Public-private partnership at the National Museum
First, allow me to join the rest of the nation in expressing grief over the passing of a genuine public servant and a truly good man, Jesse Robredo, whose legacy we should seek to preserve by building on his good work. Sec Jesse strongly believed that nation-building requires learning to work together, the private and public sectors contributing efforts toward common goals. Whether for education, health, or good governance, whether for communities, cities like his beloved Naga, or the nation as a whole, his formula for success involved mobilizing partnerships among citizens and government servants to improve Filipino lives.
It is in this context that I write about our National Museum as an example of a well-established public-private partnership (PPP) that is today enjoying a good measure of success. It may be a surprise to many that for over 14 years the institution has been governed by a charter—the National Museum Act of 1998 (Republic Act 8492)—that provides for just such a PPP framework as its very core.
In a nutshell, RA 8492 sought to reestablish the National Museum’s mandate and provide for a radically new framework in terms of governance, independence, flexibility, sustainability and strong private-sector involvement. The goal was essentially to transform the Museum from a relatively dormant bureau-level agency into a dynamic cultural, scientific and educational institution that can flourish in contemporary conditions. The Museum was converted into a trust instrumentality of the government modeled on the Smithsonian Institution in Washington, D.C., managed by a board of trustees authorized to appoint key officers, direct the investment of trust funds, reorganize and set staffing patterns and salary levels, and generally establish policies, provide oversight and ensure compliance under special rules to be formulated with concerned government agencies. Strong private-sector involvement is ensured by the law’s provision that the chair and seven of the 11 members of the board of trustees come from the private sector.
As is often the case with a radical shift in policy, it has taken some time to lay the necessary groundwork and generate momentum. Certainly, one lesson learned over time is that a PPP framework can only be as successful as the commitment of both parties to the enterprise. In the Museum’s case, this means that the government ensures funding for core activities mandated by law as well as appropriate infrastructure and interagency support, and the private sector facilitates the contribution of resources and expertise that will enable enhanced operational performance, strategic development, networking, public visibility, and a stronger sense of active involvement and participation by key segments of society.
The recent developments are extremely positive. The Aquino administration has been extending unprecedented support to the National Museum in terms of annual operating budget and capital expenditure, and the private sector through the board of trustees is ensuring that funds are well spent and that projects are realized. The Museum is extremely proud to have forged agreements covering two outstanding collections that will ensure their preservation and exhibition to the widest possible audience. It now has taken custody of the remarkable Botong Francisco murals from the Philippine General Hospital; the murals are now on display in a special gallery. Also, as announced by President Aquino himself, the Government Service Insurance System has agreed to turn over its entire art collection; its long-term display starts late this month at the Museum’s National Art Gallery.
The Museum has high hopes for similar cooperative arrangements involving other government and private collections, through donations or long-term loans. Indeed, an increasing number of individuals are choosing to entrust their valuable works of art, often heirlooms, to the Museum, which in turn commits to conserving these in perpetuity.
The government is also now implementing provisions of the National Museum Act that were previously not given priority, such as the legally mandated appropriations from Philippine Amusement and Gaming Corp., which have now been fully remitted, and Philippine Charity Sweepstakes Office, which have recommenced. Especially significant is the turnover of the Department of Tourism building, to take place at yearend, for the purpose of completing the long-envisioned National Museum Complex at Rizal Park in Manila that will have a set of dedicated buildings for fine arts, anthropology and archaeology, and—with the DOT building—natural history.
The private sector has, among other things, continued to contribute the financial resources needed to transform spaces into galleries and exhibition halls and to engage consultants for high-priority requirements such as a study to update the Museum’s organization and ensure adequate financial controls, and make it more responsive to its mandate and current needs as well as the growing scale of its operations both in Manila and nationwide. International specialists to assist in updating the Museum’s master plan as well as detailed planning for the new natural history museum are also being engaged at no expense to the public purse.
These are exciting times for the National Museum. It is an excellent example of how the public and private sectors can come together and build an institution all Filipinos can be proud of.
Ramon R. del Rosario Jr. is chair of the National Museum of the Philippines.
