Dmmmsu SLUC Bachelor of Culture & Arts Education

✨ A Vibrant Start to Academic Year 2026–2027! ✨

𝘛𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘥𝘢𝘺 𝘰𝘧 𝘤𝘭𝘢𝘴𝘴𝘦𝘴 𝘢𝘵 Dmmmsu-South La Union Campus 𝘣𝘦𝘤𝘢𝘮𝘦 𝘮𝘰𝘳𝘦 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘧𝘶𝘭 𝘢𝘯𝘥 𝘮𝘦𝘮𝘰𝘳𝘢𝘣𝘭𝘦 𝘢𝘴 𝘵𝘩𝘦 𝘉𝘢𝘤𝘩𝘦𝘭𝘰𝘳 𝘰𝘧 𝘊𝘶𝘭𝘵𝘶𝘳𝘦 𝘢𝘯𝘥 𝘈𝘳𝘵𝘴 𝘌𝘥𝘶𝘤𝘢𝘵𝘪𝘰𝘯 (𝘉𝘊𝘈𝘌𝘥) 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴 𝘱𝘳𝘰𝘶𝘥𝘭𝘺 𝘵𝘰𝘰𝘬 𝘵𝘩𝘦 𝘭𝘦𝘢𝘥 𝘪𝘯 𝘸𝘦𝘭𝘤𝘰𝘮𝘪𝘯𝘨 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴, 𝘧𝘢𝘤𝘶𝘭𝘵𝘺, 𝘢𝘯𝘥 𝘴𝘵𝘢𝘧𝘧 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘭𝘪𝘷𝘦𝘭𝘺 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘋𝘳𝘶𝘮 𝘢𝘯𝘥 𝘓𝘺𝘳𝘦 𝘢𝘯𝘥 𝘒𝘢𝘸𝘢𝘺𝘢𝘯 𝘌𝘯𝘴𝘦𝘮𝘣𝘭𝘦 𝘢𝘵 𝘵𝘩𝘦 𝘔𝘢𝘪𝘯 𝘎𝘢𝘵𝘦 𝘢𝘯𝘥 𝘓𝘏𝘚 𝘎𝘢𝘵𝘦 𝘰𝘧 𝘋𝘔𝘔𝘔𝘚𝘜-𝘚𝘓𝘜𝘊.

𝘉𝘦𝘺𝘰𝘯𝘥 𝘴𝘩𝘰𝘸𝘤𝘢𝘴𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘦𝘹𝘤𝘦𝘱𝘵𝘪𝘰𝘯𝘢𝘭 𝘵𝘢𝘭𝘦𝘯𝘵𝘴 𝘪𝘯 𝘮𝘶𝘴𝘪𝘤 𝘢𝘯𝘥 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦, 𝘵𝘩𝘦 𝘉𝘊𝘈𝘌𝘥 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴 𝘢𝘭𝘴𝘰 𝘴𝘱𝘦𝘢𝘳𝘩𝘦𝘢𝘥𝘦𝘥 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘍𝘭𝘢𝘨 𝘙𝘢𝘪𝘴𝘪𝘯𝘨 𝘊𝘦𝘳𝘦𝘮𝘰𝘯𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘈𝘤𝘢𝘥𝘦𝘮𝘪𝘤 𝘠𝘦𝘢𝘳 2026–2027. 𝘞𝘪𝘵𝘩 𝘱𝘳𝘪𝘥𝘦, 𝘥𝘪𝘴𝘤𝘪𝘱𝘭𝘪𝘯𝘦, 𝘢𝘯𝘥 𝘭𝘦𝘢𝘥𝘦𝘳𝘴𝘩𝘪𝘱, 𝘵𝘩𝘦𝘺 𝘭𝘦𝘥 𝘵𝘩𝘦 𝘴𝘪𝘯𝘨𝘪𝘯𝘨 𝘰𝘧 𝘵𝘩𝘦 𝘋𝘰𝘹𝘰𝘭𝘰𝘨𝘺, 𝘗𝘩𝘪𝘭𝘪𝘱𝘱𝘪𝘯𝘦 𝘕𝘢𝘵𝘪𝘰𝘯𝘢𝘭 𝘈𝘯𝘵𝘩𝘦𝘮, 𝘉𝘢𝘨𝘰𝘯𝘨 𝘗𝘪𝘭𝘪𝘱𝘪𝘯𝘢𝘴 𝘏𝘺𝘮𝘯, 𝘢𝘯𝘥 𝘋𝘔𝘔𝘔𝘚𝘜 𝘏𝘺𝘮𝘯, 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘳𝘦𝘤𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘋𝘔𝘔𝘔𝘚𝘜 𝘗𝘝𝘎𝘖 𝘢𝘯𝘥 𝘗𝘢𝘯𝘶𝘯𝘶𝘮𝘱𝘢, 𝘧𝘰𝘭𝘭𝘰𝘸𝘦𝘥 𝘣𝘺 𝘢𝘯 𝘦𝘯𝘦𝘳𝘨𝘪𝘻𝘪𝘯𝘨 𝘸𝘢𝘳𝘮-𝘶𝘱 𝘦𝘹𝘦𝘳𝘤𝘪𝘴𝘦 𝘵𝘩𝘢𝘵 𝘧𝘪𝘭𝘭𝘦𝘥 𝘵𝘩𝘦 𝘮𝘰𝘳𝘯𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘦𝘯𝘵𝘩𝘶𝘴𝘪𝘢𝘴𝘮 𝘢𝘯𝘥 𝘶𝘯𝘪𝘵𝘺.

𝘛𝘩𝘪𝘴 𝘳𝘦𝘮𝘢𝘳𝘬𝘢𝘣𝘭𝘦 𝘰𝘱𝘦𝘯𝘪𝘯𝘨 𝘩𝘪𝘨𝘩𝘭𝘪𝘨𝘩𝘵𝘴 𝘩𝘰𝘸 𝘵𝘩𝘦 𝘉𝘊𝘈𝘌𝘥 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘪𝘯 𝘋𝘔𝘔𝘔𝘚𝘜-𝘚𝘓𝘜𝘊 𝘯𝘶𝘳𝘵𝘶𝘳𝘦𝘴 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴 𝘯𝘰𝘵 𝘰𝘯𝘭𝘺 𝘵𝘰 𝘣𝘦𝘤𝘰𝘮𝘦 𝘧𝘶𝘵𝘶𝘳𝘦 𝘦𝘥𝘶𝘤𝘢𝘵𝘰𝘳𝘴, 𝘣𝘶𝘵 𝘢𝘭𝘴𝘰 𝘥𝘺𝘯𝘢𝘮𝘪𝘤 𝘢𝘳𝘵𝘪𝘴𝘵𝘴, 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘳𝘴, 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘢𝘥𝘷𝘰𝘤𝘢𝘵𝘦𝘴, 𝘢𝘯𝘥 𝘭𝘦𝘢𝘥𝘦𝘳𝘴 𝘤𝘰𝘮𝘮𝘪𝘵𝘵𝘦𝘥 𝘵𝘰 𝘱𝘳𝘦𝘴𝘦𝘳𝘷𝘪𝘯𝘨 𝘍𝘪𝘭𝘪𝘱𝘪𝘯𝘰 𝘢𝘳𝘵𝘴 𝘢𝘯𝘥 𝘪𝘯𝘴𝘱𝘪𝘳𝘪𝘯𝘨 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘪𝘦𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘪𝘵𝘺 𝘢𝘯𝘥 𝘦𝘹𝘤𝘦𝘭𝘭𝘦𝘯𝘤𝘦.

𝘐𝘯𝘥𝘦𝘦𝘥, 𝘉𝘊𝘈𝘌𝘥 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘴 𝘵𝘰 𝘱𝘳𝘰𝘷𝘦 𝘵𝘩𝘢𝘵 𝘦𝘥𝘶𝘤𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘢𝘳𝘵𝘴 𝘨𝘰 𝘩𝘢𝘯𝘥 𝘪𝘯 𝘩𝘢𝘯𝘥 𝘪𝘯 𝘥𝘦𝘷𝘦𝘭𝘰𝘱𝘪𝘯𝘨 𝘨𝘭𝘰𝘣𝘢𝘭𝘭𝘺 𝘤𝘰𝘮𝘱𝘦𝘵𝘪𝘵𝘪𝘷𝘦, 𝘵𝘢𝘭𝘦𝘯𝘵𝘦𝘥, 𝘢𝘯𝘥 𝘷𝘢𝘭𝘶𝘦-𝘥𝘳𝘪𝘷𝘦𝘯 𝘧𝘶𝘵𝘶𝘳𝘦 𝘵𝘦𝘢𝘤𝘩𝘦𝘳𝘴.💙💛

🎶 D'CAMERATA AUDITIONS ARE NOW OPEN! 🎶

Do you have a passion for music and singing? This is your chance to become part of a family that shares one voice, one harmony, and one purpose. 💙✨

We are looking for talented and dedicated students from different colleges in SLUC to join D' Camerata! Whether you're a Soprano, Alto, Tenor, or Bass, we welcome you to showcase your voice and be part of our growing musical journey.

📍 Venue: BCAED Office, Library Building
Every Monday Afternoon
Look for: Dr. Bienvenido B. Constantino Jr.

Come and let your voice be heard. Together, let's create music that inspires and unites. 🎵

✨ One Voice. One Harmony. One D' Camerata. ✨

𝘚𝘩𝘢𝘳𝘮𝘢𝘪𝘯𝘦 🍊? 𝘝𝘢𝘯𝘦𝘴𝘴𝘢 🪰? 𝘔𝘦𝘭𝘢𝘯𝘪𝘦 🥑? —𝘯𝘢𝘩 𝘶𝘩, 𝘐𝘛'𝘚 𝘔𝘌!

Hi there! I am [Name], a proud [Year level] from 𝘽𝙖𝙘𝙝𝙚𝙡𝙤𝙧 𝙤𝙛 𝘾𝙪𝙡𝙩𝙪𝙧𝙚 𝙖𝙣𝙙 𝘼𝙧𝙩𝙨 (BCAEd) of 𝘾𝙤𝙡𝙡𝙚𝙜𝙚 𝙤𝙛 𝙀𝙙𝙪𝙘𝙖𝙩𝙞𝙤𝙣 at 𝘿𝙤𝙣 𝙈𝙖𝙧𝙞𝙖𝙣𝙤 𝙈𝙖𝙧𝙘𝙤𝙨 𝙈𝙚𝙢𝙤𝙧𝙞𝙖𝙡 𝙎𝙩𝙖𝙩𝙚 𝙐𝙣𝙞𝙫𝙚𝙧𝙨𝙞𝙩𝙮- 𝙎𝙇𝙐𝘾!

I'm more than ready to embark my journey of preServing culture, promoting the artS, and inSpiring future generationS through education thiS Academic Year 2026-2027.

Here'S to new leSSonS, meaningful eXperienceS, and endleSS artiStic poSSibilitieS! 🌟

Ka-kultura, Back to School na! Ano, Tara?

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Layout : Jeremiah Sardenia
WordS : Ana Niñalga

A link iS provided for each picture.

𝘈 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘧𝘶𝘭 𝘥𝘢𝘺 𝘰𝘧 𝘭𝘦𝘢𝘳𝘯𝘪𝘯𝘨, 𝘤𝘶𝘭𝘵𝘶𝘳𝘦, 𝘢𝘯𝘥 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘪𝘵𝘺 𝘶𝘯𝘧𝘰𝘭𝘥𝘦𝘥 𝘢𝘵 𝘵𝘩𝘦 𝘔𝘶𝘴𝘦𝘰 𝘒𝘰𝘳𝘥𝘪𝘭𝘺𝘦𝘳𝘢 𝘪𝘯 𝘉𝘢𝘨𝘶𝘪𝘰 𝘊𝘪𝘵𝘺 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘓𝘦𝘤𝘵𝘶𝘳𝘦 𝘢𝘯𝘥 𝘞𝘰𝘳𝘬𝘴𝘩𝘰𝘱 𝘰𝘯 𝘎𝘢’𝘥𝘢𝘯𝘨 𝘉𝘦𝘢𝘥𝘸𝘰𝘳𝘬 𝘢𝘯𝘥 𝘌𝘮𝘣𝘳𝘰𝘪𝘥𝘦𝘳𝘺 𝘶𝘯𝘥𝘦𝘳 𝘵𝘩𝘦 𝘵𝘶𝘵𝘦𝘭𝘢𝘨𝘦 𝘰𝘧 𝘔𝘢𝘯𝘭𝘪𝘭𝘪𝘬𝘩𝘢 𝘯𝘨 𝘉𝘢𝘺𝘢𝘯 𝘈𝘮𝘱𝘢𝘳𝘰 𝘉𝘢𝘭𝘢𝘯𝘴𝘪 𝘔𝘢𝘣𝘢𝘯𝘢𝘨 𝘭𝘢𝘴𝘵 𝘔𝘢𝘺 12-13, 2026.

𝘔𝘰𝘴𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘊𝘈𝘌𝘥 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴, 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘸𝘪𝘵𝘩 𝘵𝘸𝘰 𝘧𝘢𝘤𝘶𝘭𝘵𝘺 𝘮𝘦𝘮𝘣𝘦𝘳𝘴, 𝘢𝘤𝘵𝘪𝘷𝘦𝘭𝘺 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘦𝘥 𝘪𝘯 𝘵𝘩𝘪𝘴 𝘦𝘯𝘳𝘪𝘤𝘩𝘪𝘯𝘨 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘰𝘳𝘨𝘢𝘯𝘪𝘻𝘦𝘥 𝘪𝘯 𝘱𝘢𝘳𝘵𝘯𝘦𝘳𝘴𝘩𝘪𝘱 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘕𝘢𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘰𝘮𝘮𝘪𝘴𝘴𝘪𝘰𝘯 𝘧𝘰𝘳 𝘊𝘶𝘭𝘵𝘶𝘳𝘦 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘈𝘳𝘵𝘴 (𝘕𝘊𝘊𝘈), 𝘜𝘗 𝘉𝘢𝘨𝘶𝘪𝘰, 𝘔𝘶𝘴𝘦𝘰 𝘒𝘰𝘳𝘥𝘪𝘭𝘺𝘦𝘳𝘢, 𝘢𝘯𝘥 𝘊𝘰𝘳𝘥𝘪𝘛𝘦𝘹. 𝘛𝘩𝘳𝘰𝘶𝘨𝘩 𝘦𝘷𝘦𝘳𝘺 𝘣𝘦𝘢𝘥, 𝘴𝘵𝘪𝘵𝘤𝘩, 𝘢𝘯𝘥 𝘴𝘩𝘢𝘳𝘦𝘥 𝘴𝘵𝘰𝘳𝘺, 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘯𝘵𝘴 𝘥𝘦𝘦𝘱𝘦𝘯𝘦𝘥 𝘵𝘩𝘦𝘪𝘳 𝘢𝘱𝘱𝘳𝘦𝘤𝘪𝘢𝘵𝘪𝘰𝘯 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘳𝘪𝘤𝘩 𝘩𝘦𝘳𝘪𝘵𝘢𝘨𝘦 𝘢𝘯𝘥 𝘢𝘳𝘵𝘪𝘴𝘵𝘳𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘎𝘢’𝘥𝘢𝘯𝘨 𝘱𝘦𝘰𝘱𝘭𝘦.

𝘖𝘯𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘩𝘪𝘨𝘩𝘭𝘪𝘨𝘩𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘸𝘰𝘳𝘬𝘴𝘩𝘰𝘱 𝘸𝘢𝘴 𝘵𝘩𝘦 𝘳𝘦𝘤𝘰𝘨𝘯𝘪𝘵𝘪𝘰𝘯 𝘳𝘦𝘤𝘦𝘪𝘷𝘦𝘥 𝘣𝘺 𝘉𝘊𝘈𝘌𝘥 𝘴𝘵𝘶𝘥𝘦𝘯𝘵 𝘙𝘢𝘲𝘶𝘦𝘭 𝘋𝘪𝘻𝘰, 𝘸𝘩𝘰 𝘸𝘢𝘴 𝘢𝘸𝘢𝘳𝘥𝘦𝘥 𝘉𝘦𝘴𝘵 𝘖𝘶𝘵𝘱𝘶𝘵 𝘪𝘯 𝘣𝘰𝘵𝘩 𝘌𝘮𝘣𝘳𝘰𝘪𝘥𝘦𝘳𝘺 𝘢𝘯𝘥 𝘉𝘦𝘢𝘥𝘸𝘰𝘳𝘬—𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭𝘭𝘺 𝘤𝘩𝘰𝘴𝘦𝘯 𝘣𝘺 𝘔𝘢𝘯𝘭𝘪𝘭𝘪𝘬𝘩𝘢 𝘯𝘨 𝘉𝘢𝘺𝘢𝘯 𝘈𝘮𝘱𝘢𝘳𝘰 𝘉𝘢𝘭𝘢𝘯𝘴𝘪 𝘔𝘢𝘣𝘢𝘯𝘢𝘨 𝘩𝘦𝘳𝘴𝘦𝘭𝘧. 𝘏𝘦𝘳 𝘰𝘶𝘵𝘴𝘵𝘢𝘯𝘥𝘪𝘯𝘨 𝘤𝘳𝘢𝘧𝘵𝘴𝘮𝘢𝘯𝘴𝘩𝘪𝘱, 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘪𝘵𝘺, 𝘢𝘯𝘥 𝘥𝘦𝘥𝘪𝘤𝘢𝘵𝘪𝘰𝘯 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘦𝘥 𝘵𝘩𝘦 𝘴𝘬𝘪𝘭𝘭𝘴 𝘢𝘯𝘥 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘢𝘱𝘱𝘳𝘦𝘤𝘪𝘢𝘵𝘪𝘰𝘯 𝘯𝘶𝘳𝘵𝘶𝘳𝘦𝘥 𝘵𝘩𝘳𝘰𝘶𝘨𝘩𝘰𝘶𝘵 𝘵𝘩𝘦 𝘸𝘰𝘳𝘬𝘴𝘩𝘰𝘱.

𝘔𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 𝘢 𝘩𝘢𝘯𝘥𝘴-𝘰𝘯 𝘢𝘤𝘵𝘪𝘷𝘪𝘵𝘺, 𝘵𝘩𝘦 𝘦𝘷𝘦𝘯𝘵 𝘣𝘦𝘤𝘢𝘮𝘦 𝘢 𝘤𝘦𝘭𝘦𝘣𝘳𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘪𝘯𝘥𝘪𝘨𝘦𝘯𝘰𝘶𝘴 𝘪𝘥𝘦𝘯𝘵𝘪𝘵𝘺, 𝘢𝘳𝘵𝘪𝘴𝘵𝘪𝘤 𝘦𝘹𝘤𝘦𝘭𝘭𝘦𝘯𝘤𝘦, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘪𝘯𝘨 𝘱𝘳𝘦𝘴𝘦𝘳𝘷𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘳𝘢𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘤𝘳𝘢𝘧𝘵𝘴𝘮𝘢𝘯𝘴𝘩𝘪𝘱 𝘧𝘰𝘳 𝘧𝘶𝘵𝘶𝘳𝘦 𝘨𝘦𝘯𝘦𝘳𝘢𝘵𝘪𝘰𝘯𝘴.

TAOID. Our heritage comes alive.
February 20, 2026
Eriguel Hall

Cheers to our resident pianist, composer, Ilocano culture advocate and BCAEd Faculty member, sir Renan Flores. BCAEd is proud of you!!!

Iba ka, Ka-Elyucano!✨

The Provincial Government of La Union extends its warmest congratulations to Renan Flores of Don Mariano Marcos Memorial State University - South La Union Campus for receiving a national recognition for his original kundiman, Alibungubong, at the Diwang: Sagisag Kultura ng Filipinas Kundiman Competition.

May you continue to champion and inspire other Ka-Elyucanos to continue embracing our beautiful culture!

DMMMSU Kawayan and Rimat ti Ilocano Folk Dance Troupe during the Regional ITRMC Sillag ti Amianan held at Ynad's Resort, San Fernando City, La Union, November 4, 2025.

The DMMMSU Bachelor of Culture and Arts Education joins the nation in remembering the life and works of Gawad Manlilikha ng Bayan Alonzo Saclag. May your songs fill up the heavens.

The National Commission for Culture and the Arts announces to the nation the passing of Manlilikha ng Bayan (MB) Alonzo Ayatu Saclag, who departed this life at the age of 83.

Alonzo Ayatu Saclag was master of dance and music hailing from Kalinga, devoted his life to nurturing a profound appreciation for Kalinga culture, both within his community and beyond its confines. In his youth, while residing in Lubugan, Saclag found himself enchanted by the lively sights and sounds that characterized the daily life and rituals of his village. His son recalls that he had no formal training in the performing arts. Nevertheless, he became adept not only in the traditional Kalinga musical instruments but also in the complex dance patterns and movements that are integral to the rituals of his people.

In a bid to ensure that his knowledge of the performing arts would be passed down to future generations, he founded the Kalinga Budong Dance Troupe. He opened his doors to young men and women, imparting to them the music and dance traditions of their forebears. In the year 2000, Alonzo Saclag was honored with the title of Manlilikha ng Bayan, a recognition of his steadfast dedication to safeguarding the Kalinga performing arts and elevating this cultural expression to greater heights.

The NCCA stands united with the nation in grieving the loss of MB Alonzo Saclag. Information regarding the State necrological services and funeral will be announced once arrangements have been finalized in collaboration with his family and the Kalinga community.

BCAED FACULTY AND COMPOSER WINS BIG AT NATIONAL SONGWRITING COMPETITION

The Bachelor of Culture and Arts Education Program (BCAEd) congratulates one of its faculty members and resident composers for winning in the Diwang: Sagisag Kultura ng Filipinas Timpalak Kundiman held in Quezon City, Metro Manila on November 18, 2025. The event was sponsored by the National Commission for Culture and the Arts.

His composition was selected as one of the four national winners and is the only Ilocano art song to qualify among entries submitted by composers across the Philippines. The Ilocano kundiman also received the award for Best Interpretation (Pinakamahusay na Pag-awit).

This recognition signifies not only musical excellence but also the enduring cultural legacy of Ilocanos, particularly in advancing the vernacular language as a vital medium of artistic expression. This serves as an inspiration to all culture and arts educators.
Mabuhay ka sir Renz! Agbiag iti Kailokuan!

The Lingling-o: Origin, History, and Significance Among the Igorot

The lingling-o is one of the most culturally significant ornaments of the Igorot peoples of the Cordillera highlands in Northern Luzon. Although variations of the ornament appear across Austronesian cultures, its strongest continuity survives among the Ifugao, Bontoc, Kankanaey, Ibaloy, and Kalinga communities. The term “lingling-o” was widely circulated in Philippine archaeology through the work of H. Otley Beyer (1947), though Southern Ifugao communities traditionally refer to its characteristic C-shaped form as hubong or uvong (Amores, 2017). Archaeological evidence traces its earliest forms to around 500 BC, often crafted from nephrite jade sourced from Taiwan and traded across the archipelago (Barretto-Tesoro, 2008; Fox, 1970). Later examples in the Cordillera were made from brass, gold, copper, shell, and wood, reflecting both technological adaptation and social differentiation.

Among the Igorot, the lingling-o functions not simply as ornamentation but as a symbol expressing the community’s cosmological values. Scholars note that the shape embodies the duality of feminine and masculine forces, the outer crescent suggesting the womb and the inner void suggesting male generative power (Amores, 2014; Barretto-Tesoro, 2013). This symbolism of fertility, balance, and interconnectedness aligns with Cordilleran conceptions of the world, where harmony between complementary forces sustains both ritual life and social order (Scott, 1993).

Different Igorot groups integrate the lingling-o into their cultural practices in distinct ways. Ifugao wear it primarily as a pendant, and multiple pendants strung together form the dinumog, a prestigious necklace associated with ritual accomplishment and elevated social status (Amores, 2017). The wearing of a dinumog indicates that the owner has performed significant prestige feasts, ceremonial events often involving the sacrifice of carabao or pigs which affirm wealth, influence, and ancestral privilege (Barton, 1946). Among the Bontoc, Kankanaey, Ibaloy, and Kalinga, the ornament appears both as an earring and a pendant, demonstrating the object’s adaptability across cultural contexts within the Cordillera (Jenista, 1987). Figurative variants showing two stylized human figures facing each other are particularly associated with Ibaloy and Kankanaey craftsmanship, expressing ideals of relational unity and partnership (Amores, 2014).

The lingling-o also holds spiritual significance. Ethnographic records indicate that ritual specialists, such as the babaylan, mumbaki, or mansip-ok, utilized such ornaments in healing, agricultural rites, childbirth-related rituals, and protective ceremonies (Scott, 1994). It embodied fertility, prosperity, and safeguarding from spiritual harm, reinforcing its role not only as a marker of status but as a conduit of ancestral power.

Despite centuries of colonial intrusion, Igorot societies maintained strong cultural continuity that allowed ornaments like the lingling-o to endure (Scott, 1993; Prill-Brett, 1987). Today, the ornament is celebrated both within the Cordillera and beyond as a symbol of Indigenous identity and cultural resilience. Museums such as Museo Kordilyera and contemporary Igorot artisans continue to produce and display lingling-o jewelry, affirming its lasting importance. Beyond local communities, it has also been embraced nationally as a symbol of Philippine Indigenous heritage, though among the Igorot it retains its deep meanings rooted in spirituality, social structure, and the worldview of balance and interconnectedness.

References:

Amores, A. G. (2014). Tapping Ink, Tattooing Identities: Tradition and Modernity in Contemporary Kalinga Society. University of the Philippines Press.

Amores, A. G. (2017). Museo Kordilyera: Material Culture of the Cordillera. University of the Philippines Baguio.

Barretto-Tesoro, G. (2008). Burial goods in the Philippines: An attempt to quantify prestige values. Philippine Quarterly of Culture and Society, 36(1), 1–50.

Barretto-Tesoro, G. (2013). Philippine Archaeology and Cultural Heritage. University of the Philippines Press.

Barton, R. F. (1946). The Religion of the Ifugao. American Anthropological Association.

Beyer, H. O. (1947). Outline Review of Philippine Archaeology by Islands and Provinces. Philippine Journal of Science.

Fox, R. B. (1970). The Tabon Caves. National Museum of the Philippines.

Jenista, F. (1987). The White Apos: American Governors on the Cordillera Central. Ateneo de Manila University Press.

Prill-Brett, J. (1987). Issues in highland-lowland relations in Northern Luzon. Cordillera Studies Center Papers, University of the Philippines Baguio.

Scott, W. H. (1993). The Cordillera Peoples: A History. Ateneo de Manila University Press.

Scott, W. H. (1994). Barangay: Sixteenth-Century Philippine Culture and Society. Ateneo de Manila University Press.