,196,839
0.63%
258
Industry
6,138
28.90%
1,143,379
43.42%
1,073,272,814
17.79%
939
Services
14,176
66.74%
1,342,127
50.96%
963,441,824
15.97%
718
6,666
2,813
803
31.38%
13.24%
3.78%
992,383
320,871
198,335
22,195
37.68%
12.18%
7.53%
0.84%
832,871,710
323,778,507
78,828,015
13,697,124
13.81%
5.37%
1.31%
0.23%
839
1009
397
617
Motion Picture and Video

Radio and Television
Photography
51
230
861
0.24%
1.08%
4.05%
3,131
45,208
4,521
0.12%
1.72%
0.17%
1,444,652
208,052,248
1,622,833
0.02%
3.45%
0.03%
461
4602
359
Software and Databases
1,302
6.13%
38,247
1.45%
15,729,228
0.26%
411
COPYRIGHT-BASED
INDUSTRIES
Core
Press and literature
Visual and Graphic Arts

7
0.03%
509
0.02%
55,747
0.00%
110
Advertising
599
2.82%
8,725
0.33%
4,348,660
0.07%
498
Interdependent
151,761
5.76%
109,120,459
1.81%
719
Partial
264,983
10.06%
58,930,178
0.98%
222
Non-dedicated support
254,768
9.67%
341,042,566
5.65%
1339
Copyright-based industries VA share in services:
86.45%
Copyright-based industries VA share in major PSIC divisions D,G,I,K,O (manufacturing, trade, transport storage communication, business
services, other community social and personal services):
59.24%
GDP for 2006 (at current prices) in P000
6,032,624,000
Note:
Agriculture includes forestry and fishing
Industry consists of manufacturing, electricity gas and water, and construction
Services consists of wholesale and retail trade, hotels and restaurants, transport, storage, communication, financial intermediation, real estate renting and
business, private education, health and social work, and other community social and personal services
A NATIONAL
STRATEGY FOR
THE
DEVELOPMENT
OF THE CREATIVE
ECONOMY
Countries that have

attained a certain
standard of living
for their citizens
They
prioritize
science
and
technology
at their
earlier
More likely to allocate a

substantial budget for the
upliftment of the arts, the
sciences and all forms of
creative pursuits.
accelerates
wealth
creation
increases in
productivity
reduction in
costs
creation of new
products and
services for their
income
rises
and
taxes
increas
e
The
governmen
t and the
population
at large
more time
and money
to spend
for creative
products
and
services
The contribution of the Creative

Industries to gross domestic
product (GDP) and gross national
income (GNP) is small (at 2% to 5%)
for less developed economies but it
rises as development accelerates to
much higher percentages (7% to
10%).
The Philippines remains at
number 42 in a universe of
57 countries at the
Competitiveness ranking of
countries
We are a very service-oriented

economy with little
competitiveness in both
agriculture and industry
1960s - Employment
1960s - Employment
Services sector
yielded only 23%
Agriculture 62%
Industry - 15% Agriculture
and Industry
2009 Employment
Agriculture 34.3%
Industry - 14.5%
Services Sector
2009 Employment
Services sector
surged to
51.1%
The Creative Industries can have a

multiplier effect on the entire economy
by:
(a)exploiting indigenous natural
resources for creative products;
(b)contracting both rural and urban poor
workers to execute creative designs;
(c)extending the value chain (from
supply to market chain) within the
boundaries of the Philippines to avoid
value losses to the economy; and
(d)increasing the final value of the
creative products and services through
better designs, improved technologies,
successful inventions and
Entry Strategies
Three strategies emanate from
the
Push (Creative Originators and

Enablers) and
Pull Factors (Creative Markets

and Distribution Network) and
the
Fulcrum in between (Creative

Technologies and Processes
used by the Creative
Transformers in making Creative
Products and Services)
Push Factors
Fulcrum
Pull Factors
and Enablers
Creative
Transformers and
Technologies
Demand for Creative

Products and
Services
Architects and
Engineers
Landscapers and
Interior Designers
City/Town Planners
and Designers
Furniture and
Furnishing
craftsmen
Schools which
educate and train
the above
Architectural and
Engineering
Technologies and
Processes used by
public and private
firms
Landscaping,
interior designing,
city house planning
and designing
technologies and
processes by
government and
private firms
CREATIVE
CONSTRUCTION
PROJECTS
Buildings and Houses
Parks and Gardens
Infrastructure
Push Factors
Fulcrum
Pull Factors
and Enablers
Creative
Transformers and
Technologies
Demand for Creative

Products and
Services
Directors
Scriptwriters
Lighting and Sound
Experts
Advertising
Creatives
Actors, Dancers,
Musicians,
Comedians,
Acrobats and others
TV Hosts and Radio
Announcers
Schools that educate
and train the above
Media Broadcasting
companies using
Creative
Technologies and
Processes
Hospitality
entrepreneurs who
provide
entertainment
Repertory Groups
Mall Owners
Advertising
Companies
ENTERTAINMENT
Television Shows and
Advertisements
Theaters / Clubs
(Plays/Shows)
Film
Radio
Video Arcades
and Theme Parks
Graphic Arts and
Animation
Push Factors
Fulcrum
Pull Factors
Creative Originators and

Enablers
Creative Transformers
and Technologies
Demand for Creative

Products and Services
Events Organizers
Designers and
Executors of Tourism
Destinations and
Attractions
Art Curators and
Collectors
Architects, Engineers,
Landscapers, Interior
Designers
Chefs and Culinary
Artists
Dancers, singers
musicians
Furniture and
Furnishing craftsmen
Artisans and Craftsmen
Makers of Decors
Painters and Sculptors
Schools which educate
and train the above
Hospitality Industry
Entrepreneurs using
Creative
Technologies and
Processes
Government
visionaries and
innovators who
promote tourism
Tourism and Travel
companies that
employ creative
process
Organized local
populations who
promote festivals,
tourist sites and
crafts
TOURISM
Cultural Sites and
Shows
Festivals
Museums, Galleries and
Exhibitions
Creatively-Enhanced
Natural Environments
Hotels and Restaurants
Tourism Destinations
and Attractions
Souvenirs and
indigenous / native /
distinctive local crafts
Push Factors
Fulcrum
Pull Factors
and Enablers
Creative
Transformers and
Technologies
Demand for Creative

Products and
Services
Authors, Writers,
Editors
Landscapers, Park
Designers
Architects,
Engineers and
Technologists
Painters, Sculptors
Composers,
Musicians
Physical Body and
Fitness
Shapers/Experts
Schools that
educate and train
the above
Publicity companies
Government and
Private Park
Owners/Managers
Entrepreneurs/
Impresarios who
promote Parks,
Works of Art, Body
Sculpting and
Fitness Shaping
LEISURE
Performing Arts
Books and Magazines
Gardens and Stroll/
Picnic/ Nature Parks
and Theme Parks
Fine Works of Art
(Paintings, Sculptures,
Music, Plays, Shows,
etc.)
Cultural Heritage
Museums, Galleries
and Exhibitions
Sports and Fitness
Centers
Spas and Wellness
Centers
Push Factors
Fulcrum
Pull Factors
and Enablers
Creative
Transformers and
Technologies
Demand for Creative

Products and
Services
Scientists and
Technologists,
Inventors and
Innovators
Designers and
Engineers of
Household,
Commercial and
Industrial Products
Electronic and
Computer Experts
Schools that
educate and train
the above
Corporations who
produce Creative
Products using
latest Technologies
and Processes
Government Funded
Research and
Development
Projects that get
commercialized
INDUSTRIAL
PRODUCTS
Household
appliances, furniture,
fixtures, decors and
creative construction
furnishings
Innovative machinery,
equipment
Innovative household
and personal products
Innovative Products
used by Commercial
and Business
Establishments
Push Factors
Fulcrum
Pull Factors
and Enablers
Creative
Transformers and
Technologies
Demand for Creative

Products and
Services
Designers and
Pattern Makers
Craftsmen and
Artisans
Jewelry Makers
Watch Makers
Schools that
educate and train
the above
Manufacturing
companies
Boutiques and
shops
Fashion Houses
PERSONAL FASHION
WEAR, JEWELRY,
FASHION
ACCESSORIES
Apparel
Shoes and Bags
Jewelry (Fine and
Custom)
Watches
Main Economic Drivers

for the Creative
Industries
Three main economic drivers for the
Creative Industries are
Construction, Entertainment
and
Tourism based on the market
value of the final products produced.
Construction
The emphasis is on building structures for
businesses and households.
Enough sophistication in the upper income
classes and the large business establishments
to patronize the services of creative
originators in the construction industry:
creative planners
architects
engineers
interior designers
landscapers
furniture and fixture makers and
other creative originators in the
construction industry.
Buildings and houses have adopted themes,
motifs and designs aimed to please both the
functional and aesthetic desires of their
Entertainment
Television and radio products and services are the
two biggest economic contributors among the core
copyrighted industries. Wide reach for advertising industry
The film industry has seen its ups and downs but finds a
ready long-term re-run market through television
broadcasting and through VCD/DVD distribution.
First-run ticket revenues are not sufficient to buoy
the film industry except for the movie blockbusters.
Malls have become entertainment hubs with their movie
houses, video arcades and mini-amusement rides.
Tourism
Tourism (both foreign and domestic) has risen
tremendously over the last decade with the
opening of more tourist destinations, facilities and
amenities.
The construction of international and local
airports, seaports and road networks has provided
much greater access to tourism sites.
The most creative works of architects,
engineers, landscapers, interior designers

and furniture makers are greatly in demand in
tourism because the tourism sites and facilities
Tourism
In 2008, tourism brought in over three million
foreigners spending about $796, each or a
total of $2.49 billion.
More and more, festivals such as the Sinulog
of Cebu have become large economic
contributors and effective social mobilizers.
Sinulog Festival generated large revenues for
the local economy and solidified and
galvanized local population of Cebu and all its
participating contributors.
Personal wear, jewelry, fashion

accessories
Used to be very strong in the country until
standardization and commercialization began to
favor countries with competitive advantages in
labor, power, materials and equipment.
Only specialized creative services such as
beauty parlors and hairstyling shops have
survived the onslaught.
Aesthetic or cosmetic surgery, another
creative service, can very well be a

sunshine industry for the Philippines.
Leisure and Industrial

Products
Leisure and Industrial Products have not yet
become economically significant and
pronounced in the Philippines.
Absence of sufficiently high income
No highly competent scientists and
technologists, research and development
experts, inventors and innovators,
engineers and technicians who can match
the resources of and do battle with the
advanced economies.
TOURISM AS A DEMAND DRIVER FOR

THE CREATIVE INDUSTRIES
Tourism finds great relevance with Arts
and Culture through:
(1)Cultural Heritage and Historical
Sites,
(2)Indigenous Peoples Arts, Crafts,
Music and Dances,
(3)the Celebration of Major and Minor
Festivals,
(4)Museums, Galleries, Exhibitions and
Distinctive Showcases, and
(5)Natural and Man-made Tourist
In
developing
the
Creative
Industries within the ambit of the
Tourism Sector
The Philippine National Government Agencies

(NGAs),
in cooperation with
Local Government Units (LGUs), Business
Groups and
Philanthropic Organizations (BGPOs),
Non-Government Organizations (NGOs), and
Peoples Community Organizations (PCOs),
Should endeavor to adopt and complete the five
Cs of Chaining, Capacitating, Communitizing,
Clustering, and Converging.
The Three Vital elements of

the Value Chain
(1) Access, meaning roads,
railways, seaports, and airports and
the attendant transportation
services;
(2) Tourism Facilities, meaning
hotels, restaurants and other
hospitality amenities; and
(3) Tourism Attractions which
includes the five Arts and Culture
National Tourism Strategy and

Development Plan
The Tourism hardware

plan
encompasses infrastructure, facilities,
site development, and physical
attractions/destinations.
The Tourism software plan

(1) the organizational efforts in mobilizing local
governments, private corporations, schools,
artists and communities to conceptualize,
coordinate, and carry out tourism events,
(2) the historical, socio-cultural and current
market research needed to root the tourism
efforts on tradition while making them relevant
to the contemporary setting, and
(3) the production and rendering of creative
products and services (shows, exhibits,
contests, and performances of creative
National government
agencies dedicated to
Arts and Culture,
Science and
Technology and
Tourism should
provide the support
and assistance
required to launch
local efforts.
Capacitating in Tourism
Growing tourism market and the high demand
for hospitality services abroad
Growing number of students in courses like
hospitality management, hotel and restaurant
management, tourism, culinary arts, bar
tending and the like
The Entertainment Sector (mainly television,
night clubs and talent shows) has helped boost
tourism through the development of artists in
singing, dancing, acting and playing musical
instruments.
Local festivals have mobilized schools and
Communitizing
FESTIVALS
Energizes the
Creative
talents
Enablers
OWN TOURISM MARKET
DEMAND
Creative talents and

Enablers such as:
Woodcarvers of Betis
and Paete
Transformers
Jewelers of
Meycauayan
Marketeers
The artists of Angono

The singers of Loboc
Communitizing creatives is a proven formula for

boosting the creative economy
Clustering
Clustering in tourism has a magnetic
effect.
Cebu-Mactan-Bohol Cluster
Cebu
Natural trading and transportation hub in

southern Philippines
Cebu tourism grew with the construction
of hotels, malls and other tourism facilities
Sinulog Festival is one of the biggest in the
country and contributes tremendously to the
creative economy
Construction activities in the island have shown
the highest growth rate in the country over the
last decade
Mactan
Opening of the international airport and
connecting bridges gave access to the population of
Cebu
Cluster of tourism facilities and attraction (not to
mention the industrial zone and the film-making
institute set up on the island
Bohol
Establishment of its own beach resorts
Bohols emphasis on its unique features and attractions (old
churches, chocolate hills, the tarsier, the singers of Loboc, the river
ride, and the unspoiled natural landscape)
Cebu-Mactan-Bohol Cluster - a vibrant Creative Economy with
Tourism and Entertainment as its anchors and Leisure as its
culmination in the fine arts, cultural heritage and the performing
Converging
Converging follows where Clustering
happens
Accelerated by the appointment of a
Cebuano to the post of Secretary of
Tourism.
Government has stepped in with substantial
infrastructure investments and marketing
support.
Private businesses have been lured to the
islands to establish hotels, malls,
entertainment and hospitality centers.
Artists of various sorts have congregated
there to fill the large demand for performers
ENTERTAINMENT AS A DEMAND
DRIVER FOR THE CREATIVE
INDUSTRIES
Television and radio are two of the
largest contributors to the creative
economy because of the heavy
advertising budgets spent by
business establishments.
Part of the wider Media Industry:
broadcasting (television, cable and
radio),
print (newspapers and magazines),
digital media (internet, computer
services and software),
film and video, and recorded music.
The large revenues accruing to

television and radio have
allowed them to pay good
money for creative talents.
Frontline
Entertainers
Pay for actors,
actresses,
singers,
directors and
dancers.
Revenues
and/or
allocation of
funds for the
Creative
Talents
Backroom support
Pay for script and
screenplay writers
and the technical
crew (cameramen,
lighting experts,
film and video
editors, set
designers, etc.
RESULT: Technical training of
the backroom crew is largely

through experiential learning
and is limited compared to
THE SOUTH KOREAN MEDIA AND

FILM STRATEGY: EXCERPTS FROM
THE KOREAN TSUNAMI: LESSONS
FOR RPS FILM INDUSTRY
Korea adopted liberalization policies
and allowed the direct distribution of
foreign films
Media production should become a
national strategic industry because of
its contribution to the countrys
economy
Motion Picture Promotion Law in 1995
to entice big businesses to gamble on
the Korean film industry
Script writing and countless revisions,
Basic Law for Cultural Industry Promotion

with a budget of $148.5 billion was allocated
over several years
The budget for the cultural sector increased
from 485 billion won in 1998 (0.6 percent of the
total budget) to 1,282 billion won (1.15 percent).
In the Korean market, local films catapulted
from 21 percent market share in 1995 to 48
percent in 2002the number of Korean films
climbed from 65 in 1996 to 77 in 2002. Ticket
sales zoomed from 9.8 million to50.8
million.
Critical success factors of the

Korean Media and Film
strategy
1. The Korean strategy in the creative industries
emphasized major investments in infrastructure,
capitalizing on the very strong linkages between
government and big business.
2. On the software side of the equation, South Korea
decided to benchmark itself against Hollywood
films as the international best practice.
3. Koreas success secrets is the diversity of its
offerings (from costume drama to horror films, from
comedies to melodramas, from documentaries to genre
films, and so on.
In 2008, the Korean Film Council created a film

fund worth $55.5 million to chart its future
course.
Based on the distribution of the funds, the priority
areas are:
(1)$41.6 million to diversify investment methods
and heighten transparency in production
management and accounting;
(2)$3.4 million for international co-productions;
(3)$3.4 million for the production of diversity films
(i.e. arthouse films);
(4)$1.1 million to create a 3D market by setting up
an on-line distribution method;
(5)$0.7 million on anti-piracy;
(6)$0.2 million for ten films to mentor
representative Korean directors and support
new directors; and
Five Cs of Media and Film

Industries
Korean TV Case
Five Cs by having a big

vision of where they want
to go and be in the future
Converge the forces and resources of the government, the

private sector, all the relevant and related industries and
institutions and, finally, the concerned citizenry towards this
vision.
Cluster of core and related industries dedicated to Creative City
Development in and around Seoul.
Capacity building of creative originators and talents was
accelerated by the setting up of schools.
Five Cs of Media and Film

Industries
Korean TV Case
Five Cs by having a big

vision of where they want
to go and be in the future
Communities of independent (and institutional) writers, directors,

actors and technical experts sprouted with the huge investments
and funding being provided by both big government and big
businesses.
The success of the Korean strategic efforts brought the most
important part of the Value Chain to life and this is the creation
of a huge market for Korean films and telenovelas.
Singapore Case
Envisioned itself as a Global Media City in its Media 21 Plan.
Construction of a media industry city to be called Mediapolis
The government would cluster high value-holding media
productions and R&D activities
Positioned Singapore as a media exchange hub, energized by
tax incentives for investments in core media copyrights, coestablishing a Media Loan Fund with private companies to
finance copyright projectsestablishing a regulatory of media
copyrights and promoting media markets.
Singapore also sought to institutionalize a Content
Development Fund for Made-by-Singapore Content Export,
buttressed by support initiatives to increase bilateral coproduction agreements and enhance export promotion.
Philippine Media and Film

Industry ISSUES
The film industry has declining sales and profits. Movie
houses do not make money.
Taxes are high and film piracy is on the rampage.
Television and radio are enjoying high advertising
revenues, their offerings are, however, limited to the local
Philippine market and the OFWs. (ABS-CBN has 500,000
subscribers in its global Filipino Channel.)
Many critics cite the lack of creativity, originality and
diversity in the current TV program offerings.
The script writers have become copycats of one another
depending on which show is rating and getting the advertising
revenues.
Lack of formal academic training, insufficient exposure to
international trends, institutional in-breeding and low pay and
priority given to excellent scripts are the often-cited culprits.
Philippine Media and Film

Industry
OPPORTUNITIES
ABC 5 was bought by the Manuel Pangilinan Group (with
major investments in PLDT, Smart, Metro Pacific, Meralco,
Makati Medical and other hospitals, etc.).
Hopefully, more competition would translate to better
programs, both aesthetically and technically.
What the Pangilinan Group might, fortunately, introduce to
the Entertainment Sector is the same investment,
management, production, market research and financial rigor
as the Korean chaebols did to their own film and media
industry.
The good news is that the broadcasting networks have been
shaken to reality by the success of Korean, Taiwanese and
Mexican telenovelas.
Five Cs of Media and Film Industries

in the Philippines
Converge all the major business players (ABSCBN, GMA, ABC, the large film companies and the
Ayala techno hub for the digital arts component
in the Entertainment Sector, the National
Government Agencies (DTI, DOST, CHED, DEPED,
CCP, NCCA), selected Local Government Units
(Quezon City, Makati, Manila, Mandaluyong, Pasig,
Pasay and San Juan), the Academe (top ten schools
with strong programs in the Arts and Humanities),
organizations dedicated to the performing
arts, foundations funding arts and culture,
Cluster of broadcasting companies in Quezon City (the top

three), major players in the digital arts, CCP, NCCA, UP and
Ateneo, the QC government, PETA and a few more
The idea is to forge a vision for a Creative City Economy (with
Quezon City as the center) with all the necessary hardware and
software.
Capacitating process - The Quezon City government can be
asked to set up a QC Academy for Arts and Culture to be
financially and technically supported by the big three
companies.
This is to generate the future crop of directors, script
writers, technicians, actors, set making, and other related
crafts.
Continuing professional education and training programs
can be separately or jointly funded and supported also.
For the digital arts, the QC government has already visualized
the city a hub for IT-enabled services to include the
The Converging, Clustering and Capacitating

activities should reveal weaknesses in the Value
Chain.
Link that must be strengthened in the Chain is
the development of the physical infrastructure and
the world-class talents.
This will lead to the ultimate and most important
link to the economy and that is the generation of
a huge market for the Philippine Entertainment
Sector.
Completion of the Converging, Clustering,
Capacitating and Chaining strategies should allow
for the natural Communitizing of creative
originators, enablers, transformers, distributors
LEISURE AS THE CATALYST FOR

ARTS AND CULTURE
Market Demand
(a)Performing Arts,
(b)Fine Works of Arts,
(c)Books and Magazines,
(d)Gardens and Stroll/Picnic/Nature
Parks,
(e)Museums and Galleries,
(f)Cultural Heritage, Sites, Arts and
Crafts,
(g)Amusement Centers and Theme
Parks,
more time to pursue and enjoy

the finer things in life
When societies
begin to
accumulate wealth
have a deeper appreciation of

who they are as a people and,
their culture, heritage and history
they embrace the gifts of Leisure
Societies
write and to read when meaningful events
craft works of art
philosophize and fathom the mysteries of life
erect monuments and palaces, build cities
and temples, celebrate victories and
achievements
Leisure, therefore, is the greatest catalyst for
Philippine society has not yet

evolved a sophisticated and
huge market for the
performing and the fine arts.
Efforts Made
The establishment of the Cultural Center
of the Philippines and the CCP complex
The mandate for radio stations to play
Original Pilipino Music
The sponsorships of creative talents, the
promotion of visual and film artists, the
setting up of resident performing
companies, and many more in the 1970s
and early 1980s lead to a flowering of
Philippine art and culture.
A new administration in June 2010, may see the
importance of the Creative Industries and realize that
they can only be made substantial contributors to the
economy if the core creative talents of artists and the
nations cultural heritage were encouraged, nurtured and
propagated.
CASE: SINGAPORE STRATEGY FOR PROMOTING CULTURE AND

THE ARTS
1. Build creative capabilities by embedding arts, design and media
into the various levels of education and by establishing a flagship art,
design and media program at the NUS.
2. Create sophisticated demand for the arts (a) by promoting
public arts projects, (b) by establishing Creative Towns which
integrate arts, culture, design and business technology into
community planning and revitalization, (c) by hosting a world class
Singapore Biennale, and (d) by constructing a new Museum of
Modern and Contemporary Art.
3. Develop the Creative Industries through (a) cultural tourism, (b)
internationalization of recording music, (c) publishing, (d)
strengthening arts support industries, and (e) merchandising and
supporting Singapores heritage resources.
4. Develop tourism in tandem with the Creative Industries by (a)
holding international events in the creative industries, (b) offering
incentives and co-financing to film foreign movies in Singapore, (c)
enhancing the physical and cultural attractiveness of Singapore for
business and leisure tourists, and (d) branding tourism with the tag
Philippines Key Strategies to

Promote the Arts and Culture
and the Leisure Sector
It needs the strong participation of Local

Government Units (LGUs), the Academe, big
corporations and various associations and
foundations dedicated to the different Arts
and Culture sectors.
The NCCA and the CCP should be the
strongest advocates for advancing Arts and
2. The City of Manila can be the lead LGU in attracting the

Leisure markets with several advantages going in its
favor:
The CCP Complex, the Luneta Park, the Manila Bay
promenade, the national museums, Intramuros, the
Manila Cathedral and other historic churches, Malacaang
Palace, period government buildings,
The Pasig River which is now being rehabilitated, cleared
of ugly shanties along its` banks and transformed into a
swimmable, navigable and fishable river that can ferry
tourists to the heart of the Tagalog (taga-ilog) region.
From Manila, the LGUs of Metro Manila, Rizal, Laguna,
Cavite, Batangas and Quezon could conceptualize and
actualize a larger network and chain of distinctive
Creative Cities and Towns, highlighting the regional
significance of the Tagalog region in Philippine History,
Arts and Culture.
3. LGUs from the other regions can create their own Arts and
Culture clusters. It is essential to have a common thematic
approach but with divergent and unique showcases.
4. The National Government should identify and support
universities and colleges that would act as Centers of
Excellence for Arts and Culture, Design and Mass
Communications.
5. The Department of Education, the Commission on Higher
Education, the State Universities and the Local Government
Schools should review their curricula and redesign them to
incorporate Arts and Culture, Design and Mass
Communication where appropriate and effective.
6. The Manila Film Festival should be revisited to determine its
contribution to the promotion of Philippine Arts and Culture.
7. There should be regular National Art Contests and
Exhibitions in the fields of Painting, Sculpting, Photography,
Music, Industrial Design, Architectural Design, and other
8. The Philippine Government should invite and incentivize

foreign investments in the Arts and Culture Ecozones to
establish state-of-the-art studios and to provide venture
capital funds for films/shows intended for the international
Leisure markets.
9. Continuing education facilities and programs in Managing
the Arts and in Entrepreneurship in Arts and Culture should
be integrated in the CCP Complex and the Arts and Culture
Ecozones in partnership with practitioner-oriented schools
and institutions, or with large media corporations that would
benefit highlight from such an undertaking.
10.A more Detailed Mapping of the Creative Industries at the
Regional, Provincial, City and Municipality level should be
jointly undertaken by the Department of Interior and Local
Government, the Department of Tourism, the LGUs
themselves, the NCCA and the CCP. Common formats
should be provided to them.
DESIGN FOR INDUSTRIAL PRODUCTS,

PERSONAL WEAR, JEWELRY AND
FASHION ACCESSORIES
Markets will get more defined
into smaller segments as
consumers seek customized
and personalized products and
services to meet their
individualized needs, wants
and aspirations
Distinctive advantages such as:
(1)design;
(2)superior service rendition; or
(3)natural resources.
Sectoral Strategies: Design
Quite expensive and impractical for the Philippine

Government to provide a top-notch National Design
Agency (should not be bureaucratized)
Better model to pursue is the case of IDEO company
Products developed for the export market by the
Design companies can even be given additional
incentives.
The design costs should be allowed double deduction
in the income statement for tax purposes
Sectoral Strategies: Design

Philippine Government should encourage the establishment
and proliferation of Design Schools through the Commission
on Higher Education and TESDA in cooperation with DOST and
DTI
Philippine Government, in tandem with Industry Associations
should hold a highly prestigious annual or bi-annual award on
Best Industrial Design/Designers, Best Fashion
Design/Designers, Best Jewelry and Accessories
Design/Designers
Television companies should feature programs on Philippine
Design, Winning Products and Innovative Entrepreneurs to
motivate and encourage more creatives to enter the field of
SECTORAL STRATEGY:
CULTURAL HERITAGE AND THE ARTS
The holding of festivals, fiestas,

exhibitions, shows and other forms
of converging people in a big way
can be a major strategy for
growing the Creative Economy
insofar as Cultural Heritage and
the Arts Sector.
The Sinulog Festival converges all the

major elements of Cultural Heritage and
the Arts. In fact it could be pushed further
to include more competitions in the Arts,
such as music composition, singing
(individuals and/or glee clubs), painting and
sculpting.
The Sinulog Festival has metamorphosed
from a prayer dance to a humungous
contributor to the Creative Economy.
Festival
Economic
s
Festival
Economics
Festival
Economics
I. Creative Originators
A. Grand Parade
Choreographers/ Directors
FESTIVAL ECONOMICS: THE CASE OF SINULOG IN

Approximate
Approximate
Total Expenses
Quantity
Average Fees
50
P50,000 per person
P2.5M
300
P60,000 per group
P3.0M
Master Dancers/ Musicians and

PropsDancers
6000
Bugle and Drummer Corps
1000
Sewers
Bead workers/ Costumer Jewelers
P30M*
P40,000 per group
P2.0M
P3,000 each for

7,000 costumes
P21.0M
Artists for floats and higantes

Carpenters
P100,000 for each

float/ higantes
Materials for floats/higantes

Travel/lodging for visiting
contingents
Food for other Participants**
P100,000
B. Photographers
Photography Expenses
Entry Fees
C. Film Makers
Short Film Features
Sources of
Donations/Revenues
Direct Donations and

Subsidies for
Contingents
P56.0M
Subsidies from Sinulog
Foundation P4.0M
Private Engagements
???
P4.0M
P20.0M
Individual
Contributions
P30M
Sub-Total
P7.5M
P90.0M
1,000
1,000
P2,000 each
P 500 each
P2.0M
P0.5M
Prizes
Sales of Photographs
20
P25,000
P0.5M
Prizes
Sales of Films
Total
P93M
II. Creative Enablers/ Transformers Approximate

(Funders, Organizers,
Quantity
Entrepreneurs)
A. Sinulog Foundation
Prizes
Exchange Deals
Sponsorships of Events
Stage Construction
Parade/ Crowd Control
Nightly Launching
Secretariat
Financial Assistance
Publicity
Others
Approximate
Average Fees
Total
Sources of Funds/
Expenses Donations, Sales
P8.0M
P4.0M
P4.0M
P2.0M
P1.3M
P1.2M
P1.0M
P0.8M
P0.8M
P1.9M
Sub-Total
Surplus
P25.0M
Sponsorships
P10.0M
Donations
P10.0M
Ex-Deals
P3.5M
Ticket Sales
P30.0M
Trade Fair
P2.5M
Others P1.0M
P30.0M
P5.0M
B. Local Governments
Other Participants
C. Corporate Sponsorships
To Sinulog Foundation
To Others
P8.0M
P22.0M
P30.0M
P10.0M
P 5.0M
P 15.0M
D. Schools
1. Teachers/ PE Instructors
2. Scholarships to Performers
E. Beauty Pageant Organizing
School Boards
II. Creative Enablers/ Transformers Approximate

(Funders, Organizers,
Quantity
Entrepreneurs)
Approximate
Average Fees
Total
Sources of Funds/
Expenses Donations, Sales
F. Fluvial Parade Organizing

1. Galleons
2. Decorating watercrafts
3. Miscellaneous Expenses
G. Church Novenas, Masses,

Vigils, Ceremonies
H. Security/Safety
1. Police Officers
2.Policemen
3. Barangay Tanods
1,000
8,000
1,000
10,000
P200 allowance
Per person
P2.0M
I. Communicators
600
P500 allowance
per person
P0.3M
J. Water Stations
30
Catholic Church
DILG
K. Medical Assistance
1. Medical Stations
2. Doctors/Nurses/Aids
L. Media Coverage
Advertisements
III. Creative
Markets
Approximate
Average Fees
Total Expenses
1. Foreign Tourists 65,000 (2 nights

each equals
130,000)
US700@ P47 to
US$1
or P32,900 per
night
P4,3.Billion
2. Domestic
Tourists
76,000 (2 nights
each equals
152,000)
P5,000 per night
P760 Million
200,000
households
P3,000 per
household
P600 Million
3. Local Residents
Quantity
P5.7 Billion
Breakdown of Foreign Tourists Expenses (Estimated)

Accommodations
Food/Beverage
Entertainment
Shopping
Others
US$ 207
US$ 201
US$ 60
US$ 182
US$ 50
US$ 700
29.6%
28.7%
8.6%
26.0%
7.1%
100.0%
P1.27 Billion
1.23 Billion
0.37 Billion
1.12 Billion
0.31 Billion
P 4.3 Billion
Multiplier Effect of
Cash Inflow
X2
P8.6 Billion
Including
Money
P5.7 Billion
Local
X2
P11.4 Billion
What strategies and programs does

this suggest for the national and the
local governments as well as for the
CCP and the NCCA?
1. Document significant festivals, folkloric traditions,

religious, social and political events that provide the cultural
foundation of a town, city or province.
2. Invest in infrastructure that preserves the historical and
socio-cultural legacy of the place as well as the creative works
of its people
3. Revive traditions, customs, dances, art forms and the
like and make them relevant to the modern era by converting
them to contemporary and living arts.
4. Institutionalize/legalize the management of festivals,

tours and promotion of Culture and the Arts through the
creation of foundations, working committees and agencies
and through the provision of annual funding and/or the
raising of funds
5. Organize the Creative Originators, Enablers and
Transformers of an area or cluster with the help of CCP
and NCCA and map out a Strategic Plan and Action
Program. Designate champions that will conceptualize
and execute the plans and programs well.
6. Commission a professional marketing group for
branding purposes and for awareness and interestraising.
7. For CCP and NCCA, launch an advocacy program
linking Cultural Heritage and the Arts to significant
events (festivals, foundation days, fiestas, etcetera) of a
particular area or cluster. Prepare a budgetary request that
CREATIVE FIELD:
Heritage and the Fine Arts
CREATIVE SECTORS
INVOLVED:
Cultural Sites
Traditional Arts and Crafts
Visual / Literary Arts
Performing Arts
CREATIVE PRODUCTS:
Heritage Sites
Museums
Cultural
Celebrations/Festivals
CREATIVE PRODUCTS
The visual arts subgroup comprises
antiques, painting, sculpture and
photography as well as the open-ended
miscellaneous items of other visual arts
consisting of engravings, carvings,
lithographs, collages and other ornaments.
Cultural Sites
As of 2008, the Philippines had five
declared world heritage sites.
1. Tubbataha Reefs Natural Park in
Palawan
2. Rice Terraces of the Philippines
3. Puerto Princesa Subterranean River
National Park,
4. Historic Town of Vigan
5. Baroque Churches of the Philippines
(San Agustin in Manila, La Asuncion in
Santa Maria in Ilocos Sur, San Agustin
in Paoay, Ilocos Norte, and Santo
Tomas in Miag-ao, Iloilo.
Batanes
Heritage Sites
Ilocos Norte
Cagayan
Ilocos Sur
Isabela
NCR
Batangas
Rizal
Samar
Romblon
Churches and
Fortifications
Natural Parks,
Sanctuaries and
Reefs
Protected
Landscapes and
Seascapes and
Marshes
Geological Sites
Cebu
Palawan
Iloilo
Bohol
Siquijor
Misamis Occidental
Sulu
Agusan del
Norte
Agusan del
Sur
Lanao del Sur
Maguindanao
Sultan Kudarat
South Cotabato
Davao
del
Sur
Museums
The Philippine Culture and
Information Office listed a total of
154 museums in the Philippines,
majority of which were set up by
private individuals, private
institutions such as universities,
colleges and religious organizations
and private corporations.
The National Capital Region,
particularly the city of Manila
hosted the most number (48) of
museums. Manila alone had 25
government and privately run
Museums
NCR
Museums
Makati
Malabon
Mandaluyon
g
Manila
25
Pasay
Pasig
Quezon City
10
San Juan
Ilocos Norte
Cagayan
Ilocos Sur
Pangasinan
Benguet
La Union
Mountain Province
Ifugao
Nueva Ecija
Bulacan
Zambales
NCR 48
Rizal
Cavite
Laguna
Batangas
Romblon
Occidental
Mindoro
Albay
Samar
Aklan
Palawan
Number of
Museums
More than 10
Camarines Sur
Capiz
Cebu
12
Leyte
Iloilo
Negros Occidental
Negros Oriental
Bohol
Agusan del
Norte
Bukidnon
Zamboanga del Norte

Lanao del Norte
Lanao del Sur
5-9 Museums
Sulu
Below 5 Museums
Tawi-Tawi
Cotabato
Davao
del
Sur
Cultural
Celebrations/Festivals
The Department of Tourism has identified 627
festivals and cultural celebrations observed
in the countrys regions and provinces.
The Visayas region, particularly Western
Visayas had the most number of festivals
celebrated. The Visayas provinces accounted
for nearly 29% of the total number of
festivals in the country.
The NCR, CALABARZON and CARAGA had almost
equal number of festivals ranging from 53 to 57
but they came a far second to Western Visayas.
Major festival destinations in these regions were
Batangas (19) and Laguna in CALABARZON and
in CARAGA.
Among the provinces with numerous festivals
were Iloilo (36), Negros Occidental(36), Davao
Cultural Celebrations/
Festivals
Regions
56
CAR
29
26
23
30
4a
57
4b
24
35
112
47
22
24
10
30
11
35
12
19
13
53
ARMM
56
57
35
24
22
112
47
30
53
24
19
627
Below 30 Festivals
23
30
More than 50 Festivals by Region

30-49 Festivals
29
# of Festivals
NCR
Total
26
35
5
CREATIVE MARKET
POTENTIAL AND INDICATORS
Global Performance of the Heritage and Fine Arts Sector
World exports of all creative-industry products (goods and services), by subgroup, 1996 and 2005
Subgroup
Value
(millions of
S)
As % of total
As % of all
Value
As % of all
world exports
creative
(millions
creative
(goods/
industries
of S)
industries
services) (2)
1996 (1)
As % of
total world
exports
Growth rate
(goods/
services) (2)
2005 (1)
1996-2005
All creative industries

(3)
227,451
100.00
424,427
100.00
6.4
All creative goods (4)
189,214
83.18
3.50
335,494
79.04
3.21
6.0
All creative services (5)

Heritage
Arts and craft goods
Other cultural services
Visual arts
Visual arts goods
Performing arts
Music goods
38,237
15,760
14,738
1,022
10,331
10,331
5,100
5,100
16.82
6.72
6.28
0.44
4.40
4.40
2.17
2.17
2.87
0.27
0.08
0.19
0.09
88,933
26,692
23,244
3,448
22,149
22,149
14,924
14,924
20.96
5.99
5.22
0.77
4.97
4.97
3.35
3.35
3.50
0.22
0.14
0.21
0.14
8.8
5.4
4.3
12.9
7.9
7.9
13.5
13.5
Source: UNCTAD secretariat calculations based on data in United Nations Comtrade
Economic Contribution of the

Heritage and Fine Arts Sector:
Philippines
number of heritage and performing arts establishments totaled 1,671
employed 27,225 workers or an average of 16 workers per establishment
photography accounted for the highest employment, closely followed by
performing arts (music, theater and opera)
visual and graphic arts which had less than 10 establishments had the lowest number
of employed but the highest average employment per establishment at 73
Source: CPBI records
Number of
Establishments
Employment
Value
Added
Number
Number
(P000)
Heritage and
Performing Arts

Photography
Visual and Graphic
Arts
Total
Value added as % of GDP
Source: Computed from 2006 CPBI
Value Added
Value
Employment
per
Added per
per
Establishment Employee
Establishment
(P000)
(P000)
803
861
22,195 13,697,124
4,521 1,622,833
28
5
17,057
1,885
617
359
7
1,671
509
55,747
27,225 15,375,704
0.25%
73
16
7,964
9,201
110
565
Economic Contributions
Number of establishments: 7
Includes galleries, museums
509 employees
56 million pesos value added
contribution to the Philippine economy
7.9 million pesos value added per
establishment
110,000 pesos value-added per
employee
Source: NSO
Exports and Imports of Visual and

Graphic Arts (in US$)
Source: NSO
*includes paintings, drawings by hand; collages and similar decorative plaques of cork/wood, of bas
Metal and other materials; original engravings, prints and lithographs, original sculptures
Economic Contribution of Traditional

Crafts The One Town One Product (OTOP) program has identified towns
specializing in particular crafts and they employed around 5,000 workers and
generated investments averaging more than P1.0 million each.
Province
La Union
Product
Furniture
Employment
12 firms engaged in furniture making, 410
carvers, finishers, carvers; Combined total
assets of P43 million
Nueva Ecija (Gapan,

San Isidro, San
Antonio, Cabiao)
Gifts and holiday 250 workers

decor
Laguna ( Paete)
Wood and paper

mache
2,000 workers, 68 direct jobs
Marinduque
Loomweaving
{P1.8 million investments)
Albay (Tiwi)
Iloilo
Ceramics
Bamboo-based
products
80 new jobs created; P1.643 investments

More than 300 workers; 20 bamboo-based
enterprises
Bohol (50 barangays Woven raffia

in Inabanga)
1, 910 home-based workers
CREATIVE DISTRIBUTION
MECHANISMS
CREATIVE DISTRIBUTION
Performing arts products such as dance, theater
production, musical presentations are made available
to the public through theaters, and stage venues.
Traditional arts and crafts can be obtained from tourist
sites as well as from seasonal product exhibits or trade
fairs.
Common venues for trade fairs in Metro Manila are the
World Trade Center in Pasay City and the SM
Megatrade Hall in Mandaluyong City as well as some
exhibit halls used by local government units.
Visual arts products are mostly distributed through art
galleries.
221 Art Galleries
Nearly all of the galleries are located in NCR (210)
Art Galleries
221 Art Galleries
Nearly all of the galleries are located in NCR (210)
Large concentration of galleries were located in
Makati (58), Mandaluyong (43), Quezon City (40) and
Manila (26).
Venues for Performances

Musical presentations were usually staged in at least 23
main venues located mostly in the NCR.
Traditional venues were the CCP theater, the Folk Arts
Theater, PICC Plenary Hall which formed part of the CCP
complex.
Emerging venues for performances were the Captains Bar
in Makati, Carlos P. Romulo Auditorium in Makati and the
Teatrino Promenade in Greenhills which catered to more
intimate performances for smaller groups
CREATIVE TRANSFORMATION
MECHANISMS
Transformation mechanisms for the

heritage and fine arts sector include
production houses/guilds, performing
groups, events companies and
sponsoring groups from government
and private institutions.
Philippine
Cultural
Community Music
and Dance Groups
REGION
Number of
Community
Groups
NCR
CAR
II
III
IV-A
IV-B
VI
VII
VIII
IX
XI
XII
31
2
1
2
2
1
3
2
1 Philippine
Source:
XIIICCP Directory of
Cultural Communities
3
ARMM
Total
1
3
Dance Companies
The three leading ballet companies in the
Philippines:
Ballet Philippines
Philippine Ballet Theatre
Ballet Manila
Other dance groups specializing in modern/
contemporary dance. Unlike the folk/traditional
dance groups which were mostly school-based,
majority of those involved in
modern/contemporary dance were established by
private individuals or groups and performed
professionally.
Among the leading dance companies which had
introduced innovative and experimental
approaches to dance as a medium of artistic
expression were Dance Forum, the Douglas
Nierras Powerdance, the Chameleon Dance
Company and the Dancing Wounded
CCP Affiliated
Dance Groups
REGION
Number of
Community
Groups
NCR
CAR
II
III
IV-A
IV-B
VI
VII
VIII
IX
XI
XII
31
2
1
2
2
1
3
2
1 Philippine
Source:
XIIICCP Directory of
3
ARMM
Total
1
3
Folk/Traditional Dance Groups

Folk dance troupes were mostly school-based dance groups
More than half (54%) of those listed in the CCP directory were of this
category
Notable among these were CCPs resident companies:
Ramon Obusan Folkloric Group
Bayanihan Philippine National Dance Company.
Professional Theater Companies

Nine (9) professional theater groups were all based in the NCR,
particularly in Manila, Makati and Mandaluyong.
Repertory Philippines Foundation and the PETA were the oldest, followed
by Gantimpala Theater Foundation.
Repertory Philippines was the only theater company which had regular
week-end theater productions throughout the year. On the other hand,
Stages had diversified into talent and events management, in addition to
theater production.
CommunityBased Theater
Groups
REGION
NCR
CAR
III
IV-A
IV-B
V
VI
VII
VIII
XI
XIII
Total
Number of
Community-Based
Theater Groups
6
1
10
16
1
3
11
3
2
5
2
60
10
6
1
16
2
11
3
Source: CCP Directory of Philippine

School-based
Theater Groups
REGION
NCR
CAR
III
IV-A
IV-B
V
VI
VII
VIII
IX
X
XI
XII
XIII
ARMM
Total
Number of SchoolBased Theater

Groups
12
1
7
14
1
6
13
2
2
1
5
5
3
9
3
82
12
1
14
2
13
2
9
5
1
Source: CCP Directory of Philippine

3
3
Musical Groups
Choirs
Various listings of different organizations and
information sources recorded around 358 choirs in the
Philippines.
They consisted mainly of school-based or universitybased choirs, church-based choirs, company, and areabased choirs.
Church-based choirs made up the biggest chunk of
this musical group with every parish or church having
its own church choir. 8
University or college-based choirs numbered 45 and
included the world renowned UP Madrigal Singers, UP
Concert Chorus and the Ateneo de Manila College Glee
Club, among others.
51 of these choirs had participated and/or had won in
national and local competitions
approximately 17 choirs had been performing
professionally
Musical Groups
String Ensembles
String ensembles consisting of three or four
instrumentalists are usually professional groups who
perform during special occasions.
Current listings from various service directories as well
as the records of CCP placed the number of string
ensembles at 43.
Nearly all of them (31) were based in the NCR, notably
in Manila and Quezon City while the rest were mostly in
CALABARZON (6)
Orchestras
Based on the CCP list, there were 10 known orchestras
in the Philippines, five of which were in Manila, 1 in
Pasay, 3 in Quezon City and one in Cebu City.
Choirs
REGION
Choirs
NCR
210
CAR
III
25
IV-A
65
IV-B
VI
VII
12
VIII
IX
XI
XIII
Total
356

30-49 Festivals
Below 30 Festivals
25
210
1
65
2
7
12
3
5
1
String
Ensembles
REGION
Choirs
NCR
210
CAR
III
25
IV-A
65
IV-B
VI
VII
12
VIII
IX
XI
XIII
Total
356

30-49 Festivals
Below 30 Festivals
25
210
1
65
2
7
12
3
5
1
Craft Producers
REGION
NCR
CAR
III
IV-A
V
VI
VII
Total
Number of Crafts Association

4 (CPEAP, WOODTAG,HAPI, PCHI)
1 (CPEAP)
5 (GTH Bulacan, HAPI, PEMAPI,
WOODTAG, PCHI)
3 (CPEAPI, HAPI, PCHI)
1 (PCHI)
2 (WOODTAG, ANP)
4 (Cebu GTH, PCHI, ANP, Crafts Assoc.)
20
Number of Member
Companies
160
1
43
32
1
50
91
378
Legend:
CPEAPI Christmas Dcor Producers & Exporters Association of the Philippines
HAPI Home Accents Group of the Philippines
PEMAPI Pottery Exporters & Manufacturers of Pampanga, Inc.
WOODTAG Wooden Gifts & Accessories Manufacturers, Inc.
PCHI Philippine Chamber of Handicraft Industries
ANP Association of Negros Producers
Philippine Chamber of Handicraft Industries (PCHI), one of

the biggest association of handicraft manufacturers in the
country composed of manufacturers/producers, exporters,
traders and subcontractors of Philippine handicrafts with 113
members mostly located in NCR.
Association of Negros Producers (ANP) was an organization
of small and medium scale entrepreneurs in Negros Oriental and
Negros Occidental engaged in the production of furniture and
furnishings, gifts and handicrafts, fashion and food with 96
members mostly based in Negros Occidental.
Community Associations/
Cooperatives
Handicrafts of Aklan Multipurpose Cooperative
(HAMPCO). HAMPCO is an association of weavers
of pia cloth in Aklan. It has 373 members, 90
percent of whom are women.
There are 12 other production groups in Aklan
that specialize in the provinces indigenous
materials, such as nito, raffia, knotted abaca twine,
bariw and tayok tayok paddy grass.
Inabanga Loomweavers Association (ILA) in
Bohol. The ILA is an association of 1,910 homebased raffia loom weavers in the 50 barangays of the
municipality of Inabanga in Bohol province.
CREATIVE ENABLERS /
FACILITATORS
Associations/Organizations for
Cultural and Indigenous
Communities
Schools of Living Traditions (SLTs)
In order to promote the transmission of cultural heritage by
ensuring its transmission to the next generations, the NCCA
established Schools of Living Traditions (SLTs).
The School of Living Traditions (SLT) is one where a living
master/culture bearer or culture specialist teaches skills and
techniques of doing a traditional art or craft.
The mode of teaching is usually non-formal, oral and with
practical demonstrations. The site may be the house of the
living master, a community social hall, or a center constructed
for the purpose.
Ilocos Norte
Schools of
Living
Traditions
REGION
Number of
SLTs
CAR
I
II
III
IV-B
VI
IX
X
XI
XII
Total
Source: NCCA
13
6
3
1
11
2
4
1
16
10
67
No of
Trainees/
Students
380
190
75
30
95
50
85
60
620
281
1,866
Abra
Ilocos Sur
Benguet
Below 5 SLTs
Mountain Province
Ifugao
Nueva Vizcaya
Bataan
Occidental
Mindoro
Capiz
Palawan
9
Number of Schools
of Living Traditions
(SLTs)
More than 5 SLTs
Kalinga
Iloilo
Zamboanga del Sur

Zamboanga Sibugay
Bukidnon
Compostella
7
Valley
Davao del
Davao
Sultan
Norte
Oriental
Kudarat
6 5 Davao
Cotabato
del
Sarangani Sur
Visual Arts Associations

Philippine Association of Printmakers (PAP). The
PAP was founded in 1968 mainly to enhance Filipinos
appreciation for printmaking by bringing artworks to art
lovers in the regions, educating and conducting training
workshops to improve the artistic environment among
artists and discovering new talents.
Art Association of the Philippines (AAP). The AAP is

an art organization that aims to "advance and foster, and
promote the interests of those who work in the visual
arts." (AAP Amemded By-Laws, 1986). It was originally
intended as an alumni association of UP fine arts
students and graduates when it was founded by PuritaKalaw Ledesma, an art collector in 1948 but soon
attracted the countrys many artists, even those who
were not from UP.
AAP Affiliated
Groups
Baguio (2)
Benguet
Pampanga (1)
Location
Manila
Quezon City
Las Pias
Marikina
Baguio
Bulacan
Pampanga
Rizal
Cavite
Batangas
Pangasinan
Albay
Iloilo
Negros Occidental
Davao
Total
Quezon City (3)

Manila (20)
Marikina (20)
NCR
Las Pias (1)
Cavite (2)
Pangasinan (1)
Bulacan (9)
Rizal (3)
Batangas (2)
Albay (2)
Number
20
3
1
1
2
9
1
3
2
2
1
3
2
1
1
51
Source: Art Association of the Philippines (AAP)
Capiz
Palawan
Iloilo (2)
Negros
Occidental (1)
Davao (1)
Community Art Groups

Art groups consisting mostly of small groups of artists coming
from a particular area, municipality, province or school who
banded together to pursue common activities such as mounting
an exhibit, participating in art contests, conducting workshops or
exchanging information and technologies.
Sining, Kulay at Tinta, better known as the SIKAT Art Group is an art
group based in Antipolo, Rizal, Philippines, with member-affiliates abroad.
Although the main works are in the visual arts category, members are
comprised of sculptors, graphic artists, writers, and photographers as
well.
Center for Bikol Arts Foundation (CEBIKA) is an aggrupation of
visual artists, sculptors, performing artists and musicians based in the
Bicol region. It has 72 members who work together to mount exhibits
and
performances.
Baguio
Arts Guild (BAG) which was established in 1987 by a small
group of Baguio-based multi-media artists has been expanded to
accommodate members engaged in the fields of fine art, theatre, music
and literary arts.
Neo Angono was founded in November 2004 as a movement and
organization of artists, writers and poets, musicians, theater people,
filmmakers, cultural workers and art critics and researchers. At present, it
has 65 members, most of whom are residents of Angono.
Community Art Groups

Bacolod City gave rise to a number of art groups, each known for
the style and philosophy of art that it espoused.
Art Association of Bacolod which was established in 1975 by a self-taught
artist, Edgardo Lizares. The association housed a number of artists who made
it in the national art scene. The association was initially made up of mostly
conservative artists but later on took on artists with different perspectives.
Concerned Artist of the Philippines (CAP) which some members in
the visual arts section who left the organization and founded Black Artists of
Asia which promoted art with socially and politically relevant themes. CAP
later on became the Federation of Concerned Artists in Negros
Dihon which was composed of visual artists whose art was leftist in
orientation and supports the nationalist democratic movement. Dihon
disbanded later on and gave birth to KAMI, a group of students from the
L.C.C. School of Fine Arts who created art with a cause philosophy.
Today most active art group in Negros is Kulapol composed of mostly
Pabrika based young artists; BABAYI, a group of women artists; SUGA, an
art group from Silay; and Art Attack Collective which spearheaded some
of the art activities in Negros.
Philippine Art Education Association

(PAEA)
The Philippine Art Education Association (PAEA)
is an association of art teachers devoted to the
education of art teachers which they are
expected to pass on to their students and by so
doing help promote art among the Filipinos.
It was founded in 1968 with the mission to
provide opportunities for cooperative study and
discussion of common problems and experiences
related to the teaching of art; and provide inservice training for teachers in different levels
and various aspects of art education.
It has more than 200 members from private and
public schools and other institutions in the
Philippines.
PAEA
Members
Ilocus Sur (1)
Quezon City (17)

Marikina (13)
Other Cities (12)
Pampanga (1)
Bulacan (3)
NCR
Cavite (1)
42
Rizal (1)
Batangas (2)
Music Associations
Philippine Association of the Record Industry
(PARI).
PARI was a non-profit, non-stock, purely private
industry organization organized in 1972 primarily to
promote and develop a legitimate and Philippine viable
music industry.
PARI has promulgated a Code of Ethics to maintain
harmonious relationships among various sectors of the
industry and to protect the public welfare.
It organized local and international concerts,
competitions and festivals to promote Pilipino music
Number of Members ( Corporate &
REGION
both here
and abroad.
Associate Members)
NCR
I
IV-A
VI
VII
Total
Source: http://www.pari.com.ph/members.html
30
1
2
1
1
35
Music Associations
Koro Filipino: The Philippine Choral Guild.
Koro Filipino was the first choral guild of the
Philippines. It promoted and supported its member
choirs in becoming world-class musicians.
It provided a venue where choralists and conductors
met and made music with the arrangers and
composers.
Koro Filipino had 31 member choirs and 15 individual
members.
Theater Associations
Philippine Legitimate Stage Artists Group (Philstage).

Philstage was the countrys premier organization for performing arts
companies. It was composed of arts companies namely Actors Actors,
Inc., Ballet Philippines (BP), Ballet Manila (BM), Gantimpala Theater
Foundation (GANTIMPALA), Organisasyon ng Pilipinong Mangaawit (OPM),
PETA, Repertory Philippines, Tanghalang Pilipino (TP), and Triumphant
Peoples Evangelistic Society (TRUMPETS).
Alyansa ng mga Manggagawang Pangkultura sa Kamaynilaan at
mga Karatig-Pook (Alyansa Inc.)
Composed of individual artists and cultural groups from schools,
communities and workplace in the Philippines which sought to develop a
humane society by using art and culture as tools and processor for
peoples empowerment and participation in nation building
Theater Associations
Samahan ng mga Papetir sa Pilipinas (SPP)
The SPP was a union of puppeteers in the Philippines. Among its
members were the following:
Ony Carcamo - premier ventriloquist in the Philippines
ANINO Shadowplay Collective a group of multi-media artists
Tali Galaw (established in 1995) the first and only Filipino
marionette group
Teatrong Mulat ng Pilipinas (founded in 1977) inspired by Asian
puppet techniques
Roppets conducted field trips, school and mall tours and
catered to birthday parties and other social events
Black Theater of Manila (established in 1978) the information
dissemination arm of the Philippine Information Agency; its goals
were to experiment on the use of popular folk and low-cost media
in development communication and develop information materials
for child audiences.
Dance Associations
Philippine Folk Dance Society.
Founded in 1949, the Philippine Folk Dance Society brought together
physical education students, teachers, administrators and individuals
interested in folk dancing.
It intended to preserve and propagate authentic Philippine folk dance and
to enrich our knowledge of native folk dances. The dance society
sponsored dance clinics and developed new materials from the field.
Philippine Professional Dance Sport Association (PPDSA).
The PPSDA was the first organization to professionalize ballroom dancing
by conducting the first Dance Sport Teacher Training Programs that
culminated in the examination and certification of dance teachers by the
FATD and AATD. The PPSDA board was selected from the successful
certified dance teachers.
Schools Offering Courses on

Heritage and the Performing Arts
Dance Studios
Existing data sources recorded 91 dance studios, nearly threequarters (71.4%) of this number were located in the NCR with
Quezon City as the major location of the biggest cluster of dance studios
numbering 25.
37% of the listed dance studios were offering ballet lessons
Other dance schools offered lessons on a variety of dance types such
as modern/jazz, hip hop, street dancing, ballroom dancing and also ballet
Dance Studios
(Philippine Dance
Network, CCP
Directory and
Association of Ballet
Academies)
REGION
NCR
III
IV-A
V
VI
VII
VIII
X
XI
XII
Total
Number of Dance Studios

65
6
7
1
5
2
1
2
1
1
91
Schools of Fine Arts
As of 2008, a total of 34 colleges and universities in all regions of the country offer
degree programs in Fine Arts where students are given choices to pursue areas of
specialization or majors that include Painting, Visual Arts and Communication,
Sculpture, Industrial Design, Interior Design, and Advertising, among others.
Majority of these colleges and universities are in the National Capital Region.
The University of the Philippines in Diliman has the most comprehensive program
offering that students can choose from.
Thirteen provinces in Luzon likewise have one institution each, offering a degree
program in Fine Arts.
In the Visayas, this degree can be obtained from six universities/colleges in Iloilo
(2), Cebu, Bohol, Negros Occidental and Negros Oriental.
In Mindanao, there were only two institutions offering the same program: Ford
Academy of the Arts and the Philippine Womens College of Davao.
Fine Arts
Schools
2
1
Ilocos Sur(1)
Benguet (1)
1
3
13
Manila (9 Schools)
1
5
CALABARZON
3
3
Schools, Colleges Offering Theater Arts

Courses
Degree Programs
The DECS listed ten universities and colleges offering degrees in
Theater Arts. Outside of Manila and Quezon City, there was one school in
the Bicol Region, one in Negros Oriental and two in Mindanao.
The University of the Philippines (Diliman) and the Philippine
Normal University in Manila had the most complete course offerings in
the graduate, undergraduate and diploma levels.
At the undergraduate level, UP, De La Salle-College of Saint Benilde
and Silliman University offered degrees in theater arts per se while the
other schools included theater arts as a major discipline in Communication
Arts.
Short Courses
In the National Capital Region, training and workshops on theater arts were
offered by nine companies or groups which included professional theater
companies like PETA, Trumpets, Tahanang Gantimpala Foundation, Repertory
Philippines and the CCP.
Other schools include: Showstoppers Center for Music and Arts, The Music
Capital Studio, Supervoice Music & Theater Foundation, Inc., Spotlight Artists
Centre
PETA had the most number of course offerings.
Schools, Colleges Offering Music Courses

Degree Programs
Thirteen (13) universities and colleges offered degree programs in
Music. Except for three schools (Silliman University in Negros Oriental,
Adventist University of the Philippines in Cavite and Unibersidad de Santa
Isabel in Naga City,) all these music schools were in Manila (8) and Quezon
City (2)
Eight of these universities had graduate programs in Music,
namely; University of Santo Tomas, University of the Philippines, St.
Scholasticas College, the Philippine Womens University, Sta. Isabel
College, Centro Escolar University, St. Paul University, and the Philippine
Normal University. At least two schools, the PWU and UP offered graduate
programs on ethnomusicology.
Six schools likewise offered diploma courses in music in addition to
their undergraduate and graduate programs.
Schools, Colleges Offering Music Courses

Short Courses / Training
Programs
There were music studios or centers offering short courses on voice,
musical instruments and stage performance, for different ages and levels.
These were more numerous in the NCR, especially in Quezon City
and Makati.
Among those offering the most comprehensive package for voice
and stage performance were the POP Center Philippines, the Ryan
Cayabyab- the Music Studio, and the DBC-ISAS Conservatory. The
Center for Pop Music however, had the widest reach, with its 18 branches
including one in Cebu City.
Yamaha School of Music with its nationwide coverage had the widest
reach and offers a wide array of courses on the different musical
instruments, especially piano.
In the area of stage performance, the Star Power Music Studio based in
Las Pias City held training sessions for different skills levels of stage and
concert performance.
CREATIVE ORIGINATORS
Indigenous People
The National Commission on Indigenous
Peoples recorded a total of 82
ethnolinguistic groups in the Philippines
with a total population of 6,136, 127.
Among the regions, CAR had the most
number (30) of ethnolinguistic groups,
followed by Region II (19) and Region III
(18).
Other regions with notable numbers of
etnolinguistic groups were Region I (15),
Region IV (13) and Region XI (12).
Indigenous People
Region
Group
Population
1
Population
CAR
30
1,179,516
15
991,881
19
986,881
18
305,451
13
605,299
42,618
145,959
42,876
496,714
10
556,103
11
12
1,793,118
12
403,266
13
493,643
ARMM
243,561
TOTAL
95
2,195,020
Group Population
4
2
Population
15-30 Groups
1M up
10-14 Groups
500K-999,999
Below 10 Groups
Below 500K
Musical Artists
The Online Registry of Artists placed the number of songs in

the registry at 13,784.
These were produced with the
collaboration of 3,104 musical artists composed of singers,
composers, lyricists, arrangers and musicians.
Registered singers numbered 867 while composers totaled
1,673.
Likewise there were 1,380 lyricists and 539
arrangers. Musicians numbered 242.
As indicated by the breakdown of musical artists, one song could
have two or more composers, lyricists and so on. Likewise,
musical artists from singers down to musicians could be involved
in more than one song production.
Dancers
Ballet Manila had 50 dancers, supported by five artistic staff and 11

production staff consisting of the following:
Artistic Staff consisting of Artistic Director, Artistic Associate/Rehearsal
Master, Asst. Ballet Master, Asst. Rehearsal Mistress, and Rehearsal Master
for Modern Dance.
Production Staff composed of Architectural Concept, Production Assistant,
Production Manager, Production Designer, Light Designer/T.D./ Music Editor,
Stage Manager/ Music Master, Costume Designer/Production Assistant,
Costume Master, Photographers, Videographer and Stage Hands.
Dancers
The Philippine Dance Network recorded a total of 916
dancers who were members of various dance groups in the
country consisting of professional, school-based, and
informal
dance groups that can be found in almost all the major cities and
municipalities of the country, especially in the NCR.
DancePinoy.com, a network set up to serve dancers and all
dance-related organizations in the Philippines registered a total of
86 dance groups. Except for a few, almost all these dance
groups were into contemporary types of dances such as street
dancing, hip hop, funky, etc.
REGION
Dance Groups
(Philippine Dance Network)
NCR
CAR
III
IV-A
VII
VIII
IX
X
XI
XIII
Total
Number of
Dance
Groups
51
1
5
26
1
1
1
1
2
1
1
86
Number of Group
Members
508
4
47
271
14
5
10
9
39
9
916
Visual Artists
As of 2008, AAP had 568 individual members
composed of visual artists or those engaged in
the fine arts including painting, sculpture,
mixed media work, and printmaking.
Membership in the AAP was very loose ranging
from students to practicing artists.
Most of the members were concentrated in
Manila (79), Quezon City (71) and the province
of Rizal in Calabarzon (64).
Visual Artists
(AAP Members)
16
10
Bulacan (35 Artists)

67
339
Quezon City (71 Artists)
Manila (79 Artists)
Region IV A
Rizal with 64 Artists)
118
5
Region IV B
9
4
Total = 568 members

More than 50 Visual Artists of AAP
Below 50
Photographers
The Philippine Photographers Foundation, Inc. listed 36
camera clubs located all over the country with 1,107
members.
NCR had the biggest concentration of camera clubs
representing nearly 35%. Aside from regionwide or
province-wide camera clubs, there were also seven
nationwide clubs with nearly the same large membership
base as that of the NCR 313.
The biggest camera club was the Nikon Club Philippines
with 139 members.
REGION
NCR
I
III
IV-A
V
IX
Total
Number of Camera Clubs

27
1
2
4
2
1
7
36
Source: Federation of Philippine Photographers

Foundation, Inc.
Members
384
9
30
38
18
2
313
1,107
Summary of the Heritage and the

Fine Arts Sector Value Chain
Creative
Products
47 world
heritage sites
164 Museums
627 cultural
celebrations/festi
vals
Creative
Distribution
221 art galleries

23 venues for
performances
Creative
Distribution
221 art galleries

23 venues for
performances

Creativity Transformation
Mechanism
-Cultural 31 cultural community groups
-Dance16 dance companies

48 CCP affiliated dance groups
15 well-known folk/traditional dance groups
-Theater9 professional theater companies
60 community-based theater groups
82 school-based theater groups
-Music356 choirs
42 string ensembles
10 orchestras
-Crafts20 crafts associations (378 member companies)

Creative Enablers/Facilitators
-Cultural 67 schools of living traditions
-Dance2 dance associations

91 dance studios
-Theater3 theater associations
9 theater schools with Degree on Theater Arts
9 theater schools offering short courses
-Music35 members of the Phil. Association of the Record
Industry
31 member choirs of Koro Filipino: The Philippine Choral
Guild
13 schools/universities offering Music Degrees
39 schools/universities offering short courses on music
-Visual Arts2 visual arts association
51 art affiliated groups of the Art Association of the
Phils.
51 art educators (Phil. Art Education Association
members)
34 schools offering Fine Arts Degree

-Cultural 95 ethnolinguistic groups

2,195,020 ethnolinguistic population
-Dance50 ballet dancers of Ballet Manila
16 artistic and production staff of Ballet Manila
916 member dancers of the Philippine Dance Network
-Music 3,104 musical artists registered at the Online Registry of Artists
composed of singers, composers, lyricists, arrangers and musicians
-Visual Arts568 visual artists member of the AAP
36 camera clubs
1,107 member photographers of the Philippine Photographers
Foundation, Inc.
Enabling Factors
Need to increase government funding for the arts
(especially performing arts);
Enforcement of piracy and copyright laws;
Support from Media (i.e. promote Filipino arts and
talent);
Strong organizational linkages to government and
private sector institutions
Hindering Factors
Lack of support and funding from government (for all
creative arts sectors)
Lack of quality personnel in art education. Many arts
teachers in schools do not have the background or
specialization in the arts
Weak emphasis on the arts in schools
Lack of unity among artistic institutions
Lack of infrastructure and facilities for the arts (over
reliance on CCP facilities)
HINDERING
FACTORS
Taxation
Lack of government support/lack
of funding for R&D
Lack of private sector support
Lack of infrastructure
Lack of technology/expensive
technology
Lack of capital/funding
Weak educational foundation
Deteriorating skills creative
talent of Filipinos vis--vis other
Asian countries/limited supply of
skilled labor
No original content/ diminishing
presence of Filipino design
Seasonal employment/not
economically viable
Not demand driven
Lack of acceptance by
domestic market/preference for
foreign materials/professionals
High production cost
Seasonal employment/not
economically viable
Piracy/copyright infringement
Lack of distribution channels/
lack of marketing information &
dissemination
Global competition
Competition from other forms of
entertainment
Non-compliance with
international standard
Heritage and
the Fine Arts
Design and
Architecture
Publishing &
Print Media
Audiovisuals
Creative
Services
Science &
Technology
Essential Factors to
Develop
Enterprises/organizations
Quality training and education of human resources;
Availability of capital or cultural fund;
Tax breaks
Tie-ups, linkages, and partnership with government
agencies, private sector (i.e. companies), and media

Philippine Creative Industry

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Philippine Creative Industries Mapping:

Towards the Development of a

Objectives of the Study

Six Major Fields of Creative

Creative Economy ValueChain

Five Cs of the Creative

Chaining, Capacitating, Communitizing,

Creative Sectors Involved

Broadcast (TV/Radio) Film

Research & Development in

Heritage and the Fine

Industrial Design and

Product Designers, Architects,

Writers, Artists, Directors,

Inventors, Designers, Culinary

Creative Enablers / Facilitators

Heritage and the Fine

Special Art Schools and Universities,

Industrial Design and

Special Training Schools and

Special Art Schools and Universities

Special Talent Centers / Groups/

Schools and Universities, LGUs, Local

Special Schools and Universities, LGUs,

Heritage and the Fine

Production Houses/Guilds, Events

Industrial Design and

Manufacturing Firm, Production

Publishing Companies, and Printing

Film Production Companies, TV and

Manufacturing Firms, Factories,

Advertising Firms, Design and

Heritage and the Fine

Show (Dance, Music Theater etc),

Industrial Design and

Model Housing Units, Product

Magazines, Books, News Paper,

TV/Radio Show, Web Site and, Film

New Food Variety, Drug, Cosmetic,

Advertisement, Game, Animated

Book and Magazine Stores,

TV/Radio Networks, Cinemas and

Creative Market Potential and

Heritage and the

Art Services, Libraries and Museums generated

Clothing/Apparel: Top 2 Export.

$28B Manufacturing Revenue in the first half of 2008

Heritage and the Fine

NCCA, NHI, LGUs, CCP, DepEd,

PANA, PIA, National Library, DTI,

MTRCB, OPS, LGUs, DOTC, NCCA,

DOST, DOTC, BFAD, DOH, NCC,

Global and Regional Perspective

US$227.4 Billion (1996) Value of world exports

World Exports of all Creative Industry Products and Services

As % of all As % of total world

Creative Industry in the

The core copyright-based industries

Size and contribution of Philippine Copyright-based

Motion Picture and Video

Software and Databases

Visual and Graphic Arts

Countries that have