III. The artisanal production of the “asin nga nangisit/nangisit nga asin” The nangisit nga asin or asin nga nangisit or”black/dark salt” is the indigenous, original and traditional salt produced by the locals of San Vicente prior to the other salt mentioned. This is called “nangisit nga asin” by Ragasa and others but is referred to as “refined white as sugar” by Dr. Abercio V. Rotor in his article entitled “How refine salt is made the old way.” Published in his blog, “Living with Nature” last 2011. We are not sure about his basis for this, or if there are varieties of this salt, not unless if the focus of his documentary is another barangay, Nagtupakan which is also in San Vicente, but he also made mention of San Sebastian as two of the places in the town known for salt production (Rotor, 2011). But despite its name by some of the few “knowledgeable” people in the place, the salt is not actually black in color but a little “darker/browner” than the common white salts we have. One theory or reason for this according to Ragasa is that some asinderos allow it to be over cooked, in Iloko, “pakseten”, and in Filipino, “sunog” apparently because of the reason that it will have a better flavor. Some speculated that it is because of mud, but this is proven false by the locals. According to the “last asindero/asindera”, Ms. Edita Rin (Ms. here is used instead of Mrs), and a staff from the salt factory mentioned earlier, the process of making this traditional salt starts with allowing the waters in a pond or “puttot”/piskarya to sink or drain naturally, the term means “a trapped water using land” this means waiting for the whole puttot to become dry. The pond or puttot or piskarya serves as the “salt field” where the necessary materials are harvested. According to Ragasa, these ponds are privately owned by the asinderos. Some reported that others irrigate water from the sea during high tide in the pond and use the floodgate to trap the water inside (Rotor, 2011). Remember that in these places, a separate or closed pond also produces salt water just like the water directly coming from the sea. Another source of water is during rainy days, eventually the stored water will turn salty. During the site visit, they told the researcher that the nearest puttot was already damaged. Since then, it fell into disuse. When the time comes that all waters in the puttot are drained dry, the asinderos will begin to collect the topsoil which contains the salt crusts that formed using hands, capiz shells or bullocks and harrow or “kalaykay” to scrape it from the soil. This is done after a week or more to ensure that the soil is already dry and ready. The salt crusts in the topsoil which appears “whitish” in color is called the “ati”, this is the reason why the process of collecting and “cultivating” (Rotor, 2011) this is called “panag-ati” and the people doing it as “agat-ati” o “mag-aati/nag-aati” (in a Tagalized form). Ms. Rin is even called by one of her ....

1. 1
University of Northern Philippines January 2024
College of Public Administration
Master of Public Administration-Culture-Based Governance
Cultural Heritage Education and Interpretation (CBG 203)
Artisanal Salt-making in San Vicente, Ilocos Sur: A Case of Cultural Heritage
Preservation, Conservation, Education and Interpretation
Humphrey A. Beña, BSTM
MPA-CBG I
Vigan City, Philippines
Humphreyh07@gmail.com
Abstract
The value of cultural heritage preservation, appreciation, education and interpretation that is
seen in the lenses of traditional salt-making is both a case of artistry and livelihood. Salt or
sodium chloride has been a very important part of our life, our health, economy, history,
delicacies are very much dependent on the existence of salt. The salt industry is a very crucial
part of our country’s economy, both in the sector of livelihood and food production (Ventayen,
R. J., et al, 2023) This paper focused primarily on the importance of understanding heritage and
culture from the traditional intangible works of salt-making in the town of San Vicente, Ilocos
Sur, particularly in the barangay of San Sebastian and Mindoro. The study also discusses the
importance of preserving our rich cultural heritage. It highlights the importance of cultural
education and interpretation in understanding the value of this heritage that has been part of the
daily lives of every Filipino-the salt. The result of the study shows that this inheritance is now

2. 2
fighting for its survival amidst the threats of modern salt-making procedures, competitors and
the lack of interested individuals to carry on this long surviving tradition and process.
Keywords: Traditional salt-making, salt, cultural heritage, heritage interpretation, cultural
preservation, San Vicente, Ilocos Sur
Introduction
Salt or Sodium Chloride (NaCl) is one of the most valuable parts of our daily living. It
is one of the oldest and most widely used and known condiment/substance/chemical to ever
exist in human civilization (University of Hawai’i, Mānoa, n.d.). It is both important to humans
and animals(ibid). As far back as 5060 BC, salt has become an integral part of history
(America’s Sea Salt Company, 2001), and the industry of salt-making and manufacturing is
considered one of the oldest in the world (Salt.org.il.,1997). Salt was primarily used in food
preparation, preservation (Barber, 1999), compensation/economy (Bloch, 1996; Lal, 2022),
health (Antonites, 2020) and even for religious purposes (Encyclopedia of Religion, Article:
Salt, 2006; Lal, 2022). All human activities are said to have been influenced by salt (DeSanto,
et al., 1997). Salt-making and salt has become an important part of human culture, it includes,
aside from religion, trade and politics (Lal, 2022), it has also become an essential element of
culture and economy (Williams, 2021). It also played an important role in cultural dialogues
and other symbolic activities in the society (Kam, 2017), and in fact, according to a research
published in the Atlantis Press, the heritage of salt-making has left many relics in many
countries which are very crucial in determining its international standards as set forth in the
UNESCO Operational Guidelines for the Implementation of World Heritage Convention, thus
“making the salt industry heritage an important part of the world heritage and displaying unique

3. 3
salt culture values.” (Yang and Li, 2019). It is without doubt that the salt industry is a real
heritage, this falls under the category of Intangible [Cultural] Heritage (Del Valle, 2023).
Further, Del Valle states that, “The 2003 Convention for the Safeguarding of the Intangible
Cultural Heritage (UNESCO, 2003) defines intangible cultural heritage (ICH) as “the practices,
representations, expressions, knowledge, skills – together with the instruments, objects,
artefacts and cultural spaces associated therewith” (Article 2.1)” (ibid).
In the Philippines, salt-making is indeed an important industry, in terms of cultural and heritage
discipline, we have the so called “artisanal salt-making and artisanal salt”, when we say
“artisanal” this involves the use of indigenous and traditional methods (Cambridge Dictionary,
1995, [online]), “artisanal salt” is then “an indigenous condiment that refers to unrefined salt
derived directly from a living sea or ocean using traditional methods” (Philippine Information
Agency, 2023). Of course, salt is one of the most important “pampalasa” in Filipino society,
the famous bagoong (fish paste), patis (fish sauce) were all made from fermenting fish into jars
or containers using ample amount of salt as a preservative agent. The “daing” or salted fish of
all kinds, as well as the itlog na maalat were all made possible through the help of salt. Thus,
salt-making is one of the foundations of Filipino livelihood, even during the pre-colonial period,
early Filipino natives are already producing salt (Romualdez-Valtos, 2022). In fact, a whole
province was named after the process of salt-making, that is Pangasinan, from the word “pag-
asinan” or “panag-asin-an” which is literally translated as “where salt is made” or “land of
salt/ land of salt-making” (Fernandez, 2010; https://www.pangasinan.gov.ph/ ). Another
barangay in Ilocos Sur, in the municipality of Magsingal, Pagsanaan is named after the place of
salt-making “pagsan-sanaan” or “agsana” of the process pf obtaining salt from seawater in
Iloco dialect’s term (Udarbe, 2014). The existence of many artisanal salt products such as the “

4. 4
asin tibuok in Alburqueque, Bohol, tultul from Guimaras island in Iloilo, asin sa buy-o from
Botolan, Zambales, and sugpo asin of Pangasinan, budbod nga asin in Miag-ao, Ted-ted of
Ilocos Norte, among many others” (Philippine Information Agency, 2023) are living proofs that
salt and salt-making are indeed a vital part of our rich cultural heritage, and that these, according
to Senator Loren Legarda who is a known advocate of cultural heritage preservation, are “not
just salt[or salt-making]”, these are also considered cultural treasures that we must preserve
(ibid).
In line with this, a barangay in the suburbs of the heritage city of Vigan, in the town of San
Vicente, is also known for its traditional salt making, unknown to many, this barangay named
San Sebastian, is home for two salt-making processes particularly Sitio Mindoro, the first being
like the one in San Nicholas, Ilocos Norte, which is more “modern” and the traditional one
which we can consider as an “artisanal” way of producing salt which will be the focus of this
study. The latter is now in the brink of extinction, since there is now only one known maker and
that the citizens of that place shifted into fishing, leaving the traditional salt-making;
competitors as well as lack of interest from the newer generation, as well as knowledge about
its process contributes to its dangerous situation.
This study will focus on artisanal and traditional salt-making in San Sebastian, San Vicente,
Ilocos Sur and will try to see culture and heritage through the lenses of education and
interpretation in understanding it’s value, process, and history, as well as how are we going to
apply this in future studies necessary for its preservation and promotion. Understanding the
richness of artisanal salt-making as a living part of culture and intangible heritage is a key factor
in heritage preservation, conservation, cultural education and interpretation in line with
sustainable development.

5. 5
Methodology
This study uses the descriptive method of study as per the definition set forth by
Creswell (1994) and is used to study and describes phenomenon and current or pre-existing
conditions (Rusianty, 2015; Survey Point Team, 2023; and https://www.academia.edu/). It
employs qualitative methods using interviews involving key sources and contact people.
Interview is the most common type of qualitative method (https://deakin.libguides.com/) we
can use in this situation since we need detailed information regarding the subject of the study,
the suppositum: salt-making. This is very fitting for research papers and case-studies (ibid).
Aside from interview, we did site visitation in order to personally witness the process of salt-
making (although we only witnessed the actual one for the more modern one (the San Nicolas
type), not the artisanal one, nevertheless, we still managed to collate the data needed through
interview with the only existing active maker of salt, Ms. Edita Rin and her husband, Mr. Rin,
aided with online research as well as some of the people with secondary knowledge such Mr.
Rugnao, son of the salt factory (not the artisanal one); their staff; and Ms. Ragasa, a neighbor
of the Rin family who is also knowledgeable of the process. Aside from interviews, the study
also employed the use of SWOT Analysis which is another kind of qualitative method (Shinno,
et al., 2006). This is in connection with a project proposal following this study [including
cultural mapping]. These methods are more flexible for this kind of research or study. The
concern is based on the current situation of the place, the subject of the study, and the people
involved to further arrive at the enlightenment we are aiming for. The locus of this study is set
in the municipality of San Vicente, Ilocos Sur specifically in the sitio of Mindoro, in the
barangay of San Sebastian which can be considered as near or a coastal area/community. This

6. 6
study will only focus on the following: brief background and history of salt-making in the area;
the process of making salt both the more modern one (San Nicolas type) and the artisanal or
traditional one; and the cultural and heritage status/ condition and factors surrounding the said
subject in relation to heritage preservation and cultural education. Data was collected and used
using media and technology (i.e. gadgets for record keeping); these data were analyzed and
compared with online sources. The findings are further discussed in the discussion and result
of this study.
Results, Discussion and Implications
I. Overview of the process of salt-making and the salt-making industry in San Vicente, Ilocos Sur
San Vicente is well known in Ilocos Sur as one of the producers of salt in the province,
it also has small scale salt-makers in Magsingal, Cabugao, Sinait and among other coastal
municipalities of Ilocos Sur. The process of salt-making is already part of the livelihood of these
areas especially during their younger years. The tradition of salt-making in the country as a
whole predates the Spanish colonization, an example for this is the asin sa tibuok in Bohol (Co,
2022). Although, in reality, the origin of this practice in the country is obscure, it is theorized
that as long as the coastal areas or lands near sea borders have been inhabited, the families who
settled there became its salt makers (asinderos) (Cox and Juan, [n.d.] indexed, 2021). This is
due to the fact that they are near the source of raw materials needed, which includes the most
important one, salt water. This is the reason why the traditional sites of salt-making or
production are mostly in the coastal areas (Kudrass, et al., 2022). The sea is the main source of
salt [water][sic] in San Vicente (Fronda, et al., 2010). This gives them the advantage since salt
water is free and abundant. But others do not use salt-water at all, this is what makes the

7. 7
traditional and artisanal salt of San Vicente different from others. In San Vicente, as mentioned
earlier, the two known salt-making process are: (1). the more modern one which is identical to
the salt-making in San Nicholas, Ilocos Norte according to Mr. Rugnao which uses plenty of
salt water from the sea (now being transported through generated water hoses), and then stocked
and boiled until “cooked”; (2). the more traditional one which this study refers to as “artisanal”
which is now ‘dying” and involves the collection of the dried, innermost part or “scrapings”
from the soil/sand, and the filtration and cooking process, this is called the “nangisit nga asin”
(black salt) which is more laborious in process (Rin and Ragasa, 2024).
II. The two salt-making processes in San Vicente
The are two salt-making procedures in San Vicente, the one as mentioned earlier, a
more modern way, which is according to them is like the process of salt-making in San Nicholas,
Ilocos Norte. Many people in the province call this “panagsana”. However, most of our sources
point towards Pasuquin instead. Nevertheless, the focus of this study is the one in San Vicente.
During the site visit, the place is already a part of the “farm to market project” of the
municipality. Via trike or motorcycle, you can reach the place just less than 25 minutes, 7 km
west of Vigan City. The place is an agricultural area and is also near coastal waters. You can see
many fishponds and nets all over the area adjacent to the main body of the sea. The salt factory,
which is composed of two large “huts” or “kalapaw” large enough for the equipment and
products are the main processing site. It also has towering “chimneys” with smoke coming out
from it as a result of the heating and cooking process. The cooking uses “pagsungrod” or
firewood and the “taep” or rice husks. You can easily feel the high temperature of the area. The
entire factory is managed by Ms. Catherine Aquino Rugnao and her son; and is manned by more

8. 8
or less ten people. The factory possessed a license from the Food and Drug Administration
(FDA). They also manufacture Iodized Salt (FDA, n.d.). The process of making this more
modern salt (in contrast with the “asin nga nangisit”) requires less effort than that of the
artisanal one which was described by Ragasa as “narigat” or hard(difficult/laborious).
Although it still requires a lot of work despite that. The process starts with transporting salt
water from the sea through generated tubes run by electricity into the large concrete containers
they call “sildan”, (some sildans are made of yero or galva) and then boiling them using plenty
of rice hulks and wood. These concrete containers about 2 ½ meters in length and 1 ½ in with
serves as the “cooking pot” for the salt are aligned side by side inside the kalapaw. Baskets
made of kawayan or bamboos are then used to collect the salts, they will let it sit atop a platform
which is enough to support it at the center top of the sildan in order to cook it further and allow
the excess of liquid to drain. During the cooking process and boiling, impurities are driven in
the surface, they will then use a large and long wooden or bamboo ladle to remove it.
Occasionally, they also “stir” it by moving the ladle back and forth in the concrete containers.
Once considered “done” they will pour them in a separate area for cooling and then will proceed
with the packing. In this area, many salts are put or packed inside of sacks (rice sacks) and piled
up upon another. Buyers come to the place to purchase salt wholesale; this is the “salt” that is
currently well known in the place from an outsider’s perspective. Not much from outside of the
community is familiar with the second way of producing salt in this place or the one this study
calls “artisanal”. In this regard, this can be seen as a direct “competitor” of the traditional or
artisanal salt-making and can also be a “threat” to its own existence. There are many reasons
for this, one is the traditional salt-making requires hand to hand and is a more laborious process.
It is also seasonal as it is dependent on the recession of water levels; as well as the modern one

9. 9
is more mechanized, aided by the help of electricity and generators, as well as it already
established its name. However, people can still value the two in separate ways without
compromising their own “uniqueness”. Now let us see the artisanal salt-making procedures of
Sn Vicente.
III. The artisanal production of the “asin nga nangisit/nangisit nga asin”
The nangisit nga asin or asin nga nangisit or”black/dark salt” is the indigenous,
original and traditional salt produced by the locals of San Vicente prior to the other salt
mentioned. This is called “nangisit nga asin” by Ragasa and others but is referred to as “refined
white as sugar” by Dr. Abercio V. Rotor in his article entitled “How refine salt is made the old
way.” Published in his blog, “Living with Nature” last 2011. We are not sure about his basis for
this, or if there are varieties of this salt, not unless if the focus of his documentary is another
barangay, Nagtupakan which is also in San Vicente, but he also made mention of San Sebastian
as two of the places in the town known for salt production (Rotor, 2011). But despite its name
by some of the few “knowledgeable” people in the place, the salt is not actually black in color
but a little “darker/browner” than the common white salts we have. One theory or reason for
this according to Ragasa is that some asinderos allow it to be over cooked, in Iloko, “pakseten”,
and in Filipino, “sunog” apparently because of the reason that it will have a better flavor. Some
speculated that it is because of mud, but this is proven false by the locals. According to the “last
asindero/asindera”, Ms. Edita Rin (Ms. here is used instead of Mrs), and a staff from the salt
factory mentioned earlier, the process of making this traditional salt starts with allowing the
waters in a pond or “puttot”/piskarya to sink or drain naturally, the term means “a trapped water
using land” this means waiting for the whole puttot to become dry. The pond or puttot or

10. 10
piskarya serves as the “salt field” where the necessary materials are harvested. According to
Ragasa, these ponds are privately owned by the asinderos. Some reported that others irrigate
water from the sea during high tide in the pond and use the floodgate to trap the water inside
(Rotor, 2011). Remember that in these places, a separate or closed pond also produces salt water
just like the water directly coming from the sea. Another source of water is during rainy days,
eventually the stored water will turn salty. During the site visit, they told the researcher that the
nearest puttot was already damaged. Since then, it fell into disuse. When the time comes that
all waters in the puttot are drained dry, the asinderos will begin to collect the topsoil which
contains the salt crusts that formed using hands, capiz shells or bullocks and harrow or
“kalaykay” to scrape it from the soil. This is done after a week or more to ensure that the soil
is already dry and ready. The salt crusts in the topsoil which appears “whitish” in color is called
the “ati”, this is the reason why the process of collecting and “cultivating” (Rotor, 2011) this is
called “panag-ati” and the people doing it as “agat-ati” o “mag-aati/nag-aati” (in a Tagalized
form). Ms. Rin is even called by one of her neighbors “agat-ati”. But in one interview with the
asinderos from the factory, they also call the ati as “tapok” or dust, the best season to harvest
salt crusts is from the month of February to May. According to Ms. Rin, they can store the salt
crusts in a nearby kamarin or shack for future use or every time they want to “cook” salt. This
makes this kind of salt unique, unlike the others. They can also do this after rainy days. The
process of extracting the salt begin with the crusts being put in a large trough that is made of
long wooden planks (Rotor, 2011; Rin, 2023) which looks like a coffin, this is called the
“lungon”, which means “casket”, it is also called as “kalungkong” which is the Iloko word for
busting out dishes. The bottom is lined with rice hay, husks and sand on top of it to serve as a
filter. Using clay jars or “burnay/kalasugan” they pour sea water on the crusts to dissolve the

11. 11
salts within them. This process of mixing the salt crusts or the ati/tapok is called “agipitak” (to
[make] mud), the word “pitak” means “mud”. This is because the mixture of sea water and
soil/salt crusts will create a “mud”. The solution is then filtered leaving the clay and the mud.
Others also use “sinamay” or fishnet with very small holes, as well as the “muskitero” or
mosquito nets as filtration. According to the locals and Dr. Rotor, the filtrates which a high
concentrated salt solution is collected at one end of the trough using bamboo pipes cut in halves
lengthwise serving as the “pagayusan” or tunnel/drainage. The salt filtrate is called “inna” and
the process is called “ag-inna”. The filtrate or inna is then cooked in a large open iron kettle or
pot or pan called the “sinublan” or “silyasi”. According to Ms. Rin the process of cooking
usually takes a whole day. The filtrate is cooked over low fire and is consistently or regularly
being turned to prevent the formation of crust in the bottom and to hasten cooking (Rotor, 2011;
Rin, 2023). They also apply cooking oil as a greasing agent to prevent crusting or panagit-tip.
As the water or moisture evaporates, more filtrates are added to yield more salts (ibid). The
final salt is then placed in a large basket made of bamboo for tempering and to allow natural
mellowing. The salt here attains it full flavor, texture and “maturity”. Unfortunately, this
traditional salt and salt-making is now on the brink of extinction.
IV. Threats confronting the artisanal salt-making of San Vicente
The current situation of the artisanal salt-making in San Vicente, and corning the
artisanal salt herein is the fact that it is now facing extinction due to neglect, competition and
diminishing knowledge about the said practice. This is the reason why one of the main concerns
of this study involves preservation and education. Throughout the Philippines, artisanal salt and
salt-making has been facing many threats. Most of these threats start with the community. In

12. 12
the case of integrity and authenticity, various reasons are to be considered. This study will not
look deeply at the details of authenticity and integrity. This is for another study. One of the main
threats confronting the San Vicente artisanal salt-making is the loss of interest of the local
community. According to Ms. Rin, most people in their place had shifted to fishing instead of
doing the laborious task of salt-making. The salt fields in the form of puttot were converted into
real fishponds, fish were introduced in these ponds and the industry of fishing overtook the
original role of the salt fields. Aside from that, one reason is economically tide, despite of the
laborious process and special hand to hand preparations, the price of the artisanal salt is very
low. For example, a sack of asin nga nangisit can only be purchased Php 120.00 or lower (a
half). This is very far from the more expensive iodized salt, at least they are “making reasonable
profit out of it” unlike the artisanal one which requires lots of effort. Another is direct
competition. The presence of other salt and salt-makers also gave threat to this dying industry.
Another is the diminishing materials for cooking such as wood, etc. Lack of government and
non-government support is also one of the problems. Lastly, the lack of understanding and
education, as well as appreciation of this valuable cultural heritage and the rise of unsustainable
activities due to commercialization and industrialization (Del Valle, 2023).
V. Cultural heritage importance, connection and implications
According to the United Nations Digital Library, “the cultural heritage of a people is the
memory of its living culture” (UN-DL, 2002). Its General Assembly in 2019 describes culture
as “an essential component of human development, representing a source of identity, innovation
and creativity for all, it provides sustainable solutions to local and global challenges” (UN-GA,
2019). Moreover, according to Khan Academy, “Cultural heritage implies a shared bond, our

13. 13
belonging to a community” (Franchi, n.d.). Artisanal salt-making is part of our Intangible
Cultural Heritage (ICH), our ICH according to the International Training Centre for Intangible
Cultural Heritage in the Asia-Pacific Region, “is important as it gives us a sense of identity and
belonging, linking our past, through the present, with our future. Intangible cultural heritage is
of both social and economic importance. It aids social cohesion and helps individuals to feel
part of a community and of society at large” (CRIHAP-UNESCO, n.d.). Thus, it is our duty to
protect and preserve it. Likewise, the artisanal salt-making of San Vicente is important as other
ICH since it manifests all the above characteristics when it comes to the importance of ICH. It
connects society and economy, history and our present situation, art and education, identity and
appreciation, as well as sustainable development. What are the implications of these things? It
shows the richness of our culture and places. The creativity and scientific mind of the Filipino
people specifically the residents and folks of San Vicente. Making of salt is a very scientific
activity. Above all, it defines who we are. The history and identity of our community and
society, the way of living our ancestors have, and the artistic value and purpose of artisanal salt
and salt-making despite diversity.
VI. Cultural and Heritage conservation, preservation, interpretation and education
Since artisanal salt-making is facing many threats, the topic of conservation and
preservation cannot be set aside. According to The Journal of Cultural Heritage Management
and Sustainable Development, “the recent industrialization of the activity and its
commercialization has led to the introduction of less sustainable methods (Ménanteau et al.,
2012 as cited by Del Valle, 2023). This is a common problem in many parts of the world wherein
ICH are involved. The rapid rise of unsustainable activities has led to the enormous destruction

14. 14
of the values of ICH. Also, “artisanal salt production does not require industrial machinery or
large-scale civil works for its development” (ibid). This is the reason why there is always
difficulty on the part of every artisanal salt-makers to cope with the changing environment and
demands of economy, eventually killing the industry, but if this happens, it will undermine and
compromise the ICH’s integrity and authenticity, further causing damages that might hinder all
efforts to revive, conserve and preserve it. On 6 October 2016, the United Nations through the
Human Rights office has called “upon all States to respect, promote and protect the right of
everyone to take part in cultural life, including the ability to access and enjoy cultural heritage,
and to take relevant actions to achieve” such vision (https://www.ohchr.org/, n.d.). This is in
relation to the joint agenda and statement with regards to the protection of human rights and
cultural heritage as part of it. Similarly. UNESCO emphasized the importance of safeguarding
ICH, it defined is as “the transferring of knowledge, skills and meaning”
(https://ich.unesco.org/, n.d.). On the other hand, education and interpretation involves the
understanding of the nature, history, meaning and importance of the ICH. Cultural education,
enables us, especially our children “to discover ways of learning and communicating which are
respectful to themselves and others. It promotes historical awareness, contributes to
understanding individual identities and encourages creative, inquisitive attitudes that can
benefit them throughout their lives” (https://www.culturekids.be/, 2017). When it comes to
cultural interpretation which of course involves heritage, an article published in KNE
Publishing states that it is “considered as a way to comprehend the processes of culture in their
integrity and particular phenomena from the point of their inclusion in the general cultural
context. The interpretation underlying the method is a complex procedure of interpretation and
comprehension of reality. It is important in research and educational practices…[and]… opens

15. 15
a way to systematization and structurization of information and is the key to successful
communication at different levels, including inter-industrial [sic] interaction, communication
with people and groups, and also allows to realize design activities taking into account the
axiological, economic and market guidelines of the present (Simbirtseva, 2015). Thus, these
four aspects of cultural and heritage understanding, and development are keys to the realization
of the roles of culture and heritage in the lives of humans, this goes as well with the culture and
heritage of the people of San Vicente, especially their artisanal salt and salt-making.
VII. Sustainable Development and Cultural Heritage Preservation
In the Philippines, there are several efforts to protect these kinds of heritage in the form
or aid of legislation. Artisanal salt for example is one of these. In the Philippine Senate, there is
a pending bill, that is known as SNB 2243 or the Philippine Salt Industry Development Act and
the SNB 1450 or the Salt Industry Development and Revitalization Act. These both aim to
revitalize and give new breath to the dying local salt industries (https://legacy.senate.gov.ph/,
2022, 2023). But currently we have the so-called ASIN ("An Act for Salt lodization
Nationwide") Law, or the RA 8172 of 1995, a 27–28-year-old law which mandated the
iodization of salts. According to source, ABS-CBN News, this massively contributed to the
“death” of local salt industry, Ph senators like Cynthia Villar and Joel Villanueva even criticized
it (Villaruel, 2023). These efforts are part of preserving our cultural heritage, Heritage
preservation includes the ICH just like traditional or artisanal salt-making. This will also largely
contribute to the full realization of sustainability or sustainable development. Again, it is said
that “the recent industrialization of the activity and its commercialization has led to the
introduction of less sustainable methods (Ménanteau et al., 2012 as cited by Del Valle, 2023).

16. 16
This includes the activities developed through certain laws, such as the ASIN Law, making less
sustainable methods of producing salts, eventually affecting indigenous methods, in the case of
San Vicente, although the main concern is neglect and competition, in the long run, it can lead
to unsustainable situation. Thus, it is good enough that the government will realize the
importance of culture and heritage preservation in line with the goal of sustainability.
Sustainable development is really a part of heritage preservation. Even the World Heritage
Convention of 1972, although made no mention of “sustainable development” is argued that it
“carries in itself the spirit and promise of sustainability, …in its insistence that culture and
nature form a single, closed continuum of the planet’s resources, the integrated stewardship of
which is essential to successful long-term sustainable development – and indeed to the future
of life on the Earth as we know it” (Richard Engelhardt, as cited in https://whc.unesco.org/).
Furthermore, it is repeated in several other international gatherings that the role of heritage
preservation must be considered especially when it comes to sustainable development and vise
versa. The same source also states that, “The recent “Strategic Action Plan for the
Implementation of the Convention, 2012-2022”, adopted by the 18th General Assembly (Paris,
2011), also integrates a concern for sustainable development, notably in its “Vision for 2022”,
which calls for the World Heritage Convention to “contribute to the sustainable development of
the world’s communities and cultures”, as well as through its Goal N.3 which reads: “Heritage
protection and conservation considers present and future environmental, societal and economic
needs”, which is to be achieved particularly through “connecting conservation to communities”
(ibid). This is a very important framework too, especially in designing and proposing local
projects and programs dealing with heritage and cultural preservation.

17. 17
VIII. SWOT Analysis
Figure A. SWOT Analysis Matrix
Traditional/ Artisanal Salt Making in San Vicente, Ilocos Sur
SWOT ANALYSIS MATRIX
STRENGTHS (S)
Abundance of raw materials as well as the
source of elements and substances needed
to produce salt.
People are highly skilled in the preparation
and procedures of production.
The high need for salt in society and
economy, especially food production and
other necessities. The need is undying.
Locals are familiar with the culture and
tradition of salt making, making its
importance and value part of their lives,
safeguarding it from the brink of extinction.
WEAKNESSES (W)
Salt cannot stop its alternatives. Salt
making will suffer from this.
Salt-making is a good industry; however, it
cannot make itself as large as other
industries.
Traditional salt making is only known to
people in the region, others think that it is
highly commercialized.
Problem in capturing the interests of people
especially the youth who are busier doing
their modern duties.
Low support from the government and other
agencies in promoting salt making.
Laborious process yet low market value of
products.
OPPORTUNITIES (O)
The place of production is well known in the
region. And the growing interest of salt
enthusiast.
The use of raw materials as well as the
labor is at low cost. Making manpower
stronger.
The need for salt can boost the local
economy, the government can take the
opportunity to safeguard and promote the
culture of traditional salt making, since
many are now after what is unique and
something “cultural”.
THREATS (T)
Weather and the availability of long-term
manpower supply.
Ignorance of people about the cultural
value of traditional salt making. Lowering
the quality for the sake of fast production
and income generation.
Lack of interest and support from the
government and private sector as well as
from the local community.

18. 18
Threat of loss or extinction of practice
because of the changing environment and
trends.
Competition, people are also after different
sources of livelihood such as fishing or
other types of salt-industry.
Diminishing knowledge of artisanal salt-
making in the newer generation.
Figure B. TOWS Matrix
TOWS ANALYSIS MATRIX
STRENGTHS/OPPORTUNITIES (SO) WEAKNESSES/THREATS (WT)
Abundance of resources and the nature of
the place, as well as the knowledge of the
production and importance of salt and salt-
making provides realization for future
programs that will help develop and
appreciate such a living heritage and
tradition.
Laborious process and low market value as
per the locals, as well as competition in
same industry and other industries.
Lack of interest and support as well as the
changing environment, including the
diminishing knowledge about the artisanal
production of salt.
STRENGTHS/THREATS (ST) WEAKNESSES/OPPORTUNITIES (WO)
Abundance of raw materials, knowledge
and skills from surviving salt-makers, but
with the lack of interest of people who
should be continuing the tradition.
Laborious process and low price or market
value, yet there is now a growing interest in
artisanal salts from enthusiasts.
Low support but eventually the tradition
and the place will be discovered.
Conclusions and Recommendations

19. 19
The study was able to partially assess the current situation of the artisanal salt industry of
San Vicente, Ilocos Sur. It is indeed a treasure of culture and heritage that needs much attention
when it comes to its survival without compromising its value. Cultural and heritage interpretation,
education, preservation and conservation should first start with the community. It is the local
community which gave birth to the beautiful process of this salt-making; thus, it should also start
with them the initiative and efforts of bringing this heritage out from its “dying” stage. It is
suggested that these kinds of traditions and ICH must be given the chance to continue its existence
for it will not only tell who the community and people are, but it will also include sustainable
development which is also beneficial for human existence and survival. The artisanal salt and salt-
making of San Vicente is part of the ingenuity and scientific upbringing of the local people which
started with their ancestors. It is important for them to realize and educate themselves of the
importance of this ICH for it is a key factor in heritage preservation, cultural education and
sustainable development. In the part of the researcher, the study shows a need for a further
investigation of the subject matter. In this regard, a project proposal for a program focusing on
cultural awareness, education and interpretation should be initiated and it should start with the
community. In this regard, the local community will be the first to realize its utmost importance
bring to the desired goal of this study which is all about the conservation, preservation, education
and interpretation of culture and heritage which is also important in attaining and maintaining
sustainable development.
End-

20. 20
BIBLIOGRAPHY
America’s Sea Salt Company. (2001). History of Salt. https://seasalt.com/salt-101/about-
salt/history-of-salt.
Antonites, A. (2020). Salt Production, Use, and Trade. Oxford Research Encyclopedia,
Anthropology. https://www.academia.edu/43994277/Salt_Production_Use_and_Trade
Barber E.W. (1999). The Mummies of Ürümchi.
Bloch, D. (1996). Economics of NaCl: Salt made the world go round. Mr. Block Archive.
https://web.archive.org/web/20070129144818/http://www.salt.org.il/frame_econ.html
Cambridge Dictionary Online. (n.d.). Artisanal. Definition.
https://dictionary.cambridge.org/us/dictionary/english/artisanal#google_vignette
CRIHAP-UNESCO. (n.d.). What is Intangible Cultural Heritage?
https://ich.unesco.org/en/what- is-intangible-heritage-00003.
Co, R. (2022). Bohol’s Asin Tibuok: Protecting the Culinary Heritage of the Philippines Through
Salt. Tatler. https://www.tatlerasia.com/dining/food/bohols-asin-tibuok-salt.
Cox, A. and Juan, D. (n.d., indexed 2021). Salt Industry and Resources of the Philippines.
http://scinet.science.ph/union/Downloads/vol10no6pp31-76_69585.pdf.
Deakins University. (2023). Interviews - Qualitative Study Design - Resource Guides.
https://deakin.libguides.com/qualitative-study-designs/interviews.

21. 21
Del Valle, L. (2023). Safeguarding Intangible Cultural Heritage for Sustainable Development. The
Case of Traditional Salt Activity.
https://www.emerald.com/insight/content/doi/10.1108/JCHMSD-05-2022-0088/full/html
DeSanto, N.G., et al. (1997). A contribution to the history of common salt.
https://pubmed.ncbi.nlm.nih.gov/9185119/.
Encyclopedia of Religion. (2001-2006). Research article: Salt.
https://web.archive.org/web/20160304050505/http://www.bookrags.com/research/salt-eorl.
Engelhardt, R. as cited in World Heritage Convention. (n,d.). https://whc.unesco.org/.
Fernandez, E. (2010). Towards an Early History of Pangasinan: Preliminary Notes and
Observations. Philippine Quarterly of Culture and Society.
https://www.researchgate.net/publication/.
Food and Drug Administration (FDA). (n.d.). Registration.
Franchi, E. (n.d.). What is Cultural Heritage? Khan Academy. https://www.khanacademy.org/.
Fronda, D. M., et al. (2010). Panagaramid ti Asin (Salt Making).
https://tignaysanvicente.wordpress.com/background-of-the-study/.
Lal, S. (2020). The History of Salt. https://selectsalt.com/halotherapy/the-history-of-salt/.
Kam, K.H. (2017). Salt, History and Culture in the Western Grasslands of Cameroon.
https://www.ajol.info/index.php/og/article/view/161152/150713.
Kudrass, H, R., et al. (2022). Architecture and Function of Salt-producing Kilns from the 8th to
18th Century in the Coastal Sundarbans Mangrove Forest, Central Ganges-Brahmaputra
Delta, Bangladesh. https://www.sciencedirect.com/science/article/pii/S2352226722000630.
Palis, R. (2023). Lesson on Cultural Heritage Education and Interpretation, CBG 203.
Pangasinan Provincial Government. (n.d.). Dasol Remains Pangsinan Top Salt Producer.
https://www.pangasinan.gov.ph/dasol-remains-pangasinans-top-salt-producer/.
Philippine InformationAgency. (2023). Legarda Bats for Promotion, Preservation of Artisanal Salt

22. 22
as a Cultural Treasure. https://mirror.pia.gov.ph/press-releases/2023/09/08/legarda-bats-for-
promotion-preservation-of-artisanal-salt-as-a-cultural-treasure.
Ragasa, V., et al. (2023). Interviewed by Humphrey Beña.
Research Methodology. (n.d.). https://www.academia.edu/.
Rin, E. (2023). Interviewed by Humphrey Beña.
Rotor, A. (2011). How Refine Salt is Made the Old Way. Living with Nature.
https://avrotor.blogspot.com/2011/07/how-refine-salt-is-made-old-way.html.
Rugnao, J. (2023). Interviewed by Humphrey Beña.
Rumualdez-Valtos, E. (2022). The death of Salt in an Archipelago.
https://mb.com.ph/2022/09/03/the-death-of-salt-in-an-archipelago/#google_vignette.
Rusianty, D. (2015). An Analysis of Translating Strategies in the Subtitles of the Raid: Redemption
Movie. Chapter III: Research Methodology.
http://repository.upi.edu/20582/6/S_ING_1006412_Chapter3.pdf.
Salt.org.il. (1997). Salt made the world go round. https://salt.org.il/prod.html.
Senate Ph. SNB. 2243. (2022, 2023). https://legacy.senate.gov.ph/.
Shinno, H., et al. (2006). Quantitative SWOT Analysis on Global Competitiveness of Machine
Tool Industry. https://www.tandfonline.com/doi/abs/10.1080/09544820500275180.
Simbirtseva, N. A. (2015). Cultural Interpretation: From Method to Methodology.
https://knepublishing.com/index.php/KnE-Social/article/view/6538/12038
Survey Point Team. (2023). Introduction to Descriptive Design Research.
https://surveypoint.ai/blog/2023/09/04/introduction-to-descriptive-design-research/
Udarbe, R. (2014). The Legend of Barangay Pagsanaan.
https://agrimatmagsingal.wordpress.com/2014/06/22/pagsanaan/
UN-OHCHR. (n.d.). Cultural Heritage. https://www.ohchr.org/.
United Nations General Assembly. (2019). Culture and Sustainable Development.

23. 23
https://www.un.org/pga/73/event/culture-and-sustainable-development/.
United Nations Digital Library. (2002). United Nations Year for Cultural Heritage.
https://unesdoc.unesco.org/ark:/48223/pf0000127155.
University of Hawai’i, Mānoa. (n.d.). Weird Science: Salt is Essential to Life.
https://manoa.hawaii.edu/exploringourfluidearth/chemical/chemistry -and-
seawater/salty-sea/weird-science-salt-essential-life.
Ventayen, R.J., et al. (2023). Salt Industry in the Philippines: Review on Trends and Intervention.
https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4391852.
Villaruel, J. E. (2023). 'Insanity': Senators slam salt iodization law for 'killing' PH's salt industry.
ABS-CBN News. https://news.abs-cbn.com/news/01/18/23/senators-slam-salt-iodization-
law-for-killing-phs-salt-industry.
Williams, E. (2021). Salt-Making in Mesoamerica: Production Sites and Tool Assemblages.
Cambridge University Press. https://www.cambridge.org/core/journals/ancient-
mesoamerica/article/abs/saltmaking-in-mesoamerica-production-sites-and-tool-
assemblages/6866D5DC07DB08034F15FC94B4556B3E.
Yang, L. and Li, K. (2019). Study on the Cultural Value of the World Heritage of Salt Industry.
https://www.atlantis-press.com/proceedings/jahp-19/125917417.
Zerrudo, E. (2023). Lesson on Heritage Conservation, CBG 201.