Final 2024 Ncca Call For Proposals

NATIONAL COMMISSION FOR CULTURE AND THE ARTS
THE 2024 COMPETITIVE GRANTS

CALL FOR PROPOSALS
Contents
INTRODUCTION 2
2024 COMPETITIVE GRANTS
Subcommission on Cultural Communities 5

and Traditional Arts (SCCTA)
Northern Cultural Communities 5
Central Cultural Communities 13
Southern Cultural Communities 19
Subcommission on Cultural Heritage (SCH) 28

Archives 28
Art Galleries 35
Historical Research 40
Libraries and Information Services 44
Monuments and Sites 47
Museums 49
Subcommission on the Arts (SCA) 54

Architecture and Allied Arts 54
Cinema 60
Dance 67
Dramatic Arts 71
Literary Arts 77
Music 83
Visual Arts 90
Subcommission on Cultural Dissemination (SCD) 100

Communication 100
Cultural Education 103
Wika at Salin/ Language and Translation 112
Responsibilities of Grantees/Limitation of Grants 118

Grant Releases / Data Privacy Statement
ANNEXURES
Annex A: NCCA Project Proposal Form 123
Annex B: NCCA Accreditation Process/Checklist 128
CALL FOR PROPOSALS
INTRODUCTION
I. PURPOSE
The purpose of these rules and regulations is to establish the operating procedures for
the NCCA Competitive Grants Program for 2024.
II. AUTHORITY
Section 12.a.4 of Republic Act 7356 [NCCA Charter] authorizes the Commission to give
grants to artists and cultural groups that contribute significantly to the Filipino’s cultural
legacy as a means to extend artistic achievement. Further, Section 13.h of the same law
mandates the Commission to administer the National Endowment Fund for Culture
and the Arts (NEFCA) and give grants for the development, protection, preservation
and dissemination of Philippine arts and culture.
III. NATURE OF THE PROGRAM
The NCCA Competitive Grants Program is competitive in nature since the approval of
project proposals passes through a rigorous and confidential evaluation process
based on merits such as quality and relevance to Commission priorities.
IV. SPECIFIC RULES
1. Proposals received beyond the announced deadline for submission, i.e., August 31,
2023 shall not be considered.
2. A proponent can only submit one project proposal.
3. The proponent must fully accomplish the prescribed NCCA Project Proposal Form.
4. The proponent must indicate and identify the corresponding category where his/her
project will fall.
5. The proponent must submit the documentary requirements.
6. Proponents must be accredited by the Commission as a pre-requisite to the approval

of their project proposal. [Please coordinate with this Commission’s Accreditation
and Grants Processing Office (AGPO) for details.]
7. Officials, employees, and Executive Council (ExeCon) Members and their relatives up
to the fourth civil degree of affinity and consanguinity, as well as organizations and
institutions where ExeCon Members serve as officers and incorporators, are
disqualified from submitting proposals.
8. Pursuant to Executive Order No. 9, s.2019 on the adoption of the cash-based
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2024 NCCA Call for Proposals
budgeting system, all proposals should indicate the period of implementation anytime
within the period January-December 2024.
9. Due to the COVID-19 pandemic, all proposals must demonstrate adherence to

minimum public health standards. Expenses for such purposes (e.g., Covid19 tests,
purchase of face shields/masks/alcohol, etc.) shall not exceed 10% of the amount of
the grant being requested.
10. Pursuant to Republic Act No. 11106 or the Filipino Sign Language (FSL) Act,
proposals involving the conduct of fora, conferences, meetings, competitions, online
streaming, and other similar live activities require FSL interpreter insets to guarantee
access to information and freedom of expression of the Filipino deaf;
11. The individual proponent or head of the organization is required to sign all the pages
of the proposal.
12. The project proposal may be accomplished in Filipino or English.
13. An incomplete project proposal may constrain the Commission from acting
favorably on it.
V. 2024 COMPETITIVE GRANTS
The 2024 Call for Proposals is now open. For the year 2024, the projects are categorized
per Subcommission (SCA, SCCTA, SCD, and SCH).
Proponents interested in implementing projects in any category shall submit a project

proposal following the requirements indicated:
Download: Annex A: NCCA Project Proposal Form
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Deadline for submission of proposals: August 31, 2023 (Thursday), 11:59 PM
(Philippine Standard Time)
All project proposals shall be addressed and submitted to:
Program Management Division (PMD)

National Commission for Culture and the Arts
Room 3-B, Third Floor, NCCA Building
633 General Luna Street, Intramuros 1002 Manila, Philippines
Telephone Nos: (02) 8527-5535 (TL) loc. 304
Fax Nos: (02) 8527-2198 / (02) 8527-2209 / (02) 8527-2194
E-mail: [email protected]
Note:
The NCCA requires the submission of a complete project proposal based on the
indicated proposal format to facilitate proper evaluation. Please do not hesitate to
contact us through the telephone numbers indicated above should you find the
proposal format difficult to accomplish.
The project proposal may be accomplished using Filipino or English

languages.
[Please refer / download: Annex A: NCCA Project Proposal Form
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Subcommission on Cultural Communities and Traditional Arts (SCCTA)

● NORTHERN CULTURAL COMMUNITIES
SCCTA-NORTHERN-1
Project Title: BUHAY NA DUNONG: NORTHERN CULTURAL COMMUNITY
INVENTORYING OF INTANGIBLE CULTURAL HERITAGE (ICH)
Budget per Project:

PhP 200,000.00 per project or slot
Slot/s open for application: 6 slots
Project Description:
This project, Buhay na Dunong or ICH, is an inventorying of ICH elements by a particular

community in the northern cultural communities. This aims to document at least one (1) ICH
element that may fall under, but is not limited to, the following domains based on the 2003
UNESCO Convention:
● Oral Traditions, Languages, and Expressions;

● Performing Arts;
● Social Practices, Rituals, and Festive Events;
● Knowledge and Practices concerning Nature and the Universe; and
● Traditional Craftsmanship.
Inventorying shall be a culturally sensitive process of consultation that ensures the consent and
widest possible participation of the communities, groups, and individuals concerned. The output
shall include a completed community inventory of the identified buhay na dunong guided by the
NCCA Philippine Intangible Cultural Heritage Inventory (PICHI) form, which shall undergo
community validation. With consent from the community, relevant information may be shared
with students, researchers, and the academe for information, education, and communication, as
well as with the local government units (LGUs) and national government agencies (NGAs)
concerned, which may serve as the basis for policy formulation and program development.
Proposed Site/ Communities:
Northern Cultural Communities
Criteria for Evaluation:
1. The proponent must be from the community where the project will be implemented.
Priority shall be given to Indigenous Peoples Organizations (IPOs) and Peoples
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Organizations (POs). However, the project may be open to other eligible proponents,
such as LGUs, academe, and civil society organizations (CSOs);
2. Should have experience in culturally sensitive documentation, consultation, and the like;
3. Clear presentation of project concept/design, culturally sensitive and inclusive
approach;
4. Clear selection criteria of resource persons/participants in the
consultation/documentation activities;
5. Ensure that the participating communities, groups, and individuals' consent is sought;
6. Consider the participation of women, youth, LGBTQIA+, informal settlers, urban poor,
and other vulnerable sectors;
7. Engagement of LGUs, host community/locality, and other stakeholders;
8. The activity should be implemented in a venue with a schedule convenient and
accessible to the participants; and
9. Counterpart funding of 20% of the project cost may be in the form of labor, land project
site, facilities, equipment, and the like.
Requirements for Submission:
1. Accreditation requirements as indicated by the NCCA;

2. Organizational profile with a good track record of implementing similar projects;
3. Accomplished NCCA project proposal with an itemized budget signed by the head of the
organization;
4. Profile of the resource persons/participants in the inventorying process;
5. Proof of consent from the identified cultural community;
6. Detailed activity plan with components and identified partners/counterparts;
7. Profile of the project team who will facilitate the inventorying and documentation
activities.
SCCTA-NORTHERN-2
Project Title: CAPACITY BUILDING FOR LOCAL COMMUNITY RESEARCHERS
Budget per Project:

This project is a three (3) to five (5) day capacity-building of 20-25 selected community-based
local researchers from the northern cultural communities. Activities shall consist of lectures,
workshops, and fieldwork on inventorying and cultural research with consent from the
community and using appropriate modules. The project aims to capacitate researchers who
shall share their learnings with the community, lead the conduct of
inventorying/profiling/documentation activities to be participated in by the community, and may
be tapped as resource persons. With consent from the community, relevant information from the
outputs which include draft inventories and/or cultural research proposals may be shared with
students, researchers, and the academe for information, education, and communication, as well
as with the local government units (LGUs) and national government agencies (NGAs)
concerned, may serve as the basis for policy formulation and program development.
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2. Should have experience in culturally sensitive capacity-building, documentation,
consultation, and the like;
approach;

organization;
4. Profile of the community-based local researchers;
6. Detailed activity plan with components and identified partners/counterparts; and
7. Profile of the project team who will facilitate the capacity-building activity.
SCCTA-NORTHERN-3
Project Title: KNOWLEDGE TRANSFER ON BUHAY NA DUNONG OR INTANGIBLE
CULTURAL HERITAGE (ICH) FOR INDIGENOUS PEOPLES (IP) YOUTH
Budget per Project:

This project entails knowledge transfer on buhay na dunong identified by the recognized cultural
masters in the community as urgent for transmission and continued practice. Participants shall
compose of 30 IP youth ages 15 to 24 from the same community in Northern Luzon. The
training shall cover at least one (1) buhay na dunong that may fall under, but is not limited to,
the following domains based on the 2003 UNESCO Convention:
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● Knowledge and practices concerning nature and the Universe; and
This aims to transfer the concerned community’s traditional knowledge and skills from
recognized cultural masters to the participants through non-formal learning toward continuing
the identified buhay na dunong. The outputs of this project shall be the sharing of the cultural
masters’ knowledge and IP youth who may continue the learned buhay na dunong as cultural
practitioners. This shall also include appropriate outputs resulting from the identified domain.
such as local government units (LGUs), academe, and civil society organizations
(CSOs);
2. Should have experience in culturally sensitive knowledge transfer, training, and the like;
approach;
4. Clear selection criteria of cultural masters and IP youth in knowledge-transfer activities;
5. Ensure that the participating cultural masters and IP youths’ consent is sought;
7. Provision of protocols in securing parental consent for target minor participants;

organization;
4. Profile of the cultural masters and IP youth;
7. Profile of the project team who will facilitate the knowledge-transfer activities.
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SCCTA-NORTHERN-4
Project Title: PUBLICATION OF MONOGRAPHS ON NORTHERN CULTURAL
COMMUNITIES
Budget per Project:

This project is the publication of an available manuscript on Northern Cultural Communities by

community-based local researchers from Northern Luzon with the consent of and widest
possible participation ensured from the communities, groups, and individuals concerned. This
project aims to feature the ethnographic profile of an identified community, including significant
buhay na dunong or intangible cultural heritage (ICH), which shall serve as information,
education, and communication (IEC) material for community use, future research, and other
related studies.
The manuscript to be submitted should have already been reviewed and recommended by a
qualified reader, subject to the guidelines on the NCCA publication program that cover the
editor, layout artist or graphic designer, and printing. The project output shall be a
community-validated and published monograph with a minimum of 300 copies having at least
100 pages and an International Standard Book Number (ISBN) from the National Library of the
Philippines (NLP).
Priority shall be given to Individuals, Indigenous Peoples Organizations (IPOs), and
Peoples Organizations (POs). However, the project may be open to other eligible
proponents, such as local government units (LGUs), academe, and civil society
organizations (CSOs);
2. Should have knowledge of cultural communities, buhay na dunong, and the like;
3. Clear presentation of project concept/design, culturally sensitive and inclusive approach
with a ready manuscript, book layout, among others, subject to the NCCA Publication
Guidelines;
4. Clear selection criteria of community participants in the publication activities;
5. Ensure that the participating community’s consent is secured;
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organization;
4. Profile of the community-based local researcher/s of the publication;
5. Proof of consent and validation from the identified cultural community;
6. Proof of review and recommendation from the qualified reader;
8. Profile of the project team who will facilitate the publication activities.
SCCTA-NORTHERN-5
Project Title: CULTURAL EXCHANGE AMONG COMMUNITIES IN NORTHERN
PHILIPPINES
Budget per Project:

Slot/s open for application: 1 slot
The project is a three (3) to four (4)-day cultural exchange of at least five (5) cultural
communities with a minimum of 10 representatives per community that may be held at culturally
significant site/s or event/s (i.e., IP Month Celebration) in Northern Luzon. The project shall be a
venue for cultural communities to share and learn with other community members their
traditional knowledge, skills, and best practices in safeguarding their buhay na dunong or
intangible cultural heritage (ICH). The project is also expected to deepen the understanding of
the participants on their buhay na dunong. The project output shall be a video-documented
exchange of buhay na dunong with a narrative report on lessons from the exchange that may
be adapted to their respective communities if applicable.
(CSOs);
approach;
4. Clear selection criteria of resource persons and participants in the cultural exchange
activities;
5. Ensure that the participating community’s consent is sought;
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7. Engagement of LGUs, host community/locality, and other stakeholders; and

organization;
4. Profile of the facilitating project team and participants for the cultural exchange activities;
5. Proof of consent from the identified cultural community; and
6. Detailed activity plan with components and identified partners/counterparts.
SCCTA-NORTHERN-6
Project Title: CONSULTATION/FORUM ON LOCAL CULTURAL POLICIES FOR
INDIGENOUS PEOPLES (IP) LAWYERS, COMMUNITY LEADERS, AND
CULTURE ADVOCATES
Budget per Project:

Slot/s open for applications: 2 slots
This project is a one (1) to two (2) day consultation/forum of at least 15 IP lawyers, community
leaders, and culture advocates from the northern cultural communities that will discuss and
possibly address issues on communal property rights and other related concerns. With the
consent and participation of the concerned communities, the project output shall be a
documentation of the consultation/forum proceedings, resolutions, and draft local cultural policy
for submission to the concerned local government and national agencies as the basis for policy
formulation and program development.
(CSOs);
2. Should have experience in culturally sensitive consultation, forums, and the like;
3. Clear presentation of project concept/design, culturally sensitive, and inclusive
approach;
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4. Clear selection criteria of participants/resource persons in the consultation/forum
activities;

organization;
4. Profile of the IP lawyers, community leaders, and advocates;
7. Profile of the project team who will facilitate the consultation/forum activity.
SCCTA-NORTHERN-7
Project Title: PROFILING OF CULTURAL MASTERS AND SPECIALISTS IN
NORTHERN COMMUNITIES
Budget per Project:

This project entails the profiling of at least 30 recognized cultural masters and specialists in
Northern Luzon. The profiling shall be implemented within a span of three (3) to six (6) months
and must produce a printed and digitized output of the validated profiles with consent from the
communities, groups, and individuals concerned. The output shall cover the following, but not
be limited to personal information, photograph/s of the living cultural master, traditional works,
performances, and/or contributions culturally significant to the community, which shall be
subjected to the Data Privacy Act of 2012.
1. The proponent must be from the community where the project will be implemented,
either Peoples Organizations (POs), Indigenous Peoples Organizations (IPOs), local
government units (LGUs), academe, or civil society organizations (CSOs);
2. Clear presentation of the project concept, profiling design, and inclusive approach;
3. Experience in cultural documentation, research, and the like;
4. Clear strategies and activities;
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5. Clear selection criteria of culture-bearers and cultural practitioners to be consulted and
interviewed in profiling activities;
6. Must consider the participation of women, youth, LGBTQIA+, informal settlers, urban
poor, and other vulnerable sectors;
8. The activity should be implemented in a venue with available facilities convenient and

2. Organizational profile including a list of projects implemented;
3. Signed project proposal using NCCA project proposal form with an itemized budget;
5. Detailed profiling plan with activity components and identified partners;
6. Good track record of implementing similar activities; and
7. Profile of the project team who will facilitate the profiling activities

● CENTRAL CULTURAL COMMUNITIES
SCCTA-CENTRAL-1
Project Title: BUHAY NA DUNONG: CENTRAL CULTURAL COMMUNITY
Budget per Project:

This project, Buhay na Dunong or ICH, is an inventorying of the ICH elements by central
cultural communities with a priority on Indigenous Peoples (IP) governance and socio-cultural
practices. This aims to document the communities’ political structure, traditional governance
systems, and different associated activities relevant to at least one (1) ICH element that may fall
under, but is not limited to, the following domains based on the 2003 UNESCO Convention:

widest possible participation of the communities, groups, and individuals concerned. It will be
implemented in a particular community. The output shall include a completed community
inventory of the identified ICH guided by the NCCA Philippine Intangible Cultural Heritage
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Inventory (PICHI) form, which shall undergo community validation. With consent from the
community, relevant information may be shared with students, researchers, and the academe
for information, education, and communication, as well as with the local government units
(LGUs) and national government agencies (NGA) concerned, which may serve as the basis for
policy formulation and program development.
Central Cultural Communities
approach;

organization;
activities.
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SCCTA-CENTRAL-2
Project Title: CAPACITY-BUILDING ON COMMUNITY EMPOWERMENT AND
GOVERNANCE FOR INDIGENOUS PEOPLES (IP) YOUTH LEADERS
Budget per Project:

This project is a three (3) to five (5) day capacity-building on community empowerment and
governance for 20-25 IP youth leaders ages 15-24 from central cultural communities. Activities
shall consist of lectures and workshops using appropriate modules. The project aims to
capacitate IP youth leaders who shall share their learnings with the community, lead the
conduct of cultural activities in the community, and may be tapped as resource persons. With
consent from the community, relevant information from outputs that include a draft plan,
policies, and proposed programs for submission to local government units (LGUs) and
appropriate cultural agencies may be shared with students, researchers, and the academe for
information, education, and communication, as well as with the LGU and national government
agencies (NGAs) concerned, which may serve as the basis for policy formulation and program
development.
3. Clear presentation of project concept/design, strategies/activities, modules, culturally
sensitive and inclusive approach;
4. Clear selection criteria for IP Youth leaders/resource persons/participants in the
capacity-building, consultation/documentation activities;
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organization;
4. Profile of the indigenous peoples (IP) youth leaders;
SCCTA-CENTRAL-3
Project Title: CAPACITY-BUILDING ON FORMULATING CULTURE-RESPONSIVE
POLICIES AND PROGRAMS FOR INDIGENOUS PEOPLES
MANDATORY REPRESENTATIVES (IPMRs) AND COMMUNITY
LEADERS
Budget per Project:

This project is a two (2) to three (3)-day capacity-building of 20-25 selected IPMRs and
community leaders for social protection of IP in central cultural communities which shall be
implemented by selected local government units (LGUs). Activities shall consist of lectures and
workshops on cultural policy formulation using appropriate modules. The project aims to
capacitate the IPMRs who shall lead the plan, policy, and program formulation for IP social
protection. With consent from the community, relevant information from the project outputs that
include draft plans, policies, and programs for IP social protection may be shared with students,
researchers, and the academe for information, education, and communication, as well as with
the LGU and national government agencies (NGAs) concerned, which may serve as the basis
for policy formulation and program development.
1. The proponent LGU must have a strong partnership with host cultural communities in
the locality;
2. Experience in conducting capability-building projects;
3. Clear presentation of the project concept, capacity building design, modules, and
approach, which should be inclusive;
5. Clear selection criteria of IPMRS and community leaders;
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organization;
4. Profile of the indigenous peoples mandatory representatives (IPMRs) and community
leaders;
SCCTA-CENTRAL-4
Project Title: KNOWLEDGE TRANSFER ON TRADITIONAL CRAFTSMANSHIP FOR
INDIGENOUS PEOPLES (IP) YOUTH IN CENTRAL CULTURAL
COMMUNITIES
Budget per Project:

This project entails knowledge transfer on buhay na dunong identified by the recognized cultural
masters in the community as urgent for transmission and continued practice. Participants shall
consist of 30 IP youth from the same community in central cultural communities. This aims to
transfer the concerned community’s knowledge and skills in traditional craftsmanship from
recognized cultural masters to the participants through non-formal learning toward continuing
the identified buhay na dunong. The outputs of this project shall be the sharing of the cultural
masters’ knowledge, trained IP youth who may continue the learned buhay na dunong as
cultural practitioners, and other appropriate outputs resulting from the conducted activities.
2. Clear presentation of the project concept, training design, modules, culturally sensitive
and inclusive approach;
4. Clear selection criteria of cultural masters and IP youth in knowledge-transfer activities;
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2. Individual/Organizational profile including a list of projects implemented;
4. Proof of consent of participants from the identified cultural community;
5. Training design and modules;
6. Detailed activity plan with activity components and identified partners;
7. Profile of cultural masters and indigenous peoples (IP) youth participants;
8. List of experts and resource persons who will facilitate the activities; and
9. Good track record of implementing similar activities.
SCCTA-CENTRAL-5
Project Title: PROFILING OF CULTURAL MASTERS AND SPECIALISTS IN
CENTRAL COMMUNITIES
Budget per Project:

This project entails the profiling of at least 30 recognized cultural masters and specialists in
central communities. The profiling shall be implemented within a span of three (3) to six (6)
months and must produce a printed and digitized output of the validated profiles with consent
from the communities, groups, and individuals concerned. The output shall cover the following,
but not be limited to personal information, photograph/s of the living cultural master, traditional
works, performances, and/or contributions culturally significant to the community, which shall be
subjected to the Data Privacy Act of 2012.
2. Clear presentation of the project concept, profiling design, and approach, which should
be inclusive;
3. Experience in cultural documentation, research, and the like;
5. Clear selection criteria of culture-bearers and cultural practitioners to be consulted and
interviewed in profiling activities;
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2. Organizational profile including a list of projects implemented;
5. Detailed profiling plan with activity components and identified partners;
6. Good track record of implementing similar activities; and
7. Profile of the project team who will facilitate the profiling activities.

● SOUTHERN CULTURAL COMMUNITIES
SCCTA-SOUTHERN-1
Project Title: CONSULTATION/FORUM ON THE FORMULATION OF CULTURE
RESPONSIVE POLICIES FOR TRADITIONAL LEADERS
Budget per Project:

This project is a five (5)-day consultation/forum of 15-25 traditional leaders from the southern
cultural communities that will discuss and possibly address issues on communal property rights
and other related concerns. With the consent and participation of the concerned communities,
the project outputs shall be a documentation of the consultation/forum proceedings, resolutions,
and draft local cultural policy for submission to the concerned local government and national
agencies as the basis for policy formulation and program development.
Southern Cultural Communities
(CSOs);
2. Should have experience in culturally sensitive consultation, forum, and the like;
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3. Clear presentation of project concept/design, culturally sensitive, and inclusive
approach;
4. Clear selection criteria of participants/resource persons in the consultation/forum
activities;
5. Participants must be recognized Traditional Leaders based in the community, such as
Sultan, Datus, and Maharajas, with at least ten (10) years of traditional leadership
experience;

organization;
4. Profile of the traditional leaders;
7. Profile of the project team who will facilitate the consultation/forum activity.
SCCTA-SOUTHERN-2
Project Title: CAPACITY BUILDING/CONSULTATION-FORUM ON FORMULATING
CULTURAL POLICIES FOR INDIGENOUS PEOPLES MANDATORY
REPRESENTATIVES (IPMR), IP YOUTH AND WOMEN LEADERS
Budget per Project:

This project is a three (3) to five (5) day capacity-building or consultation-forum of 20-25
selected IPMRs, IP youth and women leaders from the southern cultural communities. The
project aims to enhance the participants’ capacities through lectures and workshops on
culture-responsive policy-making. It shall also be a venue to discuss and possibly address
issues on community intellectual property rights (CIPR), particularly on textiles and designs and
other related concerns. Hence, representatives from the concerned government agencies shall
be invited to participate by sharing their views, insights, and positions on the said
subject-matter. With the consent from the community, the project outputs shall be a
documentation of the proceedings, resolutions, and draft local cultural policy for submission to
the concerned indigenous political system, local government, and appropriate national agency
as the basis for policy formulation and program development.
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(CSOs);
consultation, forum, and the like;
approach;
4. Clear selection criteria of resource persons/participants in the capacity building,
consultation, forum, and other related activities;

organization;
4. Profile of the indigenous peoples mandatory representatives (IPMRs), IP youth and
women leaders, and representatives from concerned government agencies;
7. Profile of the project team who will facilitate the capacity-building/consultation-forum.
SCCTA-SOUTHERN-3
Project Title: BUHAY NA DUNONG: SOUTHERN CULTURAL COMMUNITY
Budget per Project:

This project, Buhay na Dunong or ICH, is an inventorying of ICH elements by a particular

community in the southern cultural communities. This aims to document at least one (1) ICH
element that may fall under, but is not limited to, the following domains based on the 2003
UNESCO Convention:

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However, priority shall be given to the following topics:
● Traditional ethnobotanical and/or healing practices;

● Process of Traditional Textile Weaving; and
● Community intellectual property rights.
widest possible participation of the communities, groups, and individuals concerned. The output
shall include a completed community inventory of the identified buhay na dunong guided by the
NCCA Philippine Intangible Cultural Heritage Inventory (PICHI) form, which shall undergo
community validation. With consent from the community, relevant information may be shared
with students, researchers, and the academe for information, education, and communication, as
well as with the local government units (LGU) and national government agencies concerned,
which may serve as the basis for policy formulation and program development.
approach;

organization;
6. Detailed activity plan with components and identified partners/counterparts;
activities.
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SCCTA-SOUTHERN-4
Project Title: CONTENT DEVELOPMENT FOR A PHOTOBOOK ON THE
TRADITIONAL ATTIRE OF SOUTHERN CULTURAL COMMUNITIES
Budget per Project:

The project entails content development for a photobook on the traditional attire of the southern
cultural communities by community-based local researchers. This shall be a culturally-sensitive
process of documentation and production that shall ensure the consent and widest possible
participation of the communities, groups, and individuals concerned. This shall feature
high-quality photos of the communities’ traditional attire with descriptions of aesthetics, makers,
the process of making, manner of wearing, cultural significance, meanings, and the like aimed
to provide information necessary to educate the public about the traditional attire of the
southern cultural communities. The project output shall be a digital and printed manuscript
containing the above content with high-quality photo documentation of the traditional attire from
the southern cultural communities for possible publication.
3. Clear presentation of project concept/design, culturally sensitive and inclusive approach;
4. Clear selection criteria of community resource persons/participants to be consulted in
the documentation activities;

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organization;
4. Profile of the community-based resource persons/participants for the content
development activities;
7. Profile of the project team who will facilitate the content development activities.
SCCTA-SOUTHERN-5
Project Title: CAPACITY BUILDING FOR INDIGENOUS PEOPLES (IP) YOUTH,
CULTURAL BEARERS, AND CULTURAL WORKERS
Budget per Project:

This project is a three (3) to five (5)-day capacity building of 20-25 selected IP youth, cultural
bearers, and cultural workers from the southern cultural communities. Activities shall consist of
lectures, workshops, and fieldwork on community organizing, program, and project
development and management, policy formulation, conflict resolution, and the like using
appropriate modules. The output of the project shall include draft policies and proposed
programs for submission to concerned local government units (LGUs) and appropriate cultural
agencies. With consent from the community, relevant information from outputs, which include
draft inventories and/or cultural research proposals may be shared with students, researchers,
and the academe for information, education, and communication, as well as with the LGU and
national government agencies concerned, which may serve as the basis for policy formulation
and program development.
approach;
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organization;
4. Profile of IP youth, culture bearer, and cultural worker participants;
SCCTA-SOUTHERN-6
Project Title: INSTITUTIONALIZING THE RECOGNITION PROGRAM FOR THE
CULTURAL MASTERS BY THE LOCAL GOVERNMENT UNIT (LGU) IN
SOUTHERN CULTURAL COMMUNITIES
Budget per Project:

This project entails the development and implementation of a program that will institutionalize
the recognition of cultural masters from the southern cultural communities by the concerned
municipal LGU to be held during a significant community event. It aims to honor and recognize
the invaluable contributions of the cultural masters in safeguarding the communities’ buhay na
dunong or intangible cultural heritage (ICH) which will provide assistance and ensure the
continued practice of their creative expression. Hence, the proponent LGU shall prepare a
master plan of the recognition program, including the necessary guidelines for the search,
identification, selection, and awarding of the masters. Priority shall be given to LGUs with no
existing programs for the recognition of cultural masters.
The project outputs shall be the LGU’s approved master plan for the recognition program, proof
of institutionalization of the program, including the Executive Order with budget provision
issued, guidelines for the search, identification, selection, and awarding of masters, a plaque of
recognition and token in cash received, a profile and directory of cultural masters, a mounted
exhibition of their significant works, a catalog and/or other printed IEC materials, a recognition
ceremony, documentation of the ceremony, and/or other activities honoring the cultural masters.
Page 25 of 130
1. The proponent must be an LGU, preferably with no existing program for recognizing
cultural masters. However, the project may be open to other eligible proponents, such as
academe, civil society organizations (CSOs), Peoples organizations (PO), and
Indigenous Peoples Organizations (IPOs) with strong engagement with the LGU;
2. Should have experience in culturally sensitive recognition, awarding, consultation, and
the like;
3. Clear presentation of program concept and recognition ceremony design, culturally
sensitive, and inclusive approach;
4. Clear selection guidelines of cultural masters to be recognized which shall be made and
consulted with the concerned communities;

organization;
4. Profile of the cultural masters to be recognized;
6. Proof of plan for the institutionalization of the program;
8. Profile of the LGU personnels/project team who will facilitate the development and
implementation of a program institutionalizing the recognition of cultural masters.
SCCTA-SOUTHERN-7
Project Title: PUBLICATION OF RESOURCE BOOKS ON INDIGENOUS
KNOWLEDGE, SYSTEMS, AND PRACTICES (IKSPs) IN SOUTHERN
CULTURAL COMMUNITIES
Budget per Project:

This project is the publication of an available manuscript on southern cultural communities by

community-based local researchers from Southern Philippines with the consent of and widest
possible participation ensured from the communities, groups, and individuals concerned. This
project aims to feature IKSPs of the cultural communities of an identified community, including
significant buhay na dunong or intangible cultural heritage (ICH), which shall serve as
information, education, and communication (IEC) material for community use, future research,
and other related studies.
Page 26 of 130
The manuscript to be submitted should have already been reviewed and recommended by a
qualified reader, subject to the guidelines on the NCCA publication program that shall cover the
editor, layout artist or graphic designer, and printing. The project output shall be a
community-validated and published monograph with a minimum of 300 copies having at least
100 pages and an International Standard Book Number (ISBN) from the National Library of the
Philippines (NLP).
3. Clear presentation of project concept/design, culturally sensitive and inclusive approach
with a ready manuscript, and book layout, among others subject to the NCCA
Publication Guidelines;
4. Clear selection criteria of community participants in the publication activities;

organization;
4. Profile of the community-based local researcher/s of the publication;
7. Profile of the project team who will facilitate the publication activities.
Page 27 of 130
Subcommission on Cultural Heritage (SCH)
● ARCHIVES
SCH-Archives-1
Project Title: CONSERVATION OF DOCUMENTARY HERITAGE
Budget per Project:

PhP 500,000.00
Qualification of Proponents:
Local government units, educational institutions, and civil society organizations

1. NCCA Certificate of Accreditation;
2. Accomplished project proposal form with detailed line-item budget, schedule of
activities, and work & financial plan, duly signed by the proponent on each page;
3. Status, nature, and significance of the works or documents; and
4. If the proponent does not own the documents for conservation, the proposal must
describe the involvement of the owner/s with the project and include a letter of consent
from the owner/s.

1. National or local significance of the documents;
2. Documents for conservation must be listed/registered in the Philippine Registry on
Cultural Properties (PRECUP);
3. If these are not listed in the PRECUP, an endorsement from the National Archives of the
Philippines (NAP), the National Library of the Philippines (NLP), or the Philippine Film
Archive (PFA) of the Film Development Council of the Philippines (FDCP) is required;
4. The works or documents must have been inventoried and properly cataloged in
compliance with the requirements of NAP and/or NLP, as well as undergone selection,
arrangement, and description for proper metadata, prior to any preservation treatment;
5. Must involve physical conservation of documentary heritage and does not include
digitization;
6. The materials to be conserved must satisfy the following criteria:
● Rare, unique, or fragile records/materials, archives, and other objects of factual
and historical value, in constant use and accessed frequently, active or
semi-active, that need to be retained in their original form
● Listed/registered in the Philippine Registry on Cultural Properties (PRECUP). If
not listed in the PRECUP, endorsement by the National Archives of the
Philippines (NAP) or the National Library of the Philippines (NLP) is required
7. Must have undergone assessment by or authorized by the NCCA National Committee
on Archives prior to submission of project proposal.
Page 28 of 130
SCH-Archives-2
Project Title: DIGITIZATION OF ARCHIVAL COLLECTIONS (Paper-Based Materials)
Budget per Project:

PhP 700,000.00
Local government units, educational institutions, and civil society organizations with significant
archival collections

2. Accomplished project proposal form with a detailed line-item budget, schedule of
3. Documents showing its capabilities to undertake and sustain the project such as, but not
limited to, manpower, technical know-how, equipment, counterpart budget, timetable,
storage, migration plan and other resources;
4. Three (3) quotations from reputable imaging/digitizing companies specifying the project
cost, schedule of billing, duration or timetable, outputs or deliverables, among others;
5. Inventory of materials for digitization using the format below:
Page 29 of 130
1. The project proposal must demonstrate the provision of adequate storage facilities or
efficient storage devices, once documents are digitized, thus reducing the need for
physical space and protecting vital records especially in times of disasters;
2. The materials to be digitized must satisfy the following criteria:

● Rare, unique, or fragile records/materials, archives and other objects of factual
and historical value, in constant use and accessed frequently, active or
semi-active, that need to be retained in their original form
● No history of digitization
● Listed/registered in the Philippine Registry on Cultural Properties (PRECUP). If
not listed in the PRECUP, endorsement by the National Archives of the
Philippines (NAP) or the National Library of the Philippines (NLP) is required
3. The outputs of digitization must satisfy the following criteria:

● Accurate, legible reproduction of the original that contains all intellectual and
physical components to the original content without alterations to content.
● Technical specifications for image quality minimum resolution of 300ppi
(pixels-per-inch)
● Authentic, complete, and accessible
● Non-editable PDF/A compliant file format; the most basic PDF/A requirements
are as follows: All content embedded (fonts, colors, text, images, etc.); does not
contain audio/video; and the file is not encrypted
SCH-Archives-3
Project Title: DIGITIZATION OF ARCHIVAL COLLECTIONS (Audio-Visual Materials)
Budget per Project:

PhP 1,000,000.00
Local government units, educational institutions, and civil society organizations with significant
archival collections.

3. Accomplished form indicating information on the audiovisual materials for digitization as
shown below:
Page 30 of 130
4. Three (3) quotations from reputable vendors/suppliers/service providers (digitizing
companies) specifying the project cost, schedule of billing, duration or timetable, outputs
or deliverables, among others;
5. Documents showing the proponent’s capabilities to undertake and sustain the project
which include manpower, technical know-how (eg. archival information preservation
functions including ingest, archival storage, data management, preservation planning,
administration, access, and dissemination), equipment, counterpart budget, timetable,
storage, migration plan, and other resources;
6. A long-term digital preservation plan with provision for adequate storage facilities or
efficient storage devices once audiovisual materials are digitized, and includes digital
storage infrastructure. This includes documented policies and procedures which ensure
that the information is preserved against all reasonable contingencies, including the
demise of the AV archive/repository (i.e., ensuring that the collection included in this
grant is never deleted unless allowed as part of an approved strategy and that there
should be no ad-hoc deletions); and
7. If the proponent does not own the audio-visual collections for digitization, the proposal
must describe the involvement of the owner/s with the project and include a letter of
consent from the owner/s. The documents related to this should ensure that there is a
legally valid transfer agreement that either transfers intellectual property rights to the AV
archive/repository or clearly specifies the rights granted to the archive/repository and
any limitations imposed by the rightsholder/s (subsequent actions to preserve the
information and make it available conform with these rights and limitations). If the
proponent does not acquire the intellectual property rights, the agreement between the
proponent and the rights holder/s should specify what involvement the rights holder/s
will have in preservation, management, or release of the information. Please ensure that
this agreement specifies the rightsholder/s requirements and authorizes the proponent
to act in accordance with those requirements without active involvement of the
rightsholder/s in individual cases.
Page 31 of 130
The proponent must:
1. be clear with copyright implications, intellectual property, and other legal restrictions on
use. The proponent should honor all applicable legal restrictions, especially if the
proponent acts as a custodian;
2. understand the intellectual property rights concepts, such as copyrights and any other
applicable laws, prior to accepting copyrighted materials into its collection; and
3. demonstrate adherence to guidelines for the ingestion of information and rules for the
dissemination and duplication of the information when necessary.
The materials/works to be digitized must satisfy the following criteria:

1. If these are not listed in the PRECUP, an endorsement from the National Archives of the
Philippines (NAP), National Library of the Philippines (NLP), or the Philippine Film
Archive (PFA) of the Film Development Council of the Philippines (FDCP) is required;
2. Physically assessed and inventoried;
3. Selected and evaluated based on content (preference to high value content) and
condition of the materials (condition priorities);
4. Preferably in the public domain, as maximum access is important; less copyright
restrictions are more favorable for wider access. A certification or authorization from the
copyright holder is necessary in the evaluation of the project proposal;
5. Preferably no history of digitization;
6. Must have undergone assessment or be authorized by the NCCA National Committee
on Archives prior to submission of the project proposal; and
7. The preserved information must be made available to a designated community and
enable the information to be traceable to the original submitted objects with evidence
supporting its authenticity. The designated community should also be able to
independently understand the information without needing special resources, such as
the assistance of the experts who produced the information.
SCH-Archives-4
Project Title: ESTABLISHMENT/ENHANCEMENT OF ARCHIVES AND RECORDS
CENTER
Budget per Project:

National Government Agencies, Local Government Units, Educational Institutions, People’s
Organizations, and Civil Society Organizations may submit a project proposal under this grant
category subject to the following qualifications:
A. Establishment of Archives and Records Center

1. Only municipal and city governments are qualified to submit proposals on behalf
of the barangay councils within their respective localities;
2. Individuals and stock corporations are not qualified to submit a proposal under
this category; and
Page 32 of 130
3. The proposed establishment of an ecclesiastical/religious/church archives must
be authorized to be undertaken by a Civil Society Organization.
B. Enhancement of Archives and Records Centers

The archives or records center being proposed for enhancement:
1. Must be in existence for the last five years at the time of project proposal
submission;
2. Must employ at least one staff member, or the full-time equivalent, whether paid
or unpaid, primarily engaged in the acquisition, care, or dissemination to the
public of archives owned or used by the archives or records center;
3. Must have a significant collection under their custody that is found locally or
acquired by the archives or records center from other sources possessing
notable heritage value/s that are highly important to the region and/or to the
country and nation;
4. Must have an outstanding record of community or public engagement; and
5. Must have undergone technical assessment prior to the submission of the
project proposal.

A. Establishment of Archives and Records Center
1. Accomplished NCCA Project Proposal form with detailed line-Item budgeting, schedule
of activities, and work and financial plan duly signed by the Proponent on each page;
2. Building plan/blueprint of dedicated space for the archives;
3. Certification or resolution dedicating the space for archive use; and
4. NCCA Certificate of Accreditation.
B. Enhancement of Archives and Records Center
1. Accomplished NCCA Project Proposal Form with line-item budgeting indicating the
following:
a. the mandate and proposed/current archival policies, administrative principles,
and processes
b. a secure and designated storage facility that creates a proper environment
c. a list of records holdings of the agency or institution
d. a list of records officer/s or custodian that would determine accountability in
ensuring that the full range of records are maintained and preserved
e. records management system, access, and security of records holdings, such as
Records Series, Title and Description, period covered/inclusive dates, volumes,
records medium, restrictions, locations of records, time value, and retention
period
2. NCCA Certificate of Accreditation

1. Priority shall be given to proposals coming from Regions 1, 2, 4B, 8, 9, 10, 12, 13 and
BARMM;
2. The proponent must have undergone assessment by or authorized by the NCCA
National Committee on Archives prior to submission of the project proposal;
3. The proposal must be based on the recommendations from the assessment;
Page 33 of 130
4. The proposal must contain the mandate and proposed/current archival policies,
administrative principles, and processes;
5. The proponent must allocate funds for the maintenance and operations of the
proposed/enhanced archives and records center in their yearly budget allocation; and
6. The proposed/enhanced archives or records center must be ready for operation upon
completion of the project.
SCH-Archives-5
Project Title: ARCHIVES INTERNSHIP
Budget per Project:

Individuals

3. Profile of the archival institution where the internship will be undertaken. Recommended
institutions for the internship on archives include, but are not limited to the following:
● National Archives of the Philippines
● Archivo de la Universidad de Santo Tomas, Manila
● UST Heritage Library
● Arzobispado de Manila Archives
● Ateneo de Manila Archives
● UP Diliman Archives
5. Document of support from the mother institution/current employer; and
6. Curriculum vitae emphasizing relevant experience, according to the field of professional
practice requested, in cultural management in public organizations in the Philippines
and/or in private entities of recognized prestige.

1. The proponent must demonstrate that the proposed internship will elevate his/her
current work to higher levels of performance and service;
2. The applicant must prove that his/her nature of employment is related to archives and
records management at the time of requesting the grant, and must be employed by
his/her mother institution/employer for at least one (1) year. Said institution/employer
must be located in the Philippines;
3. The proposal must have a provision for a re-entry plan at the end of the internship and
must complete two (2) months of return service obligation with the current employer;
4. Proponent must complete 160 hours of internship from the selected archival institution;
and
5. Priority will be given to paraprofessionals whose functions involve archiving and records
management.
Page 34 of 130
● ART GALLERIES
SCH-Galleries-1
Project Title: REGIONAL ART FAIR (Art from the Major Island Regions)
Budget per Project:

PhP 1,000,000.00 for Luzon; PhP1,500,000.00 for Visayas; and PhP1,500,000.00 for Mindanao
Slot/s open for application: 3 slots, one for each island of Luzon, Visayas, and Mindanao
Civil Society Organizations such as, but are not limited to, Galleries, Art Spaces; Local
Government Units, and Academic Institutions.
Requirements for Submission

2. Accomplished project proposal form with detailed line item budget, schedule of activities,
and work & financial plan, duly signed by the proponent on each page; and
3. Floor plan of the proposed venue.
Criteria for Evaluation

1. All regions within the island cluster should be represented, as well as indigenous
people’s groups within the locality; Each participating exhibitor should be able to feature
artworks made from the respective regions;
2. The art fair must ensure strong engagement among exhibitors and visitors while
observing minimum public health standards;
3. The art fair should include educational activities such as roundtable discussions, forums,
or panel discussions on at least two or all of the following topics:
a. standard operating procedures for art galleries;
b. documentation/archiving of exhibition projects;
c. art collecting practices;
d. collections management;
e. ethics of the practice;
f. e-commerce, web taxation, issues and other online platforms available to
the
g. sector; and
h. Visual literacy for fair visitors / students.
4. The art fair’s organizing body must undergo technical assistance on the rigors of art fair
production and management to be given by NCCA;
5. At least 15 exhibitor groups should participate in the art fair;
6. The exhibition period should be at least 3 days;
7. The art fair must be visited by at least 3000 guests;
8. The art fair should be properly documented in an archive, including all artworks and fair
exhibition views, information (profiles and contact information) about groups and artists,
events and activities, survey results of feedback form from guests and participants,
news features, and other relevant data. The archive system can both be printed and
digital (soft copy); and
9. The art fair must have an online component in the form of a curated website and/or
e-commerce site to reach a global audience.
Page 35 of 130
SCH-Galleries-2
Project Title: ART EXHIBITION CURATION
Budget per Project:

PhP 300,000.00 per project by individuals or group
Civil Society Organizations, Peoples Organizations, National Government Agencies Academic
Institutions, Local Government Units, and Individuals preferably with experience on exhibition
production.

2. Accomplished project proposal form with detailed line Item budget, schedule of
activities, and work and financial plan, duly signed by the Proponent on each page; and
3. Address/location and at least 3 photos of the proposed venue.

1. The exhibit should showcase art outside of NCR, be developed and designed to target
more specialized interest groups such as marginalized or under-represented sectors,
and expand the general public’s engagement with and understanding of unusual subject
matter or issues that they ordinarily would not be aware of or be exposed to;
2. The project may be process-based projects or community-oriented exhibitions in
collaboration with a museum, an art gallery, or a commercial organization to develop and
design the exhibition;
3. The exhibit must be documented appropriately in the form of a catalogue or digital
archive, including artworks, artists’ information, exhibition overview and other relevant
information that must be accessible by the general public;
4. The exhibit must be visited by at least 1,000 guests;
5. The exhibition period should at least be seven (7) days;
6. Themes about diverse cultural heritage values, Filipino values for the common good,
human and social development, which can include communities, disasters and disaster
risk management and climate action are preferred;
7. The exhibit should have an education component which may be in the form of a study
guide, an education kit or supplementary audio/visual materials; and
8. The exhibit should be well documented in an archive system, including all artworks,
information about groups and artists, events and activities, survey results of feedback
form from guests and participants, news features, and other relevant data.
Page 36 of 130
SCH-Galleries-3
Project Title: SEMINARS OR TRAININGS FOR ART GALLERISTS AND GALLERY
WORKERS
Budget per Project:

PhP 200,000.00 per project by individuals/groups
Civil Society Organizations, Peoples Organizations, National Government Agencies, Academic
Institutions, Local Government Units, and Individuals preferably with experience on gallery
management

and work and financial Plan, duly signed by the Proponent on each page; and
3. Address/location and at least 3 photos of the proposed venue.

1. The project may be in the form of any of the following: a roundtable discussion, a
seminar, a workshop, a panel discussion, a conference, or a capacity building/training
program;
2. The project must address themes and issues relevant to the art gallery sector. These
topics may be any of the following: best practices, national standards, e-commerce and
online platforms, archiving, authentication, conservation, art handling, art writing,
relationships among stakeholders, issues/challenges/problems of the sector, financial
literacy and taxation, forgery, the role of art galleries in education, the function of art
galleries within cultural heritage, and understanding and forming policies relevant to the
art market;
3. The project must be in collaboration with an art gallery;
4. The project must be executed for at least two (2) days, with a minimum of one session
each day for a minimum of 4 hours per day;
5. The project must reach an audience of at least 200 guests, whether onsite or online;
6. The project must be participated in by at least eight (8) galleries, preferably with
representation from all island clusters; and
7. The project should be well documented in an archive system including photos,
audio-video recording, transcript and a report that includes summaries, assessments
and recommendations.
Page 37 of 130
SCH-Galleries-4
Project Title: PUBLISHED ANTHOLOGY OR MANUAL ON ART GALLERY PRACTICE
Budget per Project:

PhP 500,000.00 per project by individual/group
Civil Society Organizations, Peoples Organizations, National Government Agencies, Academic
Institutions, Local Government Units, and Individuals preferably with experience on gallery
management

2. Accomplished project proposal form with detailed line item budget, schedule
of activities, and work & financial plan, duly signed by the Proponent on each page; and
3. Names and CV of writers and editors

1. The grant shall only cover the printing of 1500 copies, 1400 copies shall be for NCAG,
and 100 copies shall be for the author/s; all copies must be distributed for free to art
galleries, visual art spaces, artists-run spaces, art collectives, curators, schools across
the regions;
2. All manuscripts must be subject to a peer-review process;
3. At least 4 members of the NCAG Executive Council must sit on the Editorial Advisory
Board;
4. The publication must focus on commercial art gallery practice to address themes and
issues specific to the commercial art gallery sector. Essays or manuals must discuss
some, if not all, of the following: best practices of commercial art galleries, national
standards in the art market, galleries as estate managers or estate-holders, archiving,
art handling, forgery, the function of commercial art galleries within cultural heritage,
understanding and forming policies relevant to the art market, case studies, the role of
commercial art galleries in education, and other issues and problems within the art
market;
5. Details of the publication, such as number of chapters and pages, cover page, design
and layout must be presented to and approved by the 4 members of the NCAG ExeCon
in the editorial board;
6. Proponents of other categories of NCAG’s competitive grants (such as seminars and
trainings, or the primer on NCAG) may also submit proposals for this category. The
committee understands that the results of seminars and trainings may be springboards
to fulfill a published anthology;
7. Proper citations and ethics for referencing copyrighted materials must be duly observed;
and
8. The publication should include messages/statements from NCAG, NCCA chairperson
and executive director, head of Subcommission on Cultural Heritage.
Page 38 of 130
SCH-Galleries-5
Project Title: PRIMER ON NATIONAL COMMITTEE ON ART GALLERIES (NCAG)
Budget per Project:

PhP 400,000.00 per project by individuals
Individuals, institutions or organizations composed of museum workers, writers, and/or
researchers.

of activities, and work & financial plan, duly signed by the Proponent on each page;
3. CV, writer’s profile and previous publications of the proponent; and
4. Proponent must have experience on art gallery management and preferably an
involvement with NCAG or its previous projects.

1. The grant shall only cover the printing of 1000 copies, 900 copies shall be for NCAG and
100 copies shall be for the author; all copies must be distributed for free to art galleries,
visual art spaces, artist-run spaces, art collectives and curators/cultural workers;
2. The publication must be about the National Committee on Art Galleries, its profile and
mandate, its members, its accomplishments and its leaders since its establishment and
its goals and projects for the next 5 years;
3. Details of the publication, such chapters and pages, cover page, design and layout must
be presented to and approved by the NCAG ExeCon;
4. The manuscript must include graphs and diagrams to show an overview of NCAG’s
functions and its accomplishments;
5. The manuscript must be reviewed and approved by the NCAG Execon;
6. Proper citations and ethics for referencing copyrighted materials must be duly observed;
and
7. The publication should include messages/statements from NCAG, NCCA chairperson
and executive director, head of Subcommission on Cultural Heritage.
Page 39 of 130
● HISTORICAL RESEARCH
SCH-Historical-1
Project Title: PUBLICATION
Budget per Project: PhP 300,000.00 per project

Individuals; institutions or organizations composed of social science teachers, local historians,
writers, and/or researchers

2. Accomplished project proposal form with detailed line item budget, schedule of
activities, and work & financial plan, duly signed by the Proponent on each page;
3. Printer-ready/Camera-ready Manuscript both in PDF File in flash drive or CD, and
a complete hard copy;
4. Editor’s certification that the manuscript has undergone review;
5. Quotations from at least 3 publishing houses for at least 500 or more
copies;1 and
6. List of past conference/s where the manuscript was presented, if applicable.

1. The project must produce a minimum of 500 copies or more. The proponent will get 40%
of the total number of copies produced;
2. Certification by the editor that the manuscript has undergone a review (attach the
reviews of the experts and the particular pages in the manuscript where the comments
and suggestions were implemented);
3. The manuscript must contribute to the enrichment of the narrative of Philippine history or
4. Philippine historiography; and
5. Open to unpublished winning entries of Young Historian’s Prize and recipients of NCCA
Research Grants.
1
The proponent will get 40% of the total number of copies produced.
Page 40 of 130
SCH-Historical-2
Project Title: LOCAL HISTORY WRITING WORKSHOP
Budget per Project: PhP 200,000.00

This is a competitive grant for groups and organizations to organize and conduct a local history
writing workshop.
Local government units, civil society organizations, schools, and universities

activities, and work & financial plan, duly signed by the Proponent on each page;
3. Workshop design (program, rationale, venue, objective, number of expected
participants) covering a topic or topics that may include but are not limited to historical
methodology, specialized historical research (e.g., paleography, archival research) and
enrichment of historical thinking skills;
4. Profile of speakers and participants.

1. The proposal should aim to: indicate the active participation of significant stakeholders in
the community especially educators and local historical committees, highlight the value
of local history and cultural heritage; and promote the use of other historical approaches;
2. The workshop must have provisions for sustainability and ensure the delivery of
workshop outputs.
3. The proposal must provide a contingency plan in the event of the imposition of
stringent limitations on the movement and transportation of people, strict regulation of
operating industries, and prohibition of mass gatherings thereby constraining the
conduct of the proposed workshop.
SCH-Historical-3
Project Title: DAP-AYAN SA KASAYSAYAN
Budget per Project: Maximum grant in the amount of Php 250,000.00

Local government units, educational institutions, and civil society organizations
Page 41 of 130
This is a competitive grant for local government units, educational institutions, and civil society
organizations to conduct events that will convene interested stakeholders to promote historical
research and education, such as stakeholders summit, a research colloquium, or a local
conference.

2. Accomplished project proposal form with detailed Line Item Budget, Schedule
of Activities, and Work & Financial Plan duly signed by the Proponent on each page;
3. Activity design (program, rationale, venue, objective, number of expected participants) of
a summit, conference, roundtable discussion, colloquium, or a related activity geared
towards to the advancement of historical research and education; and
4. Concept paper of the event.

1. The activity must contribute to interdisciplinary, strategic, and innovative areas of
historical research;
2. The number of participants must correspond to the type of activity being proposed under
this category;
3. The duration of the activity must correspond to the number of participants being
proposed; and
4. The proposal must provide a contingency plan in the event of the imposition of stringent
limitations on the movement and transportation of people, strict regulation of operating
industries, and the prohibitioning of mass gatherings thereby constraining the conduct of
the proposed conference.
SCH-Historical-4
Project Title: NATIONAL HISTORICAL WRITING FELLOWSHIP
Budget per Project: Maximum grant in the amount of Php 1,400,000.00

This is a competitive grant for groups and institutions to organize and conduct a national writing
workshop/fellowship for history writing.
Open to local government units (LGU), higher educational institutions (HEI), and civil society
organizations (CSO).

1. Complete proponent eligibility requirements/ NCCA accreditation;
Page 42 of 130
activities, and work & financial plan duly signed by the Proponent on each page;
3. Track record in implementing writing workshops;
4. Detailed program of activities and/or modules;
5. Number of fellows/mentees to be accepted must correspond to the number of mentors;
6. Criteria for the selection of fellows/mentee;
7. List and profile of (possible) mentors; and
8. List and profile of the screening/organizing committee.
Expected Output/Deliverables:
Conduct of a national writing workshop for aspiring historians with substantial number of
print-ready articles for publication

1. The proponent should make sure that the workshop has sectoral representation;
2. The participant-mentees to be accepted should be potential history writers who must
possess passion for history;
3. The rationale of the proposal should reflect how the project addresses the sub-sectoral
outcome indicators;
4. The workshop and mentoring process are expected to be conducted in various
modalities (e.g., online and onsite), hence organizers should consider the number of
participant-mentees and the mentors as there are travel or accommodation costs to be
incurred;
5. The workshop duration should be between three to six months only (including lectures,
workshops, writeshops, critiquing, mentoring, and presentation of final output); and
6. The proponent must be willing to be supervised by the members of the National
Committee on Historical Research.
SCH-Historical-5
Project Title: MAPPING RECENT DEVELOPMENTS IN PHILIPPINE HISTORIOGRAPHY
IN THE 21ST CENTURY
Budget per Project: Maximum grant in the amount of Php 1,000,000.00

This is a competitive grant for the production of a seminal publication codifying important
developments in Philippine historiography in the 21st century (e.g., new findings, trends,
updates in the discipline of history, milestones, and a directory of history institutions)
Individuals, higher education institutions, civil society organizations

Page 43 of 130
of activities, and work & financial plan duly signed by the proponent on each page

1. Must produce at least 500 copies or more;2
2. Must be launched by History Month 2024 (August 2024);
3. Track record of the individual or institution in the field of history writing and promotion for
at least 5 years, including the writers to be involved (preferably experts on the respective
field);
4. Familiarity with the new findings, trends, updates in the discipline of history (including
activities of historical associations and other academic institutions), milestones, and
directory of history institutions;
5. Involvement of various experts and institutions in the field of history in writing and
development of the compendium;
6. Novel and laymanized approach to presenting recent developments;
7. Willing to be supervised by the members of the National Committee on Historical
Research; and
8. Mounting of at least one workshop with various stakeholders presenting the publication.

● LIBRARIES AND INFORMATION SERVICES
SCH-Libraries-1
Project Title: ESTABLISHMENT/ENHANCEMENT OF LIBRARIES
Budget per Project:

Slot/s open for application: 6
Local government units (Provincial/City/Municipal Governments), Civil Society Organizations,
and educational institutions

2. Accomplished project proposal form with detailed Line-Item Budget, Schedule of
Activities, and Work & Financial Plan, duly signed by the Proponent on each page. For
enhancement of libraries, the date it has been established, type of collection and other
specific details about the library must be stated in the project description;
2
The proponent will get 40% of the total number of copies produced.
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3. Endorsement from the National Library of the Philippines (NLP) for public libraries. For
enhancement of libraries, the endorsement must state that the proponent is an affiliated
public library and is operational; and
4. Endorsement from the head of the institution for private libraries.

1. The proponent must have a proven track record of implementing projects and services
of similar nature;
2. The materials to be acquired, whether printed or electronic resources (perpetual), must
be responsive to the needs of its identified stakeholders;
3. For the establishment of libraries, an existing site must be provided by the local
government unit or parent institution;
4. For enhancement of libraries, priority shall be given to libraries/reading centers that have
been in existence for the last 3 years; and
5. Priority shall be given to proposals coming from Regions 2, 5, 9, 13, and CAR.
SCH-Libraries-2
Project Title: CAPACITY BUILDING FOR LIBRARIANS AND NON-LIBRARIANS
Budget per Project:

PhP200,000.00 per project or slot
Institutions and Professional Organizations that are accredited Continuing Professional
Development (CPD) Providers.

2. Accomplished project proposal form with detailed line-item budget, schedule
of activities, and work & financial plan, duly signed by the proponent on each page;
3. Continuing Professional Development (CPD) Provider Certificate; and
4. Profile of Speakers.

1. The proponent must have a proven track record of organizing events of similar nature;
2. The duration of the seminar workshop must be equivalent to at least 24 hours and must
cater to at least 100 participants;
industries, and prohibition of mass gatherings thereby constraining the conduct of the
proposed capability building program; and
4. Institutions organizing review sessions for the Librarian Licensure Exam should be
CHED-accredited and must waive review fees for at least 50 participants.
Page 45 of 130
SCH-Libraries-3
Project Title: DIGITIZATION AND ACCESS TO FULL-TEXT FILIPINIANA RESOURCES
Budget per Project:

PhP750,000.00 per project or slot
Local government units, State Universities and Colleges, regional/provincial/local study centers,
and public schools with established libraries/reading centers

2. Accomplished project proposal form with detailed Line Item Budget, Schedule of
Activities, and Work & Financial Plan, duly signed by the Proponent on each page;
3. Three (3) quotations from reputable imaging/digitizing companies specifying the project
cost, schedule of billing, duration or timetable, outputs or deliverables, among others;
and
4. List of Filipiniana books, manuscripts, monographs, theses, dissertation, periodicals, etc.
that are subject for digitization, following this template:
Creator Title of Work Type of Copyright No. of Pages Subject

Material Date
(Author,
(Books,
Researcher,
newspapers,
Compiler,
magazines,
Composer,
theses,
etc.)
dissertations
, musical
composition,
etc.)

5. The proponent must have a proven track record of implementing projects of similar
nature;
6. Priority shall be given to the following materials for digitization:
● out-of-print and rare Filipiniana books on history, culture, literature, arts, and
other works on the social sciences
● Theses and dissertations on Philippine Studies in the areas of literature, history,
culture, anthropology, folklore, folk medicine, arts and other related topics, written
in English, Spanish, Filipino and other Philippine language
● Special Collections (personal papers, incunabula)
7. Proponents must have an existing website/webpage where the digitized materials will be
shared for public access and they should demonstrate that its access will be monitored.
Copies of said digitized materials shall be furnished to both the NCCA and the National
Library of the Philippines.
Page 46 of 130
● MONUMENTS AND SITES OPEN CALL FOR PROPOSALS
Budget per Project:

PhP 5,500,000.00 will be allocated to the various selected projects. Proposals may not go
beyond that amount. The Committee will allocate the amount in an equitable manner based on
the impact on grassroots stakeholders and the number of grant proposals submitted.
National Government Agencies, Local Government Units, Civil Society Organizations, and
Educational Institutions

2. Accomplished project proposal form with detailed Line Item budget, schedule of
3. Potential proponents may write the NCCA for technical assistance to assist in preparing
their proposals; and
4. If applicable, a restoration plan that includes a specification of materials and
methodology.

1. Priority is given to regions that did not receive grants in the past three cycles and
provided that they pass evaluation criteria;
2. Projects that address the needs of nationally declared properties with clear and tangible
benefits to grassroots stakeholders;
3. Priority will also be given to proposals seeking to implement these types of projects:
● Restoration
● Training & capacity-building
● Architectural Documentation and/or Conservation Management Plans
4. Secondary priority will be given to proposals seeking to implement these types of
projects:
● Archaeological Impact Assessment if the proponent is a government agency
● Test digs and/or laboratory works
● Material Characterization
● Research, publications, and conferences that will directly benefit grassroots
stakeholders
Deliverables for Architectural Documentation

A. Photographic Documentation of the property
B. Architectural drawings of the property
C. Research
a. Archival research
i. Original plans and specifications
ii. Records of the design and construction (correspondences, reports, etc.)
iii. Period description of the building; mentions in articles, books, etc.
b. Research into the graphic representations of the building
c. Research into the occupants of the structure
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d. Research into the uses of the building in its different periods
e. Research into the contemporary history of the building
f. Legal Considerations for Conservation
i. Site boundaries
ii. Ownership of building(s) and land
iii. Heritage designations, listings
iv. Other legal considerations
g. Social dimension
i. Published opinion on the building
ii. Interviews with former occupants
iii. Interviews with people who know the building
D. Architectural analysis of the building and grounds

a. Formal analysis
b. Spatial analysis
c. Comparative survey of similar structures
i. Typology
ii. Style
iii. Age/Period
iv. Materials and construction method
E. Conditions Survey
a. Architecture
b. Structure
For publication proposals:

a. Printer-ready/Camera-ready manuscript both in PDF File in a flash drive or CD,
and a complete hard copy
b. Editor's certification that the manuscript has undergone editor's review
c. Quotations from at least 3 publishing houses for 1000 copies
Page 48 of 130
● MUSEUMS
SCH-Museum-1
Project Title: PRODUCTION OF ONLINE (VIRTUAL) EXHIBITION

The project is a production of a virtual exhibition that shall serve both as an alternative and
supplemental resource to the physical exhibitions of any museum. It includes creative
presentations of museum collections using various online platforms that give the museum
audience a different way of immersing into art and appreciating cultural collections aside from
viewing the same collections in their physical forms.
Local government units, educational institutions, and civil society organizations with museums
that have been in existence/established for at least five (5) years, with permanent staffing, with
public programs for the past two (2) years.

and work & financial plan, and duly signed by the proponent on each page;
3. List and profile of the project team (portfolio); and
4. Profile of museum

1. It must produce one online (virtual) exhibit;
2. The proposal must be aligned with the existing exhibition programs of the participating
museum as an alternative or supplement to physical exhibitions; and
3. The proposed project team must include a detailed project plan, a skilled photographer,
an online learning specialist, and a digital designer.
Page 49 of 130
SCH-Museum-2
Project Title: ENHANCEMENT OF MUSEUM

The project offers opportunities for the improvement of museum facilities for the management
and preservation of collections, educational and public programs, and the development of
current and new exhibitions that will ensure the relevance of a museum to its community.
Local government units, educational institutions and civil society organizations operating with
museums that have been in existence/established for at least five (5) years, with permanent
staffing, with exhibition facilities and repositories, with collections, and with educational or public
programs for the past two (2) years.

1. NCCA Certificate of Accreditation
activities, and work & financial plan, duly signed by the proponent on each page
3. Endorsement from the Regional Museum Association indicating years in existence,
permanent staffing through an organizational structure, with exhibition space or existing
galleries/exhibition and/or storage rooms, with collections, and educational or public
programs.
4. If the museum is designated as a National Cultural Treasure, Important Cultural
Property, Historical Landmark and/or Historical Shrine, an endorsement of the
project proposal from the National Museum of the Philippines and/or the National
Historical Commission of the Philippines is required.

1. The proponent as the main owner and/or administrator of the museum must have a
proven historical track record of natural and/or cultural work, with convincing proof of
legacy and national impact embodied by the number of exhibits and or/the quality of
works;
2. The proponent should demonstrate that the envisioned program shall enhance the
existing exhibitions or collections and shall elevate the current performance or impact of
the museum to the general public or its target audience;
3. An ocular inspection of the museum by an NCOM member or any museum worker
authorized by the NCCA is required prior to the submission of the project proposal;
4. The proposal to be submitted must be based on the recommendation of the NCOM
member or authorized NCCA representative from the technical assistance/ocular
inspection;
5. The project is aligned to the Guidelines on Grants for the Enhancement of Museums;
http://ncca.gov.ph/wp-content/uploads/2023/05/Guidelines-on-Grants-for-Enhancement-
of-Museums.pdf
6. Priority will be given to under-represented regions like SockSarGen, Eastern Visayas,
Bicol Region, Cagayan Valley. However, those from other regions can still apply.
Page 50 of 130
SCH-Museum-3
Project Title: YEARBOOK ON PHILIPPINE MUSEUM PRACTICE
Budget per Project: PhP 1,500,000.00

The project funds the publication of a yearbook that features the engaging activities and
innovative approaches of museums in the country that keep their visitors engaged and
immersed in their museum experience. It also highlights the distinct collections of various
museums in the country setting them apart from others.
Individuals, institutions or organizations composed of museum workers, writers, and/or
researchers.

2. Accomplished project proposal form with detailed Line Item Budget, Schedule
of Activities, and Work & Financial Plan, duly signed by the Proponent on each page;
3. Layout-ready Manuscript both in PDF File in flash drive or CD, and a complete hard
copy;
4. Editor’s certification that the manuscript has undergone editor’s review; and
5. Quotations from at least three (3) publishing houses for 1000 copies

1. The grant shall only cover the printing of 1000 copies; 600 copies shall be for NCCA and
400 copies shall be for the author/proponent (the proponent will get 40% of the total
number of copies produced);
2. Track record on publishing projects and should be at least three (3) years in operation
(e.g. university museum);
3. Must provide a list of Editorial Board and proof of an editorial office;
4. Must feature each region and should allot equal space allocations;
5. All members of the NCOM Execon must sit on the Editorial Advisory Board, and the
manuscript shall be subject to NCOM favorable review; and
6. The Yearbook must cover the year 2023.
Page 51 of 130
SCH-Museum-4
Project Title: REGIONAL MUSEUM SUMMIT

The project provides funding for programs that support the education and skills development of
museum and cultural workers in the country through knowledge and experience sharing among
museum practitioners. It encourages the generation and development of new research, field
and practical studies about Philippine collections and the exchange of technical expertise in
terms of conserving museum collections. LIkewise, it opens venues for discussion of national
initiatives including potential legislations that will ensure the continual development of museums
in the country.
Local government units, educational institutions or civil society organizations with museums that
have been in existence for at least 5 years, with permanent staffing, and educational/ public
programs for the past 2 years

and work & financial plan, duly signed by the proponent on each page;
3. Proposed program indicating topics, number of speakers, number of participants; and
4. If the proponent is not a regional museum association, an endorsement from the
regional museum association must be submitted.

1. Ability to complete the project's proposed objectives, judged by the qualifications of the
staff, prior experience in the implementation of summits, and the reasonableness of the
work plan and budget (including counterpart funding);
2. The efficiency of the project, as judged by the likely output versus costs;
3. The summit must have a minimum of 50 participants;
4. The summit must include sessions from NCOM and NCCA in its programs; and
industries, and prohibition of mass gatherings thereby constraining the conduct of the
summit.
Page 52 of 130
SCH-Museum-5
Project Title: CAPACITY BUILDING (BASIC MUSEOLOGY TRAINING)

The project supports the development of specialized training programs on basic and advanced
museology, the management and conservation of various museum collections, and the
development of research studies about Philippine collections. It includes hands-on activities,
on-the-job training, workshops, and writeshops.
Local government units, educational institutions and civil society organizations operating with
museums that have been in existence/established for at least five (5) years, with permanent
staffing, with exhibition facilities and repositories, with collections, and with educational or public
programs for the past two (2) years.

Activities, and Work & Financial Plan, duly signed by the Proponent on each page;
Profile of Speakers; and
3. Training Design

1. The learning outcomes / objectives must correspond to the training needs of the target
participants;
2. The training design must cater to at least 30 participants, and to be held within a
duration of at least one week; and
3. The venue must be conducive for learning and accessible to the target participants.
Page 53 of 130
Subcommission on the Arts (SCA)
● ARCHITECTURE AND ALLIED ARTS
SCA-NCAAA-1
Project Title: ONLINE CONFERENCE ON URBAN LAND USE AND HOUSING,
AGRICULTURAL LAND CONVERSION, RECLAMATION, MASS TRANSPORT
SYSTEM/URBAN MOBILITY, PARKS AND OPEN SPACES, CAREER
ORIENTATION
Budget per project:

PhP 400,000.00
An online conference that will be a venue for the sharing of diverse theoretical and practical
discourse on various topics in the natural and built environment towards the goal of attaining the
UN Sustainable Development Goals and towards supporting the National Disaster Risk
Reduction Management Framework and/or the NEDA Philippine Development Plan. The
conference will highlight the current issues that will interest all the Environmental Planning,
Landscape Architecture, Architecture, and the Interior Design Professions. Involvement of the
Architecture and Allied Arts will broaden the knowledge on issues affecting the professions and,
more importantly, connect architecture and allied arts toward collaborative and innovative
solutions for a more resilient and responsive built environment.
Project Objectives:
● To raise awareness among the public about issues that directly affect architecture and
allied arts;
● To share best practices in addressing challenges in the natural and built environment;
● To serve as a platform for discussion of relevant issues and opportunities in the natural
and built environment and human settlements in the context of, but not limited to
inclusivity, diversity, UN Sustainable Development Goals (SDGs), National Disaster Risk
Reduction Management Framework and/or the NEDA Philippine Development Plan;
● To promote inclusivity, collaboration, and mutual respect among the four allied
professions;
● To enhance the relevance of the planning and design professions, as well as the
NCAAA in community concerns; and
● To serve as critical inputs to the eventual publication and dissemination of the
conference proceedings.
Qualification of the Proponent:

Civil Society Organizations (CSOs), Local Government Units (LGUs), Academic
Institutions/State Universities.
Criteria for evaluation of the proposals:

1. Viability of the Product;
2. Relevance to a particular current urban issue or concern;
3. Urgency of the concern;
4. Proof of partnership with CSOs, LGUs, Government Agencies, Schools;
5. Involvement of recognized experts as resource speakers/discussants from ALL the four
(4) allied professions namely:
Page 54 of 130
a. Environmental Planning
b. Landscape Architecture
c. Architecture
d. Interior Design
6. Should be aligned with the ultimate attainment of inclusivity, acknowledgement of
diversity, attainment of UN Sustainable Development Goals (SDGs), National Disaster
Risk Reduction Management Framework and/or the NEDA Philippine Development Plan
Requirements for submission:

Activities, and Work and Financial Plan, duly signed by the Proponent/Head of the
Organization on each page;
3. Should involve ALL four allied professions - environmental planning, landscape
architecture, architecture, and interior design;
4. Memorandum of Understanding (MOU) with/among LGUs, CSOs, Schools;
5. Conference program, which should be at least two (2) but no more than four (4) days;
6. List and credentials of the speakers/discussants (at least a three-sentence brief
background of each);
7. If ever a school hosts the said event, it should secure certification of active involvement
with the activities of and/or membership with the Philippine Architecture Schools
Association (PhilASA, formerly CODHASP) and/or the Council of Interior Design
Educators (CIDE);
8. Proof of technical capability to conduct such a virtual/online conference/webinar. Or a
realistic proposal to acquire and adeptly use the necessary technology to conduct such
virtual/online conference/webinar;
9. Programme sequence; and
10. Projected number of participants and audience
SCA-NCAAA-2
Project Title: ONLINE COMPENDIUM OF TRADITIONAL BUILDING MATERIALS AND
TECHNIQUES
Budget per project:

PhP 300,000.00 per
An online compendium that serves as an upgradeable and expandable repository of traditional
and/or indigenous building materials, construction, and techniques, with the ultimate goal of
promoting the cultural heritage and sustainability of Philippine Architecture and Allied Arts. The
compendium will contain at least an initial thirty (30) to one hundred (100) examples of
traditional and/or indigenous building materials, construction, and techniques, with proper
reference citation following acceptable research ethics and standards. This shall serve as a
database for, but not limited to architects, landscape architects, interior designers,
environmental planners and other allied professionals and cultural workers, along with students
and other academics. The project will encourage the sharing of knowledge within the growing
community of traditional / indigenous researchers / professionals in the creation of the
compendium.
Page 55 of 130
To develop a more robust digitalization system for the repository, the project may include the
involvement of professionals and/or students from information technology or other relevant
fields who are under the creative and technical guidance of their academic mentor.
Project Objective:
● To serve as a dynamic repository of traditional and/or indigenous building materials,
construction, and techniques;
● To serve as a reference database for, but not limited to architects, landscape architects,
interior designers, environmental planners and other allied professionals and cultural
workers, along with students and other academics;
● To promote inclusivity, collaboration, and mutual respect among the four allied
professions; and
● To preserve cultural heritage through sustainable knowledge and technology transfer.

Civil Society Organizations (CSOs), Local Government Units (LGUs), Government Agencies,
Academic Institutions/State Universities
Preferably should secure a formal endorsement and/or support from the National Commission
on Indigenous Peoples of the Philippines (NCIP)

Viability of the Product; Follow Health Protocols for the New Normal; NCCA Accreditation; Proof
of partnership with CSOs, LGUs, Government Agencies, Schools.

3. Preferably involve the four allied professions - environmental planning, landscape
architecture, architecture, and interior design;
4. Memorandum of Understanding (MOU) with/among LGUs, CSOs, Schools;
5. If ever a school is the proponent, it should secure certification of active involvement with
the activities of and/or membership with the Philippine Architecture Schools Association
(PhilASA, formerly CODHASP) and/or Council of Interior Design Educators (CIDE);
6. Proof of technical capability to conduct such a virtual/online compendium. Or a realistic
proposal to acquire and adeptly use the necessary technology to conduct such
virtual/online compendium in the medium term of three to five years;
7. The proposal should include expenses for the website hosting and renewal for three (3)
to five (5) years, domain name registration and renewal for three (3) to five (5) years and
website development. To ensure that the domain name and web hosting will not expire
and will remain accessible for future researchers, there should be proof of realistic and
sustainable management of the website in the grant proposal, like possibly transferring
management of this to the NCAAA or the NCCA for annual grant allocation for website
maintenance after three (3) to five (5) years, if the proponent has limited resources to
maintain such in the long term.
Page 56 of 130
SCA-NCAAA-3
Project Title: CAPACITY BUILDING: Development of Resilient and Sustainable
Filipino Communities (Upcycling Workshop and Exhibit)
Budget per project:

PhP400,000.00 per slot
Slot/s open for application: 4 slots (2 slots for Upcycling Workshop; 1 Slot for Exhibition on
Tangible Objects: Architectural/Interior Design Heritage Miniatures; 1 slot for Bamboo Crafts
[Indigenous Materials] Training)
A capacity-building project that will provide communities with relevant knowledge and skills
through seminars, training, exhibits and workshops on upcycling concepts, material
development / construction of bamboo and other indigenous materials, disaster risk reduction,
and heritage preservation.
Project Objectives:
● To enhance the knowledge and skills of the communities on the concepts of upcycling
material development / construction of bamboo and other indigenous materials, disaster
risk reduction, and heritage preservation;
● To help in the reduction of waste products affecting the environment;
● To promote social responsibility, disaster resiliency, and cultural sensitivity; and
● To empower communities to be resilient to all types of disasters toward sustainable
development focusing on topics in relation to Architecture, Interior Design, Landscape
Architecture, and Environmental/Urban/Town Planning for local government units.

Open to Civil Society Organizations (CSOs), Provincial and Local Government Units
(P/LGUs), Government Agencies (GA) and Academic Institutions/State Universities that are
compliant with NCCA’s eligibility requirements.

3. Product with Rationale and Module Design;
4. Detailed Activity Components and Identified Partners;
5. Profile of Resource Persons;
6. Endorsement from PIID or CIDE; and
7. Memorandum of Understanding (MOU) with LGUs, CSOs, and Schools

1. Completeness of Proposal;
2. Viability of the Product;
3. Relevance of the Proposal to the goals of the Grant;
4. Compliance with national health protocols; and
5. NCCA Accreditation.
Page 57 of 130
SCA-NCAAA-4
Project Title: Philippine Architecture Festival
Budget per project:

PhP1,500,000.00
A festival that will become a large showcase of curated works from the categories of
environmental planning, landscape architecture, architecture, and interior design in the
Philippines.
Project Objective:
● To educate the popular community on the importance of architecture, interior design,
landscape architecture and environmental planning;
● To foster camaraderie and synergy between the architecture and allied arts professions;
and
● To provide a venue to showcase national, regional, and provincial works of architecture
and allied arts with valuable importance to culture and the arts.

Open to Civil Society Organizations (CSOs), Local Government Units (LGUs), Government
Agencies (GA), Academic Institutions/State Universities

1. Festival Design; and
2. Experience in curatorial works.

3. Festival Design;
4. At least 80 list of exhibitors from ALL the four (4) allied professions namely:
a. Environmental Planning
b. Landscape Architecture
c. Architecture
d. Interior Design
5. CV and proof of curatorial experience.
Page 58 of 130
SCA-NCAAA-5
Project Title: LUNTIANG POOK: Building Sustainable and Disaster Resilient Community
Open Spaces
Budget per project:

PhP 600,000.00
Slot/s open for application: 2 slots (nationwide)
A landscape design that will highlight the importance of community gardens through a
co-building framework that uses Indigenous /local species of edible and ornamental plants and
local hardscape materials if needed.
Project Objective:
● To educate the community on the importance of healthy and sustainable living by
creating a communal garden that utilizes indigenous/local species of edible and
ornamental plants and local hardscape materials if needed;
● To raise awareness that through a progressive communal garden, food security in a
community can be attained and livelihood opportunities can be created; and
● To provide multi-purpose areas or convertible gardens or open spaces as part of the
communities’ disaster emergency response plan.

Open to Civil Society Organizations (CSOs), Local Government Units (LGUs), Government
Agencies (GA), Academic Institutions/State Universities

3. Site Inventory (area of site [sq. m.], site photos, brief description of the existing site
condition, site not privately owned);
4. Location Map;
5. Community Profile (No. of Households);
6. Memorandum of Understanding (MOU) with LGUs, CSOs, Schools;
7. Training Module with Profile of Resource Persons;
8. Proposed Training Program & Schedule;
9. Site should have at least 25 participants;
10. Module should be 4-5 days; and
11. Proof of Partnership with or endorsement from Philippine Association of Landscape
Architects (PALA).
Criteria for Evaluation of the Proposals:

1. Existing Community with the communal garden;
2. Partnership with Philippine Association of Landscape Architects (PALA) on the technical
requirements such as design workshop, implementation guidelines and identification of
resource persons, following health protocols;
3. Minimum 120 sq.m. land area.
Page 59 of 130
● CINEMA
*For individuals, grants will be released through reimbursement
*Projects under all the Categories must be undertaken in compliance with the government’s
public health safety measures. The NCCA shall not be held liable for the grantee’s
non-compliance with government regulations.
SCA-Cinema-1
Project Title: CINEMAS IN THE REGIONS (Film Festival Grant)
Budget per project:

PhP 350,000.00
Project Objective / Description:

This project aims to provide financial support for the conduct of film festivals in the regions that
have been running for five (5) years or less. Through the project, initiatives are supported by
providing the needed platform to exhibit regional films, develop filmmaking in the regions, and
encourage meaningful discussions on regional cinemas.
1. Local Government Unit (LGU) or Civil Society Organization (CSO) and film
organizations from all regions are eligible to apply;
2. Proponents must be able to demonstrate a good track record of implementing
arts-related activities. This may be shown through their capacity to provide facilities for
film exhibitions and fora, mobilize audiences, and establish linkages with partners and
stakeholders; and
3. Proponents must be able to provide counterpart funding for NCCA assistance.

Organization on each page
a. Detailed activity work plan shall include:
i. Description of locality
ii. Strategies for implementation (onsite, online, or hybrid, etc.),
programming, audience mobilization, festival management, and
sustainability
iii. Marketing and promotion strategies and partnerships
3. Profile of the festival organizations and festival directors;
4. Profile of proposed resource persons;
5. Endorsement from the Local Government Units (LGUs) or local cultural council or centers
regarding the proponent’s qualification.

1. Project proponents must be able to present a good track record of implementation, such
as, but not limited to, having a multi-year execution, previous/existing funding or support
from the NCCA or other agencies and organizations, organized financial bookkeeping,
and a reputable standing in the community;
Page 60 of 130
2. Quality film programming/programs that highlight regional artistry and filmmaking;
3. Screening of at least 20 films in the festival, with a selection criterion that generally
recognize, protect, and promote the diversity of Filipino culture;
4. Rationale and plan for at least a two-day film festival, with an expected audience of at
least 1,000; and
5. Inclusion of an educational or outreach component.
____________________________________________________________________________
SCA-Cinema-2
Project Title: SHORT FILM PRODUCTION / DOCUMENTARY/EXPERIMENTAL /
ANIMATION
Budget per project:

PhP 100,000.00

This grant seeks to support the production of a fiction, documentary, animated, or experimental
film through various stages of production.
Proposals may be in the form of:

● Production of a complete short film (e.g., pre- to postproduction of a fiction film)
● Development/ Preproduction phase of a short film (e.g., art preparation of an animated
film, materials procurement, and access for a documentary)
o Example for animated shorts:
▪ Story: script, storyboard, animatic, music score and voice recording
▪ Production design: art direction, concept art, color script, character, and
environment design
● Production phase of a short film (e.g., principal photography of a documentary,
animation and recording phase of an animated film)
o Example for animated shorts:
▪ Creation of animated scenes
● Postproduction phase of a short film
o Example for fiction, documentary, or animated films:
▪ Color grading
▪ sound mixing
▪ offline and online editing of animated scenes
The proponent’s deliverables at the end of the Grant period will be based on the type of
proposal made; The National Committee on Cinema may expect/ require, but will not limit itself,
to the following:
● For complete productions: completed/finished films
● For grants awarded to production phase proposals: animated scenes for animation,
rushes for fiction films
● For grants awarded to development/ preproduction phase proposals: shooting script,
storyboard, animatics for animations, and production schedule/s for fiction/ experimental
films
● For grants awarded to postproduction phase proposals: fine cut or finished film
● For all finished films: an authorization for NCCA to screen the film on a non-commercial
basis, after 2-3 years from the film’s first public or festival screening, or earlier upon the
grantee’s written consent.
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Individual filmmakers/SEC registered organization with a good track record in producing films;
with a film project in need of production assistance. Student/ thesis/ capstone films are not
eligible for this grant.
*Grantees shall commit to rendering one (1) count of return service by participating in NCCA-led
or NCCA-supported events, activities, or projects as a volunteer worker or professional serving
in the capacity of their field.

3. Profile of the filmmaker;
4. Filmmaker’s/ proponent’s filmography, including screening links to at least two (2) short
films;
5. Description of the film project and details of the cast and crew;
6. Development/ Production/ Postproduction schedule;
7. Endorsement by a film producer or organization regarding the proponent’s qualification;
8. Materials that indicate the proponent’s capacity to implement the project and complete
the requirements; these may include, but are not limited to:
a. Scripts, sequence treatments, and concept papers
b. Key art, sample art, visual guidelines, or style bibles
c. Guarantees of exhibition, acceptance in festivals, or similar undertakings
d. Rushes and other work ready for postproduction
e. Set, VFX, Production, and/or Sound Designs
f. Pitch deck or film dossier

1. Good track record of the filmmaker with the ability to accomplish the production
schedule;
2. Screenplay and/or sequence treatment;
3. Complete footage of the rushes for the short film;
4. Director’s statement;
5. Film project should provide a unique or novel or innovative approach to cinema that also
recognizes, protects, and promotes the diversity of Filipino culture.
SCA-Cinema-3
Project Title: FEATURE-LENGTH FILM POST-PRODUCTION
Budget per project:

PhP 500,000.00
Competitive grant where funds are intended for covering postproduction costs such as but not
limited to: production sound synching on editing, sound effects design, foley mixing, music
composition, color grading, online editing and final assembly, subtitling, dcp mastering,
repacking and replication, and the like.
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The proponent’s deliverables at the end of the Grant period will be based on the proposal
made; The National Committee on Cinema may expect/ require, but will not limit itself, to the
following:
● For complete productions: completed/ finished films for NCC’s archive purposes
● For all finished films: an authorization for NCCA to screen the film on a non-commercial
basis, after 2-3 years from the film’s first public or festival screening, or earlier upon the
grantee’s written consent.

Individual filmmakers/SEC registered organization with a good track record in producing films;
with a film project in need of post-production assistance.

3. Profile of the filmmaker;
4. Full description of the film project, and details on the cast and crew;
5. Postproduction schedule; and
6. Endorsement by an experienced film producer or organization regarding the proponent’s
qualification.

1. Good track record of the filmmaker with the ability to accomplish the production
schedule;
2. Screenplay and/or sequence treatment;
3. A rough cut of key sequences of the full-length film; and
4. Film project should provide a unique or novel, or innovative approach to cinema that
also recognizes, protects, and promotes the diversity of Filipino culture.
SCA-Cinema-4
Project Title: CAPACITY BUILDING/FILM LABORATORIES
Budget per project:

PhP 300,000.00

This Grant is designed to provide funding for the development and conduct of medium-length
training fellowships or laboratories in specialized or focused disciplines in filmmaking.
Participants in these laboratories should have projects already under development and/or are
required to submit proposals or pitches prior to acceptance into the program.
This grant seeks to fund training programs designed for more experienced, promising, and
dedicated participants who are willing and able to make a substantial time and effort investment
in developing their personal skills, talents, and projects.
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Fellowship and laboratory programs with multiple sessions, spread over a reasonable number
of weeks, requiring clear outputs, and are focused on very specific aspects of filmmaking are
highly desirable.
This Grant takes inspiration from established script and film development labs such as
TorinoFilmLab, Berlinale Talents, Busan FLY, and the Cinemalaya Film Academy.
Target proposals include, but are not limited to:

● Screenwriting labs (either short- or full-length films)
● Feature film development labs for creative producers
● Feature film completion labs (e.g., postproduction labs for advanced-stage films)
● Genre- or form-specific development programs (e.g., advocacy filmmaking lab,
documentary film lab; may also take inspiration from the Fantastic Pavilion at the
Marche du Film at Cannes)
● Non-production courses (e.g., film and production management, producing, film
marketing and distribution, film criticism, etc.)
● Specialized production skills courses (e.g., character design and development, visual
effects, production design)

Local Government Units (LGUs) or Civil Society Organizations (CSOs) or Academic Institutions;
track record in implementing arts activities; capacity to conduct workshops and fora; capacity to
provide counterpart to NCCA assistance; and ability to mobilize participants.

3. Profile of the workshop organization, organizers, and facilitators;
4. Outline or Program of Activities/ Sessions/ Coverage for the duration of the laboratory or
fellowship; and
5. Description of locality, programming, strategy for mobilization of participants, and
strategies for sustainability.

1. The proponent must submit a proposal for a medium-length training fellowship in the
discipline of filmmaking;
2. Training or course regimen must run for a minimum of 36 contact hours; this does not
include time participants may need for requirements, outputs, and “assignments”.
Contact hours may include synchronous online sessions, but face-to-face sessions must
comprise at least 50% of total contact hours;
3. Training or module design must be in at least 1 focused or specialized area in
filmmaking (e.g., screenwriting, sound design, cinematography, direction, etc.).
Proposals in general, introductory, or basic filmmaking tasks, and modules designed for
non-filmmakers will not be considered;
4. Fellows (participants) must be committed to completing the whole course to earn
completion credits and credentials; a minimum of 10 fellows must be accommodated by
the proposed training regimen;
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5. The proponent must submit the qualifications of intended fellows, criteria for selection
and acceptance of training fellows, and must also specify the criteria and requirements
(output, production, or performance) necessary to earn completion credits; and
6. The proponent may include a public performance (e.g., screening, reading, or exhibit) of
the outputs produced by fellows.
SCA-Cinema-5
Project Title: FILM FESTIVAL DISTRIBUTION
Budget per project:

PhP 50,000.00

This aims to support filmmakers in being able to submit their films to recognized international
film festivals. The grant may be used for festival submission fees, DCP processing of their films
for international festivals

Individual filmmakers/SEC Registered organization with a good track record in producing films,
with a film project (finished or nearly finished) in need of distribution assistance for theatrical,
public, and/or commercial screenings

3. Director’s profile and filmography;
4. Endorsement by an experienced film producer or organization regarding the proponent’s
qualification;
5. Film Festival Submission plan;
6. Online screener of the film (can be offline cut); and
7. Director’s Statement.

1. Strategic festival submission plan;
2. Artistic quality of film; and
3. Good track record of the filmmaker with the ability to accomplish distribution.
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SCA-Cinema-6
Project Title: SCHOLARSHIP GRANT SUBSIDY
Budget per project:

PhP 100,000.00
Slots open for application: 2 slots

This Grant is designed to provide funding assistance for a film scholar who is enrolled in or
admitted to postgraduate (MA or PhD) studies abroad in the field of Cinema.
This assistance can be in the form of transportation (airfare) expenses or tuition that is within
the said fund allocation.
Target beneficiaries include, but are not limited to:

● Graduate or Doctorate Candidate pursuing a postgraduate degree on cinema

● Graduate or Doctorate student enrolled on a postgraduate course / program on cinema
● Filipino citizen
● Grantee shall commit to rendering one (1) count of return service by participating in
NCCA-led or NCCA-supported events, activities, or projects as a volunteer worker or
professional serving in the capacity of their field.

3. Letter of intent to apply for the scholarship grant subsidy (include plans / program plans
upon returning to the Philippines);
4. Curriculum Vitae (CV);
5. Letter of acceptance / admission letter from the university/ educational institution
enrolled in with the corresponding date, time, and location of the study;
6. Letter of endorsement;
7. Travel Itinerary;
8. Study Plan; and
9. Budget plan for the grant.

1. Individual track record; and
2. Clear presentation of plans after the program.
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● DANCE
SCA-Dance-1
Project Title: SAYAW LIKHA: CALL FOR NEW WORKS AND PRODUCTIONS
Budget per project:

PhP 200,000.00
Slot/s open for application: 4 slots (1 slot each for National Capital Region, Luzon, Visayas,
and Mindanao)
Projects that will support the production of dance performances to provide an opportunity for
dance companies and choreographers to create new works that promote Philippine Culture.
Production must be a live production or a dance film with a scheduled streaming with a target
live audience. Projects that will recognize the importance and need of providing a venue to
exhibit, hone, and nurture the talents and creativity of the emerging dance artists from the local
areas towards artistic excellence. Moreover, projects that highlight gender equality, disability,
and social inclusion. Themes on disaster resilience and themes focusing on the 17 SDGs are
strongly encouraged.

Local Government Unit or Non-Government Organization supported; track record in
implementing arts activities; the capacity to provide facilities for dance performances; can
provide counterpart to NCCA assistance, able to mobilize audiences.

1. Regular requirements of NCCA (refer to proposal form);
2. Profile of performing groups and artistic directors;
3. Sample videos/ photos of the groups;
4. Full project proposal that includes a description of locality; programming, strategy for
mobilization of audience; strategies for sustainability; and a concise rationale,
background, and objectives of the production.
5. Detailed line-item budget.
Expected Output/ Deliverables:

At least 1,000 audiences; Well-promoted activity; Promoted different dance forms with a focus
on the local theme; Produced new work; Project Technical Report.

Relevance to the theme; Artistic quality of the performing group/s; Track record of the
performing group/s; Dance content; Promoting Filipino culture; Clear announcement of the
schedule of activities; Proposed sustainability mechanism; New dance production.
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SCA-Dance-2
Project Title: DANCE RESEARCH MUSIC VIDEO (DRMV) PROJECT
Budget per project:

PhP 500,000.00
Slot/s open for application: 3 slots; Open for National Capital Region, Luzon, Visayas, and
Mindanao.
The National Committee on Dance seeks to sustain its mandate to provide quality programs
and projects, including the areas of dance research, technology, and innovation and provide a
key channel of ideas to worldwide readership through knowledge creation, and research
dissemination and sharing. The Dance Research Music Video (DRMV) project is an attempt to
disseminate published dance research in another mode of delivery and provide alternative
indicators of research impact derived from the web (e.g., social media, traditional media, blogs,
and online reference managers) in support of the assessment of research impact. A music
video is defined as a video of variable duration, that integrates a music with imagery that is
produced for promotional or musical artistic purposes (Cutietta, 1985). Connectedly, a Dance
Research Music Video (DRMV) is operationally defined as a concept dance music video that
uses the artistry and creativity of the artists/researchers to expand their creative vision of their
current publication with a song (Jørgensen, 2022). DRMV would typically include the full
concept of the published article (dance research) in any of the journals managed by the
different universities and other reputable research institutions, carefully chosen song,
performance or a narrative, and a choice of symbolic and/or thematic type.

Authors of published research articles, including undergraduate or graduate publications
co-authored with their respective advisers; has the capacity to collaborate with IT experts; can
provide a counterpart to NCCA assistance, able to mobilize an audience.

2. Profile of the research proponent/author;
3. Research Abstract;
4. Full project proposal that includes description of the research; detailed timeline of the
project including programming, strategy for dissemination to intended audience;
strategies for sustainability; and

At least 5,000 views (audience reach) for online dissemination; well-developed research music
video; Produced dance research video; Project Technical Report.
Publication of the research work; relevance to the research agenda of NCCA; good track record
of the researcher/s.
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SCA-Dance-3
Project Title: EDUKAGALING; EDUKASAYAW DANCE EDUCATION SUPPORT
PROJECT
Budget per project:

PhP 300,000.00
Slot/s open for application: 4 slots (1 slot each for National Capital Region, Luzon, Visayas,
and Mindanao)
This project aims to provide a Capacity Building Program for dance educators and artists both
public and private educational institutions and local communities in the region. The grant will
cover intensive training programs in different genres of dance, seminar-workshops, forums, and
conferences as well as short courses and/or programs that may contribute to the professional
development of dance educators/artists.

An established dance organization with good track records; At least Level 2 Accredited Higher
Education Institutions with experience in conducting professional development training; Local
Government Agency with good track record of conducting training programs or support given to
education in general and dance education in specific.

2. Full Project Proposal including the Comprehensive Training Design (rationale, target
outcomes, program structure, contents, monitoring/assessment plan);
3. Trainer’s Profile/Lecturers;
4. Detailed Line-Item Budget.

Complete Training Program Design; well-promoted program; Implemented Training Program;
Technical Report with program evaluation.

Comprehensiveness of the project proposal; relevance to the strategic development plan of the
committee for area 3; track record of the proponent/s; Number of target participants of the
proposed project.
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SCA-Dance-4
Project Title: KASAYAW PROJECT: KAAKIBAT TUNGO SA SAYSAY NG MANANAYAW
Budget per project:

PhP 500,000.00
Slot/s open for application: 3 slots (Open for National Capital Region (NCR), Luzon, Visayas
and Mindanao)
The project aims to support, enrich, and promote cultural programs and activities about the
dance industry, governance, and partnership. The grant may be given to support a conference,
summit, competition, or any cultural activity where dance will be the main component, and that
these programs/activities will highlight the issues about dance artists’ welfare and well-being,
Creative Industry Support, Support for GEDSI, Support to Climate Change and Disaster
Resilience, Partnerships and Linkages.

Local Government Unit (LGU) with an Arts & Culture Office/Division/Department and with a
good track record in implementing art & culture programs and activities in face-to-face and
virtual platforms; Established dance organization with good track records.

2. Profile of LGU/Dance Organizations & the implementing office and artistic & production
staff;
3. Sample videos/ photos of the implemented programs/project of LGU/Dance
Organizations;
4. Full project proposal that includes description of locality; programming, strategy for
mobilization of audience; strategies for sustainability; and

Complete Program Design; Well-promoted activity; Implemented Program; Technical Report
with Evaluation; Produced Guidelines, policies, resolutions, and the likes that will address the
issues about dance artists’ welfare and well-being, Creative Industry Support, Support for
GEDSI, Support to Climate Change and Disaster Resilience (for summit/conference).

Comprehensiveness of the project proposal; relevance to the strategic development plan of the
committee for area 4; track record of the proponent/s; number of target participants of the
proposed project.
Page 70 of 130
● DRAMATIC ARTS
*Projects under all the Categories must be undertaken in compliance with the government’s
public health safety measures. The NCCA shall not be held liable for the grantee’s
non-compliance with government regulations.
SCA-Drama-1
Project Title: ALAB NG DULA: Production Grant
Budget per project:

PhP 350,000.00
Slot/s open for application: 8 slots (2 each for Luzon, NCR, Visayas, and Mindanao)
ALAB NG DULA provides production grants to organizations or networks in staging new works
committed to the development of Filipino Theater and Performances. The production may be
produced as a theater performance of a single organization or in collaboration with other
performing groups and stakeholders. Themes of the performances may include Filipino values,
sustainable development goals, gender and development issues, or the commemoration of
125th anniversary of the Philippine Independence. Collaboration can take the form of co-writing
play scripts, including performers from other groups, enlisting the assistance of other artists to
work on different aspects of theater works such as production design, lighting, costume design,
and/or incorporating other media.

Open to Local Government Units (LGUs), People’s Organizations (POs), Civil Society
Organizations (CSOs) or Academic Institutions from all regions with a good track record in
implementing arts activities; capacity to provide a counterpart to NCCA assistance; and ability
to mobilize at least 500 audiences.

3. Organization’s profile;
4. Script or synopsis and treatment of the theatre performance;
5. List and short bio-note of the creative staff; and
6. Detailed activity plan including description of locality, programming, strategy for
mobilization of audience, and strategies for sustainability.
As part of the output, the proponent should submit written, video, and photo documentation at
the end of the project.

1. Clear program of activities;
2. Good track record of proponent;
3. Potential or viability of the project; and
4. Creation of new works in line with the different themes.
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_________________________________________________________________________
SCA-Drama-2
Project Title: MAKIPAMUHAY Theater Immersion Program
Budget per project:

PhP 200,000.00
The MAKIPAMUHAY is a call for project proposals on artists’ immersion to cultivate oneself
artistic and leadership skills through mentored studio practice, theater arts classes, and
immersion in theater-based and/or initiated community-building projects. The artists should be
open to engaging oneself in hands-on work in formal and informal classes and discussions of
the local praxis of the theater organization to which the artist would be doing an immersion. At
the end of the immersion period, the artist must exhibit a new body of theater work and come up
with an experience paper to be shared to their regional network.

Open to emergent and practicing theater artists from all regions with a good track record in
involving oneself in theater activities; and willing to engage in the requirements and policies of
the organization or community to which the person is applying for the immersion program.

2. Accomplished project proposal form with a detailed line-item budget, schedule of
activities, and work and financial plan, duly signed by the Proponent/Head of the
3. Organization’s profile to which the applicant would be applying for the immersion
program;
4. Acceptance of partnership from the receiving community/organization;
5. List and short bio-note of the creative staff of the immersion program; and
6. Detailed activity plan including a description of locality, programming, strategy for
mobilization of the audience, and strategies for sustainability.

1. Clear program of activities;
2. Good track record of the applicant and organization/community to which he/she/they are
applying for theater immersion.
Page 72 of 130
SCA-Drama-3
Project Title: PANDAYAN NG DULA (MASTER CLASS ON THEATER PRACTICES)
Budget per project:

PhP 400,000.00
As the Committee’s response to the changing landscapes brought by modernity and challenged
by varying socio-political climates, the Call for proposals entitled “PANDAYAN NG DULA’ is an
advanced and innovative approach to conducting theater and arts performance training in the
regions. It aims to provide masterclasses that will develop and enhance the prior knowledge,
skills, and practices of theater practitioners in the context of the respective regions of the
proponents. Masterclasses may be done in the form of workshops, conferences, and forums
through face-to-face platforms.
Proponents should engage different sectors in their immediate community, neighborhood,
region, or beyond through partnerships and linkages. Proponents must be open to sharing and
disseminating the documentation of their processes in making theatre work. Furthermore, the
project should be implemented, and should involve participants from different parts of the
region.
Topics may cover but not limited to:
a. Capability building in the field of acting, directing, production designing or emerging
components of theatre production and dissemination;
b. Innovative use of other art forms/medium to facilitate the production, appreciation, and
dissemination of theatre;
c. Enhancement of capacity in the protection of rights of artists and theatre practitioners,
ways of documenting and uploading live performances into digital platforms or
developing ways to do limited live performances;
d. Innovation to address social concerns and issues, e.g., Arts Therapy, Artist Rights and
Welfare, Impact of Anti-Terrorism Law on Theatre.
Proponents may consider to include at least one or any of the following outcomes posited by
the Culture, Arts, and Values Sectoral Strategy Framework 2023-2028:
1. Diverse cultural heritage valued;
2. Creativity and artistic excellence advanced and promoted;
3. Filipino values for the common good inculcated;
4. Human and social development—specifically health, nutrition, education and life-long
learning, livable communities, and social protection—promoted through culture and
values;
5. Cultural and creative services strengthened towards increased income-earning ability,
reinvigorated services, and agriculture and agri-business modernization;
6. Culture and the arts mainstreamed in research and development technology and
innovation advancement, and infrastructure expansion and upgrading;
7. Culture-sensitive governance, improved bureaucratic efficiency, peace and security, and
enhanced administration of justice ensured; and
8. Climate action and disaster resilience reinforced through culture and values.
Page 73 of 130
Open to Local Government Units (LGUs), People’s Organizations (POS), Civil Society
Organizations (CSOs), or Academic Institutions from all the regions with a good track record in
implementing arts activities; capacity to conduct online workshops, conferences, and forum;
capacity to provide counterpart to NCCA assistance; and ability to mobilize participants.

3. Budget may be allocated but not limited to food and accommodation of the participants
and honorarium of resource speakers;
4. Profile of the proponent, facilitators and/or resource speakers;
5. Description of locality, programming, strategy for mobilization of participants, and
strategies for sustainability;
6. At the end of the project, the proponent must submit regularly a written evaluation of
their participants; and
7. At the end of the project, the proponent should submit written, video and photo
documentation.

1. Good track record;
2. Endorsement from established and reputable organizations or an individual;
3. Profile and expertise of the resource speakers;
4. Detailed presentation of project concept, training design and/or module;
5. Clear strategies and activities; and
6. Clear criteria on selecting the participants of masterclasses.
SCA-Drama-4
Project Title: SANAY-DULA: Scholarship Assistance for Theater Artists
Budget per project:

PhP 150,000.00
Scholarship assistance extended to theatre artists who were accepted in a reputable institution
abroad.

An individual proponent with a good track record in theater.

Activities, and Work and Financial Plan, duly signed by the Proponent on each page;
3. Must be accepted in a theatre program from a reputable institution;
4. Letter of intent (include plans after the training and program plans upon returning to the
Philippines); and
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5. Two (2) letters of endorsement.

1. Individual track record;
2. Clear presentation of plans after the training.
SCA-Drama-5
Project Title: KATIPUNAN: NETWORKING AND PARTNERSHIP BUILDING
Budget per project:

Slot/s open for application: 4 slots (1 each for Luzon, NCR, Visayas, Mindanao)
Networking and Partnership is a call for project proposals on providing avenues for
organizations to strengthen and expand their existing linkages or build new partnerships with
different stakeholders in advancing theater work in the region. The project may be conducted
through gathering of theater artists or stakeholders in a face-to-face mode such as a
conference, assembly, or series of forums. Projects under this category should be able to
provide a venue for exchange of practices and sharing of resources and expertise including
discussion on ways to expand audience mobilization, and increase of markets for theater and
arts performances.

Open to Local Government Units (LGUs), People’s Organizations (POs), Civil Society
Organizations (CSOs) or Academic Institutions from all regions with a good track record in
implementing arts activities; capacity to provide facilities for face-to-face and online activities;
and has the capacity to provide counterpart to NCCA assistance.

activities, and work and financial plan, duly signed by the Proponent/Head of the
organization on each page;
3. Organization’s profile;
4. List and short bio-note of resource speakers;
5. Detailed activity plan including description of locality, programming, strategy for
mobilization of participants, and strategy for sustainability.
6. Expected outcome of the project.

1. Clear goals and outcome of project;
2. Good track record of proponent;
3. Potential or viability of the project; and
4. Capability of the proponent to document the processes of the project.
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SCA-Drama-6
Project Title: KAPISANAN
Budget per project:

PhP 200,000.00
KAPISANAN is a call for project proposals on addressing the concerns of theater artists on
establishing a guild or similar association for the protection of theater sector’s rights and
welfare. It may include a face-to-face gathering of theater practitioners from different regions to
present papers and discourse and culminate into the crafting of ways, schemes, avenues, or
forming a national association for artists’ rights and the welfare of the theater sector.

Open to Individuals, Local Government Units (LGUs), People’s Organizations (POs), Civil
Society Organizations (CSOs), Academic Institutions with a good track record in implementing
arts activities; capacity to conduct online conferences; capacity to provide a counterpart to
NCCA assistance; and the ability to mobilize participants to online conferences/meetings.

3. Profile of the proponent, project organizers, and target participants;
4. Description of programming, strategy for mobilization of participants, and strategies for
sustainability; and
5. For individual proponents: submission of 2 letters of endorsement from 2 recognized
theater groups from the region.

1. Clear presentation of concept and design conference on establishing an artist’s guild or
similar association;
2. Expertise of the prospective facilitators and project leaders;
3. Clear and detailed activities of the project;
4. Clear criteria in selecting the participants; and
5. Engagement of NCCA-NCDA Committee Members in project development and
implementation.
Page 76 of 130
● LITERARY ARTS
SCA-Literary-1
Project Title: REGIONAL CREATIVE WRITING WORKSHOP
Budget per project:

PhP 210,000.00
This is a competitive grant for groups outside of Metro Manila to organize and conduct
workshops for writers with attention to the languages of the region, underrepresented sectors,
and allied disciplines.

Open to CSOs, LGUs, SUCs, or public schools with counterpart funding and with no ongoing
projects/outstanding unliquidated fund with the NCCA.

1. Complete Proponent Eligibility Requirements;
2. Complete project proposal with detailed line-item budget, schedule of activities, and
work and financial plan duly signed by the Proponent on each proposal page;
4. List and profile of panelists;
6. Number of fellows to be accepted;
7. Criteria for the selection of fellows; and
8. List and profile of the screening committee

The proponent should make sure the regional mark of the workshop (i.e. languages and experts
represented). Participants to be invited must be out of school youth, campus writers, or
emerging writers preferably coming from underrepresented sectors (i.e. PWDs, IPs, NGOS,
POs, LGUS, etc.) and other areas of disciplines (i.e. law, medicine, engineering, community
work, agriculture, sports, etc.). The rationale of the proposal should reflect how the project
addresses the sub-sectoral outcome indicators. The workshop is expected to be conducted face
to face, hence organizers should closely consider the number of participant-beneficiaries as
there are travel or accommodation costs to be incurred.
SCA-Literary-2
Project Title: ONLINE CREATIVE WRITING WORKSHOP
Budget per project:

PhP 140,000.00
This is a competitive grant for groups to organize and conduct online workshops for writers. The
grant will prioritize proposals that reimagine the conventional workshop in the context of current
Page 77 of 130
online platforms and systems. The inclusion of OFW writers and Filipinos in the diaspora is
highly encouraged.

Open to CSOs, LGUs, SUCs, or Public Schools with counterpart funding and with no ongoing
projects/outstanding unliquidated fund with the NCCA.

1. Complete proponent eligibility requirements;
8. List and profile of the screening committee

The proponent should make sure that the workshop has regional representations. Participants
must mostly be either out of school youth, campus writers, or emerging writers. The inclusion of
OFW writers and Filipinos in diaspora is also highly encouraged. Because the workshop is to be
conducted online, a reasonably high number of participant-beneficiaries is expected. The grant
will also prioritize proposals that reimagine the conventional workshop in the context of current
online platforms and systems.
SCA-Literary-3
Project Title: NATIONAL WRITERS WORKSHOP
Budget per project:

PhP350,000.00 per project or slot; Slots open for application: 4 slots
This competitive grant provides financial assistance to eligible organizations and institutions for
organizing and conducting a writer’s workshop at a national level in the field of creative writing.
Further, the grant intends to promote the engagement of writers with the wider community and
the general public by way of conducting extension activities.

Open to CSOs, SUCs, or academic institutions handling writers’ workshops; With counterpart
funding and with no ongoing projects/outstanding unliquidated fund with the NCCA.

8. List and profile of the screening committee.
Page 78 of 130
The proponent should have a clear literary agenda. The workshop should: invite at least 10
fellows, with at least 2 fellows each from Luzon, Visayas and Mindanao as points of origin;
encourage the study of regional literary forms; and utilize the regional languages, aside from
Filipino and English. The workshop is expected to be conducted face to face, hence organizers
should closely consider the number of participant-beneficiaries as there are travel or
accommodation costs to be incurred.
SCA-Literary-4
Project Title: HULUGWAY CONVERSATION SERIES
Budget per project:

PhP400,000.00 per project or slot; Slots open for application: 1 slot
This competitive grant seeks to engage literary artists and cultural workers in a series of
lectures or roundtable discussions exploring current trends in literature and culture. The grant
requires proponents to conduct live event/s and recording/s of the roundtable discussions for
online circulation and distribution to schools and libraries around the country.

Open to literary organizations, writer groups, CSOs, SUCs, or academic institutions; with
counterpart funding and with no ongoing projects/outstanding unliquidated fund with the NCCA.

2. Complete Project Proposal with detailed line item budget, schedule of flow/work and
financial plan duly signed by Proponent on each proposal page;
3. Detailed program of activities;
4. Proposal must also indicate plans for usage, posting, dissemination, and archiving of
files (either via the Facebook page of NCCA, NCLA as well as other channels; either for
educational purposes as in literature and language classrooms for basic and tertiary
education as well as, ALS);
5. List of resource persons, reactors, moderators, and live audience participants.

This series must generate recorded round-table discussion and proceedings of the series which
will be distributed to the different schools and libraries of the country. Moreover, the round-table
discussion must be accessible online for public consumption and must be endorsed by CHED
and DepEd.
SCA-Literary-5
Project Title: SAYSAY NG SALAYSAY SA LARAWAN, SALITA, AT SENYAS
Budget per project:

A competitive grant for the digitalization of Philippine Literature materials that can aid in
classroom instruction. The grant requires the proponent to produce digital materials such as
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digital comics/video coupled with teaching guide which can be accessible to different academe
in the Philippines through the NCCA.

Open to individuals, literary organizations, writer groups, CSOs, SUCs, or academic institutions;
With counterpart funding and with no ongoing projects/outstanding unliquidated fund with the
NCCA.

1. Complete Proponent Eligibility Requirements
2. Signed project proposal with itemized budget and detailed timeline;
3. Proposal must also indicate plans for usage, posting, dissemination, and archiving of
files (either via the Facebook page of NCCA, NCLA as well as other channels; either for
educational purposes as in literature and language classrooms for basic and tertiary
education as well as ALS);
4. List of interpreters and poems to be interpreted (in any Philippine language); as well as
designated readers, subtitlers, videographers, and video editors.
5. Organization/Institutional profile.

The proponent should have a clear timeline of activities to accomplish the number of specified
audiovisual outputs. The proponent/implementer must be from the local community where the
project will be done. There should be a clear presentation of project timeline, budget, and plans
as indicated under stipulated project requirements. The implementers must be organizations or
institutions with at least 50% to 70% members of the Deaf and Mute in their population to
ensure that the project will really be by them and for them.
SCA-Literary-6
Project Title: LITERARY AND CULTURAL STUDIES PUBLICATION GRANT
Budget per project:

This is a competitive grant for competitive papers. The manuscript should be at least 120
pages, ready for publication, and not a work in progress. The grant shall cover expenses for
printing/publication production.

Open to individuals with no ongoing projects/outstanding unliquidated fund with the NCCA.

work and financial plan duly signed by the proponent on each proposal page;
3. Abstract or Synopsis;
4. Three (3) copy sets of manuscript;
5. Three (3) printing quotations from publishing houses/ printers; and
6. Proposed distribution and marketing scheme.
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Proponent should have a manuscript of at least 120 pages ready to print for 500 copies. All
manuscripts must follow proper annotations in the arts and humanities. The proponent should
consider not only the texts but the relationship between Philippine literature (authors,
movements, periods, etc.) and the aspect of the literary history or culture being discussed.
Expected Output: An anthology on literary history or cultural studies.
SCA-Literary-7
Project Title: LITERARY ANTHOLOGY PUBLICATION GRANT
Budget per project:

This is a competitive grant for individuals or a group who compiles a collection of scholarly
articles by various authors. The manuscript should be at least 120 pages, ready for publication,
and not a work in progress. The grant shall cover expenses for printing/publication production.


3. Abstract or Synopsis;
4. Three (3) copy sets of manuscript;
5. Three (3) printing quotations from publishing houses/ printers; and
6. Proposed distribution and marketing scheme.

Proponent should have a manuscript of at least 200 pages ready to print for 500 copies. If it is
a collection of selected writings by various authors, or a collection of selected writings by one
author, proponent must provide copyright transfer or consent form from the authors. Expected
Output: An anthology of selected stories, poems, essays or mixed genres.
SCA-Literary-8
Project Title: MANUNULAT: DOCUMENTATION OF WRITERS/ LITERARY GROUPS
Budget per project:

This is a competitive grant for an individual or group to produce a series documenting the life
and works of authors.

Open to individuals, literary organizations, writer groups, CSOs, SUCs, or academic institutions;
With counterpart funding and with no ongoing projects/outstanding unliquidated fund with the
NCCA.
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3. Outline/sequence treatment;
4. Track record of videographer and sample works
5. Track record of proponent on literary research/ documentation; and
6. List of writers/story-tellers to be documented.

Proponents must prioritize writers/story-tellers about whom there is dearth of documentation.
The video documentary should be at least 15 minutes. If the output is a book, it should be at
least 120 pages. The submitted materials must have proper acknowledgement of sources.
SCA-Literary-9
Project Title: ALTERNATIVE AND ONLINE DISTANCE LEARNING MATERIALS ON
LITERATURE
Budget per project:

This is a competitive grant for projects that will produce alternative learning materials and online
distance learning modules. Materials may be in the form of, but are not limited to, short videos,
podcast episodes, web comics adaptation of short stories or plays, digital poetry and other
alternative learning materials that teachers of literature and writing may use in a distance
learning setup. Modules with study guide and references should be provided for every learning
material produced.


1. Complete Proponent Eligibility Requirements
2. Complete Project Proposal with detailed line item budget, schedule of flow/work and
financial plan duly signed by Proponent on each proposal page.
3. Track record in producing learning materials or other alternative learning and literary
works.
4. Outline and hard/soft copy of modules
5. Brief concept paper on potential output that can be generated from the material/module.

Proponent should have a particular topic pertinent to an aspect of literary arts designed to
benefit mostly writers, students, and teachers. Preferably, scope or topic is to be conducted
interactively, is capable of being echoed or replicated and could generate a future literary output
from the participants.
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● MUSIC
SCA-Music-1
Project Title: Research, Training, Creation, and Performance of Musical Works for the
8 Music Cultures
Budget per project:

PhP 500,000 per slot; Available slots for application: 5 slots
The project aims to capture the 8 music cultures and their expressions as reflected in the music
practices and cultures of the regions of the Philippines. Likewise, it aims to develop an
analytical, creative, and intuitive understanding of music as a cultural language.
Project Objectives:
1. Promote any of the eight music cultures of the Philippines
(https://www.filipinaslibrary.org.ph/uncategorized/the-diversity-of-philippine-music-culture
s/):
a. Music of the Indigenous Southeast Asian Filipinos
b. Music of the Moros or Muslim Filipino Cultures
c. Music of the Lowland Folk Villages
d. Music of the Popular Sentiments
e. Music for the Concert Hall
f. Music for Mass Entertainment
g. Music of Social Concern and Cultural Freedom
h. Music for National Identity through a performance that incorporates
research, training, and creation.
2. Focus on music cultures, that are especially in need of safeguarding, documentation

and dissemination to a wider audience
3. Conduct, create, research, and evaluate research material on music and its
performance
4. Produce outputs that can be used for education purposes
5. Develop local champions or advocates on a particular expression of a music culture
Target Number of Works Produced:

1. At least 10 creative outputs per slot x 5 slots = 50 creative outputs
2. At least 5 research outputs (such as reports or case studies) that contribute to the
understanding of music in the eight cultures (1 research output per slot)
3. At least 5 trainings conducted (1 training per slot)
4. At least five (5) new musical works that authentically represent the traditions and
expressions of the respective music cultures (1 new musical work per slot)
5. 5 performances/recitals/concerts/festivals (1 performance per slot)
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1. Music organizations, academic institutions, Local Government Units (LGUs), Civil
Society Organizations (CSOs), Peoples Organizations (POs), or other Government
Agencies with a proven track record of successfully implementing diverse art & culture
programs and activities
2. Has no pending projects or outstanding unliquidated projects with the NCCA
1. NCCA Accreditation Certificate

2. Accomplished project proposal form with detailed Line Item Budget, duly signed by the
Proponent/Head of the Organization on each page
3. Sample of previous music, research projects, or conducted enhancement
training/recitals/concerts/music camp using government/non-government funds

1. Proponents should have a clear presentation of the project concept and design
2. Track record of the proponent which includes the background, competence, and
capability of the implementing team
3. The proponent should specify the music culture/s chosen. Proposal should clearly state
the urgency in safeguarding the particular music culture and its expressions. For those
focusing on music of the regions, proponents should come from the said region.
4. The application shall include the proposed research that shall be conducted about the
specific music culture. The proposal should include a description of the methodology of
the research and expected output/s that shall be generated by the research.
5. The proposal shall include the proposed creative output based on the research on the
specific music culture. Performance output should be good for 1 to 2 hour -
program/concert/performance. A general description of the target performers, audience,
and program should be included. A training design for the performances with the
schedule and mode of delivery should be included in the proposal.
6. Performance output should include provisions for live experience and online
dissemination.
7. If the research and performance involve indigenous peoples, there should be an
evidence of consent by the indigenous community.
8. If the performance involves the mounting of existing music resources, the proponent
shall ensure that there will be no issue on infringement of copyright when these are
performed and disseminated.
SCA-Music-2
Project Title: Music Training with Performance for Conductors/Music Directors of
Community-based Symphonic Bands
Budget per project:

This project seeks to provide conductors/music directors the necessary skills to equip
community-based symphonic bands with the knowledge and training that will lead to high
level performances as well as to maintain group's sustainability and existence.
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Project Objectives:
1. Provide an avenue for conductors/music directors of community-based symphonic
bands to learn rehearsal techniques and repertoire development with emphasis on
original works for symphonic bands by Filipino composers and other significant
composers of the genre
2. Develop leadership of their respective symphonic band focusing on identifying
vulnerable aspects pertaining to organizational management, planning and
evaluation so to make the symphonic band sustainable
3. Provide an opportunity to show the learned skills through a music performance

1. The proponent should be able to provide a detailed report with timeline regarding the
music training
2. The proponent should be able to produce at least three (3) symphonic band pieces
crafted by the trainer or member of the chosen symphonic band group
3. The proponent should be able to organize a performance as a culminating activity
that will showcase the knowledge and skills learned from the music training program

1. Music organizations, Schools, Local Government Units (LGUs), Civil Society
Organizations (CSOs), Peoples Organizations (POs), or other Government Agencies
with a proven track record of successfully implementing diverse art & culture
2. Community-based symphonic bands with at least two (2) years of existence,
including those from public and private schools as well as non-tenured
conductors/music directors
3. Has no pending projects or outstanding unliquidated project with the NCCA

2. Accomplished project proposal form with detailed Line Item Budget, duly signed by
the Proponent/Head of the Organization on each page
3. Ensemble's profile including years of existence, number of current members, list of
music performances (in the last five years), and cultural engagement
4. Comprehensive training design including training's rationale and objectives,
procedures, modules, learning materials, number and specification of musical
instruments and equipment needed, and schedule of activities
5. Profile of credible resource persons/trainers in the field of symphonic band music
6. Target repertoire program for at least forty-five (45) minutes consisting of original
works, music arrangement and/or well-crafted transcriptions by Filipino composers
and other well-known composer (preferably) for symphonic band

1. Responsiveness of the proponent to the project concept (merits)
2. Track record of the proponent organization which includes the background,
competence and capability of the implementing team
3. Comprehensiveness of training design which includes the following:
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a.
progressive music skills training and creativity
b.
procurement and maintenance of the instruments
c.
leadership skills and management training for the conductors
d.
composition, arrangement, or transcription of musical piece for symphonic
band
e. marketing and promotion strategy for music/cultural performance
4. Balanced and playable repertoire line-up for the music performance
5. Proposed music performance including detailed description of the conduct of the live
performance with online provision for dissemination
SCA-Music-3
Project Title: Production of musical instruments using the value chain perspective
to include agricultural practices with training on instrument-making and
performance
Budget per project:

Bamboo has been widely used as a material for musical instruments in many communities
all over the Philippines. With the concerns regarding climate change, loss of agricultural
lands, discontinued practice of traditional agriculture, including non-restocking of bamboo
resources, the Philippine bamboo music tradition faces the danger of extinction. This is
further exacerbated by the lack of bamboo instrument-makers. The project uses a holistic
approach in the safeguarding of music traditions using a value chain perspective that will
involve the re-stocking of bamboo supplies through sound agricultural practice and the
training of future instrument-makers. Proposals coming from schools, LGUs and private
individuals that would want to see how agricultural practice and music can work together are
very much encouraged.
Project Objectives:
1. Earmark a land for the planting of specific bamboo species used for musical
instruments
2. Train local peoples on bamboo-instrument making and music performance
3. Create a sustainable development plan with the local community and local
government on how to sustain bamboo plant re-stocking and instrument-making in
their locality

1. 3 trainings on agriculture related to bamboo planting & species proliferation
2. 3 training-workshops on bamboo instrument-making
3. 3 training-workshops on music performance using bamboo instruments
Qualification of the Proponents:

1. Music organizations, Schools, Local Government Units (LGUs), Civil Society
Organizations (CSOs), Peoples Organizations (POs), or other Government Agencies
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2. Accomplished project proposal form with detailed line item budget, duly signed by the

1. There should be an identified area designated for bamboo plantation. The proponent
shall specify the size of the area, its location and its ownership and willingness of the
identified owner to use the land as plantation site for the next 7 years. This should
be contained in as a Memorandum of Agreement (MOA) between the proponent in
and the public or private partner.
2. Proponent should identify the specific bamboo species to be planted. Proponent can
work closely with the National Committee on Music in the identification of bamboo
species.
3. The proponent should identify partners from the Department of Agriculture and/or any
public agency (LGU, DENR, DepEd, etc.) or private organization, etc. for the training
on the planting of bamboo species for musical instruments.
4. There should be a clear sustainability plan that shall include the following value-chain
components: a. provisions for maintenance of the planted bamboo species; b.
identification and mobilization of partners for manufacture and production of bamboo
instruments and c. provision for dissemination, marketing, distribution and/or sale of
bamboo musical instruments.
5. Submission of training design for the bamboo instrument-making for crafts people of
the locality (which shall include youth and other sectors).
6. Conduct of training-workshop on bamboo instrument-playing and performance.
7. If the project involves indigenous peoples, evidence of consent will have to be
provided.
SCA-Music-4
Project Title: Publication of music works, researches, and/or learning materials
Budget per project:

PhP200,000 per slot; Available slots for application: 3 slots
The project is open to any form of publication related to music such as choral, instrumental
works, music research and learning materials related to music that can be used in the formal
education setting (basic or higher education) and non-formal setting (for communities).
Publications related to music archives, works of national artists, composers, arrangers and
those focused on music of the regions are very much encouraged. The proponents can also
compile unpublished documentation on various music-related topics, creating valuable
reference materials for future research and other studies.
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The project shall adhere to the NCCA Publication Guidelines and ensure the production of a
minimum of 300 and a maximum of 1,000 copies. Distribution will be divided as follows: 60%
will be allocated to the NCCA's designated distribution list with due consultation with the
National Committee on Music, while the remaining 40% will be allocated to the author.
Project Objectives:
1. Support publication of Philippine music resources;
2. Encourage music practitioners to publish their works;
3. Preserve and promote culturally and historically important musical works;
4. Disseminate these publications to a wider audience.
Target Number of Works Produced: 3 publications

1. Music organizations, schools, Local Government Units (LGUs), Civil Society
Organizations (CSOs), Peoples Organizations (POs), other Government Agencies,
and Individuals with a proven track record of successfully implementing diverse art &
culture programs and activities
Note: For individuals, grants will be released through reimbursement
2. Duly accomplished and signed NCCA project proposal form with an itemized budget
based on NCCA Publication Guidelines to cover honoraria of the layout artist, and
editor, and the cost of printing
3. For individual proponents: submission of letters of endorsement from 2 recognized
music groups
4. Price quotations from three (3) printing press/publishing companies
5. Proof of consent to publish from the author/researcher (if the implementer is not the
author/researcher)
6. Endorsement from a minimum of three (3) expert readers/reviewers
7. Final manuscript with proper annotations in the arts and humanities
Criteria for evaluation:

1. The proponent should have a clear presentation of the book concept and design.
2. The final manuscript/content of the proposed publication.
3. Provisions for plans for book launching with a music performance related to the
publication is highly encouraged.
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SCA-Music-5
Project Title: National Music Summit
Budget per project:

PhP 1,000,000 per slot; Available slots for application: 1 slot
The Philippine Music Summit, through the guidance of the National Committee on Music
(NCM) aims to bring together various stakeholders of the music sector, including but not
limited to independent artists, music advocates, music educators, music organizations,
youth, music spaces administrators, community stakeholders, music industry practitioners,
cultural agencies, local culture and arts councils, musicians from local and indigenous
communities, and instrument-makers. The summit is an opportunity to network and share
the work done by the NCCA, the NCM and other stakeholders across the different regions.
Likewise, this will provide a chance to discuss pressing concerns and issues of the sector
and the needed support to keep artists and organizations alive. The summit shall feature
updates on the Philippine Creative Industries and other pending bills that will have an impact
on the music landscape of the country. This will hopefully jumpstart the needed priorities of
the sector and to stimulate synergy among the different sectors of music.
Project Objectives:
1. Provide a platform for discussion and interaction among leaders, active music
practitioners, and important stakeholders on the important and relevant concerns of
the music sector of the Philippines;
2. Showcase artistic excellence through music performances featuring diverse
communities and advocacies;
3. Develop long-term and sustained programs for the sector aligned with the cultural
value chain-creation, presentation, distribution, and participation.

1. Two-three day conference with documentation of proceedings that shall include the
concerns, issues and plans of the music sector
2. At least 8 performances featuring the 8 music cultures;
3. Mounting of trade and publication exhibit that will showcase music resources,
publications, etc.
4. Jumpstarting of data base for music practitioners and advocates

1. Music organizations, academic institutions, and Civil Society Organizations (CSOs)
3. Has experience in organizing and mobilizing events particularly conferences,
summits and productions
4. Able to network with various music sectors and advocates all over the country
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2. Accomplished project proposal form with detailed line item budget, duly signed by the

1. Partner organization must have prior experience in managing national conferences
and/or cultural events
2. Profile of targeted participants must be inclusive of various sectoral representatives
in the music sector value chain
3. Summit programming must clearly highlight the promotion of creativity and artistic
excellence, contributing to human and social development, and strengthening the
sector's cultural and creative services toward economic sustainability

● VISUAL ARTS
SCA-Visual Arts-1
Project Title: Arts for Advocacy
Budget per project:

The project aims for sustainability in developing creative skills of art educators, art & design
students, artists, cultural and community workers on the creative responses to man-made
and natural disasters that complement other initiatives in the community or address the
existing gaps.
Creative responses are mainly visual art activities but these can be integrated with theater
art exercises for release and to maximize interaction among the participants. A workshop in
an affected community or with a disadvantaged group as a final activity is encouraged.
Likewise, it looks into the need of educators teaching the arts and design track for relevant
training on content, creativity and criticality. When the arts and design track was introduced
as a program for extended two years in high school, the teachers were not prepared enough
to teach it. Aside from their lack of or no training at all, educational materials to serve as
their resource and reference are not available. In a situation like this, how can art educators
prepare and hone their students to be the new creatives in a post-pandemic economy?
Proponents need to choose ONE of the following: 1) training workshop on creative
psychosocial support for affected communities, or 2) training of senior high school teachers
in the arts and design track. Both trainings should develop resource/educational material
based on the training workshop and other available sources (primary and secondary) which
can be made available online for ease of access and sharing. A Memory Archive to serve as
a repository for the stories, images of works and personal objects, and other relevant data of
the participants of Training 1 can be created with their permission if it has to be shown
online.
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Project Objectives:
1. To train teachers, students, artists, cultural and community workers to use the arts for
advocacy and creatively respond to man-made and natural disasters
2. To equip teachers of arts and design track with relevant skills and knowledge and to
develop their creativity and critical thinking
3. To develop relevant, well-researched, culture-based, and creative resource material
to aid in teaching art and design to high school students
4. To document the process of the training workshop for knowledge building and for the
Memory Archive
5. To continue the preservation, development, and promotion of Philippine culture, arts,
and values
6. To support and flourish the school's art education program

1. The training workshop requires a minimum of 50 participants
2. The training duration should be at least 3 days
3. A minimum of 100 creative artworks in various forms
4. A digital resource/educational material
5. Modules
Target Number of Beneficiaries: (those who get payment from the grant such as
workshop facilitator, resource person, etc.) 20-30 pax
1. Project Director
1. Coordinator
2. Resource Persons
3. Training Workshop Assistant
4. Documentation Team (photo and video)
5. Editor
6. Writer
7. Researcher
8. Layout Artist
9. Psychologist with experience on creative psychosocial support

Civil Society Organizations (CSOs), Independent Art Organizations, Artist Collectives,
Academic Institutions with Fine Arts and Design Programs, or Local Government Units
(LGUs) with sufficient counterpart funding and no pending projects or outstanding
unliquidated funds with the NCCA
3. List and profile of resource persons/writers
4. Detailed timeline, program of activities, and/or modules
5. Profile and number of target participants
6. Digital copy of the resource material and memory archive

1. Track record of the institution/proponent in organizing training and developing
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education material
2. A detailed program of activities for the training workshop, including the rationale,
topics, and speakers
A list of target participants showing a good representation of participants coming from
different groups or disciplines as indicated in the project description.
SCA-Visual Arts-2
Project Title: Visual Arts Competition
Budget per project:

The NCCA is inviting proposals for art contests that feature outstanding Filipino creative
expressions on innovative or alternative platforms, as we adapt to the changing
circumstances. The NCCA is encouraging the exploration of new and inventive ways to
present Filipino artistry that can accommodate the current situation. By showcasing the
abundance of Filipino cultural expressions and emphasizing artistic brilliance, the NCCA is
striving to promote and support the arts industry in the country.
Project Objectives:
1. To inspire established artists to aim for exceptionalism and proficiency both locally
and globally, creating artworks that can also be recognized internationally
2. To identify emerging artists who possess the ability to convey relevant and significant
concepts addressing current issues and concerns through their artwork
3. To discover new talents within the artistic community who can effectively
communicate pertinent concepts of contemporary issues and concerns
4. To encourage practicing artists to strive for excellence and competence beyond local
standards, enabling them to showcase their works on global platforms
5. To organize inclusive competitions that have the potential for future iterations based
on their success, fostering healthy competition and growth within the artistic
community
6. To provide a platform for artists to gather, facilitate meetings and foster the
establishment of meaningful relationships
7. To establish partnerships with agencies, institutions, and local art groups that share
similar goals, paving the way for future collaborative projects

1. Proponents should have at least 10 cash prize winners, including top and
consolation prizes
2. Depending on the volume of entrants, at least 1 possible exhibition may be
organized in coordination with affiliate cultural offices and agencies
workshop facilitators, resource persons, etc.)
1. Secretariat
2. Jury
3. Assistants
4. Winners
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5. Graphic Designer
6. Writer/Researcher
7. Documentation Team / Technical Crew

1. Civil Society Organizations (CSOs), non-profit art organizations, or Local
Government Units (LGUs) that have demonstrated a history of implementing a
variety of successful art and culture programs, both online and in-person
2. Proponents must have sufficient counterpart funding and no pending projects or
outstanding unliquidated funds with the NCCA
3. Proponents must be capable of engaging and mobilizing a diverse audience, as
well as a broad network of visual art professionals and enthusiasts, both online and
offline

3. Mechanics and/or guidelines of the competition
4. List of members of the jury and selection committee
5. Criteria of the competition
6. Record of proponent’s past accomplishment

1. Support the development, promotion, and preservation of Filipino cultural heritage
2. Competitions should have various categories and regional/national scope
3. Organizers must submit guidelines, prizes, jurors, exhibition details, and
announcement information
4. Themes may include global climate change, human rights, gender equality, Filipino
creativity, artistic excellence, and technical innovations.
SCA-Visual Arts-3
Project Title: Art for Development Program
Budget per project:

This multi-program grant supports the identification and analysis of the current
organizational status, challenges in the cultural cycle, and sustainability of programs within
a particular sector such as but are not limited to local visual art groups, visual art
communities, regional multi-art alliances, academic art programs, and local government
units with engagements related to visual art knowledge and practice.
The program aims to address specific contextual gaps and issues through a program
design of inter-connected developmental activities aimed to address sectoral needs and
improve prevailing conditions of the proponent's constituency.
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Project Objectives:
1. To continue the preservation, development, and promotion of Philippine culture, arts,
and values from the perspective of sectoral groups or institutions
2. To identify and analyze various sector's organizational status, challenges in the
cultural cycles, and sustainability of programs within a sector
3. To design a program with diverse activities that address core issues and concerns
related to the advancement of visual art knowledge and practice
4. To involve, cover, or include topics that are relevant to the sector such as but are not
limited to gender equality, art & education, promotion of artistic excellence,
inculcation of Filipino values, culture-sensitive governance, and disaster resiliency
through the arts.

1. Proponents should have at least a minimum of two (2) inter-related activities on the
development or enhancement of a sector's programs, concerns, or issues
2. Depending on the volume of entrants, at least one (1) possible exhibition may be
organized in coordination with affiliate cultural offices and sectoral agencies
3. Proponents must produce one (1) video documentary in 3-5 minutes that highlights
the program's purpose, activities, and outcome.
workshop facilitator, resource person, etc.)
1. Visual artists/Art Practitioners
2. Program Director
3. Resource Speaker/s
4. Secretariat/Writer/Researcher
5. Graphic Designer
6. Documentation Team / Technical Support Team
7. Logistics Officer.

1. Art Organizations, Academic Institutions, Local Government Units (LGUs), or Civil
Society Organizations (CSOs) with sufficient counterpart funding and no pending
projects or outstanding unliquidated funds with the NCCA
1. Has been in existence for at least 3 years or has previously produced related
projects
2. Has the capacity to produce quality content and a sustainable/developmental art
program
3. Able to mobilize participants/audiences and engage a wider range of visual art
network
4. Able to produce quality documentation of the activities and output.

3. Profile of proponent/organization in the field of visual arts
4. Profile of the program director, coordinators, curator/s, and artist/s involved in the
program
5. Sample portfolio of the proponent's art activities, related projects, and cultural
programs
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6. The proposal should include an initial developmental work plan with a description of
the venue, locality, programming, and strategy for the mobilization of participants
and/or audience.

1. Proposals should contribute to the development or improvement of sectoral art
structures and programs
2. Proposals should identify a sector's current organizational status, challenges in the
cultural cycle, and sustainability-related to visual art knowledge and practice
3. Developmental activities are also encouraged to address various concerns such as
but are not limited to gender equality, art and education, preservation of artistic
heritage, inculcation of Filipino values, culture-sensitive governance, and disaster
resilience through the arts
4. Programming of activities should incorporate two or more connected activities
aimed at framing sensible outcomes for the sector. Activities may include but are
not limited to focus group discussions, symposia, capacity-building workshops,
creative output exhibitions, marketing and branding seminars, or research of the
sector's contributions to the wider creative industries
SCA-Visual Arts-4
Project Title: Publication of Visual Art Book
Budget per project:

The ArtAklat project involves the publication of pictorial reference books and relevant
literature about significant artists, art projects, and art initiatives in communities and
regions. The proponents can also compile unpublished documentation on visual arts topics
to create reference materials that could be helpful for future research and other studies.
This project, including the publication process, should last for at least three (3) months. It
shall adhere to the NCCA Publication Guidelines and ensure the production of a minimum of
300 and a maximum of 1,000 copies. Distribution will be divided as follows: 60% will be
allocated to the NCCA's designated distribution list, while the remaining 40% will be
allocated to the author.
Project Objectives:
1. To document transformative and extraordinary art practices that impact Philippine art
history and society
2. To preserve documentation for culturally and historically important creative works in
the visual arts that may be used for further research and arts education
3. To publish printed materials that not only cover disciplines in the visual arts but also
relate them to gender equality, values promotion, sustainable development goals,
and the participation of vulnerable sectors
4. Create materials that consider the relationship between Philippine art history (artists,
movements, periods, etc.) and the aspect of the art practice being discussed.
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1. Proponents should be able to produce at least 300 copies of a pictorial visual art
book regarding the life and works of an artist, art group, or project/initiative relevant
to current art practices and Philippine art history
2. The publication shall have a distribution list of institutions, cultural agencies,
schools and universities, Philippine embassies, local libraries, repositories, and
archives that proponents can provide the NCCA
3. The NCCA will consider the first publication or reprinting or reissue of a book,
journal, or other such publications
4. The NCCA-funded published work will bear the NCCA logo whose design, format,
layout, and placement shall be approved by the Public Affairs and Information
Office (PAIO) through a certification signed by the PAIO Head
5. The resulting publication shall have an International Standard Book Number (ISBN)
1. Author/Writer/Researcher
2. Editor
3. Layout artist
4. Production Team

1. Local Government Units (LGUs), People's Organizations (POs), Civil Society
Organizations (CSOs), Academic Institutions, and recognized individuals with a
good track record in publications or handling similar projects
2. Has the capacity to produce a publication
3. Has no pending projects or outstanding unliquidated fund with the NCCA
2. Duly accomplished and signed NCCA project proposal form with an itemized budget
based on NCCA Publication Guidelines to cover honoraria of the layout artist, and
editor, and the cost of printing
3. Individual or organizational profile of the proponent including a list of similar projects
implemented
4. For Individual proponents: submission of letters of endorsement from 2 recognized
visual artists' groups, endorsement from the NCVA Executive Council
5. Detailed activity plan with activity components and identified partners
6. Price quotations from three (3) printing press/publishing companies
7. Proof of consent to publish from the author/researcher (if the implementer is not the
author/researcher)
8. Endorsement from a minimum of three (3) expert readers/reviewers
9. Inclusion of the following criteria as core considerations for publication: Gender and
Development, Values Promotion, Sustainable Development Goals, and Vulnerable
Groups
10. Counterpart funding of at least 20% of the total project cost which may be in the form
of project personnel, venue, facilities, equipment, and the like
11. Final Manuscript with proper annotations in the arts and humanities
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1. Proponents should have a clear presentation of the book concept and design
2. The expertise of the proponents and the production team may be vouched through
previous projects
3. There should be clear justification for the selection of elected visual artist/s, groups,
art projects, or initiatives for publication
4. A comprehensive production timeline must be scheduled
5. The final manuscript/content of the proposed publication should be submitted to the
NCVA for review
NCVA-Visual Arts-5
Project Title: Artist Registry
Budget per project:

PhP400,000 per slot; Available slots for application: 1 slot
The Philippine Visual Arts Registry is a project aimed at strengthening local artist networks.
This project will culminate in an online database that will be used in implementing mapping
activities that will contribute data to the Creative Industries and serve as a go-to directory to
be utilized for programs requiring information dissemination in the sector. One of the
intended outputs is the enrichment of the directory/database of regional visual artists and
groups, which will contribute to the long-term goal of developing the national artists'
registry.
Project Objectives:
1. Gather information on practicing visual artists, artists groups, and art initiatives in the
regions
2. Produce a digital directory of artists with contact details and the disciplines (drawing,
painting, sculpture, printmaking, photography, moving images, digital art, new media,
performance art, sound art, and hybrid practices) they are in
3. Conduct a practice-focused survey for respondents in the database

1. Proponents should be able to produce a directory for at least 1,000 artists, with one
sample work, categorized by discipline and region
2. Artist groups, initiatives, and residencies may be included
1. Visual artists / Art Practitioners
2. Program Director
3. Secretariat
4. Writers
5. Researchers
6. Graphic Designer
7. Production and Technical Support Team
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1. Local Government Units (LGUs), People's Organizations (POs), Civil Society
Organizations (CSOs), Academic Institutions, and recognized individuals with a
good track record in implementing arts activities
2. Has the capacity to conduct digital data gathering and research
3. Has no pending projects or outstanding unliquidated funds with the NCCA
4. Able to mobilize a broad network of visual art professionals

3. Profile of the proponent, project organizers, and target participants
4. Description of programming, strategy for mobilization of participants, and strategies
for sustainability
5. For Individual Proponents: submission of 2 letters of endorsement from 2 recognized
visual artists’ groups, endorsement from the NCVA Executive Council

1. Clear presentation of networking concept and design
2. The expertise of the prospective facilitators and project leaders
3. Clear strategies and activities
4. Clear selection criteria of participants
5. Engagement of NCVA Executive Council in project development and
implementation
6. Comprehensive digital directory design which may be translated to printed material
upon conclusion of the project
7. Strategy to abide by data privacy laws and protection of the information gathered
SCA-Visual Arts-6
Project Title: Visual Art Festivals
Budget per project:

The NCCA initiative for the continuing growth of Philippine visual arts at the grassroots.
The regional visual arts festivals are intended to mobilize the participation of visual artists
with a wider range of representation with at the same time mobilization of audiences to
celebrate the contribution of visual arts in the advancement and promotion of creativity and
artistic excellence. The project entails the holding of two (2) regional celebratory events or
visual arts festivals which will showcase exhibitions, fora, conferences, art talks, and other
significant activities that will further and advance the visual arts development in the regions.
Page 98 of 130
Project Objectives:
1. To provide venues for showcasing new creative works and celebrating the
contributions of regional visual arts
2. To host exhibitions of diverse creative outputs from various participants
3. To organize fora, art talks, and conferences for the development of visual arts and
artists, including promoting arts education
4. To foster wider representation and participation of visual artists from the regions
5. To incorporate core considerations like Gender and Development, Values Promotion,
Sustainable Development Goals, and Vulnerable Groups
6. To organize a Visual Arts Festival promoting creative and artistic collaborations,
highlighting the cultural facets of the host region, and fostering cultural awareness
and sensitivity
7. To generate new creative outputs through exhibitions and workshops
8. To encourage the use of social media as a platform for a wider reach of promotions

1. Proponents should have a minimum of two (2) inter-related activities on the
development or enhancement of a sector's programs, concerns, or issues
2. Depending on the volume of entrants, at least one (1) possible exhibition may be
organized in coordination with affiliate cultural offices and sectoral agencies
3. Proponents must produce one (1) video documentary lasting 3-5 minutes that
highlights the program's purpose, activities, and outcome
4. Produce a catalogue of the exhibition that will include the programs and activities in
printed copies(with a standard number) and e-copies for online dissemination
5. Conduct a minimum of 2 relevant workshops and outputs for the showcase and
exhibition.
1. Visual artists/ Art Practitioners
2. Program Director
3. Resource Speaker/s
4. Secretariat
5. Writer/ Researcher
6. Graphic Designer
7. Documentation Team
8. Production and Technical Support Team
9. Logistics Officer
10. Cultural Performers
11. Curatorial Team

1. Local Government Units (LGUs), Civil Society Organizations (CSOs), or Art
organizations with sufficient counterpart funding and no pending projects or
outstanding unliquidated funds with the NCCA
2. Has a track record in implementing visual arts festivals
3. Has been in existence for at least 3 years or has previously produced related
projects
4. Able to mobilize audience and a wide range of visual art network.
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3. Detailed program of activities
4. Profile and art portfolio of the artist/s & curator
5. Sample videos/photos of the groups and the previous related projects
6. A proposal that includes a description of locality, programming, and strategy for
audience mobilization.

1. Clear presentation of the Project Concept and Design
2. Comprehensive Festival Program Design (Final festival program will be subject to
approval by the regional steering committee that will also include the regional
representatives from the ExeCon of the NCVA)
3. Clear strategies of implementation
4. Able to engage and collaborate with arts and cultural communities
5. The festival venue is accessible to the general public and can accommodate a wide
range of participants
6. Must ensure attendance of 3,000 or more including views from social media and a
large number of beneficiaries
7. Proposals should contribute to the development or improvement of sectoral art
structures and programs
8. Proposals should identify a sector's current organizational status, challenges in the
cultural cycle, and sustainability-related to visual art knowledge and practice
9. Developmental activities are also encouraged to address various concerns such as
but are not limited to gender equality, art, and education, preservation of artistic
heritage, inculcation of Filipino values, culture-sensitive governance, and disaster
resilience through the arts
10. The programming of activities should incorporate two or more connected activities
aimed at framing sensible outcomes for the sector. Activities may include but are
not limited to focus group discussions, symposia, capacity-building workshops,
creative output exhibitions, marketing and branding seminars, or research of the
sector's contributions to the wider creative industries
11. Must have the following components: group exhibition, exchange program, and
Developmental Workshop
12. Cultural significance of the festival to the community
13. The festival must be at least 2 years in existence
14. If new, present a strategic plan for sustainability.
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Subcommission on Cultural Dissemination (SCD)
● COMMUNICATION
SCD-Comm-1
Project Category: NCCA CATV Hour
Budget:
Php 2,000,000 per slot
No. of slot/s:
1 slot (Nationwide)
Qualification of Proponent:
Civil Society Organization; Government Institutions
Description:
This project aims to broadcast NCCA produced video materials in a weekly cultural TV
program through cable television
Expected Outputs Deliverables

Production, reproduction, and repackaging - curation for Reformatted and reproduced
TV broadcast of existing NCCA video materials video material
Broadcast video materials from the NCCA Archives, Creation, curation and
reformatted and reproduced, in a documentary type of management of digital
broadcast format. HD or SD depending on the community platform
channel of the Cable TV system. This reproduced video
material should convey to the viewers that the said values
have been a part of our Filipino culture for generations
Full airing not less than 3 times a day for 30 days Broadcast time sheets from
the participating CATV station
and Digital Platform: At least
1 CATV Stations per Region
(except NCR)
Video outputs should include FSL interpreter for access of Coordinate with NCCA Public
information of the Filipino Deaf Affairs and Information Office
for identification of materials

1. Letter of Application
2. Project Proposal (using the NCCA Project Proposal Form)
3. Work and Financial Plan
4. Budgetary requirement to include 20% counterpart funding of the total project cost
5. Proof of NCCA Accreditation / NCCA Accreditation Requirements
6. Profile and Portfolio of the Project Team
7. Profile of Organization; if the case of an association of Cable Operators, it should
have at least 80 active members.
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SCD-Comm-2
Project Category: Philippine Culture in Print Media
Budget:
Php 500,000 per slot
No. of slot/s:
3 slots (Luzon, Visayas, Mindanao)
Civil Society Organization; Newspapers recognized by the court or have proof of legitimacy,
including community and school-based newspapers
Description:
This project aims to produce content on culture and arts materials in community-based
publications/ newspapers and/or campus-based publications.

Content created disseminated NCCA Culture and Schedule of publications
Arts Materials in five (5) half-page articles OR
eleven (11) 1/4-page articles Publishing content outline
Official clippings of published

materials, with full and complete
publication information

6. Profile and Portfolio of the Target Contributors
7. Profile of Organization
SCD-Comm-3
Project Category: Capacity Building for Quad-media Practitioners (Broadcast, TV,
Print, Social Media)
Budget:
No. of slot/s:
5 slots (Luzon, Visayas, Mindanao, NCR, and BARMM)
Civil Society Organization
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Description:
This project is a one (1) to two (2) day in-person seminar/training/workshop/conference
which shall gather a minimum of 50 participants from each participating quad-media
practitioner (broadcast, TV, print, social media). There should also be a good mix of genders
among participants with at least 20% of them being female, and at least 10% of them being
male.
This project will assist journalists to write articles and produce programs on culture and the
arts that will be sensitive and attuned to the promotion of National Values Program,
Sustainable Development Goals, Vulnerable Groups, and Gender and Development. The
output of this project should be at least 12 documentations/ programs/ articles with a
minimum duration of a year, specifying its maximum reach or coverage.

Trained practitioners to write and Training modules
disseminate content on culture and the
arts Schedule and design of activities (Criteria for
Selection; upon submission of proposal)
Profile of proposed resource persons (Criteria

for Selection; upon submission of proposal)

7. Profile of Organization
8. Profile of Target participants and Resource Persons

● CULTURAL EDUCATION
SCD-CEduc-1:
Project Category: BALAG AT TUKOD TEACHING AND RESEARCH FESTIVAL: FOOD
CULTURE, IDENTITY AND TECHNOLOGY TOWARDS A
SUSTAINABLE PRACTICE IN CULTURE-BASED EDUCATION
Budget:
Php 1,250,000 per slot
Number of slot/s:
2 slots (Island Cluster)
Civil Society Organizations; Government and/or Non-Government Organizations; Higher
Education Institutions
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Rationale:
The Philippine Constitution ensures that “The State shall conserve, promote, and popularize
the National’s cultural and historical heritage and resources....” (Article XIV, Sec .15). In
order to conserve and promote the national cultural legacies, there is a need to promote
cultural education to all Filipinos by all means, through formal, informal, and non-formal
pathways. In all these pathways, it has been a major challenge to the National Commission
for Culture and the Arts, particularly to the National Committee on Cultural Education
(NCCED) and the Philippine Cultural Education Program (PCEP,) and to the Department of
Education, on how to promote culture-based education in order to produce “critically
informed, culturally literate and empowered Filipinos” who possess contextualized
knowledge based on meaningful encounter and interaction with the community” (PCEP Plan
2018-2023).
While culture-based education grounds “teaching and learning in the values, norms,
knowledge, practices, and language that are a foundation of a particular culture”
(Kana’ianupuni & Kawai’ae’, 2008), the Philippine government has mandated the
Department of Education to implement a national education curriculum that is uniform to all
Filipinos. This national mandate is strictly outlined in the Enhanced Basic Education Act of
2013, including its Implementing Rules and Regulations (The Republic Act 10533). In
particular, Republic Act 10533, Sec. 6 and 10.2, describes this national curriculum as
culture- sensitive, learner-centered, inclusive, relevant, responsive, contextualized,
integrative, mother-tongue-based, flexible, localized, and indigenized.
The National Committee on Cultural Education has developed programs and projects for
cultural education at the intersection of formal, non-formal, and informal education such as
Hibla Kultura Filipina (2018-2019), Pagtib-ong (2018), Likmuan (2019), and Mga
Durungawan sa Kulturang Pilipino (2019-present). From 2021-2023, the NCCED has
conceptualized as a competitive call, the Balag and Tukod Project, which engaged the
community as one in primary food production process through home, school, and community
gardening. One of the outputs of this project was the development of culturally relevant
lessons, contextualized in a garden or gardens and anchored on DepEd’s Most Essential
Learning Competencies.
For 2024, as an extension of the above-mentioned project, the Balag and Tukod Teaching
and Research Festival is conceptualized as a platform to gather teachers, researchers, and
cultural workers to present demonstration lessons that will capture a home, school, or
communal garden as contexts to teach the MELCs and to present research studies
associated to teaching and learning in the garden. This Teaching and Research Festival may
take a format of, but not limited to, a conference that will capture both practice- based paper
presentations and research-based paper presentations on food culture, Indigenous
Knowledge System and Practices (IKSP) food production, food sustainability and pride in the
country’s food heritage. The Balag and Tukod project call aims to align the efforts on cultural
education with the elements in the current Philippine Development Plan thereby contributing
the social, cultural and governance revitalization as asserted by the Sectoral Strategy
Framework for 2023-2028. This will also help in identifying sustained gardening programs in
LGUs that will be used as models to augment food needs of the community.
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Project Objectives:
The purpose of this project is to gather teachers, researchers, and cultural workers in a
platform called “THE BALAG AT TUKOD TEACHING AND RESEARCH FESTIVAL: FOOD
CULTURE, IDENTITY AND TECHNOLOGY TOWARDS A SUSTAINABLE PRACTICE IN
CULTURE-BASED EDUCATION” to present contextualized demonstration
lessons/instructional materials and/ or research papers on food culture, IKSP food
production, food sustainability and pride in country’s food heritage.
1. To conduct a festival not limited to a conference, share-a-thon, colloquium, forum,
etc.), either online or face-to-face setting, to teachers, educators, researchers and
cultural workers to share their demonstration lessons or research studies about food
culture, IKSP food production, food sustainability and pride as a context to teach a
contextualized MELC lessons;
2. To compile instructional materials with sample learning activities or worksheets, and
research papers presented during the festival;
3. To disseminate the outputs of the teaching festival through published proceedings or
online repositories of outputs.
Project Deliverables:
1. There should be an open call to all prospective presentors in the conference to be
published in an online platform.
2. Gather a minimum of 40 presentors during the festival
o 30 demonstration lessons / instructional materials with high level of learning
-and are responsive to the different learning needs.
o 10 research paper presentations based on the theme of Balag and Tukod.
3. Presentors will be given an honorarium of Php 5,000.00
4. There should be a panel of reviewers to screen demonstration lessons/ instructional
materials
5. There should be a panel of reviewers to screen research presentation proposals.
6. Organizers should ensure that all papers published have gone through stringent
review process by a panel of experts as proof to ensure high level of validity,
reliability, quality, and authenticity of published materials.
7. 200 research festival participants
8. Publish a festival proceeding or an online repository of all outputs.
Criteria of Selection/Requirements for Submission:

1. Clear Project Proposal (use the NCCA format of Project Proposals) with detailed
Work and Financial Plan including 20% counterpart funding from the proponent
2. Accreditation Requirements set by NCCA
3. Submission of clear criteria for evaluation of proposed demonstration
lesson/instructional materials and research papers by the prospective participants
4. Submission of research abstracts interfacing teaching, learning and gardening as
described in the objectives and rationale of Balag at Tukod
5. Profile of proposed review panel for the proposed demonstration lessons/instructional
materials and research abstracts and for the published outputs
6. Profile of target beneficiaries
7. Research Papers should include related discussions on Sustainable Development
Goals, Gender Goals and Filipino Values.
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8. Should ensure participation of women, men children, PWD, migrant workers, elderly
or indigenous people (project team or direct participant)
10. Profile and Portfolio of the Project Team including reviewers.
SCD-CEduc-2
Project Category: DEVELOPMENT AND UTILIZATION OF CULTURAL MAPS AS TOOLS
IN CULTURE-BASED GOVERNANCE
Budget:
Php 500,000.00 per slot
No. of slot/s:
2 slots (Nationwide)
Civil Society Organizations; Local Government Units
Rationale:
Section 14 (b) of the Republic Act No. 10066, otherwise known as the “National Cultural
Heritage Act of 2009”, requires local government units to establish and maintain a local
cultural property registry. In line with the abovementioned purpose, the local inventory of
cultural property is in compliance to RA 10066, that will serve the Philippine Registry of
Cultural Property (PRECUP) as the registry of all cultural properties.
For almost a decade now, the National Commission for Culture and the Arts through the
Subcommission on Cultural Heritage in cooperation with various local government units and
other stakeholders have embarked on cultural mapping activities in their localities. The
general goal of the cultural mapping program is to capture into one reference document all
natural, historic, intangible and tangible, people and other heritage and cultural specificities
of a community including their social significations, social and communal functions, and
other relevant provenance.
The said activity created a continuum on the mandate of the National Economic
Development Authority (NEDA) approving the Philippine Development Plan 2017-2022. The
said plan was fastened on a national long-term vision or AmBisyon Natin 2040, a collective
vision that took off from PRRD’s socio-economic agenda and is being informed by inputs
from the cross-section of stakeholders and the general public. 3
In the advent of these narratives that emphasize cultural heritage conservation as a

foundational framework plan for local government units, the Office of the Secretary of the
DILG even transmitted a memorandum circular for the inclusion of inventories of cultural
properties and creation of local cultural and heritage council in all local government plans
and programs as a requirement for the Seal of Good Local Governance (SGLG). The said
memorandum created an urgency to all LGU’s to conduct the said activity.
3
NEDA Approves Philippine Development Plan. Accessed on June 6, 2017, http://www.neda.gov.ph/2017/02/21/neda-board-approves-
philippine-development-plan-2017-2022
Page 106 of 130

Meanwhile, almost a decade has passed, utilization of cultural maps are not in the agenda of
most government agencies in the local level. The NCCA- National Committee on Cultural
Education believes that it is only through a synergized partnership of private and public
sector will enable us to develop a high thrust culture-based tourism, arts and heritage
promotion, conservation and utilization experiences and practice. Adjunct to this, a much
deeper culture-based education program should be laid out not only in the formal education
system but also, in the local government and civil society, where, culture is integrated in all
areas of the government not only in the tourism, arts and cultural offices.
Culture-based education is not just limited to curriculum building in schools but it also widens
a spectrum of programs that affect executive and legislative agendas of the government as
well as the civil society and the private sector. Such kind of education apart from formal is
regarded as either informal, alternative, and even life-long learning. In tripartite governance,
culture-based must be highly contextualized where the Filipino identity is always reflected
and prioritized, not just in the arts for entertainment and tourism purposes but also in other
areas of government such as infrastructure, health, sports science, planning, budgeting, etc.
Cultural mapping is an augmenting tool for systematic LGU governance. It has potentials in
enhancing existing planning and management tools such as the Ecological Profiling; Social
Benefit and Cost Analysis; Social Acceptability Process; Climate Proofing; Biophysical
Assessment and Inventory; Resource Accounting, etc. The fact that the cultural mapping
method captures the realities of peoples vis-à-vis their natural, historic, intangible and
tangible, heritage and other cultural functions, culturally-sensitive indicators of progress
and/or decay will thus take a broader and more relevant index for LGU’s development
thrusts. The current project funding allocation will focus on the following themes:
a. Planning tool innovation: Integration of culture mapping with LGU mapping
methodologies and techniques, and
b. Comprehensive technical narrative of the cultural mapping tool for publication, useful
for both educational/academic and policy resource material.
For 2024, the National Committee on Cultural Education (NCCED) is accepting project
proposals on the themes responding to the defined outcomes in the Sectoral Strategy
Framework as NCCAs continuing commitment to the sector as well as its contribution in
mainstreaming cultural education in the Philippine Development Plan 2023-2028.
The proponents must address the expected needs of methodological/tool improvement

and/or innovative techniques and knowledge contribution in the field of culturally-responsive
governance. In all cases, the project outputs should be put in the perspective of utilizing the
results for lesson exemplars, stories, policy notes, and other useful documents for education,
planning and management.
Project Deliverables:
a. Culture-Sensitive Planning and Management Tool (integrating with existing methods
and tools)
Page 107 of 130

b. Publishable technical paper on CSPM Tool
c. Curricularized culture mapping technique
d. Resolution adopting the developed plan/tool by the LGU
The utilization of cultural maps as tool for governance is a project category translates a
continuing process of creation, development and innovation of various plans, programs and
activities in the government that reflect the promotion, conservation and development of the
Filipino culture. The results are intended for knowledge and skills development of
government and private sector in cooperation with artists and cultural workers. The project
could range from conferences, workshops, and forums through face to face, hybrid webinar
and digital platforms. Proponent should engage different sectors in their community,
provincial or regional wide and beyond through partnership and linkages.
Topics may cover but not limited to:
a. Capability building in the field of governance such as culture-based engineering,

culture-based protocols in health practice and ethical standards, tourism promotion
and development, conservation following the guidelines on the heritage conservation,
social services in the forms of counselling, arts for healing and other means,
alternative medicines such as hilot, ventosa, and other forms of wellness, just to
name a few;
b. Innovative use of other art forms/medium to facilitate the production, appreciation
and dissemination of integration of cultural programs in development such as festival
management in the time of pandemic, hybrid street dancing platforms, tripartite
governance on food culture, farming systems, integration of arts in public spaces, just
to name a few;
c. Innovation and other forms of contextualized strategies and methods based from
NCCA’s template on cultural properties specifically on the belief systems and
traditional culture and values. The following should address social concerns and
issues such as Arts Therapy addressing mental health issues, Artist Rights and
Welfare, Impact of Anti-Terrorism Law to address peace processes, Senior Citizen
Vibrancy and Wellness where such issues are being taken into a higher level
discussion but rooted on Filipino culture and processes, ethical standards and
guiding principles;
d. Appropriation of funds intended to the conservation of heritage as sourced from the
local school board funds of the LGU’s where such appropriation are converted to
different PPA’s for the integration of culture in the curriculum guides of DepEd and
CHED.
Page 108 of 130

Criteria for Selection:
A. Process Indicators
1. Open to LGUs, HEIs, CSOs and other training institutions involved in cultural
education
2. Regional or provincial wide program / project implementation
3. Three-folding approach with multi-sectoral participation
4. Capacity enhancing, e.g., integration in the school curriculum or to an
organization, LGU or other department or entities in government / community;
5. Contextualized learning pedagogy
6. Increased community cooperation
7. Community involvement in the cultural economy undertakings
8. Inclusion of various experts in the development of programs
A. Technical Soundness
1. Is the statement of the problem relevant to the context of the Program?
2. Are the proposed project objectives consistent with the attainment of the
Culture- based Education in Governance? Are the outputs and verifiable
indicators clearly stated?
3. Is the budget proposal responsive to the deliverables?
4. Is the timeframe realistic?
Output/ Deliverables:
1. Process Indicators
o Open to LGUs, HEIs, CSOs and other training institutions involved in cultural
education
o Regional or provincial wide program / project implementation
o Three-folding approach with multi-sectoral participation
o Capacity enhancing, e.g., integration in the school curriculum or to an
organization, LGU or other department or entities in government / community;
o Contextualized learning pedagogy
o Increased community cooperation
o Community involvement in the cultural economy undertakings
o Inclusion of various experts in the development of programs
2. Technical Soundness
o Is the statement of the problem relevant to the context of the Program?
o Are the proposed project objectives consistent with the attainment of the
Culture- based Education in Governance? Are the outputs and verifiable
indicators clearly stated?
o Is the budget proposal responsive to the deliverables?
o Is the timeframe realistic?

1. Accomplished and signed Project Proposal (use the NCCA format of Project
Proposals)
2. Work and Financial Plan and detailed schedule of activities
4. Proof of NCCA accreditation/NCCA Accreditation requirements
Page 109 of 130

SCD-CEduc-3
Project Category: DURUNGAWAN NG KULTURANG PILIPINO
Budget:
Php 1,500,000
No. of Slot/s:
1 slot (Nationwide)
Civil Society Organizations; Higher Education Institutions
Rationale:
Dungaw (verb) and its variants dumungaw, and dinungaw, is an act of looking, viewing, or
observing. It is perspectival. Distance arbitrating what is seen or viewed. It manifests a
political, aesthetic, and ethical point-of-view and location which must be accounted for. It is
sensorial attunement to the object of one’s gaze. Durungawan (noun), on the other hand,
serves as an opening, a means, an entry point, and an invitation to know and understand
what is seen immediately. Likewise, it is an offering to speculate what lies hidden behind the
windowsill (Lopez, 2017)
Culture-building is viewed through the Filipino perspective of pakikipagkapwa,

pakikipagugnayan, pagmamalasakit, pakiramdam, pagkalinga, pakikiisa, and
pakikipagtulungan. Using the metaphor of a house, Philippine culture as a product of social
interaction is gleaned as a complex aggregate of dynamically interacting forces from history,
geography, politics, economics, arts, heritage, beliefs, and values. Capitalizing on the
potential of the nature of the concept of dungaw, Durungawan familiarizes teachers across
the different learning fields and disciplinary formations regarding the use of Filipino culture
as method, framework, and approach in teaching universal knowledge in the Philippines
(Lopez, 2017).
The 2024 Durungawan ng Kulturang Pilipino orients the participants regarding the ways with
which Philippine culture can be sensed, perceived, and imagined. The use of Philippine
culture as foundation for teaching, learning and governance can lead to a decolonial thinking
practice that can constitute a nation of culturally literate and empowered Filipinos here and
elsewhere postcolonial classroom (Lopez, 2017). The design anchors on the goal of
promoting cultural education in all domains of teaching-learning processes in the Philippines
where culture-based education is viewed as a grounding of instruction and the student
learns in shared ways of being, knowing and doing (Magno, 2017).
As such, Durungawan ng Kulturang Pilipino takes a pivotal role in “raising awareness and
understanding of our diverse cultures, shared values, nurturing Filipino creativity for social
impact, and mainstreaming culture-sensitivity in governance and development”
(Duhaylungsod, 2020).
The project further contributes to the desired outcome of the Philippine Development Plan
(PDP) 2023 to 2028 for the culture sector to continue with the preservation, development
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and promotion of Filipino culture. Cultural education philosophy, culture-based education
principle, language and culture in cultural education teaching pedagogies.
Objectives:
For 2024, the participants are expected to sharpen further their culture-based understanding
and appreciation within the three-day duration through the presentation of windows of
Philippine culture and culture-based lesson exemplars and learning resource materials. The
learning resources that will be gleaned from the presentations will hopefully enable them to
design their own contextualized, localized and indigenized lessons in varied curricular
subjects. More specifically for teachers, at the end of the training session, participants are
expected to:
a. Engage in discussions on conceptual framework, theoretical designs or lesson
examples on each topic; and
b. Share their own insights and experiences relevant to the topical coverage of the
series through lecture-demonstrations
Deliverables:
1. Conduct of at least 3 seminars covering regions
2. Participated by at least 200 participants per seminar
3. Compilation of significant and relevant culture-based instructional materials
Criteria for Selection:

1. The topic presentation covers the following areas:
a. Various ways, framework, philosophy and other ways of knowing on the
related topic/s that encompasses culture-based education;
b. Lesson exemplars/Instructional plan following the principles of integration for
a highly nuanced trans-disciplinary culture-based discussion
c. Speakers to be invited shall focus on health and culture, science and culture,
sports and culture, geography and culture, demography and culture, disasters
and culture, just to name a few topics where paradigms on culture-based
lesson are exemplified.
d. Include related discussion on gender issues, Sustainable Development Goals
and Filipino values
2. Specified/target users of the target design of instructional materials
Documents for submission:

1. Accomplished and signed Project Proposal
2. Profile of target resource person and participants
3. Work and Financial plan
4. Budgetary requirement to include 20% counterpart-funding from the proponent
5. Detailed schedule of activities
6. NCCA accreditation requirements/NCCA accreditation certificate
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● LANGUAGE AND TRANSLATION / WIKA AT SALIN
SCD-Language-1
Pamagat: TUDLÔ (turò): Mga pagsasanay ukol sa wika, panitikan, at araling
pangkultura
Pondo:
No. of slot/s:
4 slots (Luzon, Visayas, Mindanao, NCR)
Kalipikasyan ng Proponent:
Civil Society Organization; Academic Institutions; State Universities and Colleges
Paglalarawan:
Mga pagsasanay para sa mga guro sa elementarya, hay-iskul, at kolehiyo sa
pakikipagtulungan sa CHED, mga organisasyong pangwika, at SUCs ukol sa wika,
panitikan, at araling pangkultura bilang mga asignatura.
Inaasahang Output:
1. Isang palihan ng mga guro na maaaring ganapin onlayn o face-to-face na may 50
hanggang 200 na dadalo at magaganap sa iba't ibang island cluster
2. Makabuo ng mga lesson exemplar o hulwaran banghay aralin na makakatulong sa
pagtuturo ng Filipino/Mother tongue
Batayan ng Ebalwasyon:
1. Tumutugon sa mga batayang kahingian sa kurikulum ng DepEd at CHED
2. Komprehensibong panukalang proyekto na may tentatibong programa; at
3. Nagkaroon na ang proponent ng karanasan sa pagsagawa ng palihan
Mga Kahingiang Isusumite:

1. Liham-aplikasyon
2. Panukalang proyekto (Pormularyo ng NCCA)
3. Plano ng mga gawain at pagkakagastusan
4. Budgetary requirement kasama ang 20% counterpart funding ng kabuoang halaga
ng proyekto
5. Katibayan ng akreditasyon ng NCCA / Mga kahingian sa akreditasyon ng NCCA
6. Profile at portfolio ng pangkat na magsasakatuparan ng proyekto
7. Profile ng (mga) panukalang tapagsalita o resource person/s
Page 112 of 130

SCD-Language-2
Pamagat: DALUMAT FILIPINO: Mga Pag-aaral ng lipunan, kultura, at kasaysayan
Pondo:
No. of slot/s:
Indibidwal
Paglalarawan:
Ang proyekto ay humihikayat sa mga iskolar na sumulat sa wikang Filipino at Pananaw
Filipino. Panawagan sa mga akademikong papel/saliksik ukol sa mga aspektong
pangkultura at lipunang Filipino na may oryentasyong higit na maka-Filipino.
Paksa:
Bibigyang prayoridad ang mga paksa na may kinalaman sa estado ng pagsasalin at wika,
halagahan, kalamidad, kalusugan, pamana, usaping pangkasarian, teknolohiya at iba pang
kaugnay na paksa.
Inaasahang Output:
1. Isang journal-length manuscript na hindi bababa sa 35 na pahina, may
doble-espasyo, at sumusunod sa Manwal sa Masinop na Pagsulat (MMP) ng KWF
at/o MLA 8th Edition
2. Bago, hindi pa nalalathala, o hindi pa nagwawa

1. Liham-aplikasyon
ng proyekto
6. Profile at portfolio ng magsasakatuparan ng proyekto
Page 113 of 130

SCD-Language-3
Pamagat: PAMINAWON (listen): Pagsasalin ng mga akademiko/kritikal na aklat
tungkol sa mga pag-aaral na etnograpiko, sosyolohiko, pangkasaysayan,
pang-ekonomiya, pangkalusugan, pangkultura at iba pa
Pondo:
No. of slot/s:
Indibidwal
Paglalarawan:
Pagsasalin sa Filipino ng mga aklat pag-aaral na nagtataguyod ng mga karapatan ng mga
pangkat-etniko, kababaihan, kabataan, PWD, Senior Citizen at iba pang nasa laylayang
pangkat ng lipunan. Maaaring magpanukala ang proponent ng aklat na isasalin. Halimbawa
ng mga puwedeng isalin ang mga sumusunod:
1. Imagined Communities: Reflections on the Origin of Spread of Nationalism ni Benedict
Anderson
2. Contracting Colonialism: Translation and Christian Conversion in Tagalog Society under Early
Spanish Rule ni Vicente L. Rafael
3. Barangay: Sixteenth Century Philippine Culture and Society ni William Henry Scott
4. The Revolt of the Masses: The Story of Bonifacio and the Katipunan ni Teodoro Agoncillo
5. Verbal Arts in Philippine Indigenous Communities ni Herminia Meñez Coben
6. Culture and Community in the Philippine Fiesta and other Celebrations ni Florentino H.
Hornedo
7. Pasyon and Revolution, Popular Movements in the Philippines ni Reynaldo C. Ileto
8. Tagalog Poetry 1570 1898, Traditions and Influences in its Development ni Bienvenido
Lumbera
9. Women Workers of Manila ni Ma. Luisa Camagay
Inaasahang Output Deliverables

Makapagsalin sa Filipino ng mga akademiko/ Maisalin ang akademiko/ kritikal na aklat
kritikal na aklat tungkol sa mga pag-aaral na tungkol sa mga pag-aaral na etnograpiko,
etnograpiko, sosyolohiko, pangkasaysayan, sosyolohiko, pangkasaysayan,
pang-ekonomiya, pangkalusugan, pang-ekonomiya, pangkalusugan,
pangkultura at iba pa mula sa Ingles o pangkultura at iba pa mula sa Ingles o
alinmang katutubong wika. alinmang katutubong wika.
Pagsusumite ng deklarasyon mula sa

may-akda o humahawak ng copyright na
nagpapahintulot na maisalin ang aklat.

1. Liham-aplikasyon
Page 114 of 130

ng proyekto
6. Profile at portfolio ng magsasakatuparan ng proyekto
SCD-Language-4
Pamagat: PISTANG-SALIN AT RIKNA
Pondo:
No. of slot/s:
3 slots (Luzon, Visayas, Mindanao, NCR)
Paglalarawan:
Ang Pistang Salin ay ang pangkalahatang pamagat ng proyekto para sa promosyon ng
pagsasalin at pakikipag-ugnayan sa mga tagasalin na maaaring mamimili ng lalamanin mula
sa iba't ibang aktibidad.

Makapagbigay ng mga ng Maaaring pumili ng dalawa (2) ang lalahok sa apat
programa na nagtatampok ng mga posibleng aktibidad na maisasagawa bilang
manunulat at tagasaling pakikibahagi sa at pagtataguyod ng PISTANG
makikibahagi sa Pistang Salin na SALIN:
maaaring isagawa ng face-to-face,
birtwal, o hybrid.
a. Ang Pistang Salin na ang mga akdang
Kumpletong programa para sa mga rehiyonal na naisalin sa wikang Filipino ay itatampok
mapipiling kabahagi ng PISTANG sa pagbabahaging onlayn, na maaaring sa
SALIN, nanaglalaman ng kanilang pamamagitan ng pagbasa o pagbigkas ng mga
tampok na tagasalin/awtor at piling tula o bahagi ng prosa sa kanilang orihinal na
profayl, ang (mga) proyektong salin wika at wikang Filipino. Magiging tuon nito ang
na ibabahagi, at ang iskedyul ng panitikan at pagsasalin bilang gamot o lunas sa
kanilang pagbabahagi. kalungkutan at pangungulila sa panahon ng
pandemya.
b. Ang Tampok Salin na isang gawain na

tatagal sa loob ng isang buwan (apat na
linggo) na ang pagtalakay sa mga saling
pampanitikan at ang prosesong kaakibat nito
ay tatalakayin ng mga piling tagasalin.
Maaari itong maging bahagi ng
KUMUSTAHAN ng mga tagasalin sa buong
bansa sa panahon ng pandemya.
Inaasahang magiging katuwang ng una at
ikalawang proyektong ito ang mga
Departamento ng Filipino ng mga
Page 115 of 130

pamantasan sa bansa at ibayong dagat, at
mga Samahang Pangwika at Pampanitikan.
c. Ang Wika Namin. Ito ay isang

pakikipag-ugnayan sa mga komunidad at/o
pamantasan sa ibayong dagat upang ibahagi
ang panitikang nakasalin at mga materyales
sa mass media gaya ng teleserye o pelikula
na may salin at dubbed/subtitled sa Filipino.
d. Ang RIKNA ay may sampu o higit pang

saling-tula at saling-awit na isasagawa sa
pamamagitan ng mga pagtatanghal
Nararapat na magkaroon ng espesipikong

tagapakinig ang bawat kalahok sa Pistang Salin,
gaya ng mga mag-aaral (anumang antas), mga
kasapi ng kanilang organisasyon, mga tagapakinig
ng mga programa sa radyo, at mga mamamayan ng
katuwang na piling pamayanan

1. Liham-aplikasyon
ng proyekto
SCD-Language-5
Pamagat: SALINOBASYON
Pondo:
No. of slot/s:
Paglalarawan:
Bílang tugon sa mga hámon ng mundong mabilis na nagbabago, nilikha ang proyektong ito
upang suportahan ang mga inobasyong nakabatay sa teknolohiya na nag-aambag sa
preserbasyon at pagpapalaganap ng wikang Filipino o anumang katutubong wika sa
Pilipinas. Ang inobasyon ay maaaring tumuon sa wika o salin.
Page 116 of 130

Nakikitang sa kalaunan, makatutulong sa pagsisinop at digitization ng iba’t ibang korpus ng
literaturang nakasulat o nakasalin sa wikang Filipino at iba pang mga katutubong wika sa
bansa at makapag-ambag sa intelektuwalisasyon ng wikang Filipino sa larang ng
teknolohiya.

Panukalang proyekto na nagdedetalye sa Makadebelop ng computer
sumusunod na mga aspekto ng app o programa: program o aplikasyong
disenyo, debelopment, at ilalatag ang mga sumusuporta sa wika o salin sa
panukalang monitoring at apdeyt, quality assurance, Filipino o anumang katutubong
at maintenance kapag ito ay magagamit na wika sa Pilipinas
Mismong app o programa na sumusuporta sa wika o

salin sa Filipino o anumang katutubong wika sa
Pilipinas

1. Liham-aplikasyon
ng proyekto
7. Profile ng target users ng app
Page 117 of 130

VI. RESPONSIBILITIES OF THE GRANTEE
Should the project proposal be approved, the grantee shall be responsible to undertake
the following:
1. Implement the Project according to the particularities stated in the Project Proposal,
Line Item Budget, Schedule of Activities/Gantt Chart and Board Resolution;
2. Keep an accounting of the Grant in accordance with generally accepted government

accounting and auditing rules and regulations. The grantee shall maintain a separate
Book of Accounts exclusively for the NCCA grant supported by receipts/ documents;
and shall maintain a subsidiary ledger of funds received from NCCA deposited in their
saving/checking account and all the records shall be made available for inspection
and verification by an NCCA staff or Auditor of the Commission on Audit (COA);
3. Act as lead implementer of the Project and shall be directly responsible for hiring,
supervising and facilitating the release of the payment for services rendered by the
project personnel hired on a contract basis which contract shall not exceed the
duration of the Project. A withholding tax shall be deducted for payment of services
rendered by project personnel. For this purpose, the Grantee shall be responsible for
all applicable taxes and duties and its remittances to the local Bureau of Internal
Revenue;
1. Coordinate regularly with the NCCA Officer for the implementation, monitoring and
assessment of the Project through letter, e-mail, phone call or text messaging. The
NCCA shall assign a counterpart officer who shall coordinate and monitor on a
regular basis the progress of the project;
2. Undertake the local and national promotion of the event and shall properly
acknowledge the sponsorship of the NCCA in all informational materials such as but
not limited to tarpaulins, posters, online posting and publications to cite that the
project was made possible in part by the NCCA. The Commission shall be correctly
spelled out: “National Commission for Culture and the Arts (NCCA).” In the posters,
flyers, invitations, press releases, and programs, the NCCA logo shall be of equal
size or larger than the logo of other major sponsors. Acknowledgement shall be done
before, during and after the program;
3. Adopt measures and ensure the safety and security of all participants in the
implementation of the Project. The NCCA shall not be liable for any untoward events
or incidents;
4. Authorize the NCCA to include the project output, partially or entirely, in its website
(www.ncca.gov.ph) and database and for use in the NCCA’s promotional efforts,
reports or other collateral materials as the NCCA deems necessary for the promotion
of culture in the country. The NCCA agrees to acknowledge the source and
authorship of the material used;
5. Submit all liquidation reports, (For LGU/NGA) Report of Disbursement/Report of

Check Issued, (For IPO/PO) Report of Expenses, (For Individual) Report of Expenses
including Summary of Expenses and (For CSO) Fund Utilization Report including an
equity equivalent to 20% of the total project cost, which may be in the form of labor,
land for the project site, facilities, equipment and the like, used in the project. The
liquidation report shall be submitted to the NCCA NEFCA Division within sixty (60)
Page 118 of 130

days after completion of the PROJECT. Failure to submit the above reports shall
mean cancellation of the remaining GRANT and disqualification of the GRANTEE
from receiving financial assistance from the Commission in the future; and
6. Submit Final Report in the following format: (1) Terminal Report in accordance with
the NCCA Guide on Terminal Report. (2) A non-editable PDF (Portable Document
File) format of the Report readable in a standard computer. Photos must be saved in
JPG files for possible use in NCCA publications.
VII. LIMITATIONS OF THE GRANT
Pursuant to COA Circular No. 1994-013 on Rules and Regulations in the Grant,
Utilization and Liquidation of Funds Transferred to Implementing Agencies; COA
Circular No. 2007-001 on the Revised Guidelines in the Granting, Utilization,
Accounting, and Auditing of the funds released to Non-Government
Organizations/People’s Organizations; COA Circular No. 2012-001 on the Revised
Guidelines and Documentary Requirements for Common Government Transactions.
The approved grant shall have the following limitations:
(1) No portion of the NCCA grant shall be released and utilized before the signing
and notarization of the Memorandum of Agreement (MOA).
(2) No portion of the NCCA grant transferred to Civil Society Organizations

(CSOs)/People’s Organizations (POs) shall be used for the following:
VI. Money market placement, time deposit, or other forms of
investments;
VII. Cash advance of any official of the CSO/PO, unless related to
the implementation of the project;
VIII. Payment of salaries, honoraria and any other form of allowances
of NCCA personnel or the CSO/PO who are not connected with
the project;
IX. Purchase of supplies, materials, equipment, and motor vehicles
of the NCCA; and
X. Acquisition of assets of the CSO/PO, unless necessary for the
prosecution of the project, provided by the governing Board
Resolution of the project category, and specifically stipulated in
the MOA
(3) In no case shall the NCCA grant transferred to National Government

Agencies/LGUs/SUCs be utilized for the payment of additional compensation
to employees in the form of allowances, incentive pay, bonuses, honorarium,
or other forms of additional compensation, except as may be authorized by
law or existing regulations, nor shall it be used to create new positions, to
augment salaries of regular personnel or in case of purchase motor vehicles
without prior approval of the Office of the President.
(4) It shall be prohibited to affix, or cause to affixed, the name, visage,

appearance, logo, signature, or other analogous images of any public official,
whether elected or appointed, on all projects or corresponding signage
funded through the NCCA grant.
Page 119 of 130

VIII. GRANT RELEASES
Pursuant to OO-NEFCA-2019-02-001 on the Amendment to the Specialized Guidelines

on Tranches of Fund Transfer/Release to Grantees, the manner of fund transfers/grant
releases and the corresponding liquidation requirements shall be as follows:
A. Individual Grantees
(5) Following the COA Auditing Rules and Regulations, approved funding for
individual grantees shall be released on a “direct payment or
reimbursement mode.”
(6) The initial/partial portion of the grant shall be released to the grantee upon
compliance/submission of the following documents:
2.1 Execution and notarization of Memorandum of Agreement
between NCCA and the individual grantee;
2.2 Certification of Accreditation issued by NCCA;
2.3 Progress Reports;
2.4 Summary of Expenses supported by Official Receipts and
other satisfactory evidences;
2.5 Certificate of Percentage of Project Completion issued by the
NCCA-Program Monitoring and Evaluation Division (PMED)
staff; and
2.6 Issuance of acknowledgement receipt or its equivalent
indicating the amount for each reimbursement received from
the NCCA.
(7) The remaining/final portion of the shall be released to the grantee upon
compliance/submission of the following:
3.1 Summary of remaining expenses supported by Official
Receipts and other satisfactory evidence;
3.2 Final Report of the project, including a copy of the final output
as appropriate;
3.3 Monitoring and Evaluation/Assessment Report signed by the
NCCA-PMED staff;
3.4 Certificate of Acceptance of Output by the NCCA; and
3.5 Issuance of Acknowledgement Receipt or its equivalent
indicating the amount of the final reimbursement received from
the NCCA.
B. CSO/PO Grantees
1. For projects with a grant of more than One Million Pesos and to be
implemented for more than three months, the grant shall be released in three
tranches as follows:
1.1 30% of the grant shall be released to the grantee upon
1.1.1 Execution and notarization of Memorandum of Agreement
between NCCA and Grantee;
1.1.2 Issuance of Official Receipt for the first release;
1.1.3 Certification of Accreditation issued by NCCA;
1.1.4 Proposed Schedule of Activities;
1.2.1 Interim Fund Utilization Report supported by Summary of
Expenses on the first tranche certified by the accountant and
approved by the President/Head of the organization;
1.2.2 Progress Report of the Project and look-ahead schedule;
1.2.3 Certificate of Percentage of Project Completion issued by the
Page 120 of 130

NCCA-PMED; and
1.2.4 Issuance of Official Receipt by the GRANTEE for the second
release;
1.3 10% of the grant shall be released to the grantee upon compliance
of the following:
1.3.1 Final Fund Utilization Report supported by Summary of
Expenses on the second and final tranche certified by the
accountant and approved by the President/Head of the
organization;
1.3.2 Final Report of the project including a copy of the final output
as appropriate;
1.3.3 Project Assessment Report approved by the NCCA;
1.3.4 Acceptance of Output approved by the NCCA;
1.3.5 Issuance of Official Receipt by the Grantee for the final
release.
2. For projects with a grant of less than One Million Pesos and to be
implemented for less than three months, the grant shall be released in two
tranches.
between NCCA and Grantee;
2.1.2 Issuance of Official Receipt for the first release;
2.1.3 Certification of Accreditation issued by NCCA;
2.1.4 Proposed Schedule of Activities;
2.2 10% of the grant shall be released to the grantee upon compliance of the
following:
2.2.1 Fund Utilization Report supported by Summary of Expenses
on the first and final tranche certified by the Accountant and
approved by the President/Head of the organization
2.2.2 Final Report of the project including a copy of the final output
as appropriate;
2.2.3 Project Assessment Report approved by the NCCA;
2.2.4 Acceptance of Output approved by the NCCA;
2.2.5 Issuance of Official Receipt by the Grantee for the final
release.
C. NGA/LGU/SUC Grantees
1. For projects with a grant of more than One Million Pesos and to be
implemented for more than three months, the grant shall be released in three
tranches as follows:
between NCCA and the grantee;
1.1.2 Certification of Accreditation issued by NCCA; and
1.1.3 Issuance of Official Receipt for the first release.

1.2.1 Reports of Checks Issued [RCI] and /or Reports of
Disbursement [RD] of the first tranche certified correct by
the agency treasurer/accountant and approved by the
Page 121 of 130

agency head;
1.2.2 Progress Report of the Project and look-ahead schedule;
1.2.3 Certificate of 50% Percentage of Project Completion issued
by the NCCA-PMED; and
1.2.4 Issuance of Official Receipt for the second release.
of the following:
1.3.1 Reports of Checks Issued [RCI] and /or Reports of
Disbursement [RD] of the first tranche certified correct by
the agency treasurer/accountant and approved by the
agency head;
1.3.2 List of Accounts Payable, certified correct by the agency
treasurer/accountant and approved by the agency head; if
any;
1.3.3 Final Report of the project, including a copy of the final
output as appropriate;
1.3.4 Monitoring and Evaluation/Assessment Report signed by
the NCCA-PMED staff;
1.3.5 Certificate of Acceptance of Output by the NCCA; and
1.3.6 Issuance of Official Receipt by the grantee for the last
release.
2. For projects with a grant of less than One Million Pesos and to be
implemented for less than three months, the grant shall be released in two
tranches.
between NCCA and the grantee;
2.1.2 Certification of Accreditation issued by NCCA; and
2.1.3 Issuance of Official Receipt for the first release.
of the following:
2.3 Reports of Checks Issued [RCI] and /or Reports of
Disbursement [RD] of the first tranche certified correct by the
agency treasurer/accountant and approved by the agency
head;
2.4 List of Accounts Payable, certified correct by the agency
treasurer/accountant and approved by the agency head, if any;
2.5 Final Report of the project, including a copy of the final output
as appropriate;
2.6 Monitoring and Evaluation/Assessment Report signed by the
NCCA-PMED staff;
2.7 Certificate of Acceptance of Output by the NCCA; and
2.8 Issuance of Official Receipt by the grantee for the last release.
IX.DATA PRIVACY STATEMENT

All the personal information gathered under this Program shall adhere to the NCCA
Privacy Policy. This information are stored either in a database or an electronic file and
can only be accessed by authorized NCCA personnel.
Page 122 of 130

ANNEX A: PROJECT PROPOSAL FORM
Page 123 of 130

Page 124 of 130
Page 125 of 130
Page 126 of 130
ACCREDITATION PROCEDURE AND GUIDELINES
All project proposals should be submitted together with the NCCA Certificate of Accreditation to
be issued by the NCCA - Accreditation and Grants Processing Office (AGPO) under the NCCA
Program Management Division (PMD) prior to the approval of project requests.
The AGPO processes the accreditation of grantees upon submission of complete and verified
documents year-round. For queries, you may contact the AGPO at:
Accreditation and Grants Processing Office

3rd Floor, NCCA Building, 633 General Luna Street, Intramuros 1002 Manila,
Philippines
Telephone Nos.: (02) 8527-2192 locs. 530 & 531

E-mail: [email protected]
Page 127 of 130

ANNEX B: NCCA ACCREDITATION CHECKLIST
Civil Society Organization (CSO)

New Renewal
Requirements
1. Duly accomplished NCCA-AGPO-CSO Application Form ✔ ✔
2. Certificate of good standing issued by the GA from which the CSO received public ✔ ✔
funds (if any).
3. Original Copy of Omnibus Sworn Certification ✔ ✔
4. Authenticated copy of the Certificate of Registration with the Securities and ✔
Exchange Commission (SEC)
5. Authenticated copy of the latest Articles of Incorporation showing the original ✔
incorporators/ organizers and the Secretary’s Certificate for incumbent officers and
By-Laws
6. Recent General Information Sheet (GIS) from SEC ✔ ✔
7. Audited Financial Statements for the past Three (3) Years preceding the date of ✔ ✔
project implementation as received by the BIR and Annual Income Tax Returns.
8. BIR prescribed and authorized OR bearing the Tax Identification Number ✔
9. Separate bank account for NCCA funding (preferably a Landbank account). ✔ ✔
Photocopy/scanned copy of bank book with complete bank account information of
the organization (bank account name, number and branch).
National Government Agency (NGA) /

State University / College / Public School New Renewal
Requirements
1. Charter/ Law Creating the Agency/Institution /University/School ✔
2. Certification/ endorsement from the Head of Agency/ Institution/University/School ✔ ✔
3. List of Current Officers ✔ ✔

4. Organization Profile and record of accomplishments (related to the proposed project) ✔
5. Photocopy/ scanned copy of bank book with complete bank account information of ✔ ✔
the GA/Institution/ University (bank account name, number and branch).
Individual
New Renewal
Requirements
1. Comprehensive Curriculum Vitae with recent 2x2 colored photographs ✔ ✔
2. Record of Accomplishments/Projects Completed ✔ ✔
3. At least two (2) Endorsement Letters from any of the following: recognized leaders or ✔ ✔
practitioners in the field of culture and the arts from academic institutions or cultural
agencies; Local Government Units, cultural agencies, academic institutions, other
recognized individuals or organizations in Philippine society
Page 128 of 130

4. Tax Identification Number (TIN) ✔
5. Any valid Government issued Identification Card ✔
the individual (bank account name, number and branch).
Peoples Organization (PO)

New Renewal
Requirements
1. Duly accomplished NCCA-AGPO-PO Application Form ✔ ✔
2. Certificate of good standing issued by the GA from which the PO received public ✔ ✔
funds (if any).
3. List of Current Officers with photographs certified by the Secretary of the ✔ ✔
Organization
4. At least two (2) Certifications from any of the following: Local Government Units, ✔ ✔
cultural agencies, academic institutions, other recognized individuals or
organizations in Philippine society
5. Sworn Affidavit of the Organization Secretary that none of the organizers or officials ✔ ✔
are agent of or related by consanguinity or affinity up to the fourth civil degree to the
officials or any executive council members of NCCA.
6. Sample of Acknowledgement Receipt, signed by the Head and Treasurer ✔ ✔
7. Photocopy / scanned copy of bank book with complete bank account information of ✔ ✔
the organization (Bank Account Name and Number, Bank and Branch). In the
absence of such, a resolution, signed by all the officers of the PO, authorizing the
president, director or treasurer or any other authorized member of the organization to
receive the grant through his bank account, on behalf of the organization.
Local Government Unit (LGU)

New Renewal
Requirements
1. Certification/ endorsement from the Head of the LGU ✔
2. List of Current LGU officials ✔ ✔

3. Record of Accomplishments (related to the proposed project) ✔
the LGU (bank account name, number and branch).
Page 129 of 130

Indigenous Peoples Organization (IPO)
New Renewal
Requirements
1. Duly accomplished NCCA-AGPO-IPO Application Form ✔ ✔
2. Certificate of good standing issued by the GA from which the IPO received public ✔ ✔
funds (if any).
3. List of Current Officers with photographs certified by the Secretary of the ✔ ✔
Organization
4. At least two (2) Certifications from any of the following: Local Government Units, ✔ ✔
National Commission on Indigenous Peoples (NCIP), National Commission on
Muslim Filipinos (NCMF), cultural agencies, academic institutions, or NCCA
executive council members.
5. Sworn Affidavit of the Organization Secretary that none of the organizers or officials ✔ ✔
are agent of or related by consanguinity or affinity up to the fourth civil degree to the
officials
6. Sample of Acknowledgement Receipt, signed by the Head and Treasurer ✔ ✔
the organization (Bank Account Name and Number, Bank and Branch). In the
absence of such, a resolution, signed by all the officers of the IPO, authorizing the
president, director or treasurer or any other authorized member of the organization to
receive the grant through his bank account, on behalf of the organization.
● All forms are downloadable at ncca.gov.ph (accreditation procedure and guidelines)
Page 130 of 130


Final 2024 Ncca Call For Proposals

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Final 2024 Ncca Call For Proposals

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NATIONAL COMMISSION FOR CULTURE AND THE ARTS

THE 2024 COMPETITIVE GRANTS

2024 COMPETITIVE GRANTS

Subcommission on Cultural Communities 5

Subcommission on Cultural Heritage (SCH) 28

Subcommission on the Arts (SCA) 54

Subcommission on Cultural Dissemination (SCD) 100

Responsibilities of Grantees/Limitation of Grants 118

III. NATURE OF THE PROGRAM

IV. SPECIFIC RULES

2. A proponent can only submit one project proposal.

5. The proponent must submit the documentary requirements.

6. Proponents must be accredited by the Commission as a pre-requisite to the approval

8. Pursuant to Executive Order No. 9, s.2019 on the adoption of the cash-based

9. Due to the COVID-19 pandemic, all proposals must demonstrate adherence to

12. The project proposal may be accomplished in Filipino or English.

V. 2024 COMPETITIVE GRANTS

Proponents interested in implementing projects in any category shall submit a project

Download: Annex A: NCCA Project Proposal Form

All project proposals shall be addressed and submitted to:

Program Management Division (PMD)

The project proposal may be accomplished using Filipino or English

[Please refer / download: Annex A: NCCA Project Proposal Form

Subcommission on Cultural Communities and Traditional Arts (SCCTA)

Budget per Project:

Slot/s open for application: 6 slots

This project, Buhay na Dunong or ICH, is an inventorying of ICH elements by a particular

● Oral Traditions, Languages, and Expressions;

Proposed Site/ Communities:

Northern Cultural Communities

Criteria for Evaluation:

Requirements for Submission:

1. Accreditation requirements as indicated by the NCCA;

Budget per Project:

Slot/s open for application: 6 slots

Northern Cultural Communities

Criteria for Evaluation:

Requirements for Submission:

1. Accreditation requirements as indicated by the NCCA;

Budget per Project:

Slot/s open for application: 5 slots

Proposed Site/ Communities:

Northern Cultural Communities

Criteria for Evaluation:

Requirements for Submission:

1. Accreditation requirements as indicated by the NCCA;

Budget per Project:

Slot/s open for application: 5 slots

This project is the publication of an available manuscript on Northern Cultural Communities by

Proposed Site/ Communities:

Northern Cultural Communities

Criteria for Evaluation:

1. Accreditation requirements as indicated by the NCCA;

Budget per Project:

Slot/s open for application: 1 slot

Proposed Site/ Communities:

Northern Cultural Communities

Criteria for Evaluation:

Requirements for Submission: