 As defined by law, cultural heritage refers to the totality of cultural property preserved and developed through time and passed on to posterity. Cultural property refers to all products of human creativity by which a people in a nation reveal their identity. These include churches, mosques, and other places of worship, schools, and natural history specimens and sites. Whether public or privately owned, movable or immovable, and tangible or intangible. In the series of lectures, esteemed educators from our national university lend pertinent discussions thus open academic discourses on Philippine cultural heritage relating to their respective fields of discipline and expertise. These can and may be used as resource materials for further learning and study. Multi-talented Ferdi Harin tackles creative essay as a vehicle to articulate individualities, localities, and customs in order to cultivate cultural identities. According to him, writing should begin not only from historical experiences alone, but must be coupled with the corresponding emotions felt during those past events. He adds that these ought to be confessed and professed as relating to creative essays will bring us back to our respective cultures. All of the people who come back to their roots are the people who give importance to this. And these people give importance to the fact that they recognize that person as their own. And the most common person is not the person they recognize as their own. Why? Because all of them will be specific to their roots. The two main characteristics of my reading are the first, the memory and memory as a vehicle of the identity of the past and second, the compression and compression in the past. The memory and memory as a vehicle of the identity of the past. First of all, if we go back to our memories, we will remember the past, the situations, and the memories of the past. And then, we will remember why. Because when we remember, we will have memories if we are able to capture the emotions of the memories of the past. Because we will have memories of the past again. In the past, this is what is said, the past again. So, for example, when we write this, we return the memories that we will remember again, that we will have memories of the past again, that we will remember again. And that's good. Because when we remember, we will remember, we will remember, we will remember, that we will remember and we will give the memory of the past again. Second, when we return to the past and we write this as a memory of the past, others will say, what is different in these stories? I also wrote this story. In the past, there was a memory, because of this memory, we will have a memory of the past. The real difference of a memory of the past in writing a memory of the past is this. The interpretation and the beginning of this. When there is a bit of emotion, can we correct this? They say, the writing of the past is correct. The beginning, but the hard, hard beginning, if you can't face the details of your past. For example, you want to tell your past on a birthday party. You can also tell the joy of the celebration. You have many memories, you have many more memories, and you have many memories of the past that you have seen again. But what if in that event, you have a memory that you have opened a letter that you have a past. Will you be able to correct this? You will be able to correct it if in that birthday party, where we said, you are only in the past, and you are confused, and you are being confused. If you will be able to correct this, it will be difficult. You need to correct this if you have written a wrong message. For example, look at this. In the message, for example, I wrote a letter to my friend who was the owner of the Beyblade. When I wanted to tell the story of my tennis player, when I was a kid, especially in high school, I will be able to go to the detail of why I was able to enter as a football player. Because in that time, I know that my father was not seen. He was just listening to the letter. It's easy to write that my father was listening to the letter. But do I want to correct what happened after that? Like this. For example, I wrote this. For example, my father was not allowed to buy any equipment to shop. The time has come. He continued to shop with his parents. And we were hoping for the help of our children. Sometimes, he didn't understand. For example, when we were three, half a kilo of rice was cooked in one day. When I wrote this in truth, did I want to eat it? We can't eat it. That's hard. But this is part of my identity. And I need to face this. I need to accomplish it. In a concrete fiction, it's easy to do this because it's separate from writing. But I wrote this myself as a human being. So I need to do this. But what I will also do here is, that the source of the rice will teach us how to hide my brother Mike in the deep part of the barangay to be free. Because we don't have any equipment. We live in a barangay. When my mother was there, we don't have any equipment. We live in this house. We don't have any equipment. Of course, if you want to eat rice, then I don't have any equipment. Father, wait for the night so that you can go back to the barangay. This is hard. But it's obligatory to do this. Why? It's obligatory to do this in our story. Because if I don't do this, then I don't have any stories. With Mike Lee Quento, they said that there should be a problem. If there is no problem, then there is no story. In the story of the true story, like with Naisai, it's easy to get rid of this problem. Is it ready to accept this problem? So there is a confrontation. There is a start. You choose the culture of yourself here. Next, for example, in the Naisai radio of Renewable Nueva, he said, when there is a collective call, but for everyone, the most difficult thing to do is to say that our house is the house of our days where our radio is connected. Especially, he said, every house is connected with the voice of our Mac Ding Chan, an understanding revelation, an understanding compass. In one person, as it is written, he was afraid of the start, he did not go to the writing of Malikaeng Naisai. So in this, you recognize yourself when you tell your true story. When you tell your true story to people, what will happen to this place? He also said, in his Naisai Blumentre, when I was a child, I used to go to the Blumentre every day. He took a plastic bag and put it on it. I bought it, I directed the halcon. I chose the song, I will go to Kalabite. In the song of the halcon, I remember a lumang bakery. Until I saw the height of the stands of the people. Agong, Monay, Pandicoco, Biscocho, the people who came to the village, they were already aware of the water, or the light of the light, the milk, milk and other things. It is very simple to describe the place. But we already know that the person who came to the village already knew the place. Because if he connects the experience in buying the food, it is not just talking about the place itself, and talking about the details of the village, he always has a reason for everything in the village, and he gives the place to the village even if it is just telling the details of the village. Because in the end of the story, he will say, he did not buy the village. The village had a culture of its place, because it had a culture of its place. It did not only go to the lumintre, but it also had the power to educate every person in that place. Next, in his movie plan, he will tell you one thing they did in the 1960s, in the 1970s, let's say, when the film festival was called. He said, in the morning, we were preparing the meals for the film festival. Rice, chicken, suman, pandesal with fish, candy, about 2 p.m. from the start of the parade, but in the morning, he said that when there is no time to leave, all the jeep will go away. He can also say in the movie plan, he can also say that he will choose an artist. But what he will say is, there is nothing different like the millenials now, the fans of Catniel, the fans of the J.D.N., the love team of ABS-CBN, of Star Cinema, and he will say that he just wants to see an artist, but he won't. He will have a substance, a kind of substance that will make this movie, as a culture of the Filipinos, until now, if it's true, because he will say that he will give them rice, he will give them chicken, they will go home. And that's not all. The parade hasn't yet come, they are already there. And let's think about that, in the 1960s, all the jeep will go away. We will see here, if you will read, that it will really be a movie. It's not just saying that he wants to be an artist, but also a culture that the Filipinos call the Bacchiappans of the Philippines, that he will learn and will choose for his story. If that's the case, as an artist, what else can be the connection of these stories in our culture as a person and in our culture, in the introduction of ourselves, in the introduction of the land of our nation, especially a culture that can be part of us, but also part of many Filipinos. It's simple. The strength of the nation is the so-called insight. Because this insight will be the connection of the stories of the nation. Because we will bring the nation's nation to our own culture as a person, because we all have our own version of the experience of the nation. I'm sure when I wrote the poem, or when René wrote his radio, we were not the only ones who faced difficulties in the nation. There are also many of you as audience, or more Filipinos like us. But also, when René said the Blooming Treat, we didn't know the Halcon or Calabita if we didn't know the Blooming Treat, but we also have the Halcon or Blooming Treat. We also have bakery, we also have a bakery, and we also have a cafe that is open to our people, from kids to kids. Also, the things we do, like movies, even if we are not fans of an artist, for example, but there are Filipinos who do things that can be part of us, and also part of our nation. We also watch movies. We also watch TV shows. And here, we can connect. Even if we say that we are not fans of a movie, but we also have artists who can do it. From kids, maybe you can remember. Many people will remember that they were just finished in the following of the soap operas on TV that are now in the air. Even though the son of Lamang is still missing. So, it's easy to say, when you read a true story, this true story of Manunulat became a story. You made this a story. And here, the culture of yourself became a mother of a country. And this became your culture. It became authentic. It became, let's say, concrete the origin of this. I hope that I will be happy to help you with your day today. Again, I am Professor Perdon And this is the vision and the reality of the story of Manikai Sare-Sai.