Cultural mapping in Bais City serves as a method for identifying and inventorying cultural assets, engaging the community in the process to strengthen local identity and foster partnerships. The process involves planning, designing a map, ensuring community support, and finalizing the product for public access, promoting collaboration across various cultural groups. By documenting both tangible and intangible heritage, cultural mapping empowers the community and enhances cultural consciousness, which aids in economic and community development.

1. Cultural Mapping Bais City
Cultural Artistic Community and Private
Sector

2. Introduction
• Cultural mapping is not only a method for cataloguing the
cultural assets of a community it is also a tool useful for
community engagement and collaboration. For the purposes of
this chapter, cultural mapping is understood to be the process of
identifying and stating, in a written or visual inventory, all cultural
assets within a specific geographic area. This includes the
gathering of tangible and intangible assets from the community
including but not limited to cultural organizations, artists, and
stories. Cultural mapping provides an understanding of culture,
history, and a community’s unique identity that should be used at
the beginning of any community development or planning
project to create a list of potential partners, community
resources, and tools needed for successful implementation. Input
is sought from the community to guide the development of a
plan to create a map of community networks and assets.

3. What is Cultural Mapping?
• Cultural mapping allows individuals
to discover and identify multiple as
well as shared stories of their
community. The following are
definitions necessary for
understanding cultural mapping:

4. What is Cultural Mapping?
• Cultural mapping is the process of identifying and
stating, in a written or visual inventory, all cultural
assets within a specific geographic region.

5. Assets
• Assets are the facilities,
organizations, people, ideas,
customs, and relationships that
contribute to a way of life in a
specific place.

6. Culture
• Culture includes
the arts,
heritage, beliefs
and
environments
that make up our
individual
identities.

7. Community
• Community refer
s to a group of
people within a
specific
geographic
area, i.e. cities,
neighbourhoods,
states, or
regions.

8. Overview of the Cultural
Mapping Process

9. Step I: Planning
• Step I: Planning
• The cultural mapping process should begin with an internal capacity
and community networks assessment before opening the project to
the entire community. An internal audit is necessary to ensure that
all ideas, resources, and current partnerships are organized. This
serves as a good foundation for the community engagement work
that will follow.
•
• The establishment of goals, objectives, and parameters for
developing a cultural map is essential; however, it is critical to
include the entire community in doing so. Beginning the planning
process with a town hall meeting allows community members the
opportunity to be involved from the start. Asking for assistance in
this also enables the community to build a sense of ownership in
the project. This creates the opportunity for the cultural map to
strengthen community identity and sense of place.

10. Step II: Mapping Design
• Cultural maps can take multiple shapes. They can be,
for example, a written inventory, a searchable
database, a Geographic Information Systems (GIS)
map, or a hand-drawn map. The design chosen for the
cultural map not only depends upon the technology
and funding available, but also on the community
environment. Understanding how the community
would engage with the map is a necessary question to
ask during this step of the process. If the majority of
the community has a lack of online resources it would
not make sense to create a GIS map that only a few
could access. On the other hand, if a GIS map is an
important component for connecting across local and
regional barriers, it should not be neglected.

11. Step III: Community Support and
Insight
• This step includes ways to announce the project
to the community, getting them excited to
participate, and hosting focus groups and
meetings. Creating trust in and a sense of
transparency about the project are essential for a
fully inclusive cultural map. Encouraging
participation and support for this project can
come from announcing the cultural map as a way
to find the unique identity of the community or
to learn more about its under-recognized cultural
assets.

12. Step IV: Creating the Map
• Completing the cultural map takes great attention to detail
and a firm grasp of the parameters of the project. The map
design from Step II will guide the creation of the map.
Creating the actual map will involve a small group of
individuals, but must include regular check-ins with the
wider community. After asking for community support
during data collection, it is crucial to keep the community
involved throughout the implementation process. This way
both the tangible and intangible assets can be correctly
categorized and plotted. Transparency at this time also
serves to build trust between the organization leading the
mapping and the community, enhancing the likelihood of
broad support for whatever projects result from the
mapping.

13. Step V: Finalizing the Map
• After completing final edits based upon the community review, the
map is ready to be made public. This step should be designed to
gain enthusiastic participation by a wide range of community
members. Collaborators and, most importantly, the community as a
whole should be thanked for their help in creating the map. This
can be done as a launch party, as part of another community event,
or as a press conference. What is important is that the entire
community learns about and has access to the finished product.
During this final step the community should have the opportunity
to engage with the map and see how they helped shape it. This step
should not be the end of community engagement but should be the
door that opens up new partnerships and collaborations
throughout the community.
•

14. The use of cultural mapping falls into
three categories:
• Cultural Mapping to Inform Planning –
Identifying and mapping cultural assets
strengthens the base of information that can
be used to inform future planning and
decision-making in any municipality (e.g.
cultural planning and development, land use
planning, economic development and
tourism, among others).

15. • Cultural Mapping to
Increase Community
Awareness – Cultural
mapping helps build
consolidated databases of
assets that in turn can be
used to support marketing
and promotion of these
assets to both residents
and visitors/tourists.

16. • Cultural Mapping to Support Culture Sector
Development – The cultural sector in most
communities tends to be very disconnected in
the distinctions drawn between different
types of cultural activity (e.g., arts, heritage,
libraries, and cultural businesses). Building a
stronger base of information will strengthen
the networks and collaboration across a wide
range of cultural groups and activities.

17. Final Words
• Cultural mapping is a tool for building
community that can then be used for
advocacy and cultural planning, as well as
economic and community development. The
process of engaging citizens in the creation of
their unique cultural identity, by finding the
assets already existing in the community,
promotes community empowerment,
sustainability, diversity, and equality and
strengthens their sense of civic pride.

18. GAINING COMMUNITY SUPPORT FOR CULTURAL MAPPING IS TREMENDOUSLY
HELPFUL FOR COMPLETING A COMPREHENSIVE MAP. IT IS ALSO IMPORTANT TO
CONNECT WITH THE COMMUNITY TO BUILD TRUST FOR THE PEOPLE AND
ORGANIZATIONS CONDUCTING THE INTERVIEWS AND FOCUS GROUPS.
Community Support and Insight

19. Announcing the Project
• Letting the community know about the
project well in advance of the town hall
meetings can offer a chance to take advantage
of word of mouth advertising for it.
Excitement can grow from the opportunity to
share cultural experiences. There are a variety
of methods to get the word out:
•

20. Creating the Map
• This step of the cultural mapping process can be
the most creative and also the most time-
consuming. Actually building a map from the
information gathered requires sorting all of the
data into categories and double-checking with
the community to ensure that nothing was left
out. Depending on the type of map being created
it can be shared as a digital or paper product.
•

21. Finalizing the Map
• After completing any final edits based upon the
community review, it is time to go public with the map.
This step should be exciting and fun. Collaborators and,
most importantly, the entire community should be
thanked for their help in creating the map. This can be
done as a launch party, during a community event, or
as a press conference. What is important here is that
the whole community learns about the finished
product.
• During this event people should be informed where the
map can be found, what its use will be, how they can
continue to contribute to the map, and how much fun
it was creating it together.

22. Workshop Proper

23. Movable Heritage in Bais City
• Portrait of Baisanons . Josefa V. Perez
• Paintings Paintings
• Antique . Old Vinatage Pictures
Habal –Habal ride . Family Tree of old familiars
• Horse back riding .Pot pot
• Locomotive Bangon
• Baldwin Locomotive 1926

24. Heritage Baisanons
• Demetrio Larena –First Civil Governor of Negros
Oriental
• Meliton Larena- Board Member of Negros Oriental
during the American Regime
• Senator Jose M. Romero Sr.- Senator, Secretary of
Education , Ambassador to England .
• Senator Bindoy Teves Villanueva – Senator
,Secretary of Labor, Presidential Adviser for
labor relations

25. Heritage Baisanons
• Antonio Somoza Arnaiz –Philippine Pioneer
Pilot in Aviation History
• Dr. Vicente G. Sinco-Founder of Foundation
University ,delegate to the
Second Constitutional
Convention & UP President.
• Gov. Serafin Lajato Teves- Former Governor, past
Grand master of Masons in the
Philippines & Asia Pacific with
jurisdiction Okinawa,Guam, and
Japan

26. Heritage Baisanons
• Enrique Teves Villanueva- Founder of Bais Peace &
Order Council, Congressman & Governor
• Maria Somoza Arnaiz Diaz –first woman vice
governor of Negros Oriental
• Gov. Mariano Perdices –Governor & Hall of Fame
Boy Scout of the Philippines
• Genero B. Goni- The first charter city Mayor
• Eddie Sinco Romero- National Artist for Film
• Mamento Bocanegra- First Army General from Bais

27. Heritage Baisanons
• Manolet G. Teves-Society Historian, Civic
leader and Writer.
• Francisca Somoza Arnaiz Ponce de leon –Civic
leader & Cultural Worker
• Trinidad Teves Sagarbarria –Founder of the
Sans Rival Cake House
• Josefa Baena Teves Escano- Civic Leader ,Girls
Scout Official, Women &
Children Advocate

28. • Josefa Villanueva Perez - Historian and visual artist
• Juvenal Villanueva Somoza- Martyr & World War II
Hero
• Ambrosio B. Somoza –Political Hero ,Cabeza de
Barangay & Sugar Planter
• Diogenes Villanueva Baena –Historian, Politician,
Sugar Technologist
• Sergio Lopez Sinco- Revolution Hero of Bais

29. Heritage Baisanons
• Práxedes Daniel Teves Villanueva- Governor,
Mayor and Theatre Actor
• Alberto V. Furbeyre –Governor ,Vice Governor and
Board Member
• William Villanueva Villegas- Governor ,Vice
Governor and Hall of Fame
Boy Scout of the Philippines
• Guillermo Villanueva, Governor of Negros Oriental
BOT Vice Chair ,Silliman University
• Mellimore Saycon - former Board Member and
Broadcaster

30. Built Heritage
• San Nicolas de Tolentino Church
• Old Villanueva la Familia Cemetery Talungon
• UCCP Town Church
• Campana de Villanueva 1890
• Old Larena –Rubio la Familia Cemetery
Katacgahan built 1916
• Sugar Central: CENTRAL AZUCARERA DE BAIS
First Sugar Central in Asia 1918

31. Built Heritage
• Dulce Nombre de Maria Chapel in Talungon
• Presidencia de Bais
• Train rail system
• Steel Bridge
• Kawa
• Gabaldon Building First Educative Edifice
• Tribal Cemetery

32. Built Heritage
• Rizal Bronze Statue
• Veterans Marker
• Pantawan
• Mariana Mall Art deco
• La Planta Powerhouse Building
• Kiosk (1923)
• Montesol
• Alcazar Apartment
• Old Ruins of the old Hospital & Eye Peak

33. Built Heritage
• Old Ancestral House
Casa Rubio / Larena
Casa Lita
Casa Rotea
Casa Antonia
Gonzaga House
Judge Ybanez House
Casa Don Julian

34. Built Heritage
• Plantation Houses
• Manuel L. Teves Canlargo
• Serafin L. Teves Canlargo
• Villa Maria Buntod
• Nolan House
• CAB Staff House
• Julian Teves House
• Hacienda Valencia House
• URSUMCO 60th year old

35. Nature Heritage
• Mabunao Trees .Nikel Source
• Kanumay Mangroves . Hudugan ug Manok
• Banmil Caves . Danao lake
• Twin Falls at Cantugot .Kan-alino River
• Lag-it Favorite Place .Kunlawis
• Barang- Barang Cave .Santan
• Dolphins/ Whale .Bais Fresh Water Eel
• Tindog-bato Watershed .Sugar Cane
• Ritual Cave of Babundi-an .Fish Pond

36. Intangible Heritage
• Tinalampad ( Dance of Ata) .
• Kinalasag ( Dance of Ata)
• Inagong ( Dance of Ata)
• Ginaray ( Dance of Ata)
• Inubay- ubay ( Dance of Ata)
• Sipong
• Pilising Dance
• Wake Rituals
• Tabo

37. Intangible Heritage
• Fertility Tree ( Tagpo )
• Maruya cookies ( Tok-tik)
• Sa mais ,tuno’lubi,asukar fried ( Tik-tik ,asukar putos
dahon saging)
• Original Composition “Taga –asa ka Hoi”
• Ginaray :Songs and Dances of Ata
• Batak –Balitay of the Ata
• Diwata OFFerings
• Kuratsa de Negros Folk Dance

38. HUDYAKA SA BAIS ......
• Photo by : Nich Port Blairnich
Photography/Cinematography Bais City

39. Living Legacy of Baisanons
• Hector Romero Villanueva- Former Press
Secretary ,Post Master General and Writer
• Fr. Rudy Villanueva –Music Composer and
Father of Modern Cebuano Literature
• Josefino T. Larena Jr. –Family and Cultural
Historian, Civic Leader,Heritage
Advocate, Consumer Advocate
and Social Sciences Educator
• Empalz Violeta- Art Teacher, Visual Artist and
Humanities Teacher

40. • Francisco G. Villanueva- Sculpture
• Alex Baena- Natural History Historian and Science
Teacher
• Valene Montenegro- TV & Movie Actress
• Gretchen Nadine Teves Villanueva –Visual Artist
• Yul Gabriel Fausto Dionson - young Visual Artist
• Paula and Trina Celdran Montenegro–Visual Artists
• Jerry Miraflor-Fashion Designer
• Jeremias Navarro Perez–Music Teacher

41. • Jose V. Romero, Jr. Ph.D. who served as
Philippine Ambassador to
the Republic of Italy, his
mother Elisa Villanueva
Romero is from Bais.
• Frankie Ferrer -Former Original Balancing Act
• Mercedes Teves Goni- Dancer ,a former member
of the Bayanihan Folk Dance
Company
• Marissa Villanueva Yoldi – Owner Ana Maria
Bakershop
• Angela B. Vicente –Children Advocate and Theatre Arts

42. Old Familia
• Montenegro Clan Rubio Clan
• Teves Clan .Villacampa
Villamil .Somoza
• Villanueva Clan .Larena
* Pinili .Arnaiz
* Teves .Diaz
* Villamil .Pastrano
Bocanegra Clan Cabanang Clan
Laxina Clan de Guia Clan
Montesa Clan Pileo Clan

43. Old Familia
• Real Clan Baena Clan Bacang Clan
• Rotea Clan * Gomez
• Vicente Clan * Burgos
* Gomez * Gonzales
* Longa * Abilla
* Moras DiagoClan
* Ortiz Llera Clan
* Bouffard Adiong Clan
* Yoldi Ferrer Clan

44. Creative Industries /Occupations
• Sweet Boneless danggit
• Radio Natin
• Mazu Designs
• Jerry Miraflor Designs
• Bais Best Banana Chips
• Bais Best Okiot Spanish
Sardiness
• Marissa V.Yoldi Cakes
• Bagoong Guisado ni
Pichina Teves
• Siakoy/ butchi
• Paella ni Malca Villanueva
• Seafood & Talaba
• Bulad Danggit
• BCPS Rondalla
• Comparsa
• Lumay” Love Poison”
• Himag Oil
• Bais Visual Artists
• Halo- Halo / Peanuts
• Rhum Coke
• Callos recipe Antonia Garcia

45. • To preserve Heritage you need love your
hometown and embraces its culture, history
and values you learned from your ancestors
• Penn T. Larena

46. To God be our Glory