2022 NCCA Call For Proposals - Competitive Grants Program

NATIONAL COMMISSION FOR CULTURE AND THE ARTS
THE 2022 COMPETITIVE GRANTS

CALL FOR PROPOSALS
Contents
INTRODUCTION 3
2022 COMPETITIVE GRANTS
Subcommission on Cultural Communities 6
and Traditional Arts (SCCTA)
Northern Cultural Communities 6
Central Cultural Communities 18
Southern Cultural Communities 23
Subcommission on Cultural Heritage (SCH) 30

Archives 30
Art Galleries 34
Historical Research 36
Libraries and Information Services 38
Monuments and Sites 41

Museums 49
Subcommission on the Arts (SCA) 53

Architecture and Allied Arts 53
Cinema 60
Dance 64
Dramatic Arts 68
Literary Arts 73
Music 81
Visual Arts 85
Subcommission on Cultural Dissemination (SCD) 95

Communication 95
Cultural Education 99
Wika at Salin/ Language and Translation 105
Responsibilities of Grantees/Limitation of Grants 112

Grant Releases / Data Privacy Statement
ANNEXURES
Annex A: NCCA Project Proposal Form 118
Annex B: NCCA Accreditation Process/Checklist 122
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2022 NCCA Call for Proposals
NATIONAL COMMISSION FOR CULTURE AND THE ARTS
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.
II. AUTHORITY
Section 12.a.4 of Republic Act 7356 [NCCA Charter] authorizes the Commission to give
grants to artists and cultural groups which contribute significantly to the Filipino’s
cultural legacy as 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 culture and arts.
III. NATURE OF THE PROGRAM
The NCCA Competitive Grants Program is competitive in nature since the approval of
project proposals pass through a rigorous and confidential evaluation process based
on merit such as quality and relevance to Commission priorities.
IV. SPECIFIC RULES
1. Proposals received beyond the announced deadline for submission, i.e., August 31,
2021 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.
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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 Section (AGPS) 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

budgeting system, all proposals should indicate the period of implementation
anytime within the period January-December 2022.
9. Due to the Covid19 pandemic, all proposals must demonstrate adherence to

minimum public health standards. Expenses for such purpose (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. 2022 COMPETITIVE GRANTS
The 2022 Call for Proposals is now open. For CY 2022, the projects are categorized
per Subcommissions (SCA, SCCTA, SCD and SCH).
Proponents interested in implementing projects in each 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, 2021 (Tuesday).
All project proposals shall be addressed and submitted to:
Policy/Plan Formulation and Programming Division (P/PFPD)

National Commission for Culture and the Arts
Room 5-C, Fifth Floor, NCCA Building
633 General Luna Street, Intramuros 1002 Manila, Philippines
Telephone Nos: (02) 8527-2192 (TL) loc. 509
Fax Nos: (02) 8527-2198 / (02) 8527-2209 / (02) 8527-2194
E-mail: ppfpd@ncca.gov.ph
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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NATIONA COMMISSION FOR CULTURE AND THE ARTS
Subcommission on Cultural Communities and Traditional Arts (SCCTA)

● NORTHERN CULTURAL COMMUNITIES
SCCTA-Northern-1:
Project Title: SALUN-AT: ADDRESSING MENTAL HEALTH CONCERNS AND DOCUMENTATION
OF NARRATIVES OF COPING DURING THE PANDEMIC
Budget per Project:

PhP100,000.00 per project or slot; Slots open for application: 3 slots
Project Description:
Salun-at is an Ilocano word which means “health”. This project is a face-to-face
seminar/training/workshop that aims to address the mental health concerns of our
indigenous peoples in the Northern Luzon during the pandemic. This project shall be
conducted within one (1) day with a minimum duration of 8 hours, and with at least 30
participants. The project implementor must conduct the following activities:
• seminar/training/workshop;
• documentation of the participants’ narratives in a manuscript, video and/or audio
form;
• submission of recorded output on a flashdrive.
Proposed Site/ Communities:

Northern Cultural Communities
Criteria for Evaluation:

1. Open to all eligible participants such as private (non-profit organization), civil society
organizations, institutions, and public organizations from the local community with
experience in conducting this training;
2. Implementer must be from the community where project must be implemented;
2. Counterpart funding of at least 20% of the project cost which may be in the form of
labor, land project site, facilities, equipment, and the like;
3. Clear presentation of project concept;
4. Clear strategies and activities;
5. Must consider the participation of women, children, youth, IPs, LGBTQIA, informal
settlers, urban poor, and other vulnerable sectors;
6. Engagement of Local Government Units (LGUs) host community/locality, and other
stakeholders;
7. The activity should be implemented in a venue with available facilities convenient and
accessible to the participants;
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8. Proof of consent must be obtained from the community concerned;
9. Proponent must be either member of the academe, Peoples Organization, Indigenous
Peoples Organization, Local Government Units, State Universities and Colleges or Civil
Society Organizations.
Requirements for Submission:

1. Signed project proposal with itemized budget;
2. Organizational Profile;
3. Accreditation requirements as indicated by the NCCA;
4. Detailed activity plan with activity components and identified partners;
5. Good track record of implementing similar activities
SCCTA-Northern-2:
Project Title: TALASTASAN: DISSEMINATION OF COVID-19 INFORMATION KITS FOR
COMMUNITIES IN LOCAL LANGUAGES
Budget per Project:

PhP150,000.00 per project or slot; Slots open for application: 4 slots (1 per region)
Talastasan in Kapampangan refers to “communication” and “information dissemination”.
This project aims to produce and disseminate information kits written in at least two (2)
different indigenous languages for a more flexible and inclusive source of information
regarding the pandemic. The project grantee(s) must produce an info kit consisting of the
following:
• printed brochures (minimum of 8,000 copies);

• 12”x18” posters (minimum of 100 copies);
• minimum of 15 seconder infomercial (with text and/or photos)
The brochure and poster must be downloadable, and the infomercial must be shareable
online. The grantee(s) may innovate (create original) info kits in their local language, or
translate readily available info kits provided by the COVID-19 Inter-Agency Task Force for the
Management of Emerging Infectious Diseases Resolutions (IATF).


1. Implementer must be from the community where the project will be implemented;
2. Counterpart funding of the 20% of the project cost which may be in the form of labor,
land project site, facilities, equipment, and the like;
stakeholders;
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2. Organizational profile;
5. Good trackrecord of implementing similar activities.
SCCTA-Northern-3:
Project Title: PAMAGSANE PANGKULTURA: CULTURAL SENSITIVITY TRAINING FOR HEALTH
PRACTITIONERS
Budget per Project:

The word Pamagsane in Kapampangan means “traditional training and application of
concepts”. This project aims to train at least 30 health practitioners (community and barangay
health workers are preferred) who are non-indigenous people to become more culturally
sensitive in dealing with traditions or practices of the indigenous peoples and their response
to the pandemic. This training’s resource persons shall come from the community and should
be conducted for at least one (1) day with a minimum duration of 8 hours, through a webinar,
or face-to-face training/seminar. The grantee(s) must submit a documentation of the seminar
which includes photos, videos, and manuscripts used during the training/seminar.


1. Implementer must be from the local community where the project will be
implemented;
2. Clear presentation of project concept; training/workshop design and modules;
stakeholders;
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7. Provisions to follow-through or monitoring system on the progress of the training after
the activity;

1. Project proposal with itemized budget;
5. Provisional list of experts and resource persons who will facilitate the activities. Final
list of experts and resource persons should be approved by the Committee on
Northern Cultural Communities;
6. Good track record of implementing similar activities.
SCCTA-Northern-4:
Project Title: TALONGGARING: DOCUMENTATION OF INTANGIBLE CULTURAL HERITAGE
(ICH)
Budget per Project:

Talonggaring is a Pangasinan word for “exemplary cultural performance”. The project aims
to protect our ICH during the pandemic through documentation with at least four (4) months
implementation. This documentation may include, but are not limited to, any of the following:
• Songs (minimum of ten)

• Dances (minimum of five)
• Oral Literatures (minimum of five)
This project is open to all cultural communities in the Northern Luzon, but communities with
the least number of documented ICH (e.g., Bolinao community) are highly encouraged.


1. Open to all eligible participants such as private (non-profit organization), an
individual, civil society organizations, institutions and public organizations from
the local community with experience in conducting this training;
4. Engagement of Local Government Units (LGUs) host community/locality, and
other stakeholders;
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6. Clear selection criteria of participants;
8. Provisions to follow-through or monitoring system on the progress of the training
after the activity.

5. Provisional list of cultural experts and resource persons who will facilitate the
activities. Final list of experts and resource persons should be approved by the
Committee on Northern Cultural Communities;
SCCTA-Northern-5:
Project Title: MANABBATAB: DOCUMENTATION OF INDIGENOUS KNOWLEDGE, SYSTEMS,
AND PRACTICES (IKSPs) ON FOOD SECURITY AND CULINARY HERITAGE
Budget per Project:

Manabbatab is an Ifugao term which means “cooking food in a traditional way”. The project
aims to document indigenous culinary practices that could help sustain the livelihood of our
indigenous peoples. This project aims document at least 10 different dishes and produce a
cooking illustration in the form of a video or a recipe booklet. The grantee(s) must also
disseminate the documented copies to local libraries within their area or community. This
project should be implemented within a minimum duration of four (4) months.


1. Open to all eligible participants such as private (non-profit organization), an individual,
civil society organizations, institutions and public organizations from the local
community with experience in conducting this training;
stakeholders;
5. Must consider the participation of women, children, youth, Ips, LGBTQIA, informal
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the activity.

2. Organizational profile;
SCCTA-Northern-6:
Project Title: ONLINE PUNDADAMUWAN WEBINAR SERIES: CULTURAL SENSITIVITY AND
AWARENESS PROGRAMS ON INDIGENOUS PEOPLE (IP) CULTURE
Budget per Project:

Pundadamuwan is an Ifugao term for a place where they come together for a meeting. The
project aims to conduct a training or workshop regarding cultural sensitivity/awareness on
Indigenous Culture for a minimum of 30 participants. This webinar series must be composed
of at least four (4) webinars in one (1) series, and each webinar should be at least conducted
for a duration of two (2) hours. The grantee(s) must document the webinar through photo,
video/audio documentation, with attached manuscript and narratives of the participants.


organizations, institutions and public organizations from the local community with
implemented;
stakeholders;
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the activity;

Committee on
6. Northern Cultural Communities;
SCCTA-Northern-7:
Project Title: RADYO AMIANAN: RADYO PARA SA TRADISYON
Budget per Project:

The project aims to conduct educational programs through radio since the Northern
Committee has seen the potential of the radio platform in reaching listeners who do not have
access to internet, television, and other modern technologies. This project aims to reach at
least a hundred listeners or audience, and should have at least a minimum total of 24-hour
duration for the whole program. The program must have the following:
• recorded airing featuring at least one (1) ICH per episode
• online links (if uploaded or streamed online)


organizations, institutions and public organizations from the local community with
implemented;
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stakeholders;
the activity;

SCCTA-Northern-8:
Project Title: PROJECT TURO: TEACHER-TRAINING FOR MODULE WRITING ON INDIGENOUS
PEOPLES (IP) CULTURE AND ARTS
Budget per Project:

The project aims to train and develop module guides that could help our educators to create
an inclusive reference material for our students, IPs and non-IP educators. This project should
at least have a minimum of 30 participants, and should be conducted within a minimum of
three (3) days. This project may be conducted through face-to-face trainings, webinars, or
combination of both platforms.
The project shall include development of training-workshop modules, and each trainee must
produce a module for at least one (1) class. The grantee(s) shall submit a documentation of
the training in photos and videos.

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implemented;
stakeholders;
the activity;

SCCTA-Northern-9:
Project Title: PAMAPTOK HI TINAWID: A TRAINING ON THE SAFEGUARDING OF THE
INTANGIBLE CULTURAL HERITAGE (ICH) FOR LOCAL GOVERNMENT UNITS
(LGU)
Budget per Project:

Pamaptok is an Ifugao term for “protection or safeguarding”, and Hi Tinawid means
“heritage”. This project aims to train and allow the representatives of the LGU to create an
action plan to protect the ICH, and produce an ICH database of different cultural communities
within their area. This training must be conducted within a minimum of two (2) days, and
should have at least 30 participants. The grantee(s) must also document the trainings
conducted in a form of video, audio, or manuscript.

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implemented;
stakeholders;
the activity;

SCCTA-Northern-10:
Project Title: AGGIYADAL SI APPASAR: A TRAINING FOR INDIGENOUS PEOPLES
ORGANIZATIONS FOR THE DEVELOPMENT AND MANAGEMENT OF
COMMUNITY-BASED TOURISM CIRCUITS
Budget per Project:

Aggiyadal Si Appasar is a Ga'dang term for “Training on Tourism”. This project is a
community-based collaboration with Local Government Unit (LGU) and/or other qualified
organizations to train the IPs on how to revitalize, develop, and manage their tourism
resources despite the pandemic. This will train them on maximizing their resources and on
developing strategies for sustainable tourism. This training must be conducted within a
minimum of two (2) days, and should have at least 30 participants. The trainees must produce
virtual tours for their output, while grantee(s) are required to produce a training brochure
and a documentation of the training that could be in a form of video, audio, or manuscript.
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implemented;
stakeholders;
the activity;

SCCTA-Northern-11:
Project Title: MIADWANGAN: A CULTURAL MASTER HELPING A CULTURAL MASTER
Budget per Project:

Miadwangan is a Kapampangan term that means to collaborate, help, or share with one
another. It came from the Kapampangan root word “Adwa” or “Adua” which means two. This
is a community-based project that aims to create a database of cultural masters, workers,
artist, and organizations. This project should have at least 30 participants and should be
implemented within a minimum duration of four (4) months. This project must produce a
database profile of at least 30 cultural masters of different crafts. The grantee(s) must also
submit the list of qualifications considered for each cultural master or criteria for
identification of cultural masters.
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stakeholders;
the activity.

SCCTA-Northern-12:
Project Title: IPALIMBAG: A PUBLICATION OF INDIGENOUS PEOPLES LITERATURES
Budget per Project:

The title “IPalimbag” is the combination of the terms “IP” an acronym for “Indigenous
People”, and “Palimbag” which means “to publish” in Filipino. This project aims to compile
existing unpublished indigenous literature, and/or new unpublished indigenous literature to
create reference materials that could be helpful for future research and other studies. This
project highly encourages the communities that have the least number of published
literatures, and also accepts new works or literature that is written in their local language.
The minimum requirements for the published compilation of indigenous literature are the
following:
• minimum of 100 copies;
• each copy should be composed of at least 150 pages;
• requires an International Standard Book Number (ISBN)
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stakeholders;
the activity.


● CENTRAL CULTURAL COMMUNITIES
SCCTA-Central-1:
Project Title: ADVANCING CULTURE - SENSITIVE DISASTER RISK REDUCTION AND
MANAGEMENT (DRRM) AND INTANGIBLE CULTURAL HERITAGE (ICH)
SAFEGUARDING
Budget per Project:

This project supports participatory documentation and capability building activities directed
towards Intangible Cultural Heritage (ICH) safeguarding and strengthening of partnership
between Indigenous Peoples (IP)/Indigenous Cultural Communities (ICC) organizations and
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Local Government Units (LGU) for Culture-responsive Disaster Risk Reduction and
Management (DRRM).
The project components will be held online and/or face-to-face to be participated in by

selected community representatives such as IP leaders, elders, men, women, and youth to
include the following:
• community consultations to seek community consent before the project
implementation and validation of documented traditional DRRM with 25 targeted
participants
• ICH Inventory
• Documentation of traditional DRRM strategies with 20 targeted participants
• Capability-building on policy formulation for 25 targeted community
representatives together with LGU DRRM personnel.

Central Cultural Communities

1. Implementer must be from the community where inventory must be implemented;
2. Other activities should be shouldered through counterparts;
stakeholders;
7. Proponent should be academe, Peoples Organization, Indigenous Peoples
Organization, Local Government Units, State Universities and Colleges or Civil Society
Organizations.

SCCTA-Central-2:
Project Title: CAPABILITY BUILDING FOR IMPROVED MARKET ACCESS FOR TRADITIONAL
CRAFTS
Budget per Project:

This project envisions supporting community-managed social enterprises to expand access to
fair-trade markets that shall consist of capacity building activities for 30 participants which
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may be held either virtual or face-to-face (following IATF protocols) on online marketing of
traditional and local crafts on utilizing any social media platforms with the following
components:
• Training of IP youth on utilizing digital technology and platforms for inventory and
promotion of traditional crafts produced by IP artisans for online marketing of
traditional and local crafts;
• Training of IP leaders for improved market access and strategies;
• Organizing network of local and traditional craft producers for online marketing.

1. Clear presentation of the project concept;
2. Clear strategies and implementation activities;
3. Ability of the proponent to convene the concerned agencies;
4. Appropriateness of target participants to the topics identified;
5. Must consider participation of women, children, youth, IPs, LGBTQIA, informal
settlers, urban poor and other vulnerable sectors;
6. Indicate potential sustainability mechanisms of the initiative;

SCCTA-Central-3:
Project Title: ONLINE LEARNING EXCHANGE AMONG CENTRAL CULTURAL COMMUNITIES
ON BIODIVERSITY, CONSERVATION, AND INDIGENOUS KNOWLEDGE SYSTEMS
AND PRACTICES (IKSP) SAFEGUARDING
Budget per Project:

The project aims to gather 25 representatives from various indigenous people’s groups in
central communities in an online exchange or sharing of community practices related to
biodiversity, conservation, and IKSP with consent from the community. This also aims to open
some of the best practices from one community that could be adapted/replicated by other
participating communities with prior consent from the former.

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1. Clear presentation of the project concept;
2. Clear strategies and implementation activities;
3. Ability of the proponent to convene the concerned agencies;
4. Appropriateness of target participants to the topics identified;
5. Must consider participation of women, children, youth, IPs, LGBTQIA, informal
settlers, urban poor and other vulnerable sectors;
6. Indicate potential sustainability mechanisms of the initiative;

SCCTA-Central-4:
Project Title: DOCUMENTATION ON TRADITIONAL GOVERNANCE SYSTEMS OF CULTURAL
COMMUNITIES
Budget per Project:

This project aims to document the traditional governance systems of cultural communities in
three (3) or more barangays by training 50 local documenters via face-to-face and/or online
interaction, and shall include the following component activities:
• Training of the local documenters on the traditional governance systems of the
ICCs/IPs
• Development of tools and methodologies in documentation activities
• Documentation of traditional governance systems of ICCs/IPs
• Prior to the above activities, community consent and participation in the project must
be sought.
The project shall produce a manuscript for the ICCs/IPs use and/or dissemination to other
ICCs/IPs. The data shall be made available for the ICCs/IPs engagements in the local culture-
responsive governance as IP Mandatory Representatives (IPMRs).

1. Implementer must be from the community where inventory is to be be implemented;
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stakeholders;
Organizations.
8.
SCCTA-Central-5:
Project Title: CAPACITY BUILDING AND FORMULATION OF LOCAL CULTURAL GUIDELINES
OF CULTURAL COMMUNITIES
Budget per Project:

This project aims to train 50 targeted individuals which include IP leaders, Cultural Masters,
elders, men, women, and youth in the documentation of ICH and formulation of local cultural
guidelines via face-to-face and/or online interaction. The formulated Local Cultural Guidelines
will serve as basis of the Indigenous Cultural Communities(ICC)/ Indigenous Peoples (IP)
engagements with the support groups such as Local Government Units (LGU), National
Government Agencies (NGA), Civil Society Organizations (CSO)/ Non-Governmental
Organizations (NGO), academic institutions, business corporations and private individuals in
order to assert the communities’ cultural rights and to gain respect recognition, promotion,
and protection of their living cultural heritage. The following are the activities of the project:
• Seek ICCs/IPs consent for the project implementation and participation

• Train IP leaders, women and youth in the documentation of ICH and the formulation
of local cultural guidelines of ICCs/IPs
• Document important ICH elements to be included in the cultural guidelines
• Formulate Local Cultural Guidelines of the ICCs/IPs and interface related guidelines for
protection and safeguarding of ICH
• Produce a manuscript for the ICCs/IPs use and/or dissemination to other cultural
communities and concerned agencies such as the Local Culture and Arts Council
(LCAC) for the adoption of the ICCs/IPs Local Cultural Guidelines and fully participate
in the culture-responsive governance.

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implemented;
stakeholders;
the activity;
Organizations.

Committee on Central Cultural Communities;
6. Good track record of implementing similar activity.

● SOUTHERN CULTURAL COMMUNITIES
SCCTA-Southern-1:
Project Title: CONSULTATION/FORUM ON INTANGIBLE CULTURAL HERITAGE (ICH)
SAFEGUARDING
Budget per Project:

This project is a one (1) to two (2) day event that shall gather a minimum of 30 participants
from the cultural communities in a consultation, dialogue, and forum with Local Government
Unit, government agencies, and other stakeholders on ICH Safeguarding which may also
include the following: heritage site conservation toward inscribing in LGU-Comprehensive
Development Plan and /or Annual Investment Plan; determination and process of cultural
heritage zone delineation; securing or mainstreaming culture-sensitive-community-based
heritage tourism circuits in partnership with Department of Tourism. This project may be
conducted through face-to-face, online consultation/forum, or combination of both
platforms.
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Southern Cultural Communities

1. Implementer must be from the community where the activity will be implemented;
stakeholders;
Peoples Organization, LGUs, State Universities and Colleges or Civil Society
Organizations.
SCCTA-Southern-2:
Project Title: A RECOVERY PROGRAM: FORUM ON COVID-19 HEALTH PROTOCOL
Budget per Project:

This project is a one (1) to two (2) day forum with a minimum of 30 participants involving
various sectors from different cultural communities in Mindanao. It aims to address and share
awareness for the mental health concerns encountered during the pandemic among the
Indigenous Peoples, and document their narratives for future references. This project may be
conducted through face-to-face, online forum, or combination of both platforms.

1. Implementer must be from the community where activity will be implemented;
stakeholders;
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SCCTA-Southern-3:
Project Title: INFORMATION DISSEMINATION ON COVID-19 RECOVERY THROUGH RADIO
PROGRAM/ SOCIAL MEDIA PLATFORM
Budget per Project:

This project is a month-long information dissemination activity on COVID-19 recovery through
radio program and social media platforms. The radio program shall have a minimum of two
to three-hour broadcast in a week or 12 hours in a month. The project shall consist of
educational programs about COVID-19 recovery. The output shall have the following:
• recordings of all aired episodes

• online links (if uploaded or streamed online)


stakeholders;

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SCCTA-Southern-4:
Project Title: PUBLICATION OF RESOURCE BOOKS ON TRADITIONAL SKILLS AND PRACTICES
Budget per Project:

The project is a publication of resource books on traditional skills and practices. It aims to
intensify documentation showcasing importance of cultural safeguarding. It shall compile
unpublished existing Philippine traditional skills and practices to create reference materials
that could be helpful for future research and other studies. The minimum requirements for
the publication of resource book are the following:
• minimum of 500 copies to be produced and distributed;
• each copy should be composed of at least 150 pages;
• requires an International Standard Book Number (ISBN).


5. Good track record of implementing similar activities;
6. Price quotations from three (3) printing press/ publishing company;
7. Proof of consent from the community concerned;
8. Final Manuscript.
SCCTA-Southern-5:
Project Title: DOCUMENTATION OF INTANGIBLE CULTURAL HERITAGE
Budget per Project:

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The project entails documentation of Intangible Cultural Heritage towards its safeguarding
and shall cover any of the following: good practices on Traditional Disaster Risk Reduction and
Management; Climate Change Adaptation Practices of Indigenous Peoples Communities; and
Intangible Cultural Heritage Safeguarding as Recovery Efforts from COVID-19.

1. Implementer must be from the community where research must be implemented;
stakeholders;

5. Good track record of implementing similar activities;
6. Proof of consent from the community concerned.
SCCTA-Southern-6:
Project Title: ANNOTATED BIBLIOGRAPHY OF STUDIES AND LITERATURE ON INDIGENOUS
AND TRADITIONAL PRACTICES ON PANDEMIC RESILIENCY AND RECOVERY
Budget per Project:

The project aims to compile relevant literature and references on indigenous and traditional
practices related to pandemic resiliency and recovery through an annotated bibliography of
a minimum of 100 literatures which includes location of references. The output shall be a
manuscript covering local, national, and international studies and literatures.

1. Implementer must be from the community where research must be implemented;
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SCCTA-Southern-7:
Project Title: CAPACITY BUILDING FOR SOUTHERN CULTURAL COMMUNITIES
Budget per Project:

This project entails training of Southern Cultural Communities cultural workers and artists and
Indigenous People (IP)/ Indigenous Cultural Communities (ICC) representatives with a
minimum of 30 participants. The project aims to develop toolkits and courses as well as
conduct training on any of the following:
• Training on Information and Communications Technology
• Disaster Risk Reduction and Management
• Development and management of community-based tourism circuits in partnership
with Department of Tourism
• Capacity building for second-liners or apprentices of cultural masters focused on
increase in craft production and enhanced transmission of ICH with a minimum of 25
participants

stakeholders;
Peoples Organization, LGUs, State Universities and Colleges or Civil Society
Organizations.
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SCCTA-Southern-8:
Project Title: STRATEGIC PLANNING ON THE INTEGRATION OF TRADITIONAL DISASTER RISK
REDUCTION AND MANAGEMENT STRATEGIES IN LOCAL GOVERNMENT UNIT
Budget per Project:

The project entails to integrate Indigenous Knowledge Systems and Practices (IKSP) in the
Disaster Risk Reduction and Management (DRRM) strategies of Local Government Unit (LGUs)
frequented by disasters with dominant Indigenous Peoples (IP)/ Indigenous Cultural
Communities (ICC) populations. The activities shall consist of the following components:
Conduct of Policy Research; Policy Development; and Strategic Planning particularly the
integration of alert codes and IKSP as early warning signals in the LGU DRRM.

stakeholders;

Page 29 of 125
Subcommission on Cultural Heritage (SCH)
● ARCHIVES
SCH-Archives-1:
Project Title: CONSERVATION OF DOCUMENTARY HERITAGE
Budget per Project:

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
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 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) is required.
4. Inventoried and properly catalogued 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.
SCH-Archives-2:
Project Title: DIGITIZATION OF ARCHIVAL COLLECTIONS (Paper-Based Materials)
Budget per Project:

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

Page 30 of 125
3. Documents showing its capabilities to undertake and sustain the project such as, but
not limited to, manpower, technical know-how, equipment, counterpart budget, time
table, 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.

The proposal must demonstrate the following:
1. Adherence to the Technical Requirements by the International Guidelines on

Digitization of Records (ISO 13028) which establishes the guidelines for
creating/maintaining records in digital format, where the original paper or other non-
digital source record has been copied by digitizing. These may cover:
● Materials/documents that are too large

● Materials/documents that are too fragile
● File format, resolution, etc.
● Authenticity, reliability, integrity and usability of the digitized records
2. 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.
Meanwhile, the materials to be digitized must satisfy the following criteria:

1. Rare, unique or fragile materials, archives and other objects of factual value that need
to be retained in their original form. Fragile, torn and creased materials should be
treated/restored.
2. Listed/registered in the Philippine Registry on Cultural Properties (PRECUP)
3. 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.
4. Inventoried and properly catalogued 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. No history of digitization.
6. Selected on the basis of content, demand and condition of the materials.
SCH-Archives-3:
Project Title: DIGITIZATION OF ARCHIVAL COLLECTIONS (Audio-Visual Materials)
Budget per Project:

PhP1,000,000.00 per project or slot; Slots open for application: 1 slot
Page 31 of 125
Local government units, educational institutions, and civil society organizations with
significant archival collections

activities, and Work & Financial Plan, duly signed by the Proponent on each page.
3. Documents showing the proponent’s capabilities to undertake and sustain the project
which include manpower, technical know-how, equipment, counterpart budget, time
table, storage, migration plan, and other resources. Such documents must adhere to
the ISO 14721:2012 Space Data and Information Transfer Systems - Open Archival
Information System – Reference Model (OAIS) that "provides a systematic framework
*
for understanding and implementing the archival concepts needed for long-term
digital information preservation and access" as it describes the roles, processes and
methods for long- term preservation (Digital Preservation Coalition, 2018, par. 4; refer
to The Open Archival Information System (OAIS) Reference Model: Introductory guide
by Digital Preservation Coalition & Lavoie, 2014).
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. 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.

The materials/works to be digitized must satisfy the following criteria:
1. Listed/registered in the Philippine Registry on Cultural Properties (PRECUP), a
repository of information on all cultural properties of deemed significant importance
to our country’s heritage. If not listed in the PRECUP and if it forms part of public
records, endorsement by the National Archives of the Philippines (NAP), the National
Library of the Philippines (NLP), or the Philippine Film Archives (PFA) 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 of copyright holder
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 Technical Assistance prior to submission of project proposal.
SCH-Archives-4:
Project Title: ESTABLISHMENT/ENHANCEMENT OF ARCHIVES AND RECORDS CENTER
Page 32 of 125
Budget per Project:
Local government units, educational institutions, and civil society organizations with a
dedicated space for archives

3. Building plan/blueprint of dedicated space for the archives
4. Certification or Resolution dedicating the space for archives use

1. Priority shall be given to proposals coming from Regions CAR, 2, 8, 9, 12 and BARMM.
2. The proponent must have sought technical assistance prior to submission of proposal.
3. Proposal must be based on the recommendations from the technical assistance.
4. Proposal must contain the mandate and proposed/current archival policies,
administrative principles, and processes.
5. The proposed/enhanced archives must have provision for permanent staffing.
6. The proposed/enhanced archives must be ready for operation upon completion of the
project.
SCH-Archives-5:
Project Title: LOCAL APPRENTICESHIP IN DIFFERENT ARCHIVAL INSTITUTIONS
Budget per Project:

Individuals

3. Profile of the archival institution/s where the apprenticeship will be undertaken.

1. The proponent must demonstrate that the proposed apprenticeship will elevate
his/her current work into higher levels of performance and service.
2. The proposal must have a provision for a re-entry plan at the end of the
apprenticeship.
Page 33 of 125
● ART GALLERIES
SCH-Galleries-1:
Project Title: REGIONAL ART FAIR (Art from the Major Island Regions)
Budget per Project:

PhP1,500,000.00 per project; Slots open for application: 2 slots [open for Visayas and
Mindanao only]
Civil Society Organizations such as, but are not limited to, galleries, art spaces; LGUs, and
universities
Requirements for Submission

3. Floor plan of the proposed venue
Criteria for Evaluation

1. The art fair should have a unique concept that must differ from existing local art fairs
and from trade fairs and must ensure strong interaction among exhibitors and visitors
while observing minimum public health standards
2. 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 art fair.
3. Must undergo Technical Assistance on the rigors of art fair production and
management to be given by NCCA
4. Must coincide with and must adhere to the annual theme of the Museums and
Galleries Month Celebration
5. Must be participated by at least 15 group of exhibitors where 7 must be onsite
6. Each participating exhibitor should be able to feature artworks made by Visayas-based
and Mindanao-based artists respectively
7. Exhibition period should be at least 3 days
8. Must be visited by at least 1000 guests
9. Should have counterpart funding
10. The exhibition booths are the primary showcase of the art fair, should there be talks,
should focus on topics which highlight art as an essential activity during the pandemic.
Page 34 of 125
SCH-Galleries-2:
Project Title: ART EXHIBITION PRODUCTION
Budget per Project:

PhP300,000.00 per project by individuals and PhP500,000.00 per project by
institutions/groups; Slots open for application: 5 slots for projects by institutions/groups and
3 slots for projects by individuals
Civil Society Organizations, Peoples Organizations, National Government Agencies, State
Universities and Colleges, Local Government Units, and Individuals preferably with experience
on exhibition production

1. NCCA Certificate of Accreditation;
Activities, and Work and Financial Plan, duly signed by the Proponent on each page;
3. Address/location and at least 3 photos of the proposed venue.

1. For large exhibitions, they should encompass universal themes which have
widespread relevance for a broad audience.
2. For small exhibitions, they must be developed and designed to target more specialized
interest groups such as marginalized or underrepresented sectors and expand the
general public’s engagement with and understanding of unusual subject matter that
they ordinarily would not be aware of or be exposed to.
3. The proposed exhibition must be new and has yet to be presented to the public
4. Collaboration with a museum, art gallery, or commercial organization to develop and
design the exhibition is highly encouraged
5. Must include the production of an exhibition catalogue
6. Must be participated by at least 3 exhibiting artists and must produce a total of at least
15 artworks
7. Must be visited by at least 150 guests
8. Exhibition period should at least be seven (7) days
mounting of the proposed art exhibition.
Page 35 of 125
● HISTORICAL RESEARCH
SCH-Historical-1:
Project Title: PUBLICATION
Budget per Project:

PhP200,000.00 per project or slot; Slots open for application: 8 slots, i.e., (2 NCR, 2 Luzon,2
Visayas, and 2 Mindanao)
Individuals, institutions or organizations composed of social science teachers, local historians,
writers, and/or researchers.

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 editor’s review
5. Quotations from at least 3 publishing houses for 1000 copies
6. List of past conference/s where the manuscript was presented, if applicable.

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.
2. The manuscript is subject to the favorable review through a double-blind review
process.
3. The manuscript must contribute to the enrichment of the narrative of Philippine history
or Philippine historiography.
4. The manuscript can be on the following topics/theme:
a. Local and oral history
b. Historical narratives on medicine and public health
c. Studies relevant or pertinent to local and national commemorative activities that
may include but not limited to: 150th Year of Gomburza Execution, 50th Year of the
Martial Law Declaration of the Philippines, among others.
5. Open to unpublished winning entries of Young Historian’s Prize.
SCH-Historical-2:
Project Title: LOCAL HISTORY WRITING WORKSHOP
Budget per Project:

PhP150,000.00 per project or slot; Slots open for application: 6 slots, i.e., (2 Luzon, 2 Visayas,
and 2 Mindanao)
Page 36 of 125
Local government units, civil society organizations, schools, and universities

3. Workshop design (program, rationale, venue, objective, number of expected
participants) covering any of the following: Methodology of Oral History, Advance
historical research (i.e. Paleography, foreign languages)
4. Profile of Speakers and participants
1. Must indicate active participation of significant stakeholders in the community
especially artists and cultural workers
2. Must highlight the local cultural and historical icons
3. Promotes the use of other historical approaches
4. The workshop must have provisions for the sustainability and ensure the delivery of
workshop outputs.
5. Priority shall be given to workshops which will be conducted in regions II, CAR, VIII, IX
and XII
6. The workshop must cater to at least 100 participants.
conduct of the proposed workshop.
SCH-Historical-3:
Project Title: HISTORICAL CONFERENCES
Budget per Project:

Local government units, educational institutions, and civil society organizations

Activities, and Work & Financial Plan duly signed by the Proponent on each page
3. Conference design (program, rationale, venue, objective, number of expected
participants)
4. Profile of Paper Presenters
5. Abstracts of Papers to be presented
Page 37 of 125
1. The conference must contribute to interdisciplinary, strategic, and innovative areas of
historical research.
2. The conference must cater to at least 100 participants.
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 conference.
SCH-Historical-4:
Project Title: PUBLICATION OF HISTORICAL CONFERENCE PROCEEDINGS
Budget per Project:

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

complete hard copy
4. Quotations from at least 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.
2. The manuscript must contribute to the enrichment of the narrative of Philippine
history or Philippine historiography.

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

Local government units (Provincial/City Governments/Municipal)
Page 38 of 125
3. Endorsement from the National Library of the Philippines (NLP)

1. An existing site must be provided by the local government unit.
2. The proponent must have a proven track record of implementing projects of similar
nature.
SCH-Libraries-2:
Project Title: ENHANCEMENT OF GOVERNMENT LIBRARIES
Budget per Project:

Local government units, State Universities and Colleges, 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. The
date it has been established, type of collection and other specific details about the
library must be stated in the project description.
3. For Local government units with established libraries/reading centers, an
endorsement from the National Library of the Philippines (NLP) stating that the
proponent is an affiliated public library and is operational should be submitted.

nature.
2. Priority shall be given to libraries/ reading centers which have been in existence for
the last 3 years.
3. The materials to be acquired, whether printed or electronic resources, must be
responsive to the needs of its identified stakeholders.
SCH-Libraries-3:
Project Title: CAPACITY BUILDING FOR LIBRARIANS AND NON-LIBRARIANS
Budget per Project:

Page 39 of 125
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. CPD Provider Certificate
4. Profile of Speakers

1. The proponent must have a proven track record in 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.
conduct of the proposed capability building program.
SCH-Libraries-4:
Project Title: DIGITIZATION AND ACCESS TO FULL-TEXT FILIPINIANA RESOURCES
Budget per Project:

Local government units, State Universities and Colleges, regional/provincial/local study
centers, and public schools with established libraries/reading centers

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. List of Filipiniana books, manuscripts, monographs, theses, dissertation, periodicals,
etc. that are subject for digitization, following this template:
Page 40 of 125
Creator Title of Work Type of Copyright No. of Pages Subject
(Author, Material Date
Researcher, (Books,
Compiler, newspapers,
Composer, magazines,
etc. theses,
dissertations
, musical
composition,
etc.

nature.
2. 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 area 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)
3. 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 NCCA and the
National Library of the Philippines.

● MONUMENTS AND SITES
SCH-Monuments-1:
Project Title: WORKSHOP ON DEVELOPMENT OF DISASTER RISK REDUCTION AND
MANAGEMENT PLANS FOR HERITAGE SITES (with CPD points)
Budget per Project:

National government agencies, Local government units, civil society organizations, and
educational institutions

Page 41 of 125
4. List of structures (if more than one) that are targeted for the drafting of the DRRM
Plans.
5. Course outline and program methodology
6. Profile of trainers and project team
7. If the proponent is not the local government unit, an endorsement from the local
chief executive must be submitted.
8. Proof of capacity to award certificates of completion with the corresponding CPD
points to participants

1. Priority is given to areas with declared National Cultural Treasures or Important
Cultural Properties;
2. Areas with no sites that are not within item 1 should have a local inventory of cultural
property
3. Areas that do not qualify under items 1 or 2 should identify the sites and their
outstanding qualities and is subject to the deliberation of the NCMS
4. Projects that involve culture bearers should include a commensurate honorarium for
their services and expenses.
5. The project team must include trades specializing in the conservation of the built
heritage, which include, but are not limited to the ff.:
▪ Architecture
▪ Archaeology
▪ Engineering
▪ Site and Environmental Planning
▪ Geodetic engineering
6. Documentation for this category of programs must include the following:
Complete photo and video documentation of the various workshop activities;
Summary of discussions per module of the program
Copies of certificates of completion handed out to participants
Signed and duly accomplished comment forms from participants. Evaluation of how
effective the speakers are and how engaged the participants were will also be
correlated with the photo/video documentation.
Work plans from the participants of the DRRM Planning course must be submitted
and should be complete with:
▪ Name of property
▪ Description of property
▪ Short historical overview of the property highlighting past
disasters/destruction
▪ Perceived threats and vulnerabilities of the property
▪ Outline of steps to creating a DRRM Plan for the property
▪ Proposed budgetary requirement for DRRM Planning
conduct of the proposed workshop.
SCH-Monuments-2:
Page 42 of 125
Project Title: DEVELOPMENT OF DISASTER RISK REDUCTION AND MANAGEMENT PLANS
FOR HERITAGE SITES
Budget per Project:

National government agencies, Local government units, civil society organizations, and

3. List of structures (if more than one) that are targeted for the drafting of the DRRM
Plan/s.
4. Profile of project team

1. Priority is given to areas with declared National Cultural Treasures or Important
2. Areas with no sites that are not within item 1 should have a local inventory of cultural
property
3. Areas that do not qualify under items 1 or 2 should identify the sites and their
outstanding qualities and is subject to the deliberation of the NCMS. These may
include but are not limited to undeclared heritage sites like caves, karst,
archaeological sites, etc.
4. The project team must include trades specializing in the conservation &/or disaster
risk management of the built heritage, which include, but are not limited to the ff.:
▪ Architecture
▪ Archaeology
▪ Engineering
▪ Site and Environmental Planning
▪ Geodetic engineering
5. DRRM plan/s for each site should be complete with:
▪ Name of property
▪ Description of property
▪ Overview of site or property incorporating the following:
o Highlights of past disasters/destruction
o Overall context including socio-economic profile
o Overall set-up of governance reflecting issues & concerns
Page 43 of 125
▪ Background
▪ Actual Proposed DRRM Plan containing among others:
o Objective
o Criteria for selection
o Scope of activities in the proposal
o Involved major players
o Buy-ins to stakeholders
o Dissemination process
o Identification of disasters, risks, threats & vulnerabilities
o Drawing of a "Cause & Effect relationship chart" of disasters & its
underlying attributes
o Building of Scenario Case Chart reflecting 1-2hours then 3-24 hours for
the a. situation, b. surrounding impact & c. site impact
o Inclusion of the UNESCO 4 Sendai Priority Framework (Priority 1:
Understanding Disaster Risk to Culture; Priority 2: Disaster Risk
Governance for Culture; Priority 3: Investing in Disaster Risk for Culture;
and Priority 4: Enhancing Disaster Preparedness for Better Response for
Culture)
o Road Map for Improvement of the Management System (for on-site,
Local & National level)
o Scope of works/activities
o Schedule of Activities (maximum of 4 months).
SCH-Monuments-3:
Project Title: ARCHITECTURAL DOCUMENTATION
Budget per Project:

National government agencies, Local government units, Civil society organizations, and

Activities, and Work & Financial Plan, duly signed by the Proponent on each page;
3. Certification (from the owner of property should this not be the proponent) that no
such documentation project had been conducted on the property;
4. Profiles of team members who will undertake the Architectural Documentation.
Page 44 of 125
1. Priority is given to sites that are declared National Cultural Treasures or Important
2. Sites that are not within item 1 should be part of the LGU's inventory of cultural
property
3. Sites that are neither within items 1 or 2 should be accompanied with a justification
of its outstanding qualities and is subject to the deliberation of the NCMS
5. The project team must include those specializing in the conservation of the built
heritage, which include, but are not limited to the ff.:
▪ Architecture
▪ Interior design
▪ Research
▪ Surveyor
▪ Painting conservator
(NOTE: Attached is "ANNEX 1: Deliverables for Architectural Documentation" which can form
part of the required project output)
ANNEX 1: Deliverables for Architectural Documentation (SCH-MONUMENTS-3)

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
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
Page 45 of 125
iii. Age/Period
iv. Materials and construction method
E. Conditions Survey
a. Architecture
b. Structure
Technical details of deliverables:
1. All reports will be printed on A4 size paper, portrait format, single-column layout
(including pictures and other illustrations), "Times New Roman" font size 12, 1.5
spacing, and observing the following margins settings (in cm): Left 3.17, Right 3.17,
Top 2.54, Bottom 2.54.
2. Drawings and photographic reports will be printed on A3 size paper (production of
drawings shall be limited to what is existing; where drawings are not available,
photographs shall be used)
a. Cover Page with the ff: the perspective of the building, location map
b. Floor plans (for each identified floor, plus mezzanine level), convenient scale
c. Floor plans detailing floor finish
d. Floor plans, color-coded to illustrate the areas which correspond to an identified
period of construction based on materials and constructive systems employed
e. Elevations
i. Four (4) Exterior elevations
ii. Same set of exterior elevations, but showing the identified materials of
construction. (n.b. each material should be assigned a color)
iii. Bay elevations
iv. Room elevations (spaces to be identified during actual work)
v. Sections
vi. Details
vii. Schedule of door and window openings
f. Conditions Survey
i. plans and photographs detailing deteriorated portions of the floors
ii. plans and photographs detailing plant growth
iii. Room/area elevations detailing deterioration of building fabric
SCH-Monuments-4:
Project Title: AS-BUILT PLAN
Budget per Project:

National government agencies, Local government units, and civil society organizations
Page 46 of 125
3. Certification from Owner of the Property (if this is not the Proponent) that there is no
existing As-built plan for the property;
4. Existing architectural plans (if applicable);

property
of its outstanding qualities and is subject to the deliberation of the NCMS
5. The project team must include (but not limited to) the ff.:
▪ Architect
▪ Structural Engineer
▪ Plumbing and Sanitary Engineer
▪ Electrical Engineer
▪ Mechanical Engineer (if applicable)
▪ interior designer
SCH-Monuments-5:
Project Title: HERITAGE EDUCATION AND INTERPRETATION
Budget per Project:

Local government units, civil society organizations, and educational institutions

3. If the proponent does not own the property or properties to be interpreted, the
proposal must describe the involvement of the owner/s with the project and include
a letter of consent from the owner/s.
4. The proponent must demonstrate strong local support by including letters of support
from the local community and partner organizations
5. For publication proposals:
a. Printer-ready/Camera-ready manuscript both in PDF File in flash drive or cd,
and a complete hard copy
Page 47 of 125
b. Editor's certification that the manuscript has undergone editor's review
c. Quotations from at least 3 publishing houses for 1000 copies

1. Only projects involving the development and implementation of publications,
exhibitions, displays, site interpretations, tours, seminars/workshops/trainings, and
multimedia including smartphone apps, podcasts, videos, websites and social media
to educate residents and/or visitors of a heritage structure or site may qualify under
this category.
3. The heritage structure/s or site/s to be interpreted must be included in the local
cultural inventory of the local government unit where it is located. Priority shall be
given to structure/s and site/s which are declared as Important Cultural Property,
National Historical Landmark, or National Cultural Treasure, especially those in
immediate danger of being lost or destroyed.
4. Evidence that experts have been consulted if the project interprets historical or
cultural facts.
5. For projects that are intended to continue beyond the life of the grant, greater
consideration will be given to those that show a strong potential for sustainability.
6. Evidence of sufficient management and financial ability to complete the project and
that the project has support within the local or regional community.
7. Quality of performance as demonstrated by plans for implementing and evaluating
the project.
development and implementation of the proposed project.
SCH-Monuments-6:
Project Title: CONSERVATION OF MOVABLE ARCHITECTURAL ELEMENTS OF IMPORTANT
CULTURAL PROPERTIES AND NATIONAL CULTURAL TREASURES
Budget per Project:

PhP1,000,000.00 per project or slot; Slots open for application: 3 slots
National government agencies, local government units, civil society organizations, and

Page 48 of 125
4. Restoration plan which includes specification of materials and methodology

1. For purposes of this category, conservation may include but is not limited to repairs,
replacement of missing parts, rehabilitation, restoration of paintings directly on walls
and other surfaces, polychrome of statues and decorative objects
2. Movable architectural elements refer to everything attached to the property such as
statues, reliefs, paintings on walls and other surfaces, doors, windows, removable
architectural details, chairs or other objects for use or ornamentation placed in such
a manner that it reveals the intention to attach them permanently or in such a way
that it cannot be separated therefrom without breaking the material or deterioration
of the object
3. Prior to the submission of the proposal, it is understood that the proponent must have
done work on the structure that secures it from the elements
property
of its outstanding qualities and is subject to the deliberation of the NCMS.

● MUSEUMS
SCH-Museums-1:
Project Title: PRODUCTION OF ONLINE EXHIBITIONS AND LEARNING ACTIVITIES
Budget per Project:

Local government units, educational institutions, civil society organizations with museums
that are in existence for at least 5 years, with permanent staffing, and educational/ public
programs for the past 2 years

3. List and profile of project team.
4. List of participating museums
5. Cooperation agreement with participating museums.

1. The proposal must cover at least 5 museums as beneficiaries.
2. It must produce at least 2 online exhibits per museum.
Page 49 of 125
3. The proposal must be aligned with the existing exhibition programs of the
participating museums as an alternative to physical exhibitions.
4. The proponent must be willing to attend a series of training on collections
photography, digital exhibition using social media, designing online tools through
object-based learning, among others upon approval of the grant.
5. The profile of the project team must include a skilled photographer, social media
specialist, online learning specialist, and digital designer.
6. The project team must work closely with the 5 participating museums and their
representatives.
SCH-Museums-2:
Project Title: ENHANCEMENT OF MUSEUMS
Budget per Project:

PhP350,000.00 per project or slot; Slots open for application: 10 slots, i.e., two (2) from Luzon,
three (3) from Visayas, three (3) from Mindanao, and two (2) from NCR.
Local government units, educational institutions, and civil society organizations operating
with museums that are in existence for at least 5 years, with permanent staffing, with
exhibition facilities and repositories, with collections, and with educational or public
programs for the past two (2) years.

3. Endorsement from the Regional Museum Association indicating years in existence,
permanent staffing through an organizational structure, exhibition space or existing
galleries/exhibition and/or storage rooms and collections, and educational/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 National
Historical Commission of the Philippines is required.
6. The proponent must submit a business plan relative to the enhanced structure to
ensure the sustainability of operations.
7. Museums under the Local Government Units (LGUs) may not submit a business plan
provided that documents or Sangguniang Board Resolutions stating the operating
expenses are funded and whose sustainability of operation is assured by the LGU.

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. (Profile)
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2. The proponent should demonstrate that programs envisioned operating in the enhanced
museum will definitely be elevating its current working to higher levels of performance,
service, and influence and will be of greater impact to the public.
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.
SCH-Museums-3:
Project Title: PHILIPPINE MUSEUM CONGRESS
Budget per Project:

One Million Five Hundred Thousand pesos (PhP1,500,000.00); Slots open for application: 1
slot
Local government units, educational institutions, or civil society organizations with museums
that are in existence for at least 5 years, with permanent staffing, educational/ public
programs for the past 2 years
3. Proposed program indicating topics, number of speakers, number of participants
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 assemblies, 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 congress must have a minimum of 200 participants.
conduct of the congress.
SCH-Museums-4:
Project Title: YEARBOOK ON PHILIPPINE MUSEUM PRACTICE
Budget per Project:

Maximum of Nine Hundred Thousand pesos (PhP900,000.00) per project or slot
Number of slots open for application:
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One (1) slot
Individuals, institutions, or organizations composed of museum workers, writers, and/or
researchers.

complete hard copy
5. Editor's certification that the manuscript has undergone editor's review
6. 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.
2. The manuscript is subject to a favorable review through a double-blind review process.
3. Track record on publishing projects and should be at least three (3) years in operation
(e.g. university museum)
4. Must provide list of Editorial Board and proof of an editorial office
5. Must feature each region and should allot equal space allocations
6. All members of the NCOM Execon must sit in the Editorial Advisory Board
7. The Yearbook must cover the Year 2021.
Subcommission on the Arts (SCA)

• ARCHITECTURE AND ALLIED ARTS
SCA-Architecture-1:
Project Title: LUNTIANG POOK: Building Sustainable and Disaster Resilient Community
Open Spaces
Budget per project:

PhP600,000.00 per slot/ Slots open for application: 5 slots
The Landscape design will highlight the importance of community gardens using
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 will utilize indigenous/local species of edible and
ornamental plants and local hardscape materials if needed.
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• To raise awareness that through a progressive communal garden, food security in a
community can be attained and livelihood opportunities can be created.
• To provide multi-purpose areas or convertible gardens or open spaces as part of the
communities' disaster emergency response plan.
Qualification of the Proponent:

Civil Society Organizations (CSOs), Local Government Units (LGUs), Schools
Criteria for evaluation of the proposals:

1. Existing community with the communal garden site
2. Partnership with Philippine Association of Landscape Architects (PALA) on the
technical requirements such as training design and identification of resource persons
following health protocols
3. Minimum 120 sq.m. land area.
Requirements for submission:

1. Duly accomplished NCCA Project Proposal
2. NCCA Project Proponent Accreditation
3. Site Inventory (area of site (sq. m.), site photos, brief description of the existing site
condition)
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
11. Proof of Partnership with Philippine Association of Landscape Architects (PALA) or
endorsement from PALA.
SCA-Architecture-2:
Project Title: UPCYCLING WORKSHOP
Budget per project:

PhP400,000.00 per slot / Slots open for application: 3 slots
A capability-building project which shall provide communities with knowledge and skills on
upcycling concepts or material development of discarded objects, thus helping in the
reduction of waste products affecting the immediate environment while enhancing their
creative abilities and possible income from the outputs.
Project Objective:
To enhance their knowledge and skills on the concept of upcycling or material development
of discarded objects into something functional, and sustainable.
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Civil Society Organizations (CSOs), Local Government Units (LGUs), Government Agencies,
Schools

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

Duly accomplished NCCA Project Proposal; NCCA Project Proponent Accreditation; Product
with Rationale, Module Design, Profile of Resource Persons; Endorsement from CSOs, LGUs,
Government Agencies, Schools.
SCA-Architecture-3:
Project Title: CAPACITY BUILDING TO EMPOWER COMMUNITIES TO BE RESILIENT TO ALL
TYPES OF DISASTERS TOWARD SUSTAINABLE DEVELOPMENT
Budget per project:

PhP400,000.00 per slot/ Slots open for application: 2 slots.
Two (2) grants of Four Hundred Thousand Pesos (400,000.00) each are available for capacity
building to empower communities to be resilient to all types of disasters toward sustainable
development focusing on topics with relation to Architecture, Interior Design, Landscape
Architecture, and Environmental/Urban/Town Planning for local government units, practicing
professionals and students of the afore-mentioned disciplines, and interested public.
Proposals for consideration may focus on at least one (but are not limited to) from the
following topics:
a. Planning Cultural Districts and/or Heritage Zones
b. Disaster Risk Reduction and Mitigation and Improving Resilience of Heritage and
Cultural Spaces
c. Planning and Designing Public Open Spaces for Resiliency and Livable towns and Cities
d. Planning and Designing Gender-Sensitive and/or Child-Responsive and Safe Public
Spaces
e. Master Planning of State Universities and Colleges as mandated by Republic Act No.
11396 also known as SUCs Land Use Development and Infrastructure Plan (LUDIP) Act
f. Designing Transformable Interior Spaces for Mid and Long Term Purposes to be
Responsive to Pandemics or other Crises
g. Designing Residential and Commercial Interior Spaces for the Filipino Households
h. Future-Proofing: Innovations in Building Technology, Design Approaches, Materials,
Energy Efficiency, Green Technology
i. Wisdoms of Vernacular Architecture: Designing and Planning inspired by Indigenous
Communities
j. Designing and Promoting Shared Spaces Post-Covid19
k. Forest Bathing for Promotion of Well-being and Environmental Sustainability
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Proposals should include collaboration with any of the Accredited Professional Organizations,
namely, United Architects of the Philippines (UAP), Philippine Institute of Interior Designers
(PIID), Philippine Association of Landscape Architects (PALA), Philippine Institute of
Environmental Planners (PIEP), or their affiliated chapters nationwide.
Local Government Units who wish to submit proposals should ensure that the workshops shall
produce as outputs initial drafts of policies or plans or design codes which can serve as inputs
to any succeeding planning or ordinance of their city or municipality.
The NCAAA Executive Council highly encourages (but does not require) proponents to have
their workshop program accredited by the Continuing Professional Development Council of
the respective professions to make it more inviting if they target to have participants
practicing professionals. They may partner with accredited CPD providers to make this
possible. If this is not possible, the organizer should ensure that originally signed certificates
of participation are issued to the attendees so they can later submit this to form part of self-
directed CPD.
In compliance with health protocols set by the National Government, the workshops should
take the form of either online and/or blended learning to ensure limited contact of
participants, resource speakers, and organizers. If the project will adopt a face-to-face format,
the proponent should ensure that venues are well ventilated, will allow participants to have
ample physical distancing, and disinfection of surfaces shall be done before and after each
session.
To ensure that the workshop shall reach its intended participants, proponents are encouraged
to pre-register their participants and communicate properly the mechanics of the workshop
including materials/equipment that participants need to prepare. The workshop proper
should be broadcasted (live or delayed broadcast) via YouTube or the FB pages of the
Proponent, NCAAA, and the NCCA.
The project should directly benefit at least 30 workshop participants and 3 or more resource
speakers.
The workshop and work opportunities that can be provided by this project should ensure that
equal opportunities shall be given to all genders.
Project Objectives:
The grant aims to achieve the following:
• To promote compliance of plans and designs with national and international
standards;
• To update their knowledge and skills; and
• To promote culturally sensitive, environmentally sustainable, and disaster-resilient
designs and plans for the community.
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The invitation to submit proposals is open to Civil Society Organizations (CSOs), Provincial,
and Local Government Units (P/LGUs), barangay units, Government Agencies, and state
universities and colleges that are compliant with NCCA's eligibility requirements.
NCCA's Accreditation Process is open year-round and eligibility is valid for one year.
Information on the NCCA Accreditation is available on NCCA's website www.ncca.gov.ph.

a. Fully accomplished NCCA Proposal Form/Template
b. Capacity Building Module/Topics with proposed or targeted resource person per topic
c. Organization Profile of Proponent
d. Necessary plans or maps as a reference for consideration (if applicable)
e. List of outputs to be produced by the workshops (if applicable).

a. Completeness of Proposal
b. Relevance of the Proposal to the goals of the Grant
c. Compliance with national health protocols.
SCA-Architecture-4:
Project Title: WORKSHOP FOR ALTERNATIVE MOBILITY AND BICYCLE LANES
Budget per project:

PhP400,000.00 per slot / Slots open for application: 2 slots
The workshop will seek to identify a Pilot Area in a City or Municipality to improve or upgrade
its bicycle network infrastructure and formulate a master plan for bicycle mobility and
connectivity
Project Objective:
To determine applicable and relevant alternative mobility practices focusing more on bicycle
use and integrating it with local planning protocols.

Local Government Units (LGUs), Government Agencies, Schools that have Architecture or
Environmental Planning Courses

A City or Municipality with existing/proposed bicycle infrastructure; Existing/Proposed Bicycle
related ordinances; Proposed or Potential Bicycle Transport Routes; Active bicycle
community; Openness to innovation
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Duly accomplished NCCA Project Proposal; NCCA Project Proponent Accreditation; Profile of
Resource Persons; Proposed Bicycle Transport Routes; Endorsement from LGUs, Government
Agencies, Schools.
SCA-Architecture-5:
Project Title: ENHANCEMENT OF SANITATION FACILITIES FOR CULTURAL/HERITAGE
ZONES AND TOURISM DESTINATIONS OR OF CREATIVE HUBS TO SUPPORT
CREATIVE ACTIVITIES
Budget per project:

PhP600,000.00 per slot; Slots open for application: 2 slots (Nationwide)
Project Objectives:
The grant aims to achieve the following:
• To provide holistic health support for the safety for the sector;
• To ensure culturally sensitive response to COVID-19 and other similar outbreaks; and
• To provide opportunities for the culture and arts sector for the continuity of
production and promotion of creative works and safeguarding of tangible and
intangible heritage in times of disaster.
The lingering effects of COVID19 and the pervading possibility of another major disruption or
disaster that will affect the creative and tourism sector in promoting cultural heritage and the
arts underscore the need to prepare the designs and plans of related facilities to cater to
visitors, artists, and artisans to ensure that the next disaster will not disenfranchise any of
these sectors.
Two (2) grants of Six Hundred Thousand Pesos (600,000.00) each are available for eligible
provincial or local government or barangay units, civil society organizations (CSOs), state
universities, and colleges (SUCs) who can submit proposals for any of the following:
A. Enhancement of existing Sanitation/Hygiene Facility for Heritage Zones and/or
Cultural/Tourism Destination
The grant shall support proposals for the enhancement of sanitation facility/ties for
heritage zones and/or cultural/tourism destinations in areas that are expecting the
surge of tourists/visitors when the economy re-opens for travel. Having an enhanced
sanitation facility on-site improves the safety and security of these destinations. Areas
that are expected to have higher traffic of travelers are Bohol, Siquijor, Siargao, Samal
Island, Coron, El Nido, but proposals from other known or emerging tourism
destinations will also be considered. Proponents must indicate in the proposal the
historical and expected number of visitors to the site which the facility shall service.
The enhanced designs and plans for these facilities must be sensitive to the style and
typology of its surrounding heritage zone or the heritage structure to be serviced so
that it blends in and must be sensitive to the special needs of women, children, the
elderly, differently-abled and our IP and/or Moro visitors (if needed). It should also
take into consideration buffer zones and compliance to sanitation and related
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environmental standards of the Department of Environment and Natural Resources in
terms of disposal of solid wastes and hazardous materials, wastewater, and provision
of clean water.
The facility must have spatial provision for the following uses: sanitation, registration,
and screening, temporary isolation/immediate response. Compliance with relevant
building codes must be observed. The facility should be built on land that is either
property of the proponent or has been given authority (by donation or usufruct) to
build on it. No person or family shall be negatively impacted by the project by way of
forced eviction or coerced resettlement.
Designs and plans must be developed in collaboration with any of the registered
professionals from the fields of architecture, landscape architecture, interior design,
and environmental planning.
Proponents are expected to provide counterpart funding to ensure that the approved
enhanced designs and plans are implemented during the proposed timetable for the
project.
B. Enhancement of Existing Creative/Cultural Hubs to Support Business Continuity during

disasters
The grant shall support the proposal for the enhancement of an existing cultural or
creative hub to ensure business continuity in times of disaster. COVID19 and recent
disasters have proven that aside from critical lifeline facilities, modern and state-of-
the-art information and communication technology (ICTs) are also important
infrastructure that can bridge distance between performers and audiences, between
artisan and supporters, and between creative professionals and clients. The great
digital divide has disenfranchised these sectors in the recent pandemic and those in
their mature years even had to learn new tools and gadgets just to be able to cope. As
creative and cultural communities recover, creative hubs must be redesigned and
equipped to ensure business continuity so that artists and creatives are always
connected to the rest of the digital world and their intended audience/clients.
The grant may be used for the redesigning creative hubs to be more resilient to
disasters like (and not limited to) having pandemic-responsive ventilation systems,
provisions for utilization and storage of solar energy (or other types of renewable
energy), provisions for high-speed internet connection for telecommuting or remote
broadcast of performances. The enhancement should also address any existing threat
or risk to disaster.
Proposals from known creative cities like Baguio, Vigan, San Fernando/Angeles,
Manila, Cebu, Davao, Dumaguete, Cagayan de Oro, Iligan, or Zamboanga are highly
welcomed and so are those that will come from other emerging creative towns or
cities.
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Creative registered non-stock, non-profit organizations are also invited to submit
proposals or may collaborate with their respective LGUs to submit a proposal.
The redesign of these hubs must be in collaboration with any of the registered
professionals from the fields of architecture, landscape architecture, interior design,
and environmental planning.
Proponents are expected to provide counterpart funding to ensure that the approved
redesigns shall be built accordingly during the proposed timetable for the project.
The projects should directly benefit at least 50 artists, cultural workers, creative professionals,
and allied workers of the design, built, and planning sectors during the implementation of the
project.
The work opportunities that can be provided by this project should ensure that equal
opportunities shall be given to all genders.

The invitation to submit proposals is open to Civil Society Organizations (CSOs), Provincial,
and Local Government Units (P/LGUs), barangay units, Government Agencies, and state
universities and colleges that are compliant with NCCA's eligibility requirements.
NCCA's Accreditation Process is open year-round and eligibility is valid for one year.
Information on the NCCA Accreditation is available on NCCA's website www.ncca.gov.ph.

The following should be submitted to form their proposal:
1. Fully accomplished NCCA Proposal Form/Template
2. Conceptual design for the enhancement of sanitation/hygiene facility or creative
hub
3. Proposed program of works and indicative timeline of development
4. Organization Profile of Proponent
5. Necessary plans or maps (aerial and vicinity maps) as reference for consideration
6. Profile of artists, cultural workers, creative professionals who will benefit from the
project
7. Proof of ownership of land or deed of donation/usufruct agreement

1. Completeness of Proposal
2. Relevance of the Proposal to the objectives and purpose of the Grant
3. Compliance with national health protocols and disaster resilience requirements
for buildings and other national laws and regulations.
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• CINEMA
SCA-Cinema-1:
Project Title: ONLINE CINEMAS [FILM FESTIVALS WITH MASTER CLASSES]
Budget per project:

This project aims to give funding to the conduct of an online film festival with master classes.
The online festival may offer an alternative distribution channel for regional films and can
create the needed platform for meaningful discussions.
While the grant is open to new and emerging film festivals, preference will be given to
festivals that have a proven track record such as but not limited to having a multi-year
execution, previous/existing funding or support from the NCCA, organized financial
bookkeeping, reputable standing in the community, and/or recognition or validation from the
local/ regional film community.
The project must be undertaken in compliance with the government's public health safety
measures (such as but not limited to the Inter-Agency Task Force on Emerging Infectious
Diseases (IATF) guidelines).
The NCCA shall not be held liable for the grantee's non-compliance with government
regulations.

Local Government Unit (LGU) or Civil Society Organization (CSO) from all regions; regional film
association; track record in implementing arts activities; capacity to provide facilities for
online film exhibitions and fora; capacity to provide a counterpart to NCCA assistance; and,
ability to mobilize audiences.

Activities, and Work and Financial Plan, duly signed by the Proponent/Head of the
Organization on each page;
3. Profile of the festival organizations and festival directors;
4. Profile of resource persons and prospective syllabus for the master class
5. Detailed activity plan including
6. description of locality, programming, strategy for mobilization of audience, and
strategies for sustainability;
7. Strategies for online streaming (national/global) with marketing plans, promotions,
and partnerships; and
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8. Endorsement from the Local Government Units (LGUs) or local cultural council or
centres regarding the proponent's qualification.

1. Artistic quality of the film programming;
2. Involvement and participation of at least 10 films; and,
3. Presentation of film selection criteria and related activities programming that
generally recognize, protect, and promote the diversity of Filipino culture.
4. Rationale and plan for a two-day online masterclass on cinema featuring a prominent
and recognized master in the field (e.g., Joey Reyes, Laurice Guillen, Ricky Lee, etc.).
Online master class should not be a grass-roots initiative but should reflect a higher-
level development of cinema as craft and art for the region and its stakeholders.
SCA-Cinema-2:
Project Title: SHORT FILM PRODUCTION
Budget per project:

Competitive Grant where funds are intended for covering production and postproduction
costs such as but not limited to: principal photography, talent, and professional fees, rentals,
postproduction and color grading, mastering, and the like. The project must be undertaken in
compliance with the government's public health safety measures (such as but not limited to
the Inter-Agency Task Force on Emerging Infectious Diseases (IATF) guidelines). The NCCA
shall not be held liable for the grantee's non-compliance with government regulations.

Individual filmmakers/SEC registered organization with a good track record in producing films;
with a film project in need of production assistance.
*For individuals, grants will be released through reimbursement.

3. Profile of the filmmaker;
4. Description of the film project and details of cast and crew;
5. Post-production schedule; and,
6. Endorsement by a film producer or professor or organization regarding the
proponent's qualification.
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1. Good track record of the filmmaker with the ability to accomplish production
schedule;
2. Screenplay and/or sequence treatment;
3. Complete footage of the rushes for the short film;
4. Director's statement (Themes of the film should be connected to the COVID-19
pandemic, such as a short overview of the creative process in the time of pandemic);
and,
5. Film projects 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:

Competitive Grant where funds are intended for covering postproduction costs such as but
not limited to principal photography, talent, and professional fees, rentals, postproduction
and color grading, mastering, and the like.
The NCCA shall not be held liable for the grantee's non-compliance of government with
regulations.

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 cast and crew;
5. Post-production schedule; and
6. Endorsement by a film producer or professor or organization regarding the
proponent's qualification.

1. Good track record of the filmmaker with the ability to accomplish production
schedule;
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2. Screenplay and/or sequence treatment;
3. A rough cut of key sequences of the full-length film; and,
4. Film projects 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: ONLINE CAPACITY BUILDING, TRAININGS AND WORKSHOPS
Budget per project:

Trainings/workshops on but not limited to the following topics:
1. Development of an online workshop that seeks to strengthen a particular film
production capacity such as but not limited to story pitching, screenplay writing,
directing, producing, acting, production designing, sound designing, cinematography,
editing, marketing, and distribution, as well as film criticism and film appreciation;
2. Online marketing and information dissemination;
3. Anti-film piracy, copyright, etc.;
4. Best practices on how to maintain the safety of the sector in the time of the pandemic;
5. Enhancement of knowledge, skills in the protection of the rights of artists/filmmakers;
6. A forum or conference on how the arts and the artists are being affected by the Anti-
Terrorism Law, etc.
Diseases (IATF) guidelines). The NCCA shall not be held liable for the grantee's non-
compliance with government regulations.

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

3. Profile of the workshop organizations, organizers, and facilitators;
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4. Description of locality, programming, strategy for mobilization of participants, and
strategies for sustainability

1. Quality and expertise of the prospective facilitators and trainers;
2. Clear presentation of project concept; training workshop design and modules;
3. Clear strategies and activities; and
4. Clear selection criteria of participants.

• DANCE
SCA-Dance-1:
Project Title: SUPPORT FOR THE PRODUCTION OF DOCUMENTARY OF FESTIVAL
Budget per project:

The project aims to support, enrich and promote cultural activities in the localities. The grant
may be given to festivals where dance will be a component provided that these festivals will
highlight the local culture and pride of the city or municipality. The activity must also indicate
the potential gain in the local economy through arts, specifically dance.

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

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

At least 10,000 audiences; Extensive Public Announcement of the Festival; Has promoted the
Local Culture.

Traditional and Culture-Based Project; Educational Benefit; Skills Development among
participants; Community Involvement; Number of participants (at least 7 groups with a
minimum of 50 dancers); Number of Years (At least 5 years of existence); Clear Rules and
Guidelines; Promotion of Local Choreographers; Preparation of the community.
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SCA-Dance-2:
Project Title: ONLINE PRODUCTION GRANT
Budget per project:

PhP250,000.00 per project or slot; Slots open for application: 8 slots; 2 slots each for National
Capital Region, Luzon, Visayas, and Mindanao
Projects which will support the production of dance performances to provide an opportunity
for dance companies and choreographers to create new works which promote the Philippine
Culture. Projects which 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.

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

2. Profile of performing groups and artistic directors;
3. Sample videos/ photos of the groups;
mobilization of audience; strategies for sustainability; and,

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

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.
SCA-Dance-3:
Project Title: SUPPORT FOR ONLINE TERTIARY LEVEL DANCE CLASSES
Budget per project:

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The pandemic brought by the virus COVID 19 prohibits face-to-face DANCE classes for among
Institutions offering Bachelor's degree in the Tertiary Level in the like of Physical Education,
Performing Arts, and others as granted permit by the Commission on Higher Education
(CHED). The possibility of continuing studies through CHED's Memorandum Order for flexible
learning defines parameters on mandating Institutions to pursue classes following this memo.
This project initiative of the National Committee on Dance of the National Commission for
Culture and the Arts designs financial support to qualified higher education Institutions with
Dance classes via online platform.

1. Tertiary Level Dance Class (Public or Private Higher Education Institution)
2. Existing Dance Degree Program or related degree with Dance classes
3. Recognized by CHED as an offering or CHED accredited program.

2. Submission of existing dance curriculum and specific course syllabus in Dance;
3. Presentation of Faculty Profile;
4. Submission of Class profile or expected students;
5. Provision of Class Delivery or Methodologies
a. Online capability or capacity (Infrastructure)
b. Capacitated studio for the Instructor and students' connectivity
c. Method of delivery and monitoring (synchronous or asynchronous);
6. Provision of Class schedule;
7. Presentation of Budget to allocate P100,000.00. support for online classes.

1. Actual online dance class with legitimately enrolled students and qualified faculty
2. Submitted course outline and specific syllabus
3. Proposed method of online delivery and class schedules
4. End report of class evaluation.

1. Evidence of project delivery as provided by the course objectives
2. Very satisfactory report both by faculty and students' evaluation and from heads or
deans
3. 80% passing mark for program expected outcome
4. 100% completion of the Dance course or subject taught online.
SCA-Dance-4:
Project Title: LGU BASED CULTURAL PROGRAM
Budget per project:

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The project aims to support, enrich and promote cultural programs and activities in the
localities. The grant may be given to support a festival, competition, production, or any
cultural activity where dance will be the main component, and that these programs/activities
will highlight the local culture and pride of the city or municipality with strict compliance with
the guidelines and protocols of IATF, DOT, DILG, and LGU.

Local Government Unit (LGU) with Arts & Culture Office/Division/Department and with a
good track record in implementing art & culture programs and activities in face to face and
virtual platform; has the capacity to provide facilities (stage, theater/ gymnasium, dressing
room), equipment's (cameras, video cam, lights, sound, editing machine) and technical and
production staff for the dance performance; can provide counterpart to NCCA assistance and
able to mobilize audience in virtual or face to face.

2. Profile of performing LGU & the implementing office and artistic & production staff;
3. Profile of the featured performing artist;
4. Sample videos/ photos of the implemented programs/project of LGU;
5. Photos of the performing group/s, venues with a brief description of the performance/
repertoire;
mobilization of audience; strategies for sustainability; and

At least 10,000 views / 100,000 reached; Well-promoted activity; Produced Guidelines for
New Platform for dance performance; Promoting Local Arts and Culture.

Track Record of the LGU and performing group; Dance Content; Promoting Filipino Culture;
Dance Production.

• DRAMATIC ARTS
SCA-Drama-1:
Project Title: ALAB NG DULA
Budget per project:

Alab ng Dula provides theater groups production grants dedicated to the development of new
Filipino Theater Performances which are 1. Anchored in the Past; 2. Mirror the present; and
3. Envision our future as people and country. Amid the pandemic, theater performances have
evolved/transitioned into a more digital approach. As we continue to explore different
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possibilities of staging, this grant will provide support for theater practitioners to experiment
and still keep the fire burning in developing timely and relevant performances.
The NCCA shall not be held liable for the grantee's non-compliance with government
regulations.

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 online performances; capacity
to provide counterpart to NCCA assistance; and, ability to mobilize audiences through online
platforms.

3. Organization's profile;
4. Synopsis and treatment of the theatre performance;
5. List and short bio-note of creative staff;
6. Detailed activity plan including a description of locality, programming, strategy for
mobilization of audience, and strategies for sustainability.

1. Clear program of activities;
2. Good track record;
3. Potential or viability of the project;
4. New approaches of staging incorporating the use of online/digital platforms.
SCA-Drama-2:
Project Title: TIPON PRODUCTION GRANT
Budget per project:

PhP350,000.00 per project or slot; Slots open for application: 4 slots (1 slot each for Luzon,
NCR, Visayas, Mindanao)
This is a production subsidy to support theatre groups/companies in mounting collaborative
new works in the time of the pandemic. "Collaborative work" means there are two or more
groups involved – within a network or involving other groups of artists outside of the network.
The collaboration can be in the form of co-writing of playscripts, involving performers from
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various groups, engaging other artists to work on aspects like production design, lighting,
costume design, incorporation of other media, etc., as applicable. The grant shall cover
production expenses and dissemination of the output/s on a virtual platform.
Theme: The plays are expected to present critical views of current issues of Philippine society,
including but not limited to addressing social concerns and issues such as the Covid-19
pandemic, mental health, anti-terrorism law, and other related subjects.

Organizations (CSOs), or Academic Institutions from all the regions with a good track record
in implementing arts activities; has evidence of regular productions for the past 2 consecutive
years; capacity to provide facilities for online performances and forum; capacity to provide
counterpart to NCCA assistance; and, ability to mobilize audiences through digital platforms.

3. Organization's Profile;
4. Storyline and Scene Breakdown;
5. List and profile of artists involved;
6. Short description of Creative Process;
7. Anticipated outcome of the project;
8. Photos/video clips of past productions.

1. Good track record of the organization with the ability to accomplish production
schedule;
3. New approaches of staging incorporating the use of online/digital platforms;
4. Relevance to community and target audience.
SCA-Drama-3:
Project Title: SULO: Teatro sa Panahon ng Pandemya
Budget per project:

a. Category 1 (National Scope) PhP350,000.00 per project or slot; Slot open for
application: 1 slot
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b. Category 2 (Regional Scope) PhP250,000.00 per project or slot; Slot open for
application: 1 slot
COVID-19 has challenged the way we organize and create theatre projects to fit in the "new
normal", where face-to-face conduct of activities is prohibited. Hybrid or new forms and
models of working have emerged as a result of the mixing of live theatre with different online
platforms. This project aims to document and distribute/circulate the best practices of artists
and art groups on the new approaches of staging and creating projects during the pandemic.

Organizations (CSOs), or Academic Institutions from all the regions with a good track record
in implementing arts activities; preferably with knowledge and experience in organizing
projects during the pandemic and are interested to do documentation of theatre work in the
"new normal".

3. Profile of the organization or individual;
4. Endorsement from established and reputable organizations or individuals;
5. Brief description of the documentation and manner of circulation of the result;
6. List and profile of potential artists and art groups to be involved and engaged in the
project;
7. Expected outcome of the project.

1. Track record of organization or individual;
3. Quality of proposal:
a. Addresses the concerns of theatre artists/organizations and their
innovations/contributions in advancing theatre work in the pandemic and
new normal;
b. Provides a unique or novel or innovative approach to theatre that also
recognizes, protects, and promotes the diversity of Filipino culture.
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SCA-Drama-4:
Project Title: SANAY - DULA: Scholarship Assistance for Theater Artists
Budget per project:

This grant aims to provide support to artists who have been accepted in a theater program
from a reputable institution overseas to further develop and hone their skills in theater arts.

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);
5. Two (2) letters of endorsement.

1. Individual track record;
2. Clear presentation of plans after the training.
SCA-Drama-5:
Project Title: HULMAHAN NG DULA
Budget per project:

These are projects intended for knowledge and skills development of artists and theatre
practitioners in the form of workshops, conferences, and forums through webinars and digital
platforms. Proponent should engage different sectors in their immediate community,
neighborhood, region, or beyond through partnership and linkages. Proponents must be open
to share and disseminate the documentation of their processes in making theatre work.
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;
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b. Innovative use of other art forms/medium to facilitate the production, appreciation,
and dissemination of theatre in the new normal, such as mixing or hybrid of theatre
conventions and digital techniques/platforms;
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.

Organizations (CSOs), or Academic Institutions in all regions with a good track record in
implementing arts activities; capacity to conduct online workshops, conferences, and forums;
capacity to provide counterpart to NCCA assistance; and ability to mobilize participants.

3. Profile of the workshop organizations, organizers, and facilitators;
4. Description of locality, programming, strategy for mobilization of participants, and
strategies for sustainability.

1. Profile and expertise of the resource speakers;
2. Clear presentation of project concept; training design and/or module;
3. Clear strategies and activities; and
4. Clear selection criteria of participants.
SCA-Drama-6:
Project Title: KATIPUNAN NG DULA
Budget per project:

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Katipunan ng Dula is a project aimed at strengthening regional theater networks. This project
shall culminate in an online regional theater conference to formalize the network. One of the
intended outputs is the enrichment of the directory/database of regional theater artists and
groups, which will contribute to the long-term goal of developing the Philippine Theater
Registry.

Organizations (CSOs), Academic Institutions or recognized individuals with a good track
record in implementing arts activities; capacity to conduct online conferences; capacity to
provide counterpart to NCCA assistance; and 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;
5. For Individual Proponents: submission of 2 letters of endorsement from 2 recognized
theater groups from the region.

1. Clear presentation of networking concept and design;
2. Expertise of the prospective facilitators and project leaders;
4. Clear selection criteria of participants; and
5. Engagement of NCCA-NCDA Committee Members in project development and
implementation.

• LITERARY ARTS
SCA-Literary-1:
Project Title: ONLINE REGIONAL CREATIVE WRITING WORKSHOP
Budget per project:

This is a competitive grant for groups to organize and conduct online regional workshops for
writers.
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Open to CSOs, LGUs, SUCs, or Public Schools with counterpart funding and with no ongoing
projects/outstanding unliquidated funds with the NCCA.

1. Complete Proponent Eligibility Requirements;
2. Complete project proposal with a detailed line-item budget, schedule of activities, and
work and financial plan duly signed by the Proponent on each proposal page;
3. Track record in implementing writing workshops;
4. List and profile of panelists;
5. Detailed program of activities and/or modules;
6. Number of fellows to be accepted;
7. Criteria for the selection of fellows; and
8. List and profile of the screening committee

Online Regional Writing Workshop

The proponent should make sure that the workshop has regional representation. Participants
to be invited must be out of school youth, campus writers, or emergent writers not affiliated
with academic institutions. The workshop is expected to be conducted remotely/ online,
hence organizers should consider increasing the number of participant-beneficiaries as there
are no travel or accommodation costs to be incurred.
SCA-Literary-2:
Project Title: ONLINE NATIONAL WRITERS WORKSHOP
Budget per project:

This is a competitive grant for groups to organize and conduct online national workshops for
writers.

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

3. Track record in implementing writing workshops;
4. List and profile of panelists;
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6. Number of fellows to be accepted;
7. Criteria for the selection of fellows; and
8. List and profile of the screening committee.

Online National Writers Workshop with at least 15 fellows (with at least 2 fellows each from
Luzon, Visayas, and Mindanao).

The proponent should have a clear literary agenda. The workshop should: invite at least 15
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 remotely/ online, hence
organizers should consider increasing the number of participant-beneficiaries as there are no
travel or accommodation costs to be incurred.
SCA-Literary-3:
Project Title: WEBINAR ON TRADITIONAL LITERARY OR ORAL FORMS
Budget per project:

This is a competitive grant for projects that will feature online craft lectures on different
traditional literary or oral forms with sample demonstrations. The traditional literary or oral
forms will respond to the objective of heritage preservation. A webinar may feature 1 or more
speakers.

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

2. Complete Project Proposal with a detailed line-item budget, schedule of flow/work,
and financial plan duly signed by Proponent on each proposal page;
3. Track record in implementing seminars or talks;
4. List and profile of Resource Speakers/Moderator;
5. Detailed Program;
6. Outline and Hard/Soft Copy of lectures/talks;
7. Number of participants allowed;
8. Criteria for the selection of participants;
9. List of potential participants and their general profile; and
10. Brief Concept Paper on Potential Output that can be generated from the Webinar.
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Webinar with at least 1 speaker.

The proponent should have a particular topic related to traditional literary or oral forms, such
as the balitaw, leleng, laji, etc. The project includes demonstrations and performances as
samples of the form. The webinar should be designed to benefit mostly writers, students, and
teachers. Preferably, the 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.
SCA-Literary-4:
Project Title: BINHI: SAYSAY NG SALAYSAY SA LARAWAN AT SALITA (RETELLING AND
ADAPTATION OF PHILIPPINE FOLKLORE)
Budget per project:

This competitive grant is for materials that will recognize Philippine folklore as a vital part of
our culture. The transmission of these materials can be tenuous and difficult in these times
due to the pandemic, limited access to digital libraries, and the link to the nation's various
indigenous groups. Through re-telling, we remind our younger generation that we have our
narratives about epic heroes, trickster tales, mythic lands, origin stories, numskull stories, and
a pantheon of gods and goddesses that defy binary categories of good and evil. These stories
remind us that they need to be passed from one generation to the next, not necessarily in
their old forms, but in re-inventions that may suit our times, our questions, and our ongoing
dialogue with the past. Through adaptations into the video format, the materials can be used
as a teaching tool, by teachers, parents, and other advocates of cultural literacy. The project
is envisioned to enable reading as an essential right for younger citizens. It recognizes the
lack, despite the proliferation of these re-tellings and adaptations on the internet. Its
implementation may provide a better alternative in terms of storytelling, video/cinematic
expertise, and an overall vision of why folklore and oral traditions matter.

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

3. Two versions of their output: one is the source (ex. Title of the folklore material,
compiler/anthologist/author(s), year, location of material if applicable, publication
details) and the other is the sample of translated and retold text. Footnotes and
glossaries can be attached as well, especially if they are necessary for the evaluation
process; and
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4. A bibliography and short profile of the indigenous community.

Text or video format adaptation of regional folklore

The proponent should be able to retell adaptations towards the popularization of some
folklore materials from different regions. Two forms are recommended: textual and video
formats. The video should be at least 25 minutes long. It could be in English or Filipino and
subtitles may be provided. The submitted materials will come from local sources.
The submitted materials must:

a) show that folklore is a source of rootedness in Philippine culture;
b) celebrate the positive traits that can be found in Filipinos – not only the often invoked
"resilience", humor, wit, pluck, and gentle nature, but other traits of emotional and
moral intelligence;
c) provide representations of things, animals, plants, and natural terrain that are
recognizable as Filipino/existing in the Philippines, to enhance their appreciation;
d) celebrate diversity in perception of crafts/trades/jobs that are not immediately seen
as worthy, or lucrative. Examples can be metalcraft workers, weavers, faith or spiritual
healers, tattoo artists, potters, hunters, fishermen/women, and farmers.
e) not be limited to one religious representation, and must be respectful of these
diversities;
f) not discriminate the representation of other racial ethnicities;
g) exhibit adaptation/re-telling exhibits literariness and originality;
h) have a proper acknowledgment of sources.
SCA-Literary-5:
Project Title: LITERARY AND CULTURAL STUDIES PUBLICATION GRANT ON LITERARY AND
CULTURAL HISTORY
Budget per project:

This is a competitive grant for competitive papers on literary history or cultural history. The
manuscript should be at least 200 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 funds with the NCCA.

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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.

Five hundred (500) copies of a book with at least 200 pages

The proponent should have a manuscript of at least 200 pages ready to print for 500 copies.
All manuscripts must follow proper annotations in the arts and humanities. If the proponent
chooses literary history, s/he should consider the relationship between Philippine literature
(authors, movements, periods, etc.) and the aspect of the literary history being discussed.
Expected Output: A book on literary history or cultural history.
SCA-Literary-6:
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 funds with the NCCA.

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/storytellers to be documented.

Biographical output either as book (at least 200 pages) or video documentary format (at least
1 hour).

Proponents must prioritize writers/storytellers about whom there is dearth of
documentation. The video documentary should be at least 1 hour. If the output is a book, it
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should be at least 200 pages. The submitted materials must have a proper acknowledgment
of sources.
SCA-Literary-7:
Project Title: ALTERNATIVE LEARNING MATERIALS AND ONLINE DISTANCE LEARNING
MODULES
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, a webcomics 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 a study guide and references should be provided for
every learning material produced.

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

3. Track record in producing learning materials or other alternative learning and literary
works;
4. Outline and Hard/Soft Copy of modules; and
5. Brief Concept Paper on Potential Output that can be generated from the
material/module.

Alternative learning materials or online learning modules in the form of short videos, podcast
episodes, webcomics adaptation, digital poetry, and others.

The proponent should have a particular topic pertinent to an aspect of literary arts designed
to benefit mostly writers, students, and teachers. Preferably, the 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.
SCA-Literary-8:
Project Title: TIMAAN (PHILIPPINE POETRY IN SIGN LANGUAGE)
Budget per project:
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This is a competitive grant for projects that will promote and ensure access, expression, and
participation of the numerous and varied Deaf and Mute communities in the Philippines
through the interpretation of Philippine poetry into sign languages in collaboration with
cultural communities and the education sectors. It shall also help promote wider
dissemination and deepened appreciation of Philippine poetry and literature, rendering space
for conversation and collaborations among the deaf and mute communities and the larger
milieu. Finally, it also promotes the use of sign languages in accordance to Republic Act No.
11106 in "embodying the specific cultural and linguistic identity of the Filipino deaf" as well
as to "promote, protect, and ensure the full and equal enjoyment of all human rights and
fundamental freedoms of persons with disabilities".

Open to organizations, Special Education units/schools, private or public educational
institutions, literary organizations, or writers' groups with Deaf and Mute members and
constituents and with no ongoing projects/outstanding unliquidated funds 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.

At least 10 video outputs of 10 selected Philippine poetry pieces; At least 500 to 2000 viewers
in social media.

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 the 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 be by them and for them.
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• MUSIC
SCA-Music-1:
Project Title: TRAINING (ICT FOR MUSICIANS, MUSIC EVENTS MARKETING/ PROMOTION,
AND MANAGEMENT, MUSIC EDUCATION)
Budget per project:

PhP350,000.00 per slot; Slot open for application: 3 slots
This project seeks to grant capacity building and/or enhancement program for music
educators and other music practitioners with emphasis on ICT skills, organizing and
facilitating events, as well as promotion and marketing in the context of virtual, digital and
other current available platforms.
Objectives:
To provide an avenue for music educators and industry practitioners to upgrade, update,
and acquire necessary skills for currently available platforms, modality, and delivery.

The program is open to Music Organizations, Academic Institutions, CSOs other Government
Agencies/LGUs, with proven track record in project implementation.

1. NCCA proponent accreditation requirements;
2. Full project proposal with target number of primary and secondary beneficiaries, and
project output;
3. Detailed line-item budget with counterpart fund;
4. Training design, module and schedule of activities;
5. Profile of resource persons/trainers; and
6. Profile of participants.

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 to include fundamental music skills and
creativity, project management, marketing and promotion for music events; trainings
for musicians on ICT and online music market platforms.
SCA-Music-2:
Project Title: CREATIVE PERFORMANCES OF EXISTING OR ORIGINAL MUSIC
Budget per project:

PhP150,000.00 per slot; Slots open for application: 4 slots
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This project aims to support , enhance and promote virtual engagement with, and access to,
various forms of creative musical interpretations through performance across the nation, and
to integrate these into the fabric of community life through all available virtual platforms via
digital/online presentations and performances.
Objectives
To promote the highest level of artistry and creativity through performances of existing or
original creative works; conduct research in aid of performance that will include sources and
authentic information on the works to be performed; and document the performances using
high-quality audio-visual equipment to make them available to students, teachers, and
others for cultural awareness and education.

The project is open to Music Organizations, Academic Institutions, other Government
Agencies (DepEd) with proven track record in project implementation, Cultural/Heritage
Organizations.

2. Full project proposal with target number of primary and secondary beneficiaries, and
project output;
3. Detailed line-item budget with counterpart fund;
4. Narrative of the project’s creative process; and
5. Profile of the creative team.

1. Range, depth and substance of the repertoire, whether of existing or original music;
2. Sufficient information on new works to be included, such as authorship, type of music,
etc;
3. The sources, forms, styles, other details about the existing music to be performed,
identified as fully as possible; and authentic regional, ethnic, or individual origins
clearly established;
4. Brief annotations for use as subtitles in the audio-visual recording of the work;
5. Clear creative process including information on the performers.
SCA-Music-3:
Project Title: PHILIPPINE INSTRUMENT-MAKING DOCUMENTATION, TRAINING &
PERFORMANCE
Budget per project:

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There are many instrumental music masters in the different regions of the country who are
willing to teach younger people in their communities the making, training, and performance
on their respective instruments. And there exists a considerable number of students who
are willing to learn these once they are shown the creative possibilities of these
instruments. This is the only way we can keep alive our musical traditions, especially those
which are in danger of extinction simply because of lack of awareness of their importance
in strengthening Filipino cultural identity. There have been many instances in which musical
instruments long neglected become popular again once they are resurfaced through
demonstrations and performances, such as the kutyapi among the Maguindanao. The
project recommends that the making, documentation, training, and performance of
traditional musical instruments must be focused on the lute family, as it is the most
threatened with extinction.
Project Objectives:
1. Document the entire process of making a kolitong (Luzon), any Rondalla instrument
(Visayas), or Lute (Mindanao)
2. This documentation will be observed by students as part of a workshop that will
train them to make the instrument themselves;
3. A master must also be willing to teach students the technique and art of playing this
instrument;
4. Produce a video documentation and manual on instrument-making process;
5. Develop an enhanced prototype of the instrument;
6. Conduct a teacher-training on instrument-making; and
7. Come up with a performance of the enhanced prototype instruments.

The project is open to Music Organizations, Academic Institutions, CSOs other Government
Agencies/LGUs, with proven track record in project implementation.

2. Accomplished and signed project proposal with target number of primary and
secondary beneficiaries and project output;
3. Profile of the resource person/master instrument maker;
4. Profile of the students;
5. Research and documentation process;
6. Profile of the creative team/research and documentation team
7. Detailed Line-item Budget with counterpart fund.

1. Track record of the proponent organization which includes the background and track
record of the implementing team;
2. Quality - particularly clarity and intelligibility of the steps - of the video documentation
of the instrument-making process;
3. Similarly, a manual/module on this process should be clear and easy to follow;
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4. With regards to the instrument itself, the prototype to be made must be enhanced
according to the specified pointers but may be applied to rondalla instruments as well
as to the kolitong;
5. Capability of the instrument-makers chosen to make the enhanced prototype. Ideally,
the instrument-makers could be the trainers as well. But if they cannot fulfill both
roles, separate trainers for playing the instrument could be identified;
6. The student/teachers must be well-selected based on genuine interest in learning how
to make and play the instrument. Near the end of the funding period, a performance-
recital of the student/teachers to demonstrate what they learned is expected;
7. Effectiveness of the recommended program for the sustainability of the musical
tradition involving the instrument even beyond the grant period. How it may be
further institutionalized in the community of its origin, possibly integrating it within
the educational system; and,
8. Strategies for promoting the instrument to a wider sector, heightening national
interest in it, and making it part of creative industry and a means of livelihood for the
instrument makers as well as the musicians.
Pointers for the Making of the Prototype Instruments:

1. The design of the lute must be authentic based on any of the lute types:
Kutyapi (Magindanaw, Meranaw) kotapi (Subanon), fegereng (Tiruray), faglong
(Blaan), hegelong (Tboli), kuglong or kudlong (Manobo), and kusyapi (Palawan).
It must not be a hybrid that combines features of the different types above and
must be as faithful as possible to one or another of these.
2. But for acoustical improvements, dimensions such as width, length, or size may be
modified to a certain degree without losing its ethnic identity. Slight adjustments
for ergonomic purposes may also be done.
3. New types of better sounding and more lasting strings may also be used.
4. In particular, a vexing problem of the kutyapi is the use of beeswax to move the
frets so as to change the scale. This is a cumbersome process that can delay
performances. Any innovation to enable the player to change the scale using
another method would be welcome.
5. A type of wood that has better resonance should be used especially for the
sounding board. The sound of boat lutes has to be made louder. In many
occasions, acoustic sound is better than using pick-up mike to amplify the sound.
As of now, however, the sound of boat lutes is too faint that many lute musicians
would rather use the guitar.
6. If possible, find a way of chemically treating the wood of the lute to make it pest-
resistant, especially against termites and woodborers.
7. The final appearance of the instrument must be as artistic as possible and
complete with ornamental detail representative of its ethnic origins.
SCA-Music-4:
Project Title: MUSIC GEOGRAPHY
Budget per project:

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A cultural mapping project that seeks to document and collect materials from pre-identified
vulnerable musical cultures in the Luzon: Disodis (Isneg), Alim (Ifugao), Dung-aw (Ilocos),
Kagharong (Bicol); Visayas: Daigon (Iloilo); Panarit & Ismayling (Samar); and Mindanao:
Ulahingan and Kanduli. Collected materials are archived in audio and/or print formats and will
be virtually presented by the actual performers in their respective communities.
Objectives of the Project:

1. To Identify the most vulnerable music culture;
2. Document these music cultures, and utilize the documented material in the
promotion and preservation of these music cultures.

The project is open to Music Organizations, Local Government Units, Academic Institutions,
with proven track record in event/production management and implementation.

2. Accomplished and signed Project Proposal with target number of primary and
secondary beneficiaries;
3. Profile of the research, documentation and mapping team;
4. Research, documentation and mapping process/methodology; and
5. Detailed Line Item Budget with counterpart fund.

1. Availability of materials to include a mapping plan and geo tagging
2. Presence of the local traditional trainer or resource person;
3. Initial methodology and documentation mechanics.

• VISUAL ARTS
SCA-Visual Arts-1:
Project Title: SUPPORT FOR ONLINE VISUAL ARTS WORKSHOP/WEBINAR
Budget per project:

The NCCA welcomes projects such as online workshops and/or webinars that address and
confront the psychosocial needs of the visual arts community or other sectors using visual
arts-based strategies and interventions towards healing and resilience. In the comfort and
safety of their own homes and in virtual spaces, audiences can supplement their knowledge
and awareness of arts programs and art practices, and their capacity to enrich lives. Artists,
art groups, art teachers and workshop facilitators can mount live or pre-recorded
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demonstrations, discussions and conversations on varying topics while maximizing the
potential of bringing information online to wider audiences.

1. To provide safe venues for a sector or multi-sectors to use arts-based strategies, tools,
interventions and outputs to build and increase resilience and nurture mental health
in the wake of a pandemic.
2. To develop and implement art-based methods to meet psychosocial challenges among
sectors confronting the challenges of climate change, disaster management, domestic
violence, trafficking, and other concerns amid a global pandemic.
3. To create lively discussions and critical discourse on issues and concerns within, but
not limited to, the visual arts ecosystem.
4. To reach wider audiences through virtual platforms.
Target Number of New Creative Works Produced:

1. Grantees should produce a series of online workshops/webinars with a minimum of
four (4) to maximum of eight (8) episodes with at least one-hour duration.
2. Creative works produced may be six series, with four to eight episodes each, for a
minimum of twenty-four (24) and maximum forty-eight (48) webisodes.
Target Number of Beneficiaries: (those who get payment from the grant such as workshop
facilitator, resource person, etc.) 10-20
1. Project Manager
2. Project Coordinator
3. Director
4. Writer
5. Researcher
6. Host
7. Resource Person
8. Workshop Facilitator
9. Technical Crew
10. Graphic Artist
11. Video Editor
12. Post Production Team
13. Social Media Team
14. Documentation Team

Open to Civil Society Organizations (CSOs), Academic Institutions, Independent Art
Organizations, Artists Collectives, Academic Institutions with Fine Arts and Design Programs,
or Local Government Units (LGUs) with counterpart funding, with no pending projects or
outstanding unliquidated fund with the NCCA.

1. Properly accomplished NCCA Project Proposal Form;
2. Approved NCCA Accreditation
3. List and profile of resource persons;
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5. Profile and number of target participants;
6. Criteria for the selection of participants; and
Criteria for evaluation:

1. Workshop topics include but are not limited to various community concerns such as
response to the effects of Natural and Man-Made Disasters, Victims of Drug Abuse,
Gender Equality, Women and Children’s Rights, with modalities drawn from personal or
communal artistic production in painting, sculpture, printmaking, performance, new
media and other formats.
2. The organizers of the seminar/workshops should submit a program that would spell out
the rationale, topics and speakers to be covered in the seminar/workshop.
3. The organizers of the seminar/workshops should formulate and submit the flow and
schedule of digital broadcast of material, covering but not limited to Facebook,
Instagram, Zoom, YouTube and other digital platforms.
4. Programs should accommodate live participation, Q&A, production documentation
and post-broadcast evaluation from audiences, as well as the submission of a
recording of the full workshop or webinar to the NCCA.
SCA-Visual Arts-2:
Project Title: SUPPORT FOR ONLINE DEVELOPMENTAL LEARNING MATERIALS
Budget per project:

PhP400, 000.00 per slot; Slots open for application: 3 slots
The NCCA highly encourages art schools, creative learning institutions, and art associations to
direct and produce a given set of video learning materials for online instruction necessary to
support/aid art educators, workshop facilitators, and art students such as but not limited to
module-making for visual arts, life and works of visual artists, local visual art heritage, material
exploration, techniques and production processes.

1. To produce new developmental learning materials for the visual arts.
2. To plan and direct a set of video materials in online instruction for art educators,
workshop facilitators, and art students.
3. To create developmental learning materials that address any of the following:
module-making for the visual arts, life and works of visual artists, local visual art
heritage, material exploration, techniques and production processes.

1. Grantee should produce a minimum of five (5) up to a maximum of ten (10) online
developmental learning videos per grant.
2. A total minimum of fifteen (15) developmental learning videos and a maximum of
thirty (30) online developmental learning videos will be produced by three grantees.
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facilitator, resource person, etc.)
1. Executive Producer
2. Director
3. Content Creator/ Writer
4. Resource Person/s
5. Video Production Crew
6. Post-Production Manager
7. Video Editor
8. Project Assistants

1. Educational Institutions, Local Government Units (LGUs), Art Organizations, Civil
Society Organizations (CSOs), or Peoples Organization/Indigenous Peoples
Organization with counterpart funding; and,
2. With no pending projects or outstanding unliquidated fund with the NCCA
3. Has capacity to produce quality of content and shareable digital medium across
distance learning platforms.

1. NCCA Accreditation;
2. Properly accomplished NCCA project proposal and detailed line-item budget;
3. Profile of proponent institution/school/ organization along the field of visual arts;
4. Profile and expertise of the art faculty;
5. Program Curriculum/ Syllabus/ Course of Study/ Modules;
6. Rationale of the video production proposal;
7. Outline of art topics and their description to be produced as learning material;
8. Technical description and specifications in the implementation flow of the
preproduction/postproduction plan;
9. The inclusion of the technical specifications for audio and video.
1. Track record of the institution/proponent in the field of visual arts education;
2. Relevance of the project rationale in relation to the proponent’s wider learning
program;
3. Significance of a given set of topics related to the teaching of the visual arts in the
respective region and nation;
4. Clarity and coherence of pre-production and post-production plan;
5. Technical specifications for audio and video should be at par with the standards set
by online media platforms or higher.
SCA-Visual Arts-3:
Project Title: SUPPORT FOR ART DEVELOPMENT PROGRAM
Budget per project:

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This is a multi-program that will involve/cover/include the following: production of new
works, exhibitions, international linkage, artist talks, creative industry, and marketing of work.

1. To encourage and support art and creative practices during these challenging times;
2. To present creative works and processes explored that reflect the cultural experiences
and responses of art practitioners to this unique time.
3. To foster dialogue and discourse among creative practitioners on issues and concerns
within but not limited to the visual arts ecosystem.

1. For exhibition component, the grantee should present works produced not earlier that
April 2020; a minimum of ten (10) works with a minimum size of 91.44 cm x 91.44 cm
for paintings and five (5) works with a minimum size of 30.48 cm x 60.96 cm x 30.48
cm for sculptures. Size requirement does not apply to installation and creative works
of other media.
2. For festival component, grantees should produce a minimum of three (3) art talks
relevant to their chosen theme and objectives.
facilitator, resource person, etc.)
1. Practicing visual and or media artist/s and Curator/s
2. Program Director
3. Resource Speaker/s
4. Writer/Researcher
5. Graphic Designer
6. Marketing Team
8. Technical Support Team
1. Art Organizations, Educational Institutions, Local Government Units (LGUs), Civil
Society Organizations (CSOs);
2. With no pending projects or outstanding unliquidated fund with the NCCA;
3. Has been in existence for at least 3 years or have previously produced related
projects;
4. Can provide counterpart to NCCA assistance; and
5. Able to mobilize audience and wide range of visual art network.

2. Duly-accomplished NCCA project proposal and detailed line-item budget;
3. Profile of proponent institution/school/ organization along the field of visual arts;
4. Profile of the curator/s and artist/s involved in program;
5. Sample videos/ photos of the groups and of the previous related projects;
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6. Rationale/Concept of artwork/production/program; and initial visual study of the
work (if applicable); and
7. Proposal should include description of locality, programming, and strategy for
mobilization of audience.

1. Must have the following components: Group Exhibition, Exchange Program,
Developmental Workshop, First One Man Show, Capacity Building on marketing of
work;
2. Cultural significance to the community;
3. Track record of the proponent in the field of visual arts which includes the background,
competence and capability of the implementing team; and
4. If new, present strategies plan for sustainability.
SCA-Visual Arts-4:
Project Title: SUPPORT FOR VISUAL ARTS COMPETITIONS/AWARDS
Budget per Project:

The NCCA seeks proposal on art competitions in various innovative/alternative platforms
highlighting the standard of excellence in Filipino creative expressions, as we move on to the
transition into the new normal. Competitions that reflect the preservation of cultural heritage
and themes of resilience and ingenuity, with the addition of excellence in art making
techniques and skills are highly encouraged.

1. To discover new talents in the artistic community who can showcase works that
communicate pertinent concepts of present day issues and concerns.
2. To encourage practicing artists to strive for excellence and competence not limited to
local standards, but present works that can be showcased in global platforms.
3. To launch inclusive competitions that may possibly be organized for future iterations,
depending on its success.

1. Civil Society Organizations (CSOs) or Art Organization (non-stock, non-profit) with
track record in implementing visual arts activities;
2. Can provide counterpart to NCCA assistance; and,
3. Able to mobilize audience and wide range of visual art network.

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

1. Contribution to the development, promotion and conservation of Filipino intangible
cultural and artistic heritage.
2. Themes may include but are not limited to various concerns such as responses to
global climate change, human rights, gender equality, Filipino creativity, artistic
excellence, and adaptability to technical innovations.
3. Competitions should have several categories exploring arts media in various
permutations and formats. These may have a regional or national scope.
4. The organizers should submit their guidelines, list of prizes, jurors, and details of
venues for exhibition, as well as announcement details and platforms to be used.

1. Grantees should have at least ten cash prize winners, including top and consolation
prizes.
2. Depending on the volume of entrants, possible exhibitions may be organized in
coordination with affiliate cultural offices and agencies.
1. Secretariat
2. Jury
3. Assistants
4. Winners
5. Graphic Designer
6. Video Editor
7. Writer/Researcher
9. Technical Crew
SCA-Visual Arts-5:
Project Title: SUPPORT FOR RESIDENCY PROGRAM
Budget per project:

PhP100,000 per slot; Slots open for application: 2 slots
The grant will be awarded to the proponent organization/institution. From the budget, the
resident artist will be provided with P40,000.00 for materials, travel and other needs during
the residency program. The grant also covers the accommodation, basic meals, and round trip
travel of the artist. The rest of grant will help cover other expenses incurred by the residency
program in hosting the artist's stay.
The art residency provides time and space for creative production of artwork in all media in
an environment outside the artist's studio or home. This grant is an opportunity for existing
residency programs to host one artist for four to six weeks. The residency program must have
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a good track record of engaging artist residents develop new ideas and work during their stay.
The residency program may be free-flowing to allow the artist to participate in shaping their
program during the residency period.

1. To work in a new space of creativity and discover new sources for materials.
2. To develop network within a new community and have dialogues with other artists.
3. To gain new techniques and produce new work.
4. To share any knowledge gained with others in the community where the artist is
originally from.
Target Number of New Creative Works Produced: 8 new creative works
Target Number of Beneficiaries:

2 artists in residency; 30 individuals from the art residency community

1. Professional Art Organizations/Artists collective/Civil Society Organization/People’s
Organization/LGUs with proven track record to implement projects on the arts
specifically residency programs; and
2. Can provide counterpart to the project.

3. Profile of the proponent/residency program/host art organization;
4. Profile and expertise of prospective resident visual artists/media artists. He/she must
be a practicing artist.
Criteria for Evaluation of Proposals:

1. Track record of the residency program/art organization/art group proponent in the
field of visual arts;
2. Relevance of the artist's residency project rationale in relation to residency program's
objectives.
SCA-Visual Arts-6:
Project Title: SUPPORT FOR WEBINAR ON ART PRACTICE
Budget per project:

The NCCA welcomes projects such as online workshops and/or webinars that address
engagement of artists in everyday creativity, their studio practices and how they are
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compelled to creatively adapt to changing circumstances confronted by the pandemic. In the
comfort and safety of their own homes and in virtual spaces, audiences can supplement their
knowledge and awareness of creative activities/practices as adaptive responses to the current
circumstance or how creative actions can build resilience and lessen the impact of current
stressors. creativity under constraints. Artists, art groups, art teachers and workshop
facilitators can mount live or pre-recorded demonstrations, discussions and conversations on
varying topics while maximizing the potential of bringing information online to wider
audiences.

1. To create lively discussion, demonstration, and encouraging dialogues between
artists, students, teachers, and the community in the use of structures, methods, and
processes of artists in creative production.
2. To encourage dialogue among creative practitioners through webinar how artists
explore the effect of virtual/augmented realities brought about by pandemic and their
reflections on issues creating new forms of cultural experiences.
3. To present how personal creative actions or collaboration construct meaning and
influence by culture, society and environment in new setting.
4. To make connections between visual arts and other areas of study through the web
conference.
5. To induce imaginative thinking, facilitate artistic expression, and communicate ideas
to support the vulnerable communities.
6. To reach wider audience through virtual platforms.
Target number of New Creative Works Produced:

1. Grantees should produce a series of online workshops/webinars with a minimum of
four (4) to maximum of eight (8) episodes with at least one-hour duration.
2. Creative works produced may be six series, with four to eight episodes each, for a
minimum of twenty-four (24) and maximum forty-eight (48) webisodes.
1. Project Manager
2. Project Coordinator
3. Director
4. Writer
5. Researcher
6. Host
7. Resource Person
8. Workshop Facilitator
9. Technical Crew
10. Graphic Artist
11. Video Editor
12. Post Production Team
13. Social Media Team
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Open to Art Organizations/Artists Collective, Civil Society Organizations (CSOs), Academic
Institutions, or Local Government Units (LGUs) with counterpart funding, with no pending
projects or outstanding unliquidated project with the NCCA.

1. Properly accomplished NCCA Project Proposal Form;
2. Approved NCCA Accreditation
3. List and profile of resource persons;
4. Detailed program of activities and workshop topics;
5. Profile and number of target participants;
6. Criteria for the selection of participants; and

1. Workshop topics include but are not limited to various art practices covering personal
or collaborative creative production in visual arts such as painting, printmaking,
sculpture, digital arts, photography, video art, graffiti art, and new media formats.
2. The organizers of the seminar/workshops should submit a program that would sellout
the rationale, topics and speakers to be covered in the seminar/workshop.
3. The organizers of the seminar/workshops should formulated submit the flow and
schedule digital broadcast of material, covering but not limited to Facebook,
Instagram, Zoom, YouTube and other digital platforms.
4. Programs should accommodate live participation, Q&A, production documentation
and post-broadcast evaluation from audiences, as well as the submission of a
recording the full workshop or webinar digital programs.
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Subcommission on Cultural Dissemination (SCD)
• COMMUNICATION
SCD-Comm-1:
Project Title: MGA MAPA NG BUHAY AT KULTURANG PILIPINO
Budget per project:

PhP500,000.00 per project or slot; Slots open for application: 1 slot
Timeframe:
2022
This is a competitive grant that aims to build a whole set of interactive cultural maps
particularly by domains including but not limited to food, textile and built heritage to provide
information details [e.g. for food – the food’s origin, distinctive ingredients, recipe, habitat of
main ingredient, names of traditional cooks, occasion for serving, stories/ legends/ folksongs
related to the food, etc.; for textile – material/ equipment, habitat, scientific name, names
of culture bearers/weavers, local name of techniques/ processes of production, uses, etc.; for
built heritage – cultural significance, location, materials, name of architect, brief history,
particular events held there as venue in the past and present, etc.]
For 2022, include additional domains and highlight the historical significance of each area.
Expected Output Deliverables
1. Creation, curation and publication of 1. Digital and hard copy PH maps by

cultural research data and information cultural domain as prescribed and
from various credible sources including defined by the call of NCCom
those materials from the NCCA archives,
repositories and database through
digital and/or other appropriate formats
2. Interactive Philippine archipelago map

and various Philippine cultural maps
categorized by domain in digital and
hard copy formats produced and
reproduced for educational purposes
3. Application with user review section

1. Clear presentation of project design, strategies and activities to implement the
expected deliverables.
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1. Letter of Project application;
2. Project Proposal (use the NCCA format of Project Proposals);
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; and
6. Profile and Portfolio of the Project Team.
SCD-Comm-2:
Project Title: BAYANIHAN, MALASAKIT AND PAGKAMALIKHAIN (BMP) SHORT FILMS
Budget per project:

PhP500,000.00 per slot; 5 slots
Timeframe:
2022
This competitive grant aims to promote, propagate and disseminate culture and arts stories
promoting the values of "Bayanihan, Malasakit, at Pagkamalikhain" and a culture-based
response to disasters to the community.
1. Indie created short films in the range of 1. One (1) broadcast quality short film will
15-20 minute per film showcasing the be posted on YouTube and Facebook
values of BMP and spotlighting culture-
based responses to or ways of
recovering from the pandemic; thereby 2. Submission of a Script Outline prior to
celebrating the role, contribution, and production stage
essential nature of Philippine culture
and arts
Indicators:
1. At least 1,000,000 combined views for all videos on all platforms.


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SCD-Comm-3:
Project Title: NCCA CATV HOUR
Budget:
PhP2,000,000; 1 slot
Timeframe:
2022
This project aims to broadcast NCCA materials (reproduced and reformatted) highlighting the
said values in a weekly cultural TV program nation–wide through cable television.
1. Production, Reproduction and 1. The reformatted and reproduced video

repackaging (curation for TV broadcast materials.
of existing NCCA materials)
2. Broadcast video materials from the 2. Broadcast time sheets from the
NCCA Archives, reformatted and participating CATV station and Digital
reproduced, in a documentary type of Platform. At least 2 CATV Stations per
broadcast format. This reproduced video Region (except NCR).
material should convey to the viewers
that the said values have been a part of
our Filipino culture for generations
3. Creation, curation and management of 3. All processes should be in close

Digital platform of content 1 and 2 coordination with the NCCA
4. Video output should include sign 4. Submission of a Script Outline prior to

language interpreter to assist PWDs in production stage
understanding the content


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SCD-Comm-4:
Project Title: ONLINE ARTISAN’S GALLERY
Budget:
PhP500,000; 1 slot
Timeframe:
2022
This project will showcase the major visual outputs of prominent Philippine Artisans, into a
nationwide virtual interactive gallery.
1. Develop online platforms to showcase the 1. Creative and technical content, website,
various products of selected artisans social media pages, and virtual gallery
2. Facilitate training of partner artisans in 2. Training modules and materials

the online selling process and operation
3. Digital documentation of the background, 3. Digitized photos and video of selected
culture, and tradition of selected artisans artisans
4. Post documentation and evaluation 4. Project completion report and long -term
evaluation of the project
5. Secure a written Free, Prior and Informed
Consent (FPIC) from the target
beneficiaries

expected deliverables

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• CULTURAL EDUCATION
SCD-CEduc-1:
Project Title: BALAG AT TUKOD
Budget/Fund:
PhP600,000.00; Slots open for application: 6 slots
Year of Implementation:
2022
A project in response to the recommendation of the Updated Philippine Development Plan,
2017-2022 with reference to CRRP to harness the sustainable cultural spirit of Bayanihan to
serve as the recovery engine from the current destabilizing impacts of the Covid19 pandemic.
Resilience has always been regarded as the characteristic feature of the Filipinos for being
‘survivors’ because we draw strength from the organic spirit of Bayanihan despite the
diversity of cultures.
The element that distinguishes the NCCEd-NCCA sponsored agriculture-focused projects is

the pivotal role of culture (intangibles) and cultural education in hastening capacities of
communities to sustainably produce food. The concern is not on technology since the
Department of Agriculture has established food production programs for communities. What
the Balag at Tukod Project envisions is how cultural education, culturally-inherent social
capital, and other forms of cooperation are harnessed and utilized as community frame in
traditional food production systems that span from garden to table.
The tangible and intangible cultural expressions of the bayanihan spirit when optimized could
enable and facilitate recovery from the covid-19 crisis. The urgency of engaging the
community-as-one in primary production as a recovery process is an initiative in our healing-
as-one nation endeavor. Many endemic (indigenous) crops and animals have been found to
be more sustainable in challenging agricultural environments. Traditional farming methods
like organic agriculture prove to be more appropriate in the face of farm input constraints.
Furthermore, produce from the techniques are healthier for our bodies and contribute to the
strengthening of our immune system. In this regard, cultural education takes a pivotal role in
“raising awareness and understanding of our diverse cultures, implementing a National
Values Formation Program based on our shared values, nurturing Filipino creativity for social
impact, and mainstreaming culture-sensitivity in governance and development.”
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Prospective Project Proponents need to understand the interdependencies in the culture-
economy-education-development nexus especially in this time of crisis. The brief above
should provide ideas how projects are to be crafted, but more importantly, the indicators
(appraisal parameters) below should be met:
A. Process indicators
1. Multi-sectoral participation
2. Capacity enhancing, e.g., integration in the school curriculum or to an organization,
LGU or other cultural education entities; the garden(s) as site(s) to educate
stakeholders on cultural economy/sustainability and/or curricular content.
3. Increased community cooperation
4. Community involvement in the cultural economy undertakings
B. State indicators
1. Promoted intangible component of culture
2. Enhanced economic productivity
3. Conserved environment
4. Broad-based beneficiaries
5. LGU policy of cultural heritage conservation
6. Documentation and safe keeping of cultural heritage
7. Garden(s) as context for teaching and/or learning
C. 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 Balag at
Tukod Project objectives
3. Are the outputs and verifiable indicators clearly stated
4. Is the budget proposal responsive to the deliverables
5. Is the timeframe realistic
The above set of indicators is suggested to appraise the Project Proposal. Process indicators
are biased on participatory approaches to culture and development while the state indicators
are referring to the condition of impact(s) attributable to the Proposed Project. Moreover,
Proponents are advised to utilize the set of technical soundness indicators as guide during
Project preparation. A Project proposal that is creative, innovative, pursuing values formation,
and sensitive to the indicators in question format are useful in the appraisal stage. Certainly,
the NCCEd does not expect a Project concept that responds to all the indicators; however, it
will be plus point if more indicators are considered in the Project Proposal.

1. Engaged the community-as-one in • At least one (1) home/school
primary production as a recovery /community garden as platform for
learning
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process is an initiative in our healing- • Series of activities (minimum of three)
as-one nation endeavor conducted in the
home/school/community garden that
conforms to health protocols
2. Raised awareness and Set A. At least two (deliverables)

understanding of our diverse • At least 2 or more multi-sectoral
cultures, implementing a National participation
Values Formation Program based on • Development of IEC materials that
our shared values, nurturing Filipino shows how culturally-inherent social
creativity for social impact, and capital and other forms of cooperation
mainstreaming culture-sensitivity in are harnessed and utilized as
governance and development. community frame in food production
system.
• Emphasizing local traditions of plant
cultivation and food preparation,
including traditional food preservation
methods, is preferred.
• Narratives of improved mental
health because of communal work are
explored in the documentation
Set B. Required
• Knowledge capture of the process
including, but not limited to photo-video
documentation of
home/school/community garden and
other teaching-learning activities
narrating best communal practices and
experience as a way of coping with the
pandemic towards recovery).

1. Open to LGUs, HEIs, CSOs and other training institutions involved in cultural education
2. Design and development of trainings, community activities, and/or exhibition should
engage the multi-sectoral participation of the community
expected deliverables as prescribed by the abovementioned indicators.

(1) Letter of Project application;
(2) Project Proposal (use the NCCA format of Project Proposals);
(3) Work and Financial Plan;
(4) Budgetary requirement (LIB) with counterpart funding of 20% of the total project cost;
5.1 Proof of NCCA accreditation/NCCA Accreditation requirements; and
5.2 Profile of the proponent and project team.
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SCD-CEduc-2:
Project Title: PANATAG NGA BARANI (ONLINE VIDEO GAME APP)
Budget per project:

PhP1,900,000.00 per project or slot; Slots open for application: 1 slot
Timeframe:
2022
The National Committee on Cultural Education has put forth efforts to help provide
alternative learning materials to young learners in response to the Covid-19 pandemic. For
one, continuity of learning should not be hampered as stipulated in the Updated Philippine
Development Plan (207-2022). Among these initiatives is the Panatag nga Barani Online
Videogame App, a downloadable game, which features local epic heroes as major characters
of a computer game. In this context, video games are viewed not just as stress relievers during
lockdowns but also as avenues for learning and acquiring local cultural knowledge. The rich
epic and myth of the Philippine Epic and traditional Heroes of the different ethnolinguistic
groups can be used as springboard of in the selection of content in order to raise awareness
of our local icons, traditional lores and ancient pantheon of gods—a treasured intangible
cultural heritage. Moreover, this project supports the ongoing Cultural Resiliency Response
Plan (CRRP) which promotes quick and effective response to Covid-19 focused on
psychosocial and health concerns.
The accessibility and popularity of videogames nowadays using smartphones is a social and
technological phenomenon that is very much observable among the young age group. It even
cuts across ethnicity, demography and gender lines. This is where the videogame project
harnesses its strength, inspiration and hope. Basically, the expected videogame is intended
to cater to the needs of Grade 4 to Grade 10 learners in which themes or topics on heroes
and heroism are present in their curriculum. This 3-dimensional massive multi-player
videogame highlights in its game mechanics the use of cultural icons, ethnomusic and
traditional practices of either of the Philippine ethnolinguistic groups.
The online games banners one of the values of the Philippine Development Plan dubbed as
Ambisyon Natin 2040 aptly themed as Panatag. Panatag is a state of being calm where people
are aware of their situation in the attainment of a long lasting peace. It is also an aspiration
of having a “Panatag na Buhay” from Covid19 where our fight to respond from the Covid19
pandemic spirals to a more progressive response to recover as well as to plan on being
prepared against any future disaster or any disasters that pose as a threat to the peace and
security of every Filipino. Panatag can also be our hopes and dreams as we aspire for a better
Philippines. Panatag can also be a state of being serene and tranquil as we bounce back from
any anxiety and mental health issues being faced at the moment.
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By transcreating the stories culled from our Philippine local heroes from its literary form to a
videogame, learners will be able to appreciate the creative genius of our Indigenous, Moro
and Mainstream communities across the regions in the Philippines.
The Panatag Nga Barani is a wide selection of heroes termed as barani for the people of the
flood plains in south central Mindanao called the Maguindanaoans. These heroes shall play a
very important role as the plot unfolds. They can also be the exploits of Tualang in the Bagobo
Tagabawa Mythology, it can also be the adventures of Tudbulol for the Tboli people. He can
probably be called Bantogen as featured in the Darangen. It can also be a game that revolves
around the exploits of three Suludnon demigod brothers: Labaw Donggon, Humadapnon and
Dumalapdap of ancient Panay whose heroic adventures are interwoven with stories of magic
and supernatural forces where the plot in this trilogy develops as the scale and complexity of
the videogame increases. Stories of Lam-ang for the Ilocano people as well the story of
Bathala can be interwoven in this Philippine mythology online games application.
Evidently, videogames require a certain level of interaction and skill from its players. Players
develop complex problem-solving skills, leadership skills, and the ability to respond to
extreme situations. They also improve the players’ skills of observation, instinctive abilities,
and sharpen their attention. By creating the Panatag nga Barani videogame, Filipino learners
will gain a sense of pride of their cultural roots as they develop higher-order thinking skills as
well as problem solving skills.
Potential project proponents need to realize the inseparability of culture, education and
development in this undertaking, especially in going through the tedious and challenging
process of videogame development—ideation; development and design; and programming
and engineering. The rationale presented above should serve as basis in creating the
envisioned videogame. Ultimately, the basic indicators or parameters stipulated below should
be taken into consideration:
A. Process indicators
(1) Multi-sectoral participation
(2) Capacity enhancing, e.g., integration in the school curriculum or to an organization,
LGU or other cultural education entities; the digital platform as site to usher learning
and cultural appreciation among school children
(3) Increased community cooperation
(4) Community involvement in the cultural economy undertakings
(5) Inclusion of various experts in the development and/or validation of video games.
B. State indicators
(1) Promoted intangible component of culture
(2) Enhanced economic productivity
(3) Empowerment of indigenous culture
(4) Documentation and safe keeping of cultural heritage
(5) Videogame as platform for appreciation or learning
C. Technical soundness
Page 103 of 125

(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 Panatag
nga Barani Videogame App project objectives?
(3) Are the outputs and verifiable indicators clearly stated?
(4) Is the budget proposal responsive to the deliverables?
(5) Is the timeframe realistic?
The above set of indicators is suggested to appraise the Project Proposal. Process indicators
are biased on participatory approaches to culture and development while the state indicators
are referring to the condition of impact(s) attributable to the Proposed Project. Moreover,
proponents are advised to utilize the set of technical soundness indicators as guide during
Project preparation. A Project Proposal that is creative, innovative, pursuing values formation,
and sensitive to the indicators in question format are useful in the appraisal stage. Certainly,
the NCCEd does not expect a Project concept that responds to all the indicators; however, it
will be plus points if more indicators are considered in the Project Proposal.
1. Engaged the community and the creative • One massive multi-player

team as one in the collaborative development videogame as platform for learning
and production of the videogame as a
recovery process in our healing-as-one nation • Series of consultation activities to
effort validate the correctness of the
information presented in the online
games.
2. Raised awareness and understanding of our • Development of a videogame

diverse cultures, implementing a National prototype that reflects traditional
Values Formation Program based on our cultural knowledge of indigenous
shared values, nurturing Filipino creativity for people, inherent social capital and
social impact, and mainstreaming culture- other forms of cooperation utilized
sensitivity in governance and development. as community template in digital
creative production system
• Knowledge capture of the process

including, but not limited to photo-
video documentation in gathering
available published/research-
based information (e.g. books,
research papers, among others) in
the development of the video
games. Also, infuse expert
validation process in the
developments of apps to ensure
validity, reliability, trustworthiness
Page 104 of 125

of the apps in the actual design and
development of the project.

1. Open to LGUs, HEIs, CSOs and other training institutions involved in videogame or
digital platform development
2. Portfolio of videogame projects undertaken in the past
3. Design and development of a prototype to test the mechanics and functionality of the
digital game.
expected deliverables as prescribed by the abovementioned indicators.

(1) Letter of Project application;
(2) Project Proposal (use the NCCA format of Project Proposals);
(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; and
(6) Profile and Portfolio of the Project Team.

• WIKA AT SALIN/LANGUAGE AND TRANSLATION
SCD-Language-1:
Pamagat: TUDLÔ (turò): Mga pagsasanay ukol sa wika, panitikan, at araling pangkultura
Pondo:
Sakop na panahon:
2022
Pagsasalarawan:
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.
Page 105 of 125

Inaasahang Output Deliverables
1. Sa kabuoan, may pitong palihang 1.1 May palihang naganap sa bawat Island
magaganap sa loob ng isang taon. Cluster sa bawat taon: Luzon, Visayas,
NCR, Mindanao
2. Para sa taóng 2022, mga guro sa 2.1 Naipatupad ang proyekto sa unang hati
elementarya/hay-iskul/kolehiyo ang ng taóng 2022
magiging kalahok ng mga paliham na 2.2 May 50-200 na gurong kalahok sa bawat
gaganapin sa bawat Island Cluster palihan
3. Ang palihan ay tatagal ng dalawa 3.1 Isang palihang nagawa para sa mga guro
hanggang tatlong araw ng elementarya/hay-iskul/Kolehiyo
4. Magkakaroon ng kumustahan at/o 4.1 Ulat tungkol sa kumustahan at/o

consultation tungkol sa kalagayan ng consultation ukol sa karanasan ng mga
mga guro sa panahon ng pandemya guro sa panahon ng pandemya
bilang bahagi ng palihan
Batayan ng Ebalwasyon:
1. Tumutugon sa mga batayang kahilingan 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.

1. Letter of Project application
2. Project Proposal (use the NCCA format of Project Proposals)
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
SCD-Language-2:
Pamagat: PAMINAWON (listen): Pagsasalin ng mga akademiko/kritikal na aklat tungkol sa
mga pag-aaral na etnograpiko, sosyolohiko, pangkasaysayan, pang-ekonomiya,
pangkultura at iba pa
Pondo:
Pagsasalarawan:
Pagsasalin sa Filipino ng mga aklat pag-aaral na nagtataguyod ng mga karapatan ng mga
pangkat-etniko, kababaihan, kabataan, PWD, at iba pang nasa laylayang pangkat ng lipunan.
Page 106 of 125

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.
1. Maisalin sa Filipino ang 1.1 Pagsasalin ng aklat

akademiko/kritikal na aklat tungkol sa 1.2 Pagsusumite ng deklarasyon mula sa
mga pag-aaral na etnograpiko, may-akda o humahawak ng copyright na
sosyolohiko, pangkasaysayan, pang- nagpapahintulot na maisalin ang aklat
ekonomiya, pangkultura at iba pa mula
sa Ingles o alinmang katutubong wika
Batayan ng ebalwasyon:
1. Hindi pampanitikan; at
2. Hindi pa naisasalin.

SCD-Language-3:
Pamagat: DALUMAT FILIPINO: Mga Pag-aaral ng Lipunan, Kultura, at Kasaysayan
Pondo :
Page 107 of 125

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.
Batayan ng ebalwasyon:
1. Manuskritong hindi bababa sa 35 pahina, doble-espasyo, at sumusunod sa Manwal sa
Masinop na Pagsulat (MMP) ng KWF at/o MLA 8th Edition
2. Sasailalim sa pagsusuri ng dalawa hanggang tatlong eksperto sa larang; at
3. Bago, hindi pa nalalathala, o hindi pa nagwawagi sa anumang patimpalak.
Paksa:
Para taong 2022: Mga pag-aaral na may kinalaman o tumutugon sa sitwasyon ng pandemya
at/o disaster

SCD-Language-4:
Pamagat: SALIN LARANG
Pondo:
Pagsasalarawan:
Ang proyekto ay humihikayat sa mga tagasalin na naglilingkod sa anumang sektor o larang sa
Pilipinas, at nag-aambag sa pagpapalakas ng Filipino sa mga pagsasalin ng dokumentong
teknikal, siyentipiko, at saliksik na kapaki-pakinabang sa mga industriya at komunidad.
Bibigyan ng prayoridad ang mga proyektong pampagsasalin na kapaki-pakinabang sa tiyak na
sektor at industriya gaya ng kalusugan, paggawa, agham at teknolohiya, mass media, negosyo,
at iba pa.
1. Magsalin ng mga manwal, 1. Pagsasalin ng manwal, siyentipiko at

mahahalagang siyentipiko at teknikal teknikal na saliksik at/o ulat sa tiyak na
na saliksik at/o ulat na kapaki- larang na kapaki-pakinabang sa gawain
pakinabang sa gawain ng isang sektor, ng isang sektor, industriya o larang.
Page 108 of 125

industriya o larang. (hal. sektor ng
kalusugan, paggawa, agham at
teknolohiya, mass media, negosyo, at
iba pa)
2. Pagsusumite ng deklarasyon mula sa
may-akda o humahawak ng copyright
na nagpapahintulot na maisalin ang
aklat

SCD-Language-5:
Pamagat: PISTANG SALIN
Pondo:
Php 500,000 per project or slot; Slots open for application; 4 slots
Paglalarawan:
Ang PISTANG SALIN ay ang pangkalahatang pamagat ng proyekto para sa promosyon ng
pagsasalin at pakikipag-ugnayan sa mga tagasalin na kinapapaloban ng tatlong (3) aktibidad:
Una ay ang Pistang Salin kung saan ang mga akdang rehiyonal na naisalin sa wikang Filipino
ay itatampok sa pagbabahaging onlayn, na maaaring sa pamamagitan ng pagbasa o pagbigkas
ng mga piling tula o bahagi ng prosa sa kanilang orihinal na wika at wikang Filipino. Magiging
tuon nito ang panitikan at pagsasalin bilang gamot o lunas sa kalungkutan at pangungulila sa
panahon ng Pandemya.
Ikalawa ay ang Tampok Salin na isang gawain na tatagal sa loob ng isang buwan (apat na
linggo) kung saan ang pagtalakay sa mga saling pampanitikan at ang prosesong kaakibat nito
ay tatalakayin ng mga piling tagasalin. Maaari itong maging bahagi ng ng KUMUSTAHAN ng
mga tagasalin sa buong bansa sa panahon ng pandemya. Inaasahang magiging kabahagi ng
una at ikalawang proyektong ito ang mga Departamento ng Filipino ng mga pamantasan sa
bansa at ibayong dagat, at mga Samahang Pangwika at Pampanitikan.
Ang ikatlo naman ay ang Wika Namin. Ito ay isang pakikipag-ugnayan sa mga komunidad at/o
pamantasan sa ibayong dagat upang ibahagi ang panitikang nakasalin at mga materyal sa
mass media gaya ng teleserye o pelikula na may salin at dubbed/subtitled sa Filipino.
Page 109 of 125

Inaasahan na maging kolaboratibo o kabahagi ng proyektong ito ang mga Departamento ng
Filipino ng mga pamantasan sa bansa at/o ibayong dagat, Samahang Pangwika at
Pampanitikan, at mga pamayanang Filipino sa ibayong dagat.
1. Makapagbigay ang mga ng programa 1. PISTANG SALIN: Babasahin, tatalakayin

na naglalaman ng mga manunulat at at ipakikilala ng mga tampok na
tagasaling makikibahagi para sa Pistang tagasalin at/o awtor ang kanilang mga
Salin. akdang pampanitikan sa piniling
platapormang onlayn na may kasabay
na Youtube o FB Live sa pamamagitan
at inihanda ng anumang Departamento
ng Filipino, Samahang Pangwika at
Panitikan o pampamayanang samahan
ng mga Filipino sa loob at labas ng
bansa.
2. May talahanayan ito na may apat (4) 2. Magsusumite ng programa ang mga
kolum: Tagasalin/Awtor, Babasahin o mapipiling kabahagi ng PISTANG SALIN,
Bibigkasing Akda, Tatalakaying Paksa sa na naglalaman ng kanilang tampok na
Pagsasalin, at Kinakatawang Rehiyon o tagasalin/awtor, ang (mga) proyektong
Kolaborasyon sa isang Pamayanan o salin na ibabahagi, at ang iskedyul ng
Pamantasan sa loob at labas ng bansa. kanilang pagbabahaging onlayn.
3. May apat na kalahok na Departamento 3. Nararapat na magkaroon ng

ng Filipino ng anumang pamantasan o ispesipikong tagapakinig ang bawat
Samahang Pangwika at Pantikan, at/o kalahok sa Pistang Salin, gaya ng mga
na may kolaborasyon sa pamayanan sa mag-aaral (anumang antas), mga kasapi
loob at labas ng bansa. ng kanilang organisasyon, mga
tagapakinig ng mga programa sa radyo,
at mga mamamayan ng kabahagi
(kolaborasyon) ng piling pamayanan
(hal. Mga Filipinong migrante o sa kaso
ng ilang pamayanan sa ibayong dagat ay
Ilokano, Bisaya at iba pa) tulad sa Hong
Kong o Dubai, at iba pa.
4. Maaaring mamili ng dalawa (2) ang 4. Kailangang mairekord ang

lalakok sa tatlong posibleng aktibidad presentasyong onlayn at mabigyan ng
ang isasagawa bilang pakikibahagi sa at kopya ang komite kalakip ng ulat ng
pagtataguyod ng PISTANG SALIN kanilang implementasyon ng proyekto.
Ipapasa rin ang mga presentasyon
(PPT) at biswal na materyal (larawan /
Page 110 of 125

guhit / ilustrasyon) na gagamitin ng mga
tagasalin at/o awtor

Page 111 of 125

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;
4. 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;
5. 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;
6. 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;
7. 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;
Page 112 of 125

8. 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 maybe 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) 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
9. 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 and 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, the approved grant shall have the following limitations:
(7) No portion of the NCCA grant shall be released and utilized before the signing
and notarization of the Memorandum of Agreement (MOA).
(8) 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
(9) 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
Page 113 of 125

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.
(10) 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.
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
(11) Following the COA Auditing Rules and Regulations, approved funding
for individual grantees shall be released on a “direct payment or
reimbursement mode.”
(12) 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.
(13) 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.
Page 114 of 125

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
compliance/submission of the following:
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
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
Page 115 of 125

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
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.
1.3 10% of the grant shall be released to the grantee upon compliance
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
Page 116 of 125

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.
2.2 10% of the grant shall be released to the grantee upon compliance
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. These information are stored either in a database or an electronic file and
can only be accessed by authorized NCCA personnel.
Page 117 of 125

ANNEX A: PROJECT PROPOSAL FORM
NCCA THE NATIONAL COMMISSION Document Reference Code:

FOR CULTURE AND THE ARTS NCCA-FR-PPF-001
FORM Revision No. Effectivity Date: June 8,2021
01
Grants Program Proposal Form Page 118 of 125
THE PROJECT PROPOSAL FORM

Pormularyo ng Panukalang Proyekto
I. PROPONENT’S PROFILE (Indibidwal o Organisasyon)

a) NAME OF PROPONENT:
___________________________________________________________________________
(Pangalan ng may Panukala)
b) ADDRESS OF THE PROPONENT:

__________________________________________________________________________
(Lunan Panlihaman ng may Panukala)
c) CONTACT INFORMATION
(Numero)
Landline No: __________________________ Mobile Phone No: ________________________
Fax No: ________________________________ Email Address: _______________________
d) REFERENCES/ ENDORSEMENT FROM ARTISTS, GOVERNMENT AGENCIES,

AND OTHER APPROPRIATE INSTITUTIONS
(Reperensya o endoso mula sa ibang ahensya ng gobyerno, mga alagad ng sining o
naaangkop na mga institusyon)
d.1. Name & Contact No. of Ref. 1: _______________________________________________
______________________________________________
d.2. Name & Contact No. of Ref. 2: ________________________________________________
_______________________________________________
VERY IMPORTANT REMINDER:

• Following the COA auditing rules and regulations, approved funding for individual grantees
shall be released on a “direct payment or reimbursement mode”.
• Proponents are required to sign the proposal.
Page 118 of 125

II. PROJECT PROFILE
1. PROJECT TITLE: The title should be brief, clear and descriptive

(Ang pamagat ay dapat maikli, maliwanag at makalarawan.)
_____________________________________________________________________________
2. COMMITTEE AND PROJECT CATEGORY: Please enter to the 2020 Call for Proposal for
the list of committees and corresponding project category
____________________________________________________________________________
3. PROJECT BACKGROUND: State the current situation in the local community or in the
society at large, which Influenced or inspired you to design and organize the project. Define
the problem which the project hopes to address. Use statistical information whenever
necessary. Please use additional sheet as needed.
(Isaad ang kasalukuyang lagay ng komunidad o ng lipunan sa kabuuan na nakapagpukaw ng
interes sa paggawa ng panukalang proyekto. Gumamit ng mga istadistika kung kinakailangan.
Maaari ring gumamit ng karagdagang papel kung kinakailangan.)
4. PROJECT DESCRIPTION: Shall provide information on the following. Please use

additional sheet as needed. (Mga kinakailangang impormasyon. Gumamit ng karagdagang papel
kung kinakailangan)
a) Date and venue of project implementation

(Araw at lugar ng pagdadausan ng proyekto)
b) Project purpose
Describes the change which may occur in behavior, structures, or capacities of the target
groups which directly result from the utilization of the deliverable outputs or results the
project will be expected to yield. (Ipakita ang mga pagbabagong idudulot ng proyekto sa
paguugali, kabuuan, o kalakasan ng mga tukoy na grupo na maaring makuha sa paggamit
ng mga awtput o resulta ng proyekto.)
c) Results/Outputs:
Describes the expected results or output to achieve the project purpose.
(Ipakita ang Inaasahang mangyayari para makamit ang mithiin ng proyekto.)
d) Inputs/ Activities:
Activities or tasks to be carried out and in what sequence in order to achieve the expected
output/results. (Mga Gawain at detalye ng pagsasagawa para makamit ang mithiin ng
proyekto.)
e) Objectively Verifiable Indicators:
Identifies measures to determine success of the project. Indicators should be measurable
either quantitatively or qualitatively, feasible, relevant and accurate and timely.
(Maglahad ng mga panukat upang matukoy ang tagumpay ng proyekto. Ang mga panukoy
ay dapat nasusukat, mahalaga, tama at napapanahon.)
II. WORK AND FINANCIAL PLAN
Provide information on the various activities of the project including the implementation schedule,
the required funding and potential sources of funds.
(Ilahad ang impormasyon sa ibat-ibang mga gawain, mga itinakdang araw ng paggawa at mga
Page 119 of 125

kinakailangang gastusin kasama ang pondo mula sa ibang maaaring pangangailangan.
Project Activities Timeframe Cost/ Fund (PhP) Sources of Funds

1.
2.
3.
4.
IV. PROJECT COST
Provide information on the total cost of the project, the financial assistance requested from the
NCCA, 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 pursuant to COA Circular No. 2007-001
and a line item budget.
(Ilahad ang kabuuang gastusin ng proyekto, tulong pinansyal na hinihiling sa NCCA, katuwang
na pondo mula sa ibang pangangailangan (dapat ay katumbas ng 20% ng kabuuang gastusin sa
proyekto alinsunod sa COA Circular No. 2007-001)
Example of a Line Item Budget
FUNDING
COUNTERPART REQUESTED TOTAL
ITEM PARTICULAR
FUNDING (PhP) FROM NCCA (PhP)
(PhP)
1. Personal Services:
Honoraria
a) Project Director Rate x month
b) Resource
Persons Rate x no. of
c) Performers pax x no. of
d) Documenter hours
2. M.O.O.E.:
a) Supplies/Materials Cost x no. of
b) Transportation months
Expenses
Rate x no. of pax
Total
All project proposals should be addressed and submitted to:

(Tanging sa sumusunod na lunan lamang maaaring ipadala ang panukalang proyekto:)
Policy/Plan Formulation and Programming Division (P/PFPD)

National Commission for Culture and the Arts
Room 5-B, Fifth Floor,
NCCA Building 633 General Luna Street, Intramuros 1002 Manila, Philippines
Tel No: 8522-2084 (DL) / 8527-2192 (TL) locs. 527 & 511
Fax No: 8527-2198 / 8527-2209 / 8527-2194
Email: ppfpd@ncca.gov.ph
Page 120 of 125

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 at telephone numbers indicated above,
should you find the proposal format difficult to accomplish. The project proposal may be accomplished in
Filipino or English.
NCCA accreditation certificate is necessary prior to the approval of project requests.

[Coordinate with the NCCA Accreditation and Grants Processing Section (AGPS)]
Page 121 of 125

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 Section
(AGPS) under the NCCA Plan/Policy Formulation and Programming Division (P/PFPD) prior
to the approval of project requests.
The AGPS processes the accreditation of grantees upon submission of all the necessary
papers year-round. For queries, you may contact the AGPS at:
Mr. CHRISTOPHER L. LUCINDO

Head
Accreditation and Grants Processing Section (AGPS)
3rd Floor, NCCA Building, 633 General Luna Street, Intramuros 1002 Manila,
Philippines
Telephone Nos. (02) 8527-2192 [TL] loc. 510, 530 & 531
Website: www.ncca.gov.ph
ACCREDITATION AND GRANTS OFFICERS:
Ms. GENEROSE J. ASUNCION

Subcommission on Cultural Communities and Traditional Arts (SCCTA) &
Subcommission on the Arts (SCA), specifically for the National Committee on
Architecture and Allied Arts (SCA-NCAAA)
Mobile No.: 0939 0050819; e-mail: gjorda.ncca@gmail.com
Ms. JONALIE S. LORILLA

Subcommission on Cultural Dissemination (SCD) &
Subcommission on the Arts (SCA), specifically for the National Committees on
Dance and Visual Arts (SCA-NCD & SCA-NCVA)
Mobile No.: 0929 3787433; e-mail: jlorilla.ncca@gmail.com
Mr. RAMON P. DE LEON

Subcommission on the Arts (SCA), namely for the National Committees on Music,
Cinema and, Literary Arts (SCA-NCM; SCA-NCC; SCA-NCLA)
Mobile No.: 0918 6998755; e-mail: rdeleon.ncca@gmail.com
Mr. RODELIO D. CANDOR, Subcommission on Cultural Heritage (SCH) &

Subcommission on the Arts (SCA), specifically for the National Committee on
Dramatic Arts (SCA-NCDA)
Mobile No. 0950 1455957; e-mail: odencandor.ncca@gmail.com
Page 122 of 125

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

New Renewal
Requirements
1. Duly accomplished NCCA-AGPS-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.
8. BIR prescribed and authorized OR bearing the Tax Identification ✓
Number
9. 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 Schools 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)
account information of the GA/Institution/ University (bank
account name, number and branch).
Page 123 of 125

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

New Renewal
Requirements
1. Duly accomplished NCCA-AGPS-PO Application Form ✓ ✓
2. Certificate of good standing issued by the GA from which the PO ✓ ✓
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
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.
Page 124 of 125

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) ✓

account information of the LGU (bank account name, number and
branch).
Indigenous Peoples Organization (IPO)

New Renewal
Requirements
1. Duly accomplished NCCA-AGPS-IPO Application Form ✓ ✓
2. Certificate of good standing issued by the GA from which the IPO ✓ ✓
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
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 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.
Page 125 of 125


2022 NCCA Call For Proposals - Competitive Grants Program

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NATIONAL COMMISSION FOR CULTURE AND THE ARTS

THE 2022 COMPETITIVE GRANTS

Subcommission on Cultural Heritage (SCH) 30

Monuments and Sites 41

Subcommission on the Arts (SCA) 53

Subcommission on Cultural Dissemination (SCD) 95

Responsibilities of Grantees/Limitation of Grants 112

Annex B: NCCA Accreditation Process/Checklist 122

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.

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

9. Due to the Covid19 pandemic, all proposals must demonstrate adherence to

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

V. 2022 COMPETITIVE GRANTS

Proponents interested in implementing projects in each category shall submit a Project

Download: Annex A: NCCA Project Proposal Form

All project proposals shall be addressed and submitted to:

Policy/Plan Formulation and Programming Division (P/PFPD)

The project proposal may be accomplished using Filipino or English languages.

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

Subcommission on Cultural Communities and Traditional Arts (SCCTA)

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

• printed brochures (minimum of 8,000 copies);

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

• Songs (minimum of ten)

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project:

Proposed Site/ Communities:

Criteria for Evaluation:

Requirements for Submission:

Budget per Project: