National Commission for Culture and the Arts

The National Commission for Culture and the Arts of the Philippines (Filipino: Pambansang
Komisyon para sa Kultura at mga Sining, Cebuano: Nasodnong Komisyon alang sa Budaya ug mga
Arte), is the official government agency for culture in the Philippines. It is the overall policy making
body, coordinating, and grants giving agency for the preservation, development and promotion of
Philippine arts and culture; an executing agency for the policies it formulates; and task to administering
the National Endowment Fund for Culture and the Arts (NEFCA) -- fund exclusively for the
implementation of culture and arts programs and projects.

History[edit]
The successful overthrow of the dictatorship in 1986 through the People Power Revolution inspired
the different sectors of society to rally behind the new government towards the restoration of
democracy. In March 12, 1986, the Alliance of Artists for the Creation of a Ministry of Culture (AACMC)
drafted and adopted a proposal for the establishment of a Ministry of Culture. The group cited the
inability of the Ministry of Education, Culture, and Sports to devote time and attention to cultural
planning due to the gargantuan task of addressing the problems of the educational system.
President Corazon Aquino responded by issuing Executive Order 118 on January 30, 1987 which
established the Presidential Commission on Culture and the Arts (PCCA). It was a diminutive agency
compared to the proposal of AACMC but the said order was cognizant of the existence of specialized
cultural agencies and that these should only be placed under the umbrella of one agency to coordinate
their efforts.
In 1992, under the new constitution, Congress enacted Republic Act No. 7356 which institutionalized
the establishment of the National Commission for Culture and the Arts (NCCA) replacing PCCA. This
said law mandated the formulation of national cultural policies and programs according to the following
principles:
a) pluralistic, fostering deep respect for the cultural identity of each locality, region or ethno-
linguistic locality, as well as elements assimilated from other cultures through the natural
process of acculturation;
b) democratic, encouraging and supporting the participation of the vast masses of our people
in its programs and projects;
c) non-partisan, open to all people and institution, regardless of creed, affiliation, ideology,
ethnic origin, age, gender or class, with no organized group or sector having monopoly of its
services; and
d) liberative, having concern for the decolonization and emancipation of the Filipino psyche in
order to ensure the full flowering of Filipino culture.[1]
The establishment of the NCCA prompted the cultural agencies that were attached to
it, by virtue of the same law, to review its existing mandates and programs to
harmonize the delivery of cultural services. CCP, for its part, transformed itself to
become the national coordinating center for the performing arts. It also sought to
remove its “elitist” image by strengthening its outreach programs and developing
partnerships with local arts councils.[2]

Board of Commissioners[edit]
As governed by RA 7356, The National Commission for Culture and the Arts is
governed by a Board of Commissioners composed of 15 members, namely:

 Hon. Virgilio S. Almario, NCCA Chairman (Concurrent Chairman, Komisyon sa

Wikang Filipino)
 Hon. Francis Joseph G. Escudero (Chairperson, Senate Committee on
Education, Arts, and Culture)
 Hon. Ramon Durano VI (Chairperson, House Committee on Basic Education and
Culture)
 Hon. Alberto T. Muyot, Commissioner (Undersecretary for Legal and Legislative
Affairs, Department of Education)
 Hon. Falconi V. Millar. Undersecretary, Department of Tourism
 Hon. Rene R. Escalante, Commissioner, (Chair, National Historical Commission
of the Philippines)
 Hon. Jeremy R. Barns, Commissioner (Director IV, National Museum)
 Hon. Cesar Gilbert Q. Adriano, Commissioner (Director IV, The National Library
of the Philippines)
 Hon. Victorino Mapa Manalo, Commissioner (Executive Director, National
Archives of the Philippines)
 Hon. Aresenio J. Lizaso, Commissioner (President, Cultural Center of the
Philippines)
 Hon. Harold Ll. Rentoria, OSA, Commissioner (Head, Subcommission on
Cultural Heritage)
 Hon. Teddy Co, Commissioner (Head, Subcommission on the Arts)
 Hon. Orlando B. Magno, Commissioner (Head, Subcommission on Cultural
Dissemination)
 Hon. Alphonsus Tesoro, Commissioner (Head, Subcommission on Cultural
Communities and Traditional Arts)
 Hon. Rico S. Pableo, Jr. (Executive Director, National Commission for Culture
and the Arts)

Activities[edit]
It is also responsible for the annual celebration of:

 National Arts Month (February)

 UNESCO-ITI World Theatre Week (March 21-27)
 National Heritage Month (May)
 National Dance Week (Fourth Week of April)
 National Literature Month (April)
 Linggo ng Musikang Pilipino (Last Week of July)
 Indigenous Peoples Month (October)
 Museums and Galleries Month (October)
 Library and Information Services Month (November)

Logo[edit]
The NCCA logo is the Alab ng Haraya (The Flame of Imagination), which symbolizes
the spring of Filipino art and culture. It is composed of two basic elements – the fire
and the censer. The fire is a stylized character "ka" of the Philippine indigenous
script Baybayin, that stands for kadakilaan or greatness. The fire represents the
highest level of imagination and emanates from a three-tiered censer. The three tiers
stand for organization, economic support, and an orientation rooted on a thorough
grasp of tradition and history, which the NCCA provides. It is done in gold to symbolize
the immense wealth of Philippine culture.

Agung[edit]
The agung is a knobbed metal gong of the Philippines used in various communal
rituals. Suspended in the air by rope or metal chains, the musical instrument is also
employed by some indigenous groups as a means to announce community events,
and as an indicator of the passage of time.
Agung, the official newsletter of the NCCA is published on a bimonthly basis.[3]

Sentro Rizal[edit]
In celebration of the 150th birth anniversary of Jose Rizal, The National Commission
for Culture and the Arts formally established the Philippine’s very first Sentro Rizal at
the NCCA Building in Intramuros, Manila on June 28, 2011. Sentro Rizal was
recognized by virtue of Section 42 of Republic Act 10066 known as the National
Cultural Heritage Act of 2009 which specifies a center “ whose main purpose is the
promotion of Philippine arts, culture and language throughout the world.”
Moreover, Section 43 of the same law, states that the SR “shall be a repository, inter
alia, of materials on Philippine arts, culture and language: books, digital video discs,
compact discs, films, magazines, artworks, tourism promotion materials, information
materials, etc. that shall be made available to the public, both Filipino and foreign”.
SR shall also organize cultural programs and activities for Filipinos, especially for
children overseas, to promote appreciation and understanding of Philippine culture
and the arts.
The purpose of Sentrol Rizal is to educate overseas Filipinos about the culture and
arts of the Philippines. Since May 2016, 18 Sentro Rizal offices around the world have
been established.[4]

Awards[edit]
The Commission is responsible for bestowing significant awards reflecting Filipino
culture and the arts. These awards are the Orden ng Pambansang Alagad ng
Sining (Order of National Artists), Gawad sa Manlilikha ng Bayan (National Living
Treasures Award), Gawad Alab ng Haraya (Alab ng Haraya Awards), Dangal ng
Haraya (Achievement Award), Ani ng Dangal (Harvest of Honors), and the Philippine
Heritage Awards.

 Orden ng Pambansang Alagad ng Sining (Order of National Artists) is the highest

national recognition given to Filipino individuals who have made significant
contributions to the development of Philippine arts; namely, Music, Dance,
Theater, Visual Arts, Literature, Film, Broadcast Arts, and Architecture and Allied
Arts. The order is jointly administered by the National Commission for Culture
and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) and
conferred by the President of the Philippines upon recommendation by both
institutions.[5]
 Gawad sa Manlilikha ng Bayan (National Living Treasures Award) was
institutionalized through Republic Act No. 7355. The NCCA, through the Gawad
sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts, conducts
the search for the finest traditional artists of the land, adopts a program that will
ensure the transfer of their skills to others and undertakes measures to promote
a genuine appreciation of and instill pride among our people about the genius of
the Manlilikha ng Bayan.[6]
 Gawad Alab ng Haraya (Alab ng Haraya Awards) honors outstanding
achievements in the performing arts, cultural conservation, arts management,
library and information services program, theater production, cultural journalism
and documentation, and other fields.[7]
 Dangal ng Haraya (Achievement Award) is given to living Filipino artists, cultural
workers and historians; artistic or cultural groups, historical societies, institutions,
foundations and councils, to recognize their outstanding achievements in relevant
fields that have made an impact and significant contribution to Philippine culture
and arts.[7]
 Ani ng Dangal (Harvest of Honors) is a state recognition given by the National
Commission for Culture and the Arts under the Office of the President of the
Republic of the Philippines. It is an annual event in the Philippines celebrated as
a highlight and concluding rite of the Philippine Arts Festival.[8][circular reference]
 Philippine Heritage Awards is an annual conservation recognition program under
which monetary prizes, awards, and citations will be given by the President of the
Philippines, upon the recommendation of the NCCA, for special achievements
and important contributions and services in the area of heritage preservation and
conservation efforts. This is pursuant to Section 37 of Republic Act No. 10066 or
the National Cultural Heritage Act of 2009.[9]

Department of Culture[edit]
In 2016, the National Commission for Culture and the Arts and its partners in
Congress have announced that they will seek to establish a Department of Culture.
However, political factors hindered its initial pace. In January 2017, the filing of a bill
which seeks to formally establish a holistic Department of Culture was completed.
The bill is a priority legislation, which was expected to pass into law in early 2019.
The Secretary of the proposed Department of Culture should be an expert in the field
of culture and the arts, according to the bill.If the bill passes into law, the Department
of Culture will be the only department in government where the head should possess
the expertise of the field as a qualification for the job.[10]
The creation of the culture department is backed by the country's science and
technology department.[11] The Senate version of the bill is being pushed by senators
Escudero, Angara, Aquino, Binay, Ejercito, Gatchalian, Hontiveros, Legarda,
Villanueva, and Zubiri - with no senators expressing dissent. The House version of
the bill is being pushed by representatives Escudero and De Venecia - with one
representative expressing dissent (Atienza).[12]
The bureaus that will be established under the department are the following: Bureau
of Cultural Communities and Traditional Arts Development, Bureau of Cultural
Properties Protection and Regulation, Bureau of Cultural Properties Preservation,
Bureau of Artistic Resources Development, Bureau of Cultural Research, Education,
and Dissemination; and Bureau of Cultural and Creative Industries.[12]
The bill also establishes three national institutes on culture, namely, National Institute
of Living Traditions, which would form programs to safeguard, sustain and propagate
cultural heritage, particularly for indigenous communities, National Institute of Cultural
Heritage Preservation, which would form programs and projects in conservation arts,
sciences, trades with focus on the preservation of cultural property and vocational
training for the youth, and National Institute of Culture and Arts Management, which
would form programs related to the education, training, and certification of cultural
officers. The current Sentro Rizal program of the NCCA is upheld and retained in the
bill.[12]
Under the proposed bill, the following cultural agencies will be under the department:
Cultural Center of the Philippines, National Museum of the Philippines, National
Historical Commission of the Philippines, National Library of the Philippines, National
Archives of the Philippines, Komisyon ng Wikang Filipino, Intramuros Administration,
National Parks Development Committee, Nayong Filipino Foundation, Film
Development Council of the Philippines, National Book Development Board, and
Design Center of the Philippines.[13]However, the Department of Tourism has
expressed their 'wish' to retain Intramuros Administration, National Parks
Development Committee, and Nayong Filipino Foundation, while the Department of
Trade and Industry expressed its 'wish' to retain the Design Center of the
Philippines.[12]
Some conservationists are also proposing for the enactment of a bill where each city
and town shall have a singular architectural and landscaping style, like the ordinance
in the Heritage City of Vigan, other international UNESCO-recognized cities, and
some countries in Europe. Through this, a new renaissance of Filipino architecture
and landscaping arts 'shall be inevitable'.[14]
Cultural Center of the Philippines
The Cultural Center of the Philippines (Filipino: Sentrong Pangkultura ng Pilipinas, or CCP) is
a government owned and controlled corporation established to preserve, develop and
promote arts and culture in the Philippines.[1][2] The CCP was established through Executive Order No.
30 s. 1966 by President Ferdinand Marcos. Although an independent corporation of the Philippine
government, it receives an annual subsidy and is placed under the National Commission for Culture
and the Arts for purposes of policy coordination.[1][3] The CCP is headed by an 11-member Board of
Trustees, currently headed by Chairperson Margarita Moran-Floirendo. Its current president is Arsenio
Lizaso.
The CCP provides performance and exhibition venues for various local and international productions
at the 62-hectare (150-acre) Cultural Center of the Philippines Complex located in the cities
of Pasay and Manila. Its artistic programs include the production of performances, festivals,
exhibitions, cultural research, outreach, preservation, and publication of materials on Philippine art
and culture. It holds its headquarters at the Tanghalang Pambansa (English: National Theater), a
structure designed by National Artist for Architecture, Leandro V. Locsin. Locsin would later design
many of the other buildings in the CCP Complex.[4]

History[edit]
"On the second year, I'll cover the soil. On the second year, I'll drive the pile. On the third year, the building will rise. On
the fourth year, the curtain will rise"

Imelda Marcos to John Rockefeller III in 1966.

You do not develop culture by putting up a 50-million building on the bay...

Ninoy Aquino[5][6]

California Gov. Ronald Reagan and First Lady Nancy Reagan are accompanied by President Marcos at the
opening of the CCP.

Before the turn of the 20th century, artistic performances were primarily held in plazas and other public
places around the country. In Manila, the Manila Grand Opera House, constructed in the mid-19th
Century, served as the primary venue for many stage plays, operasand zarzuelas and other notable
events of national significance.[7] Conditions improve with the construction of the Metropolitan
Theaterin 1931 and smaller but adequately equipped auditoriums in institutions like Meralco, Philam
Life, Insular Life, Ateneo de Manila University and Far Eastern University. In 1961, the Philippine-
American Cultural Foundation started to raise funds for a new theater. The structure, designed by
Leandro Locsin, was to be built on a 10-hectare (25-acre) lot in Quezon City. In the meantime
in 1965, Imelda Marcos at a proclamation rally in Cebu for her husband's bid for the Presidency,
expressed her desire to build a national theater. Marcos would win his election bid and work on the
theater started with the issuance of Presidential Proclamation No. 20 on March 12, 1966.[5] Imelda,
now the First Lady, persuaded the Philippine-American Cultural Foundation to relocate and expand
plans for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila. To
formalize the project, President Marcos issued Executive Order No. 60, establishing the Cultural
Center of the Philippines and appointing its board of directors. The board would elect Imelda as
chairperson, giving her the legal mandate to negotiate and manage funds for the center.[6][8]
Prior to her husband's inaugural, Marcos already started fund raising for the Cultural Center; an initial
half-a-million Pesos was made from the proceeds of the premiere of Flower Drum Song at the Philam
Life (Insurance) Auditorium, and another ninety-thousand Pesos turned over from the Filipino arm of
the Philippine-American Cultural Foundation. This was, however, insufficient to cover the projected
cost of PH₱15 million needed to construct the theater. Much of the theater's funding came from a war
damage fund for education authorized by the US Congress during President Marcos's state visit to the
United States. In the end, the theater would receive US$3.5 million from the fund. To make up for the
rest of the construction costs, Imelda approached prominent families and businesses to donate to her
cause. Carpets, draperies, marble, artworks to decorate the interior of the theater and even cement
were all donated. Despite the success of the First Lady's fund raising, the project cost ballooned to
almost ₱50 million, or 35 million over the projected budget by 1969. Imelda and the CCP board took
a US$7 million loan through the National Investment Development Corporation to finance the
remaining amount, a move that was heavily criticized by government opposition. Senator Ninoy
Aquino strongly objected to the use of public funds for the center without congressional appropriation
and branded it as an institution for the elite.[6] Unfazed with the criticism, Marcos went ahead with the
project and the Theater of Performing Arts (Now the Tanghalang Pambansa) of the Cultural Center of
the Philippines was opened on September 8, 1969, three days before the President's 52nd birthday,
with a three-month-long inaugural festival opened by Lamberto Avellana's musical Golden Salakot:
Isang Dularawan, an epic portrayal of Panay Island. Among those who attended the inaugural night
were California Governor Ronald Reagan and his wife, Nancy, both representing United States
President Richard Nixon.[9]
Early into the 1970s, the Center was in the red mainly due to the costs of constructing the Theater of
Performing Arts. In 1972, the board of the CCP asked Members of Congress to pass House Bill 4454,
which would convert the Center to become a non-municipal public corporation and allow it to use the
principal of the CCP Trust Fund to pay off some of its debt. The bill would also continually support the
center through a government subsidy amounting to the equivalent of 5% of the collected Amusement
Tax annually. The proposed piece of legislation was met with strong opposition and was never passed.
However, with the declaration of Martial Law on September 23, 1972, Congress was effectively
dissolved; and President Marcos signed Proclamation No. 15 s. 1972, essentially a modified version
of the proposed bill. The proclamation also expanded the Center's role, from that of being a
performance venue to an agency promoting and developing arts and culture throughout the
country.[2] Other notable developments during the year included the institution of the National Artist
Awards and the foundation of the CCP Philharmonic Orchestra, the center's first resident company
that would later become the Philippine Philharmonic Orchestra.[5]
During this period of the Marcos Presidency, the CCP Complex played host to major local and
international events under the guise of the Bagong Lipunan (New Society), which would mark the start
of a series of major construction projects in the area. When Filipino Margie Moranwon the 1973 Miss
Universe Pageant, the Philippine Government agreed to stage the succeeding year's contest, and
plans for an amphitheater commenced. Weeks of planning and discussions resulted to the
commissioning of the Folk Arts Theater (Now the Tanghalang Francisco Balagtas), an open-air but
roofed structure that could seat up to 10,000 people. Construction of the new theater, which was also
designed by Leandro Locsin, was completed in a record 77 days and was inaugurated on July 1972
with the grand parade, "Kasaysayan ng Lahi" ("History of the Race").[6][10] Right after the inauguration
of Folk Arts, ground was broken for the Philippine International Convention Center and the Philippine
Plaza Hotel, both for the country's hosting of the IMF-World Bank Annual Meeting in 1976. Although
not owned by the Cultural Center, these buildings were nevertheless built at the complex and designed
by Locsin. One of the more infamous additions to the Center was the Manila Film Center, built in 1981
for the Manila International Film Festival. Designed by Froilan Hong, the structure was built on a
strict critical path schedule requiring 4,000 workers working in 3 shifts across 24 hours. An accident
occurred on November 17, 1981, when scaffolding collapsed and sent construction workers into quick-
drying cement. Despite this, construction proceeded, and finished some 15 minutes before opening
night of the Film Festival.[6] The building's ownership would be transferred to the CCP in 1986, when
the Experimental Cinema of the Philippines was dissolved.[5] Straying from the brutalist style typical of
the buildings in the CCP is the Coconut Palace, a showcase on the versatility of coconut as an export
product and construction material, designed by Francisco Mañosa. The financial and human costs of
constructing these buildings, in a time of widespread poverty and corruption, was seen as symptomatic
of the First Lady's edifice complex, a charge Imelda has nevertheless welcomed in her later years.[6][11]

1986 saw the end of the Marcos regime through the peaceful People Power Revolution. Consequently,
the CCP underwent a period of reform and "Filipinization". President Corazon Aquino appointed Maria
Teresa Roxas as the first President of the Cultural Center in the post-Marcos era; and once critic of
the center for its promotion of elitist culture, Nicanor Tiongson, accepted the position to be the new
artistic director. Together with its vice president, Florendo Garcia, the new leadership consulted with
various stakeholders to formulate a new direction for the CCP and officially redefine its mission and
objectives in pursuit of "a Filipino national culture evolving with and for the people".[12] To set about
decentralization, the Center formulates guidelines for setting-up local arts councils in local government
units and establishes the CCP Exchange Artist Program to provide opportunities for regional groups
to showcase their talents across the country. For the first time in her presidency, Aquino visited the
center on January 11, 1987 to confer the National Artist Award to Atang de la Rama, marking the first
time the awards were conferred through a process of democratic selection in addition to rigid
criteria.[12] Aquino would later confer the same award to Leandro Locsin in 1990, in recognition of his
contribution to the field of architecture in the Philippines and in spite of his many contributions to the
Marcos regime's architectural projects. Also in 1987, three groups joined the roster of the Cultural
Center's resident companies: the Philippine Ballet Theatre, the Ramon Obusan Folkloric
Group and Tanghalang Pilipino.[5] As part of its outreach and research programs, the CCP produced
a number of notable publications, including: Ani (English: Harvest) (1987), an arts journal; the Tuklas
Sining (English: Discover Arts) (1989) series of monographs and videos on Philippine arts and the
landmark 10-volume CCP Encyclopedia of Philippine Art (1994).[12][13] Despite its attempt at reforms,
some people still see the center in a less positive light. For instance, former President Gloria
Macapagal-Arroyo said that she finds the CCP to be "imposing, unapproachable, and elitist" for Filipino
masses.[14]

Events and programs[edit]

The scope of activities the center engages in include architecture, film and broadcast arts, dance,
literature, music, new media, theatre and visual arts. Aside from the its promotion of local and
indigenous artists, it has played host to numerous prominent and international artists like Van
Cliburn, Plácido Domingo, Marcel Marceau, the Bolshoi Ballet, the Kirov Ballet, the Royal Ballet,
the Royal Danish Ballet, the New York Philharmonic, and the Cleveland Symphony Orchestra among
many others.
From 1972, the CCP administered the Order of the National Artists, which is the highest recognition
the government of the Philippines gives to individuals who made significant contributions to the
development of arts in the country. The Order was established in 1972 after the death of renowned
painter Fernando Amorsolo, through the auspices of Proclamation No. 1001.[15] A year later, the Board
of Trustees of the Center was designated as the National Artists Award Committee.[16] Today, the CCP
administers the Order in conjunction with the National Commission for Culture and the Arts.
Since its reform for democratization in 1986, the center has undertaken steps to bring culture and arts
more accessible to a larger segment of the Filipino society. Its Outreach Program conducts fora and
art appreciation activities in various parts of the country, which includes the Sopas, Sining at
Sorbetes Program (English: Food to Taste, Arts to Appreciate. Literally, Soup, Art and Ice Cream), a
unique appreciation activity coupled with a feeding program for underprivileged youth.[17] Every year
since 2005, the center organizes its open house festival, Pasinaya (English: To Show.
Literally, Debut or Inauguration) during February, designated as the National Arts Month in the
Philippines. The Pasinaya festival features performing arts group from all over the country, led by the
center's resident companies, in a one-day showcase of local talent entirely held in the Tanghalang
Pambansa's numerous venues. In 2007 alone, the festival was visited by some 10,000 people.[18] The
CCP also provides institutional support to the Cinemalaya Philippine Independent Film Festival and
the Philippine High School for the Arts.
They also have a ballet performance adaptation of Don Quixote written by Miguel de Cervantes every
February[19][20]

Resident companies[edit]
 Ballet Philippines
 Bayanihan Philippine National Folk Dance Company
 National Music Competitions for Young Artists Foundation
 Philippine Ballet Theatre
 Philippine Madrigal Singers
 Philippine Philharmonic Orchestra
 Ramon Obusan Folkloric Group
 Tanghalang Pilipino
 UST Symphony Orchestra
Management[edit]
The President and Chief Operating Officer is Arsenio "Nick" Lizaso, while Chris Millado is Vice
President and Artistic Director.[21] The Board of Trustees is chaired by Margarita Moran-Floirendo. The
other Board members are:[22]
 Anthony P. De La Cerna  Arsenio J. Lizaso
 Michelle Nikki M. Junia  Mary Rose Magsaysay-Crisostomo
 Danilo L. Dolor  Stanley Borero Seludo
 Nestor O. Jardin  Zenaida R. Tantoco
 Dr. Jaime C. Laya  María Cristina V. Turalba

Presidents of the CCP[23]

President Term office Ruling President

Jaime Zobel de Ayala 1969-1976

Ferdinand Marcos
Lucrecia Kasilag 1976-1986

Corazon Aquino
Ma. Teresa L. Escoda-Roxas 1986-1994

Francisco del Rosario, Jr. 1994-1995 Fidel Ramos

Baltazar Endriga 1995-1999

Armina Rufino 1999-2001 Joseph Estrada

Nestor Jardin 2001-2009

Gloria Macapagal-Arroyo
Isabel Caro Wilson 2009-2010

Raul M. Sunico 2010-2017 Benigno Aquino III

Rodrigo Duterte
Arsenio J. Lizaso 2017 - present
Venues[edit]
CCP Complex[edit]
Main article: Cultural Center of the Philippines Complex
The Cultural Center owns and operates several performance venues in the Cultural Center of the
Philippines Complex located in the reclaimed area shared between Pasay and Manila known as Bay
City. Its flagship venue is the Tanghalang Pambansa (National Theater) which also houses its
principal offices. The Tanghalang Pambansa contains the Tanghalang Nicanor Abelardo (Main
Theater), Tanghalang Aurelio Tolentino (Little Theater), and the Tanghalang Huseng Batute (Studio
Theater).
Also located in the CCP Complex is the Tanghalang Francisco Balagtas (Folk Arts Theater).

National Arts Center[edit]

Main article: National Arts Center
The Cultural Center of the Philippines administers the National Arts Center, a 13.5 hectare complex
at the Makiling Forest Reservation in Los Baños, Laguna. The complex hosts the Philippine High
School for the Arts. Its flagship venue is the Tanghalang Maria Makiling, an open-air auditorium that
can seat up to 1,800 people. The theater, which was also designed by Ar. Leandro V. Locsin, sits on
a square plan dominated by a soaring pyramidal roof clad in clay tiles, a more literal interpretation of
indigenous Filipino architecture when compared to the architect's previous works for the CCP.

Satellite venues[edit]
In response to the need to widen its audience for the arts and to bring its programs closer to the
people, the CCP has established a programmatic partnership with the Assumption Antipolo and De
La Salle Santiago-Zobel School (DLSZ) in Alabang, Muntinlupa. As CCP's Satellite Venues in the East
and in the South, these institutions commit to benefit from the exchange of goodwill and assistance
through move-over productions, performances, and artistic training workshops. Eventually, the center
hopes to establish another satellite venue in the Northern part of Metro Manila.
The Angelo King Center for the Performing Arts
De La Salle-Santiago Zobel School established the Angelo King Center for the Performing Arts in 2000
with the aim of supporting the holistic development of its students. The Center pushed the
development of theatrical and musical talents on campus.
The Assumpta Theater, Assumption Antipolo[edit]
The Assumpta Theater was constructed in 1999 and inaugurated in 2001 and is located on the campus
of Assumption Antipolo. It was envisioned to be a major cultural seat in eastern Metro Manila and to
serve as a venue for cultural education and development not only of its students, faculty and parents
but also for members of outside communities and schools neighboring municipalities of the Rizal
Province.
The Assumpta Theater is home to modern light and sound equipment, 17 manual fly battens, a manual
curtain system, a spacious stage area, an orchestra pit, fully air-conditioned dressing rooms, a docking
area, stage wings, three-level seating arrangements, a lobby, and comfort rooms. The house area can
accommodate 2,001 guests.