BENIGNO S. AQUINO III - PRESIDENT OF THE PHILIPPINES COMMEMORATIVE PROGRAM FOR THE 111TH FOUNDATION DAY OF THE NATIONAL MUSEUM WITH HIS EXCELLENCY ...

COMMEMORATIVE PROGRAM FOR
THE 111 TH FOUNDATION DAY OF THE
         NATIONAL MUSEUM

                WITH

          HIS EXCELLENCY

  BENIGNO S. AQUINO III
 PRE SI DE NT O F TH E PHI LI PP IN ES

        AS GUEST OF HONOR

            OCTOBER 29, 2012

         SENATE SESSION HALL
       OLD LEGISLATIVE BUILDING
          NATIONAL MUSEUM

“The National Museum shall be a permanent
institution in the service of the community and
its development, accessible to the public, and not
intended for profit. It shall obtain, keep, study
and present material evidence of man and his
environment…”

                     The National Museum Act of 1998

PROGRAM

              National Anthem
         UST College of Science Glee Club

                   Invocation
           Hon. Rene Pio S. Javellana SJ
            Trustee, National Museum

                Welcome Remarks
          Hon. Ramon R. del Rosario, Jr.
Chairman of the Board of Trustees, National Museum

Overview of the History of the National Museum
 and the Restoration of the Senate Session Hall
              Hon. Jeremy R. Barns
           Director, National Museum

     Ceremonial Turnover and Acceptance
          of the GSIS Art Collection

      Introduction of the Guest of Honor
           Hon. Armin B. Luistro FSC
             Secretary of Education

         Speech of the Guest of Honor
           H. E. Benigno S. Aquino III
           President of the Philippines

     Photo Opportunity with the President

ABOUT THE NATIONAL MUSEUM

The National Museum, a Trust of the Government, is an
educational, scientic and cultural institution that acquires,
documents, preserves, exhibits, and fosters scholarly study
and public appreciation of works of art, specimens, and
cultural and historical artifacts representative of our unique
to the cultural heritage of the Filipino people and the natural
history of the Philippines.

It is mandated to establish, manage and develop museums
comprising the National Museum Complex and the National
Planetarium in Manila, as well as regional museums in
key locations around the country. Currently, the National
Museum national network comprise nineteen regional,
branch and site museums throughout the archipelago.
2

The National Museum manages and develops the national
reference collections in the areas of cultural heritage (ne
arts, anthropology and archaeology) and natural history
(botany, zoology, and geology and paleontology), and carries
out permanent research programs in biodiversity, geological
history, human origins, pre-historical and historical
archaeology, maritime and underwater cultural heritage,
ethnology, art history, and moveable and immoveable
cultural properties. Appreciation of the collections and
research ndings of the Museum, as well as technical and
museological skills and knowledge, are disseminated
through exhibitions, publications, educational, training,
outreach, technical assistance and other public programs.

The National Museum also implements and serves as a
regulatory and enforcement agency of the Government
with respect to a series of cultural laws, and is responsible
for various culturally signicant properties, sites and
reservations throughout the country. It is the lead agency
in the ofcial commemoration of Museums and Galleries
Month, which is the month of October, every year.

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A BRIEF HISTORY

The National Museum of the Philippines can trace its history
to the establishment of the Museo-Biblioteca de Filipinas,
established by a royal order of the Spanish government
on August 12, 1887. It opened on October 24, 1891 at the
Casa de la Moneda on Calle Cabildo in Intramuros, then
home of the Philippine Mint, later moving to Calle Gunao
in Quiapo. The Museo-Biblioteca was abolished in 1900 at
the onset of the American occupation of the Philippines,
and what is considered the direct precursor of the National
Museum, the Insular Museum of Ethnology, Natural History
and Commerce, was soon afterwards established under
the Department of Public Instruction by the Philippine
Commission on October 29, 1901. One of the reasons for
the creation of the Insular Museum was to complement the
Bureau of Non-Christian Tribes, and it was subsequently
integrated with the Bureau of Ethnological Survey under the
Department of the Interior.

In 1904, after the Louisiana Purchase Centennial Exposition
at St. Louis, Missouri, the name of the Museum was changed
to the Philippine Museum. At the same time, the Bureau of
Ethnological Survey became the Division of Ethnology under
the Department of Public Instruction in 1905 and then under
the Bureau of Science, which housed considerable natural
history collections, in 1906. A decade later, in 1916, the Fine
Arts Division of the Philippine Museum was merged with
the Philippine Library (precursor of the National Library
and National Archives) to create the Philippine Library
4

and Museum under the Department of Justice. The Natural
History Division and Division of Ethnology were maintained
in the Bureau of Science.

In 1928, the National Museum of the Philippine Islands was
created and placed under the Department of Agriculture and
Natural Resources, and housed in a building in the Port Area
adjacent to the Manila Hotel. The National Library was also
established as a separate institution. The Museum consisted
of the Ethnology Division and the Division of History and
Fine Arts (the Division of Natural Science was not included
in the organization). However, this was reversed in 1933,
when the Division of Fine Arts was transferred to the
National Library, and the Division of Ethnology and the
Division of Anthropology, which included archaeology,
ethnography and physical anthropology, were combined
with the sections of natural history of the Bureau of Science
and organized into the National Museum Division of the
Bureau of Science. In 1939, the National Museum Division
was renamed the Natural History Museum Division of
the Bureau of Science under the Ofce of the Secretary of
Agriculture and Commerce.

During the Battle of Manila in February 1945, virtually
the entire national collections were destroyed when the
Legislative Building, where most items were placed for
safekeeping, as well as the Bureau of Science building, were
reduced to ruins. After the war, the Natural History Museum
Division in 1945 was reunited with the National Library’s
Fine Arts Division to become the National Museum – its
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nal change of name – under the Ofce of the Executive
Secretary. In 1951, the National Museum was placed under
the Department of Education.

Regulatory functions were added to the National Museum,
starting in 1966 with the passage of Republic Act No. 4846,
which provided for the protection and preservation of
Philippine cultural properties, and continuing through the
1970s, including management of important cultural sites
around the country. In addition, the National Planetarium
in Rizal Park was established under the National Museum
in 1975. During this time, the National Museum was housed
in one oor of the Legislative Building, as well as in a
government building in Ermita, Manila. The establishment
of the National Historical Institute in 1972 led to the transfer
of diverse historical collections from the National Museum.

In 1996, President Fidel V. Ramos established a presidential
committee to oversee the creation of a National Museum
complex. Earlier in 1994, he had instructed the Secretaries
of Finance and Tourism to prepare for the eventual transfer
of their neo-classical buildings in Rizal Park to the National
Museum, and in 1995, the Finance Building was turned
over. The Department of Tourism was scheduled to transfer
custody of the Tourism building by the end of 1997, but
this initiative was delayed. In a historic move, the Senate of
the Philippines also vacated its chambers in the Executive
House to allow for the landmark building to be incorporated
into the National Museum precinct.

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On February 12, 1998, Republic Act No. 8492, The National
Museum Act of 1998, was approved as the new charter of
the National Museum that reestablished the institution as
an autonomous government trust instrumentality under
a Board of Trustees, and which designated the President
of the Philippines as the Honorary Chairman and Patron
of the National Museum. Later that year, the rst stage
of the National Museum complex was realized with
the formal inauguration of the Museum of the Filipino
People in the converted Old Finance Building, a key part
of ofcial commemoration of the centennial of Philippine
independence that culminated on June 12, 1998.

Under the administration of President Benigno S. Aquino
III, the vision for the National Museum complex in Manila as
formulated in the 1990s was revived, with the turnover of the
Tourism Building that will allow for the establishment of the
permanent home of the national natural history collections,
in line with the housing of the national anthropological and
archaeological collections in the Old Finance Building and the
national ne arts collections in the Old Legislative Building.
Together these collections all encompass a signicant and
considerable part of the national patrimony that the National
Museum preserves in perpetual trust for the Filipino people.

                                                             7

THE OLD LEGISLATIVE BUILDING

This historic building was rst designed by Bureau of Public
Works Consulting Architect Ralph Harrington Doane as the
Philippine Library in line with the Burnham Plan for Manila.
When the Capitol Building envisioned in the same urban plan
was abandoned and the Library site chosen instead to house
the Philippine Legislature, Doane’s plans were substantially
modied by Juan Arellano for this new purpose.

On July 16, 1926, the impressive structure, dominating
the approaches from both the Luneta and Plaza Lawton
along Padre Burgos Avenue, was inaugurated during the
opening of the second session of the Seventh Philippine
Legislature. In the presence of Governor-General Leonard
Wood, Senate President Manuel L. Quezon, House Speaker
Manuel Roxas, all the legislators and the cream of Manila
society and ofcialdom, the envoy of President Calvin
Coolidge of the United States, Colonel Carmi A. Thompson,
observed that “You have this day consecrated a new home
for your deliberations, and your friends across the sea
will point with pride to this structure as an index of your
material progress.” Indeed, the pro-Independence lobby in
Washington, D.C. would refer to the Legislative Building
as having been “designed by Filipino brains and built by
Filipino hands” – a sure sign of the readiness of the Filipinos
for self-government and independence.

The grandest of all public buildings built under the American
occupation, with perhaps the exception of the Post Ofce
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Building – also by Arellano and inaugurated in the same
year – the mighty edice was pummeled by heavy artillery
in February, 1945. It was rebuilt by the U.S. Philippine
War Damage Corporation to the same dimensions, though
with far less exterior and interior ornamentation than the
original, renamed “Congress – Republic of the Philippines”
and made ready for use again in 1949. Closed down with the
abolition of Congress after Martial Law was proclaimed in
1972, the building was re-inscribed with the name “Executive
House” and given over to various government ofces, such
as the Ofce of the Prime Minister on the fourth oor, the
Tanodbayan or Ombudsman on the third oor, the National
Museum on the second oor, and the Sandiganbayan on the
ground oor. The Senate Session Hall remained closed and
the old House Session Hall converted as the main art gallery
of the Museum, featuring Juan Luna’s Spoliarium which
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was moved from the Department of Foreign Affairs at Padre
Faura (today the Supreme Court).

After the EDSA People Power Revolution in 1986, the mixed
use of the building continued – with the addition of the
restored Senate after 1987. The Ofce of the Vice President
took over the Prime Minister’s Ofce. This state of affairs
continued for the next decade, until the various agencies were
relocated to other premises which in time left the National
Museum as the sole occupant of the building, a status
conrmed by the passage into law of the “National Museum
Act of 1998” (Republic Act No. 8492) that appropriated
the building – together with the adjacent buildings of the
Department of Finance and the Department of Tourism – for
the museum as its exclusive home for purposes of establishing
the National Museum Complex to appropriately house the
nation’s patrimony. In the Museum’s master plan, the Old
Legislative Building was designated as the home for the ne
arts galleries, and eventually a National Museum of Art – a
purpose that is being steadily realized.

In 2010, the Old Legislative Building was declared a National
Historical Landmark by the National Historical Commission
of the Philippines.

10

THE OLD SENATE SESSION HALL

The Old Session Hall of the Senate of the Philippines is a
chamber like no other in the country. Soaring three stories to
the top of the Old Legislative Building, the hall was clearly
intended to be nothing less than a secular cathedral – a
temple of wisdom for enlightened debate and the making
of laws.

During the early 1920s in the American colonial period, when
the architect Juan Arellano was revising the plans of Ralph
Harrington Doane in order to convert the building from the
museum and library it was originally designed to be the seat
of the legislature, the Senate was led by Manuel L. Quezon,
the leader of the movement for Philippine independence
from the United States. It is highly probable that Senate
President Quezon exercised much inuence over the design
of the chamber where he would preside over the bodythat
he himself had helped establish in 1916. With his strong
personal aesthetic, well-known taste for grandeur, and deep
belief in the need to promote condence and respect by the
Americans in the nascent all-Filipino institutions, it is easy
to picture Quezon working with Arellano on the dimensions
and decoration of the Session Hall. Whatever the case, the
result was breathtaking with the combination of the lofty
space with its mezzanine galleries for the public and the
dizzying range of precast ornamentation crowned by a
magnicent hardwood ceiling.

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The most impressive features of the hall, taking full
advantage of the architectural space, are undoubtedly the
series of Corinthian columns and pilasters, the main wall
above the rostrum with its fretwork and garlands, and most
of all, the sculptural groupings surrounding the top of the
hall. This ornamentation and all other decoration in the Hall
was the work of the most celebrated Filipino sculptor of
the time, Isabelo Tampinco – a contemporary of Juan Luna
and Jose Rizal – and his sons Angel and Vidal. Tampinco
gave full rein to his deep knowledge of classical sculpture,
as well as to his personal artistic mission of Filipinizing
many of the traditionally Western elements and motifs of
the neoclassical style. The result, an entablature of great
lawmakers and moralists through history and allegorical
groupings, was and remains to this day an outstanding and
unique achievement in Philippine art.

The standing gures of the entablature represent great
lawmakers and moralists of history ranging from antiquity
and Biblical times to the twentieth century, and include
Kalantiaw and Apolinario Mabini on the East (Main) Wall;
Pope Leo XIII and Woodrow Wilson on the West (Rear Wall);
Moses, Hammurabi, Rameses the Great, Li Si, Augustus and
William Blackstone on the North (Right) Wall; and Solon,
Averroes, Justinian, Manu, Charlemagne and Hugo Grotius
on the South (Left) Wall. Surrounding the cartouches
on all four walls are allegorical groupings representing
sovereignty, progress, arts and culture, industry, trade,
farming, education, and so on.

14

15

Presided over by Senate President Quezon, the Senate in
this hall served as a primary forum for the promotion of
Philippine independence, which culminated in the acceptance
of the Tydings-McDufe Law in 1934 that provided for a
constitution, a transitory autonomous Commonwealth,
and full independence in 1946. Here the last American
Governor-General, Frank Murphy, gave his nal address
to the legislature, on the day before the Commonwealth
of the Philippines, and Manuel L. Quezon as its President,
were proclaimed and inaugurated on the front steps of the
building.

During the Commonwealth, when the legislature became
a unicameral National Assembly, the sessions alternated
between here and the old House Session Hall below, before
settling in the upper chamber. In the years of the Japanese
Occupation, the Senate Session Hall was the seat of the
National Assembly under Speaker Benigno S. Aquino, Sr.,
and the venue for many historic addresses to the country by
President Jose P. Laurel.

When the Battle of Manila was fought in February, 1945,
the imperial Japanese forces used the Legislative Building
to make one of their last stands in the city in the face of the
American assault. After pummeling by heavy artillery, most
of the building lay in complete ruin. The central core of the
building, including the Session Hall, however, survived
basically intact, although burned out and heavily damaged.

16

When the building was rebuilt in 1949, the Session Hall
was repaired according to the original designs, but at some
point, plans were changed and the hall was segmented
vertically into two parts through the addition of a wooden
oor laid across at the level of the top of the balustrades
of the mezzanine galleries. The ornamentation of the
main wall was segmented and truncated. Over time, more
interventions took place, obscuring further the sense of the
architectural space. Nonetheless, the hall continued to serve
the Philippine Senate between 1949 and the declaration of
Martial Law in 1972, and after the restoration of democracy,
from 1987 until 1996, when the Senate transferred to the
GSIS Building in Pasay City. The hall, together with the
entire building, was subsequently entrusted to the National
Museum, together with the mandate, enshrined in its 1998
charter, to “preserve the Senate Session Hall as a tribute to the
legacy of the great men and women of the Philippine Senate
for their invaluable contributions to the Filipino people, and
as a relic where democracy and freedom reigned and events
of national signicance transpired.”

In 2010, the National Museum embarked on a full scale
restoration of the Session Hall, with the objective of returning
it to its original dimensions and grandeur, celebrating its
unique importance as a monument of architecture and art,
and reestablishing important historical associations, above
all the pre-war period that was dened by the peaceful
movement for national independence.

                                                               17

THE FINE ARTS GALLERIES

A considerable number of public exhibition galleries
featuring selections from the national ne arts collection,
part of the ongoing work of the National Museum to improve
its public facilities, have been prepared for special viewing
this evening.

• The Old House of Representatives Session Hall

     This historic hall, also the site of the 1934 Constitutional
     Convention chaired by Claro M. Recto and many
     other signicant events, houses the most legendary
     and important of all Philippine paintings, Spoliarium
     by Juan Luna (Rome, 1884; the Gift of the Spain to the
     Philippines), together with the largest work of his friend,
     Félix Resurrección Hidalgo, La Tragedia de Gobernador
     Bustamante (the Gift of Leandro and Cecilia Locsin). Both
     works are declared National Cultural Treasures.

• South Wing – House Floor

     o Gallery I (Luis I. Ablaza Hall) – Colonial Philippine
       religious art of the 17th to the 19th centuries, prominent
       among which is a retablo from the Church of San
       Nicolás de Tolentino in Dimiao, Bohol – a National
       Cultural Treasure – together with a selection of carved
       religious images (santos), reliefs and paintings.

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o Gallery II (FCCP Hall) – The earliest Philippine
  paintings depicting a historical political event, the
  Basi Revolt series by Esteban Villanueva of Vigan
  (on permanent loan from the Ilocus Sur Historical
  and Cultural Foundation). Painted in 1821, fourteen
  paintings, together declared as a National Cultural
  Treasure, depict in naïve and vivid style the famous
  1807 uprising in Ilocos against colonial rule that
  culminated in a bloody defeat at the Bantaoay River
  in modern-day San Ildefonso, Ilocos Sur.

o Gallery III – Philippine art of the academic and
  romantic period, specifically of the last three decades
  of the 19th century, featuring especially the Museum’s
  considerable holdings of the work of Juan Luna and
  key contemporaries. Highlights include works by
  Lorenzo Guerrero, Gaston O’Farrell, and National
  Cultural Treasures such as Feeding the Chickens, one
  of the earliest known Philippine genre paintings, by
  Simon Flores, the famous Una Bulaqueña by Juan
  Luna, and almost a hundred works by Luna that
  formed part of the historic donation of the Grace
  Luna de San Pedro Collection by the Far East Bank
  and Trust Company in the early 1990s.

o Gallery IV (Fundación Santiago Hall) – Continuing
  the theme and late 19th century period of the previous
  gallery, works by Félix Resurrección Hidalgo are
  featured together with sculptures by their greatest
  contemporary in this eld, Isabelo Tampinco (key works
  of which are the Gift of Ernesto and Araceli Salas).
                                                       19

o Gallery V – Works by the polymath and National Hero,
       Dr. José P. Rizal, including four original sculptures and
       one ne drawing from his 1886 sojourn in Berlin (the Gift
       of Aurora Ortega-Carlos in memory of Pablo C. Carlos).
       Included is Rizal’s work Mother’s Revenge, a declared
       National Cultural Treasure, as well as several portrait
       busts and paintings of Rizal by eminent Filipino artists,
       including Isabelo Tampinco, Graciano Nepomuceno,
       Guillermo Tolentino and Martino Abellana from the
       early 20th century until the 1950s.

     o Gallery VI – The late contemporaries and artistic
       successors of Luna and Hidalgo who were active in the
       late Spanish colonial period and on into the American
       occupation and before the Second World War, including
       Fabian de la Rosa, Jorge Pineda, Irineo Miranda,
       Fernando Amorsolo, and numerous other masters who
       shaped Philippine art before and contemporaneous to
       the advent of Modernism in the country.

• North Wing – House Floor

     o Gallery VIII (Silvina and Juan C. Laya Hall) – Paintings
       and sculpture depicting the era of the War, specically
       the Imperial Japanese Occupation (1941-1945), the
       Liberation of the Philippines by American and Filipino
       forces, and the destruction of Manila.

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o Gallery IX – The works of the great modernists of
    Philippine Art, featuring important works by Victorio
    Edades, Diosdado Lorenzo, Vicente Manansala, Carlos
    V. Francisco, Hernando R. Ocampo, Cesar Legaspi,
    Manuel Rodriguez, Ang Kiukok, José Joya and many
    others.

  o Gallery X (Museum Foundation of the Philippines Hall)
    – A special gallery dedicated to The Progress of Medicine
    in the Philippines, a set of four large paintings by Carlos V.
    Francisco specially commissioned for the entrance hall
    of the Philippine General Hospital in 1953. Declared a
    National Cultural Treasure, these extraordinary works
    were placed on indenite loan to the National Museum
    by the University of the Philippines to secure their
    preservation for future generations.

• South Wing – Senate Floor

  o Gallery XIII (Vicente and Carmen Fabella Hall) – A
    temporary exhibition, mounted in honor of the visit
    of Her Majesty Queen Sofía of Spain to the National
    Museum in July 2012, featuring a facsimile set of fty
    remarkable botanical illustrations commissioned
    between 1786 and 1797 from Filipino draughtsman-
    artists by the Spaniard and Royal Botanist Juan de
    Cuéllar. The facsimile illustrations were the gift to the
    Filipino people of His Majesty King Juan Carlos of Spain
    in 1996.
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• GSIS Wing (North Wing) – Senate Floor

     o Gallery XIX, Gallery XXI and Gallery XXII – Featuring
       works of art from the collection of the Government
       Service Insurance System, notable among which is
       Parisian Life by Juan Luna and a large number of works
       by National Artists including Vicente Manansala,
       Hernando R, Ocampo, Carlos V. Francisco and Federico
       Alcuaz.

     o Gallery XXIII and Gallery XXIV (Queen Sofía Hall)
       – The permanent textile galleries of the National
       Museum, Hibla ng Lahing Filipino: The Art of Philippine
       Traditional Textiles, made possible with the strong
       support of Senator Loren Legarda, featuring the textile
       collection of the National Museum.

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A NOTE ON THE GSIS COLLECTION

In early 2012 the National Museum and
the Government Service Insurance System
(GSIS) arrived at a landmark agreement for
the transfer by means of long-term loan of
the GSIS Collection and its custodianship
and management by the National Museum.
This was publicly announced by President
Benigno S. Aquino III on the occasion of the
75 th anniversary of the GSIS on May 28, 2012,
paving the way for significant portions of the
GSIS Collection to be incorporated into the
National Art Gallery.

Out of gratitude for the strong support of
the GSIS, the National Museum proposed
the naming of a GSIS Wing to be composed
of several newly-refurbished galleries in
the north part of the Senate Floor of the Old
Legislative Building in order to highlight this
unprecedented and pioneering partnership
between agencies of government, and to
serve as a model for future partnerships with
other government agencies that will enhance
the promotion of arts, culture and heritage to
the Filipino people and their friends from all
around the world.

NATIONAL MUSEUM DIRECTORY

        Honorary Chairman and Patron
          H.E. Benigno S. Aquino III
         President of the Philippines

                 Chairman
         Mr. Ramon R. del Rosario, Jr.

                   Trustees
           Ms. Marinela K. Fabella
           Fr. Rene B. Javellana SJ
         Ms. Maria Isabel G. Ongpin
           Ms. Felice P. Sta. Maria
             Dr. Benito S. Vergara
          Archt. Augusto F. Villalon
         Mr. Fernando Zobel de Ayala

             Ex-Ofcio Trustees
           Sen. Edgardo J. Angara
        Rep. Rosenda Ann M. Ocampo
         Prof. Felipe M. De Leon, Jr.
             Mr. Jeremy R. Barns

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Director
                Mr. Jeremy R. Barns

                 Assistant Directors
                Dr. Ana P. Labrador
            Mr. Angel P. Bautista (Acting)

                 Heads of Divisions
     Mr. Dionisio O. Pangilinan (Administration)
         Mr. Artemio Barbosa (Anthopology)
        Mr. Wilfredo Ronquillo (Archaeology)
             Archt. Ireneo Ramiro (Arts)
            Dr. Wilfredo Vendivil (Botany)
          Mr. Virgilio Palpal-latoc (Zoology)
          Mr. Roberto de Ocampo (Geology)
Mr. Roberto Balarbar (Conservation Laboratory–Acting)
          Ms. Belen Pabunan (Planetarium)
        Ms. Elenita Alba (Museum Education)
       Mr. Angel Bautista (Cultural Properties)
 Archt. Arnulfo Dado (Restoration and Engineering)
 Ms. Angelita Fucanan (Sites and Branch Museums)

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THE NATIONAL MUSEUM NETWORK

           NATIONAL MUSEUM COMPLEX
                Rizal Park, Manila

       Central Ofces (Old Legislative Building)
     National Art Gallery (Old Legislative Building)
  Museum of the Filipino People (Old Finance Building)
 Museum of Natural History (Tourism Building - projected)
           National Planetarium (Rizal Park)

       REGIONAL MUSEUMS AND BRANCHES

         Bolinao Branch Museum (Pangasinan)
   Vigan and Magsingal Branch Museums (Ilocos Sur)
          Batanes National Museum (Batanes)
   Kabayan Burial Caves National Museum (Benguet)
           Kiangan Branch Museum (Ifugao)
Angono-Binangonan Petroglyphs National Museum (Rizal)
          Boac Branch Museum (Marinduque)
       Tabon Caves National Museum (Palawan)
            Tabaco Branch Museum (Albay)
           Cebu Branch Museum (Cebu City)
          Tagbilaran Branch Museum (Bohol)
        Butuan National Museum (Butuan City)
    Zamboanga National Museum (Zamboanga City)
              Jolo Branch Museum (Sulu)

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SUPPORTING YOUR NATIONAL MUSEUM

The National Museum of the Philippines, as a government
trust, represents an active partnership between the public
and private sectors, for the benet of the Filipino people,
now and for all generations to come. Given the wide range
of the National Museum’s activities and responsibilities,
there are numerous ways in which interested parties can
extend support and contribute to this valuable and unique
partnership, including the Museum’s endowment and
trust funds, collections, research and public programs and
services, infrastructure and facilities improvement program,
and general operations – both in Manila and throughout the
country.

Any interest in being a benefactor and supporter of the
National Museum and its mission is greatly welcomed
and appreciated. Together, we can build and sustain the
National Museum our people and our heritage truly deserve
– a world-class institution of which we can all together be
immensely proud.
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National Museum of the Philippines
     Old Legislative Building
Padre Burgos Avenue, Manila 1000