ICH Courier

Introduction
“The Elephant in the Room” is an English idiomatic expression when obviously controversial topics are kept from open public discussion. And in this case, the topic is the discussion of ICH commercialization.

ICH in the Evolving Theory and Practice of Heritage Conservation
The heritage movement, in theory and practice, has accelerated and diversified in the 20th century. From a traditional object-based, static past to a contemporary value- based, living present. Heritage versus development is passe. Heritage-driven development is the movement.
This turnaround in heritage understanding revolutionized conservation practice. The antiquarian approach to conservation based on the 1964 Venice Charter has been gradually challenged by the living approach based on the 2016 UNESCO s that espouse continuity and sustainability.
The notion of intangible cultural heritage (ICH) was concretized through the 2003 Convention for ICH, after years of intense debate in UNESCO, 30 years after the promulgation of the 1972 UNESCO Convention for the Protection of Natural and Cultural Heritage of Humanity. Various declarations built up the understanding of ICH— i.e, 1989 Recommendation on the Safeguarding of Traditional Culture on Folklore, 1993 Dissemination of the Living Treasure System, and 1998 Proclamation of Masterpieces of Oral and Intangible Heritage of Humanity.

Creative Economy and Associated Concepts of Commercialization
Two years after this ICH Convention, the 2005 UNESCO Convention for Creative Expressions, was promulgated. This elaborated the notion of cultural utilization, sustainability and creative industry, which emphasized the viability of cultural products and services.
In 2004, the UNESCO Creative Cities Network evolved

to recognize places that reinforce the viability of cultural expressions in cultural industries in areas of crafts, design, gastronomy, literature, film and recently, in architecture.
Following the advocacy of the 1972 and the 2003 conventions and their thrust to conservation, safeguarding and viability, three concepts surface which touches on sensitive chords. These are the concepts of appropriation, commercialization and ethics which are also terminologies of the cultural industry.

• The Appropriation : The taking of something produced by members of one culture by members of another culture.
• The Commercialization : The act of using something to try to make a profit especially in a way that others do not approve.
• The Ethics : Norms of conduct regarding acceptable and unacceptable behaviors within society or community— not necessarily from a legal perspective but from a human or cultural perspective.

David Throsby (2008) introduced the economic model of the cultural industry through his concentric circles model. The primacy of the artistic activity is the core of the model with successive layers of concentric circles defined as ideas and influences that interpret arts and culture diffusing outside.

ICH Practices in the Context of Commercialization
The Philippines has numerous experiences of ICH representations in trade and commerce. The indigenous community of the Northern Cordillera Philippines is known for the diversity of handwoven textiles. Characteristics of the textiles include the intricate geometric patterns, vibrant natural dyes from plants and minerals and symbolic motifs of the environment and society.
Just as the traditional communities have started to weave for an emerging market, small-scale weaving artisans have been overwhelmed by the flooding of China-made textiles with printed copies of the traditional patterns and colors. This has led to the massive displacement of many weavers and a dislocation of the local economy.

A national outcry occurred as well when world-renowned French designer Christian Louboutin launched a series of travel bags with mix-and-match patterns of the Philippine’s textiles. Indigenous textiles were quilted and many indigenous communities complained the lack of prior consent whereby some patterns have divine and sacred associations.
The pagbabatok or the art of tattooing, is a pre-colonial practice of many indigenous communities of the Philippines. As per research of Dr. Ikin Salvador Amores, a foremost specialist on tattooing, “it is a culturally-embedded rite of passage among the Kalinga, where tattoos etched through traditional techniques, mark identity, social status and readiness for adulthood through intricate design and rituals.”
With the fashion and popularity of tattoos among the young generation, the high-profile and most coveted tattoo is from the Kalinga mambabatok Whang Od, a centenarian who has practiced the art for a long period. With the attempt of Nas Daily, an American tour promotion agency, to commercialize the tattoo, the Butbot community clamored, “our village’s concern is that some people are profiting and exploiting our art and culture.”
Over and above these troubling episodes, heritage-conscious entrepreneurs have evolved a robust market that has become an impetus to propel ethically sensitive cultural enterprises.
Balay ni Atong, a single proprietor company of Al Modesto Valenciano, began as a small venture from a cultural mapping exercise in the Ilocos region of the Philippines. After he participated in a cultural mapping exercise, he witnessed the dying inabel industry abandoned by women due to a lack of market and materials. Known for the sturdy and durable sails of the colonial galleon ships from the 16th to the 19th centuries, the textiles were gradually forgotten.
With the shop’s incorporation, it has worked closely with artisans, women and families to produce Inabel textiles with marketable innovations—contemporary patterns (from traditional to combinations), materials (from cotton to silk), uses (from clothes to upholstery), weavers (from households to classrooms) and even marketing (from public markets to online platforms).
Research on traditional fibers, pigmentation, traditional communities and popular dissemination inspired fashion, publications, education and commerce. This revitalization fueled a whole movement of the traditional textile industry in the whole country, whereby other weaves in Central Luzon, Visayas, and especially in Mindanao were studied and upcycled.
Flip + Inna is a commercial company founded by Lenora Len Cabili, who collaborates with 19 indigenous groups across the Philippines. This endeavor integrates ancestral National Arts and Crafts Fair embroidery, weaving and beadwork into modern fashion. The approach is based of mutual respect through FPIC (free prior and informed consent) which preserves cultural artistry and imbues contemporary pieces with deep-rooted meaning.

Precolonial gold of the Philippines was a coveted trade good before the arrival of the Spaniards. Natalya Lagdameo creates unique jewelry inspired by antique Philippine pieces, and local traditions. Her intricate works blend vintage and earthly styles as a tribute to indigenous cultures and contemporary preservation.
The economic feasibility and marketability for the cultural creations are ensured by the National Arts and Crafts Fair initiated by Senator Loren Legarda through the Department of Trade and Industry and the National Commission for Culture and the Arts (NCCA). This annual gathering of artisans from all over the country, featuring the Living National Treasures of the Philippines and the Schools of Living Traditions (SLTs), provides access, linkage, innovation and collaboration for the craftsmen. Trade Fairs proliferated from the innovative Likha to Artefino, Maarte to the global FAME Exhibition Fair of the Philippines.

ICH Commercialization and Ethical Code of Conduct
The appropriation of ICH at a level of utilization, whether it is commercialization or not, is grounded on certain ethical code of conduct. Referencing the UNESCO Code of Ethical Conduct for ICH and based on the previous experiences and case studies, some points of consideration are as follows:
• Communities should safeguard their own ICH, which should be respected and recognized.
• All interactions with communities should be transparent and collaborative dialogue, negotiation and consultation and based on free prior and informed consent (FPIC).
• Cultural diversity should be respected.
To summarize all these thoughts on ICH and commercialization, we should uphold the living continuity of ICH. In so doing, we will be able to continue celebrating diversity with respect and kindness.