Cultural Significance of the One Town, One Product (OTOP) In the Province of Ilocos Sur

Cultural Significance of the One Town, One Product (OTOP) In the Province of Ilocos Sur

Jocelyn L. Absolor, Ed.D*., Orlando Batara, Ed.D., Maria Teresa T. Garcia., Isela Leif L. Absolor

Ilocos Sur Polytechnic State College, San Nicolas, Candon City, Philippines

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.909000020

Received: 18 August 2025; Accepted: 27 August 2025; Published: 26 September 2025

ABSTRACT

This study highlights the cultural significance of the One Town One Product (OTOP) in the province of Ilocos Sur through the lens of the manufacturers. Descriptive qualitative research was used with seven registered OTOP manufacturers as participants. They shed light on the objective raised in this study. The participants were selected through purposive sampling and according to specific criteria. Semi-structured interviews were conducted to gather detailed responses about the cultural background, symbolic meaning, and historical significance of the products. As a result of the exploration, the manufacturers described the One Town One Product (OTOP)as an opportunity to showcase the ingenuity and uniqueness of local products to all types of markets. Their commitment to innovating to attract more patronage is a continuing pursuit. As they continue to advance their products, they observe cultural preservation through the utilization of indigenous materials and ancestral skills. They protect cultural integrity and resilience through passionate craftsmanship as a way of promoting local identity and preserving traditions through indigenous resources. OTOP empowers the community through local enterprise and skills transfer, adaptation to technological change in modern production. Significantly, OTOP serves as a tool for cultural promotion and global recognition. Based on the results, the Local Government Units (LGUs) of Ilocos Sur producing OTOP shall continue to support manufacturers in their efforts to innovate, ensuring the quality of products, which in turn will lead to high customer patronage and a sustainable tourism industry.

Keywords: One Town One Product (OTOP), cultural significance, manufacturers, qualitative

BACKGROUND OF THE STUDY

UNESCO (2017) emphasizes the role of traditional craftsmanship in reinforcing cultural identity. OTOP aligns with this view by ensuring that intangible cultural elements—such as weaving patterns, local recipes, and artisan skills—are preserved through commercial relevance. This approach supports the idea that economic activity can coexist with heritage preservation, particularly when community values and cultural authenticity are prioritized.

The One Town One Product (OTOP) program, launched by the Philippine government in 2004, aims to promote local products that reflect the unique cultural heritage of each town. While the program has been primarily studied from economic and entrepreneurial perspectives, several studies have also explored its cultural significance.

The One Town, One Product (OTOP) program is a government-led initiative designed to promote inclusive local economic growth by identifying and supporting unique products that reflect a town or locality’s culture, resources, and traditions. Originating in Japan in the late 1970s under the leadership of then-Governor Morihiko Hiramatsu of Oita Prefecture, the concept has been adapted by several countries, including the Philippines, Thailand, and Indonesia (Hiramatsu, 2006). The program empowers local communities to develop distinctive products, such as handicrafts, processed foods, or traditional garments, that embody their cultural identity and creative potential.

In the Philippines, for instance, the Department of Trade and Industry (DTI) has localized the OTOP initiative to nurture micro, small, and medium enterprises (MSMEs) while preserving cultural heritage and fostering regional pride (DTI, 2020). The cultural significance of OTOP lies in its ability to strengthen community cohesion, promote indigenous knowledge systems, and ensure the transmission of artisanal skills across generations. Furthermore, by linking economic development with cultural preservation, the program supports sustainable development that respects both tradition and innovation.

One Town One Product (OTOP) in the province of Ilocos Sur is garnering massive attention among locals and tourists alike. The product developers receive full support as the product produced by every town is marketed in the locality and in the province during the Kannawidan Festival. The Kannawidan Festival is celebrated annually in the province of Ilocos Sur. This occasion celebrates abundant culture and tradition. Also, indigenous performances, religious rituals, and Ilocano dishes are featured. This festival also raises awareness of the different products produced by every locality. They are exhibited and marketed for the whole duration of the festival. The people in the province experience the products through patronage. The indigenous materials utilized in these products suit customers’ palates for food products and ingenuity for material products.

The history of the province proves that the people are primarily engaged in farming, producing food crops, mostly rice, corn, vegetables, root crops, and fruits. The Province people also produce non-food crops that include tobacco, cotton, and tigergrass. Other industries that include loom weaving, furniture making, jewelry making, ceramics, blacksmithing, and food processing became very popular, and they are marketed nationwide.

Aside from the popular weaving industry, other industries in the province that are sustained by manufacturers that continue to evolve are burnay and slipper making in Vigan, furniture, cabinet, and statue making in San Vicente, mortar and pestle making in San Esteban, and bolo making in Santa. Through OTOP, other towns have innovated to come up with product that provides them with identity.

Research in Kalinga province focused on indigenous coffee products revealed that OTOP initiatives provided a platform for indigenous peoples to market their traditional coffee, thereby preserving their cultural practices and promoting sustainable livelihoods (Duyan et al., 2017). Furthermore, studies in Cavite and Camarines Sur highlighted the importance of entrepreneurial orientation and community engagement in the success of OTOP ventures, emphasizing that cultural preservation is intertwined with economic development (Profeta & Ylagan, 2024).

Similarly, a study in Tarlac province highlighted how OTOP has become a source of local pride, with products like iniruban (a rice cake) and chicharon (crispy pork skin) serving as symbols of regional identity. These products have inspired local festivals, such as the Chicharon Festival in Camiling, fostering community engagement and attracting tourism(https://www.festivalscape.com/philippines/tarlac/iniruban-and-chicharon-festival/).

In Cavite, research focused on the constraints faced by OTOP entrepreneurs revealed that while the program has bolstered local economies, challenges such as limited access to markets and resources persist. Addressing these issues is crucial for maximizing the cultural and economic benefits of OTOP (Tadeo et al.,2022).

These studies collectively underscore that OTOP catalyzes cultural preservation by providing communities with opportunities to showcase and sustain their unique traditions. The program not only contributes to economic growth but also reinforces cultural identities, fostering a sense of pride and continuity among local populations.

While the One Town, One Product (OTOP) program has been widely recognized for its role in promoting local economic development and supporting micro, small, and medium enterprises (MSMEs), there remains a limited body of scholarly literature that critically examines its deeper cultural implications. Most existing studies primarily focus on the economic and entrepreneurial outcomes of OTOP implementation ( DTI, 2020; Ritchie, 2017), often overlooking how the program contributes to cultural preservation, identity formation, and the transmission of indigenous knowledge.

Furthermore, although the program is rooted in local traditions and community-based production, there is an insufficient empirical analysis on how OTOP initiatives engage with intangible cultural heritage, especially in diverse and indigenous communities. As noted by Yamagami (2018), cultural narratives and traditional practices are often underrepresented in official OTOP documentation and evaluation metrics. This gap highlights the need for more interdisciplinary research that bridges economic development with anthropology, cultural studies, and heritage management.

Additionally, there is a lack of comparative studies that explore the cultural impacts of OTOP across different regions or countries that have adopted the model. Without such studies, it becomes difficult to assess how variations in cultural context influence the effectiveness and authenticity of OTOP products and practices (Hiramatsu, 2006). Addressing these research gaps is essential for a more holistic understanding of OTOP, not only as a development strategy but also as a tool for cultural sustainability.

Objective

The purpose of the study is to investigate the cultural significance of One Town One Product (OTOP) in the province of Ilocos Sur.

Research Question:

What is the cultural significance of One Town One Product (OTOP) in the province of Ilocos Sur?

Framework of the Study

This study is anchored on the following theory and concepts. As this study deals with the cultural significance of One Town One Product(OTOP), the following theories and concepts on new product development were considered.

The study is anchored on Cultural Identity Theory and Place Attachment Theory. Cultural Identity Theory posits that individuals derive a sense of self from their cultural affiliations and practices (Collier & Thomas, 1988). In the context of OTOP, locally crafted products such as food, textiles, or handicrafts serve as tangible representations of a community’s heritage and traditions, helping residents maintain and express their cultural identity.

Meanwhile, Place Attachment Theory emphasizes the emotional bonds people develop with specific geographic locations through cultural symbols, memories, and shared experiences (Scannell & Gifford, 2010). Through festivals and local entrepreneurship fostered by OTOP, communities deepen their attachment to place by celebrating unique products tied to local stories and environments. Together, these theories frame OTOP not merely as an economic initiative but as a culturally embedded movement that strengthens local identity and fosters community pride.

Collectivism is a cultural value that is characterized by emphasis on cohesiveness among individuals and prioritization of the group over self. Individuals or groups that subscribe to a collectivistic worldview tend to find common values and goals particularly salient.

Cultural theory by Douglas and Wildavsky (1982) on the other hand, suggests that people tend to perceive danger and respond to risk in different ways that these different ways tend to encourage the development of different social structures. It goes on to suggest that these structures can be viewed in terms of group and grid how cooperative they are, and how much control is exercised above.

Cultural values are understood to be dynamic and perceived through different lenses, but what is crucial is to accept the changeability and significant changes of values from one culture or period to another (Hall, 1997; Mason, 2006; Heras et al., 2013). This can be seen when four distinctive cultural values of social, historic, aesthetical, and scientific were established by UNESCO’s World Heritage Committee (2008) and later were followed by economic, political, ecological, and age to complement the conservation development process (Riganti and Nijkamp, 2005; Piper, 1948; Lowenthal, 1985; Reigl, 1982).

The conceptual framework centers on the interrelationship between OTOP products and cultural significance. This framework proposes that:

1. OTOP Products (e.g., iniruban, chicharon, handwoven crafts)
   ↓
2. Cultural Representation (e.g., heritage, traditions, symbols)
   ↓
3. Community Engagement (e.g., festivals, pride, social cohesion)
   ↓
4. Cultural Sustainability and Tourism (e.g., preserving practices, promoting heritage-based tourism)

This progression illustrates how local products under OTOP evolve from economic items to culturally loaded symbols that reinforce community values, promote regional identity, and sustain traditions over time.

Another concept that is useful for this study is the idea that Cultural identity is essential for the peaceful cooperation of civilizations. If people have a strong sense of self-identity through culture, they are more likely to interact peacefully with other cultures, with respect for the diversity of value systems and religious beliefs as well as the tangible aspects of culture. As different cultures become more intertwined, these cultural identities may change. The fluid nature of culture can be positive, leading to stronger societal structures and values, but also can destroy minority or less-powerful cultures, leading to the disintegration of fundamental human values.(http://www.mesacc.edu/~bricl07041/un/hs/culture.pdf).

The need to preserve one’s culture is essential, particularly due to the role it plays in preserving the identity of a specific group of people. Having a strong sense of self-identity through culture creates a larger possibility for peaceful interactions with other cultures while also observing respect for the differences between groups. Maintaining cultural differences is, in fact, not new in international law (Kugelman,2007). Cultural preservation, therefore, is vital for peaceful cooperation of civilizations (Thomas-Hoffman).

LITERATURE

The following reviewed literature is believed to be relevant materials for the present study, whose exploration lies in the cultural significance of developing products under the One Town One Product (OTOP) Program in the province of Ilocos Sur.

Wodehouse and Tindley (2012) explored the role of cultural factors in product development it reviewed the steam plough and its use by the Duke of Sutherland for land reclamation in the late 19th century. Despite being vastly expensive and, in this case, of limited effectiveness, a unique set of cultural factors meant that huge sums of money were invested in the design, development, and implementation of these devices. The result turned out to be unsuccessful as many crofters returned to more primitive methods that yielded better outcomes.

On the other hand, Alsheddie (2020) investigated the impact of socio-cultural and religious values on the adoption of technological innovation in Saudi Arabia. This study also expands on the current technology adoption studies within a developing country. It addresses a substantial knowledge gap by addressing cultural, social, and religious influences in a comprehensive model. The study found that religious, cultural, and social values have a significant influence on the adoption of technological innovation.

Aryana and Boks (2012) assessed how consumer culture has been addressed in New Product Development (NPD) literature. Based on a classification of NPD-related theories, a set of consumer-culture-related theories is used to identify and categorize relevant literature. User research is not found to be a core method used in the studied literature, and a large number of studies rely on secondary data. Most references study the culture’s role in the final phases of NPD. When the characteristics of a product are defined, a lack of guidelines for considering culture in the early phases of NPD was identified.

The article by Kolapo (2015) expressed that the great role of Culture and its impact on the outcome and success of a product cannot be ruled out. Bearing in mind that the product is made for the people, it will only do well when it fits perfectly into the way of life of the target audience. There are lots of factors that are responsible for a product’s success, but culture and norms of the people also play a major role. In some cases, products may anticipate the hidden potential of the people, leading to a new set of norms. Some of which stay perpetually, and others fade away with the product.

The article of Cervantes (2021) emphasizes the institutionalization of OTOP Philippines as the government’s stimulus program to encourage the growth of micro, small, and medium enterprises (MSMEs)in the countryside through the development of indigenous raw materials, utilization of local skills and talents, and featuring of local traditions and cultures across the country through House Bill 9350.

In the study conducted by Parilla (2013) whose primary aim was to assess the economic impact of OTOP in the Province of Ilocos Norte revealed that the OTOP businesses have been existing for 16-20 years already, and are engaged in manufacturing and are of sole proprietorship. It also revealed that these OTOP businesses are assisted by the Department of Trade and Industry and the Department of Science and Technology by providing them with seminars and training. Strikingly, the study revealed that OTOP has a big impact to employment.

Avio (2014), with her study, an economic analysis of the One Town One Product (OTOP) Philippines: the case of buri products in Quezon Province, highlights the determination of the effects of the One Town One Product (OTOP) program on the buri weavers. The underlying theory of the program, which is competitive advantage, as well as theories on knowledge spillover, specialization, economic geography, and comparative advantage, was used to further analyze the situation of the Buri weavers, the Buri industry, and the program itself. The study also looked into the difference, in terms of the household income, between the participating and non-participating OTOP weavers. Results show that in terms of the program’s goals, basically, OTOP has provided additional income and employment for some of the women in Unisan and Mauban. The participating OTOP weavers generally viewed the program as helpful and insightful to their work.

Musumali (2016) investigated the impact of Micro, Small, and Medium Enterprises on job creation in the Mansa District of Luapula Province. Results indicate that a total of 3,368 jobs were created out of which the largest number of 1,127 jobs were created in the agriculture sector, and the least 194 were in trading. The majority of the jobs created, 60 percent, were unskilled, and a partly 17 percent were skilled. A total of 2,021 (60 percent) of all skills categories were male, and 1,347 were female due to skill restrictions of females on certain jobs. The government had instituted interventions in the sector to enhance job creation and reduce unemployment levels. This study has established that micro, small, and medium-scale enterprises created 3,368 jobs, which were 76 percent of all jobs in Mansa.

Ellson et al. (2011) present in their study that nine commodities are prioritized for development to alleviate poverty. Commodity road maps have been crafted for these commodities, which aim to facilitate the achievement of the following goals of the Agricultural Fisheries Modernization Act (AFMA): food security, poverty alleviation, social equity, global competitiveness, and resource sustainability. These were also aimed at creating one million jobs in the rural sector. The product-specific program in line with this is the “One-Town, One-Product” or OTOP.  One of these commodities is oil palm.

The study of Ellson (2011) further suggests that OTOP has played a great role in local development in Mindanao, Philippines. It has helped to create job opportunities and income generation for the towns. It promotes local wisdom, talent, and creativity through realizing regional pride and the rediscovery of indigenous products.

The assessment on the employment opportunities for women, challenges being faced by them at work, and future scope, and to further explore the working environment of the manufacturing sector for women were the concerns of Jaggi et al (2016). As a result,96% women brought out various challenges and issues being faced by women working in the Indian Manufacturing environment, posing a great hindrance for them in pursuing a career in this sector or to say, any career at all.

As the industry became increasingly cognizant of the relevance of new products to companies, the number of new product debuts increased considerably in the last few decades. As a result, managing the NPD process has become a challenge for businesses, as it necessitates a significant investment of both financial and human resources and is time-sensitive. The grim reality is that the vast majority of innovative products never reach the market, and those that do have a failure rate of 25 to 45 percent (Crawford, 1987; Cooper, 2001).

The study of Rujiprak and Limprasert(2020) explored the social impact as a result of the participation of the government agencies in the development of One Tambon One Product (OTOP). The social impact was divided into two, namely the impact of OTOP on enterprises and its impact on the community. Results forwarded that the Thai government has been implementing a program of technical assistance to OTOP product producers, including training, to increase both theoretical and practical knowledge, and product development, increasing the quality of the products and their marketing. Government agencies also provide monitoring to sustain the motivation of producers and to maintain the quality standards of production. Apart from this, government agencies also monitor the producers to sustain their motivation and to maintain the quality standards of production.

The One Town, One Product (OTOP) program is more than an economic initiative—it is a cultural development strategy that reflects and promotes the distinct identity of local communities. By centering on products rooted in traditional practices, local knowledge, and indigenous materials, OTOP functions as a tangible symbol of cultural identity while simultaneously enhancing community visibility and pride.

According to Dela Cruz and Reyes (2021), OTOP products serve as cultural markers that embody the history, lifestyle, and values of specific communities. Each item produced under the program—whether it be a handcrafted textile, indigenous food product, or local artisan good—carries with it a narrative unique to its place of origin. These narratives not only foster internal community pride but also serve to educate and attract external audiences, both nationally and internationally.

Cultural promotion through OTOP also stimulates local participation and empowerment. As Alarcon (2020) notes, the community-based nature of OTOP fosters collective identity, as residents contribute to the creation, refinement, and marketing of their signature products. This cooperative effort enhances social cohesion and pride in cultural heritage, while also improving livelihoods and increasing civic engagement.

In conclusion, OTOP functions as a multidimensional symbol, representing cultural identity, community heritage, and local pride. By highlighting and promoting products embedded with tradition, OTOP not only uplifts the economic condition of communities but also strengthens their cultural self-image and visibility in the broader national and global landscape

METHODOLOGY

Research Design

This investigation made use of descriptive qualitative research. This is a type of qualitative inquiry that aims to provide a comprehensive and accurate account of participants’ experiences, events, or social processes without manipulating variables. It focuses on presenting rich, straightforward descriptions of phenomena as they naturally occur, often using methods like interviews, focus groups, and observation (Sandelowski, 2000). This approach is especially useful when little is known about a topic and when the goal is to describe rather than interpret or theorize.

Sampling Process

Given the qualitative nature of the study, purposive sampling was utilized. This method involves selecting participants who can provide rich information and can provide deep insights into the research questions. The researchers  selected towns or communities where the OTOP program is being implemented successfully and where it has a notable cultural significance. This approach prioritizes the perspectives of the local manufacturers, enabling an authentic narrative about the cultural significance of the program from the viewpoint of those who live it.

The following criteria were used:

1. The participant must be a One Town One Product (OTOP) manufacturer.
2. The participant must be a DTI-registered business owner.
3. The participant is exhibiting products at Trade Fairs locally, nationally, and internationally.
4. The participant must be willing to be interviewed.

Population and locale of the study

The participants were the seven manufacturers who are involved in the One Town One Product (OTOP) in the different towns of the province of Ilocos Sur. They voluntarily submitted themselves for an interview. These manufacturers are from the towns of Salcedo, Sta. Catalina, San Vicente, Caoayan, and Vigan City.

Data Gathering Procedure

To determine the manufacturers who are licensed to operate a business showcasing OTOP products, a request was sent to the Department of Trade and Industry (DTI) for the list of registered manufacturers. The researchers identified the manufacturers actively involved in showcasing their products not only in the local scene but even national and international trade fairs. Willing participants were interviewed using semi-structured questions in their locality and where they manufacture their products. The information obtained from the interview was transcribed and coded for thematic analysis. Each participant was given more than one hour interview and interaction with the researchers. The researchers observed how the products are made and how they are marketed.

Data Analysis

The analysis of data includes familiarization with the data, coding, identifying themes, and drawing conclusions based on the data.

Mode of Analysis

Thematic analysis was employed to systematically interpret the data and extract significant patterns from participants’ narratives. The process followed Braun and Clarke’s (2006) six-phase framework. First, the researcher familiarized herself with the data by reading and re-reading the transcriptions of interviews and observation field notes to gain a deep understanding of the content. In the second phase, words and phrases were highlighted, and initial codes were assigned in each meaningful data segment. During the third phase, codes were reviewed. Then, these codes were grouped or clustered to form themes. In the fourth phase, themes were reviewed and refined in relation to the entire dataset to ensure internal coherence and distinction among categories. The final phase involved the analysis, where themes were presented with verbatim from participants. The themes were also linked with the study’s related literature.

Ethical Considerations

The criteria that were set in the determination of the participants were followed. Their voluntary participation was necessary to provide substantial responses to the questions raised in this investigation. Informed consent was filled up by the participants. Participants’ identities are kept confidential.

RESULTS AND DISCUSSION

The following themes are the results of the thematic analysis. The product developers, who are also known as OTOP manufacturers in the province, shared the following narratives relative to the role of OTOP in showcasing Ilocano culture and identity.

How would you describe the overall perception of the One Town One Product (OTOP) within the community it serves?

Community Engagement and Product Familiarity through Direct Experience and Participation.

The core theme centers around how the community becomes familiar with OTOP (One Town, One Product) through first-hand experience, specifically by buying, using, and recommending the products. It emphasizes the role of trade fairs, referrals, and local participation in promoting and sustaining the visibility and growth of local products. The statement reflects how community interaction and word-of-mouth are vital for OTOP recognition and success.

The effectiveness and sustainability of the One Town, One Product (OTOP) program rely heavily on how communities engage with and become familiar with local products. Rather than depending solely on mass marketing or institutional promotion, scholars argue that grassroots mechanisms—such as direct product experience, word-of-mouth referrals, and community events like trade fairs—play a significant role in fostering recognition and support for OTOP products.

According to Santiago and Martinez (2021), local trade fairs are instrumental in raising awareness and creating opportunities for people to interact with OTOP products. These events allow community members to sample, purchase, and learn about the origin and craftsmanship behind the products, which deepens their appreciation and often leads to continued patronage. Trade fairs also serve as a platform for small entrepreneurs to gain visibility and develop a customer base within and beyond their communities.

Espino and Delgado (2020) highlight the power of first-hand experience in driving product loyalty. When individuals personally use and benefit from OTOP products—such as local food items, crafts, or household goods—they are more likely to recommend them to others. This word-of-mouth marketing becomes a powerful and cost-effective promotional tool that reinforces community pride and strengthens local identity.

Moreover, Tan and Villareal (2019) found that social networks and informal referrals contribute significantly to product recognition and trust. Especially in rural and semi-urban communities, personal endorsements from trusted individuals are more influential than formal advertisements. This organic process builds a loyal customer base and helps sustain the growth of OTOP enterprises.

Del Mundo (2022) emphasizes the importance of local participation in both consumption and promotion. When community members become not just consumers but advocates for their town’s signature products, they actively contribute to the visibility and legitimacy of the OTOP brand. Community-driven marketing, including social media sharing and small-scale exhibitions, enhances the reach of these products and allows them to enter new markets with authenticity.

As verbalized:

Napateg ti panangbigbig ti komunidad ti OTOP-mi kas paneknekan ti panangsuportada tapno maipakitami ti kinapateg ti nagtaudan a puli, pakabigbigan ken nakaugalian ti tattao. (The community’s recognition of our OTOP is important as it serves as a manifestation of their support in showcasing the significance of our ancestry, identity, and people’s traditions (P1).

Further supported by this response:

Babaen ti pananggatang dagiti tao iti produktomi, mangipakita a nangato ti panangitedda iti importansia iti OTOP. (Through people’s patronage of our product, it shows the high value they give to OTOP(P2).

Overall, the literature underlines how direct engagement—buying, using, and recommending—plays a crucial role in the success of OTOP initiatives. Trade fairs, local events, and word-of-mouth referrals build familiarity and trust, ensuring that products remain visible, appreciated, and economically viable within their communities and beyond.

In what ways do individuals in the community feel that OTOP products represent their cultural heritage and identity?

Cultural Preservation through Indigenous Materials and Ancestral Skills

This theme highlights how OTOP products reflect and preserve the community’s unique cultural identity by using indigenous materials and showcasing ancestral skills. It emphasizes the importance of heritage, tradition, and local resources in the design and production process, making each product a representation of the community’s rich cultural legacy.

The One Town, One Product (OTOP) program, initiated in the Philippines, plays a crucial role in promoting local economic development while preserving cultural heritage. Scholars have highlighted how OTOP products serve not only as economic commodities but also as cultural artifacts that embody the identity of the communities from which they originate.

The following verbalizations explain how OTOP showcases the identity of their community:

Iti laksid dagiti nadumaduma nga inobasion iti panagpartuatmi, agusarkami latta kadagiti wagas a mangipakita kadagiti nakaugalianmi ditoy ilimi. Daytoy panagkakammayetmi nga agpartuat kadagiti produktomi ket maysa pay a sukog ti kultura a saan a mapukaw kadakami, daytoy ti anag ti bayanihan a kunada. (Despite the various innovations we have introduced, we continue to use ways that reflect the traditions of our town. This shared commitment during the development of our product is a form of culture that will never be lost among us — it is the spirit of bayanihan, as they say(P4).

Dagiti nalalaing nga agdisenio a natataengan ket kayatda a yawaten iti sabali ti laingda tapno agtultuloy met laeng ti tradisional a panagpartuatda a kas koma iti panagkitikit kadagiti aramidenmi a muebles. (The elderly artisans wish to pass on their skills to ensure the continuity of traditional crafts like furniture carving.P5)

According to Corpuz (2020), OTOP initiatives allow communities to harness their unique local resources, including indigenous raw materials, and integrate traditional craftsmanship that has been passed down through generations. This process not only sustains livelihoods but also reinforces the community’s cultural narrative. Products such as handwoven textiles, bamboo crafts, and local delicacies encapsulate centuries of knowledge, environmental adaptation, and social practices.

Villanueva and De la Cruz (2019) argue that the use of indigenous materials in OTOP products reinforces environmental stewardship and a deep-rooted connection to the land. These materials, sourced locally and often processed using traditional methods, add authenticity and value to the final products. Moreover, they create a tactile and visual connection to the place of origin, making each product a cultural marker.

Ancestral skills embedded in OTOP production processes are a form of intangible cultural heritage. From weaving and pottery to culinary practices, these skills represent a body of knowledge and artistry that reflects the lived experiences and worldviews of specific cultural groups. The preservation of these skills through economic programs like OTOP ensures that they remain relevant and appreciated in contemporary society (Alcantara,2021).

In addition, Reyes and Torres (2022) underscore the role of OTOP in safeguarding cultural heritage by facilitating intergenerational knowledge transfer. As younger artisans are trained by elder craftsmen, the continuity of tradition is maintained, and innovation is grounded in heritage. This dynamic interaction helps communities adapt to modern markets without compromising cultural integrity.

Overall, the literature consistently points to the dual role of OTOP products as economic goods and cultural expressions. Through the use of indigenous materials and ancestral techniques, these products serve as tangible representations of a community’s identity, history, and values. They affirm the importance of tradition and local ingenuity in fostering both cultural pride and sustainable development.

Can you elaborate on the specific cultural elements embedded in OTOP products that resonate with consumers or participants?

Cultural Integrity and Resilience Through Passionate Craftsmanship

The One Town, One Product (OTOP) program in the Philippines stands as a pivotal initiative in preserving cultural identity while fostering economic empowerment. Central to the program is the belief that traditional materials, time-honored techniques, and cultural expressions can be leveraged not only as economic resources but also as enduring symbols of community heritage and artistic resilience.

As narrated by the manufacturer, OTOP not only gives them economic freedom but also the opportunity to showcase their unique designs.

This theme is upheld by the following verbalizations:

Bayat ti panagaramidmi iti produktomi, saan a mabalin a laksidenmi dagiti wagas dagiti lallakay ken babbaket, kas koma daytoy cocoa chocolate, ta agus-usarkami iti aw-awaganmi a batirol. Kadaanan daytoy a wagas ti panagluto iti tsokolate. (While making our product, we cannot disregard the traditional methods of the elders, such as with this cocoa chocolate, where we use what we call ‘batirol.’ This is the traditional way of preparing chocolate.P6)

Dagiti nakakabit iti OTOP  a paset ti kultura ket dagiti material ken dagiti saan a magatadan a kababalin. Makitami ti kinaanus babaen ti naannad ken metikuloso nga obra aglalo no adu ti mairaman iti panagaramid iti produkto. Napasnekda a mangpapintas kadagiti gapuananda, nagagetda a mangged para iti panagbiagda, ken pampanunotenda iti panangilalada iti tradision tapno saan a mapukaw daytoy. (The cultural elements attached to this OTOP are both material and intangible qualities. We see patience through their careful and meticulous work, especially when many are involved in making the products. They are very thorough to improve their output, diligent to still earn a living, and mindful to preserve this tradition so that it will not be lost.(P2)

According to Morales and Fabros (2020), OTOP products are cultural vessels that embed the stories, beliefs, and customs of local communities. These products—ranging from handwoven textiles and indigenous crafts to native delicacies—reflect centuries-old traditions. The use of locally sourced materials and ancestral techniques is not merely a stylistic choice but a cultural imperative, ensuring the continuity of community identity amidst rapid modernization.

Local artisans play a crucial role in this preservation effort. De Guzman and Herrera (2021) emphasize that many of these craftsmen and women view their work not just as a livelihood but as a responsibility to their ancestors and community. Their persistence in practicing and refining traditional skills despite economic, logistical, and market-related challenges showcases a profound resilience rooted in cultural pride.

Furthermore, Rivera (2019) notes that the creativity of local producers flourishes within the constraints of tradition. Artisans often innovate within traditional frameworks, introducing subtle adaptations that meet contemporary consumer demands without compromising cultural authenticity. This balance demonstrates both resourcefulness and a deep commitment to preserving the soul of their craft.

The intrinsic motivation of these artisans goes beyond monetary gain. Bautista and Llamas (2022) argue that passion, community trust, and respect for cultural roots are primary motivators for many OTOP participants. Their dedication manifests in the careful curation of products that not only represent their town but also communicate shared values and narratives. The intangible rewards—such as recognition, cultural pride, and the preservation of identity—often outweigh financial benefits.

Overall, the literature affirms that OTOP is more than an economic platform; it is a cultural movement. Through the lens of traditional practices and artisan resilience, OTOP products stand as living testimonies to the creativity, dedication, and cultural continuity of the communities they represent.

How do OTOP Products contribute to preserving and promoting local traditions and customs?

Promoting Local Identity and Preserving Traditions Through Indigenous Resources

The integration of locally sourced raw materials in the production of One Town, One Product (OTOP) offerings has been widely recognized not only for its economic benefits but also for its role in sustaining cultural identity and promoting innovation. Scholars argue that the use of indigenous materials anchors production in tradition, supports creative adaptation, and fosters broader market visibility.

According to Santos and del Rosario (2020), the use of native raw materials such as bamboo, abaca, rattan, and endemic plant dyes reinforces local knowledge systems while offering producers a unique competitive edge in the marketplace. These materials, abundant and culturally significant, encourage innovation by allowing artisans to reinterpret traditional designs for modern consumers. This resource-based creativity ensures that products remain culturally authentic yet market-responsive.

This theme is supported by these verbalizations of the participants:

Babaen ti panagusarmi kadagiti raw materials nga adda iti lugarmi, ipakitami nga agparpartuat kadagiti sabsabali iti nadumaduma a lugar no ania dagiti patanormi a produkto. Babaen ti panagusarmi kadagiti raw material, agtultuloy ti pannakapreserba dagiti tradision iti komunidad.(Through our use of raw materials found in our area, we who produce can show to other people in different places what products we specialize in. By using these raw materials, the preservation of our traditions as a community continues.)

Similarly, Cruz and Mendoza (2021) highlight that when local materials are utilized in product development, it fosters a cycle of sustainability, both environmentally and culturally. These resources not only reduce reliance on imported inputs but also tie the production process directly to traditional practices, seasonal cycles, and ecological knowledge. As a result, the community becomes an active participant in preserving and transmitting cultural values embedded in everyday materials and techniques.

Fernandez (2019) points out that products crafted from locally sourced materials carry the “signature” of the community. They become symbols of place, telling stories about local customs, heritage, and the intimate relationship between people and their natural environment. This deepens the cultural meaning of the products and enhances their appeal to wider audiences looking for authenticity and social value in their purchases.

Moreover, Villamor and Reyes (2022) emphasize the role of local resourcefulness in maintaining the continuity of traditional production methods. They argue that innovation does not require abandoning tradition; rather, it involves reimagining how traditional resources and skills can serve new purposes. This view supports the idea that local raw materials are not just a foundation for design but also a means of cultural resilience.

To conclude, the literature affirms that the use of local raw materials in OTOP production goes beyond practical convenience. It is a vital strategy that intertwines heritage preservation, community engagement, innovation, and market expansion. Through locally grounded creativity, communities sustain cultural practices while extending their reach beyond geographic boundaries.

What role does OTOP play in fostering a sense of pride and ownership among producers and consumers?

Innovation and Continuous Learning as Keys to Enhancing Local Products and Market Appeal

The success and sustainability of the One Town, One Product (OTOP) program rely heavily on the ability of local producers to adapt, innovate, and continually enhance their products. Scholars underscore that adaptability, creativity, and a commitment to lifelong learning are critical for improving product quality, expanding variety, and reinforcing both market relevance and cultural pride.

According to Lopez and Trinidad (2021), local entrepreneurs who engage in continuous learning through skills training, exposure to markets, or collaboration with designers tend to produce higher-quality goods and introduce product variations that align with consumer trends. This learning mindset allows communities to maintain the integrity of traditional designs while making them relevant to modern markets.

Every community has a product which they are particularly well known for. If this OTOP in a certain community is promoted, then the people will tend to work hard to try to improve this specific product for it to become a source of pride and identity for the particular community. P3

Torres and Aguilar (2020) emphasize the role of creativity in product diversification. They argue that when artisans experiment with new patterns, materials, and techniques, they do not depart from tradition but instead revitalize it. This form of creative innovation helps ensure that OTOP products evolve with consumer demands while still retaining their cultural essence.

Furthermore, Ramos and De Jesus (2022) found that adaptability is a defining trait among successful OTOP producers. In the face of economic pressures, changing consumer preferences, and external disruptions such as the COVID-19 pandemic, many local producers adopted new production processes, packaging techniques, and digital marketing strategies. These shifts not only improved product visibility and competitiveness but also empowered artisans to take pride in their ability to evolve without compromising authenticity.

Garcia and Salcedo (2019) also point out that the fusion of traditional skills and modern approaches leads to increased community pride. When producers witness their local products gaining acceptance and appreciation both locally and internationally, it affirms the value of their craftsmanship. This, in turn, fosters a renewed commitment to excellence and cultural promotion.

Overall, the literature supports the view that adaptability, creativity, and continuous learning are essential drivers of product innovation within the OTOP framework. These qualities enable local artisans to maintain cultural relevance, increase competitiveness, and strengthen the cultural and economic fabric of their communities.

How do local artisans or producers perceive the impact of OTOP on their livelihoods and craft traditions?

Empowering the Community Through Local Enterprise and Skills Transfer

The One Town, One Product (OTOP) initiative in the Philippines is widely recognized as a tool for promoting inclusive local economic development. Beyond generating income, OTOP strengthens communities by creating employment and ensuring the continuity of traditional knowledge through skill transfer and shared enterprise. Scholars have emphasized how these interrelated benefits contribute to long-term sustainability and collective community progress.

As verbalized:

I believe that most of the consumers, including myself, would perceive the authenticity of OTOP products to be more original compared to mass-produced commercial products. The development and enhancement of OTOP products aim to reduce poverty by providing more services of livelihood services for the community. (P3)

According to Mendoza and Torres (2020), OTOP stimulates local economies by utilizing indigenous materials and labor, keeping value creation within communities. This localized approach not only boosts income for producers and entrepreneurs but also catalyzes the growth of micro, small, and medium enterprises (MSMEs), which are critical for rural economic resilience.

Del Rosario and Gutierrez (2019) emphasize that OTOP significantly contributes to job creation, particularly in underserved areas. The nature of local product production often involves labor-intensive activities—such as weaving, pottery, and food processing—that employ a wide range of community members, including women, youth, and elderly artisans. These employment opportunities are often inclusive and culturally rooted, enhancing both economic and social cohesion.

Skill preservation and intergenerational transfer are also key outcomes of OTOP participation. According to Santos and Alvarez (2021), many local producers serve as cultural stewards, passing down traditional techniques to younger generations through apprenticeships, workshops, and informal mentorship. This ensures that ancestral skills—such as handloom weaving or indigenous dyeing techniques—are not lost but instead revitalized and repurposed for modern markets.

Moreover, Cruz (2022) argues that the synergy between economic activity and cultural sustainability positions OTOP as a model for integrated development. The initiative fosters not only financial self-reliance but also a sense of collective identity and pride in heritage, reinforcing the importance of both economic and cultural capital in community advancement.

In sum, the literature supports the idea that local product production, particularly within the OTOP framework, promotes economic growth, generates inclusive employment, and facilitates the transmission of traditional knowledge. These outcomes contribute to a sustainable and participatory development model that uplifts entire communities.

Can you discuss any challenges or barriers faced in maintaining the cultural integrity of OTOP products amidst changing market demands or globalization?

Adaptation to Technological Change in Modern Production

This theme implies the balance of tradition and modernization in production. In the evolving landscape of local enterprise and cultural production, artisans and small-scale producers within the One Town, One Product (OTOP) program face increasing pressure to modernize. While innovation is essential for enhancing efficiency and competitiveness in the global market, it also presents challenges to preserving traditional methods and cultural authenticity. This tension between innovation and tradition is a recurring theme in recent academic discourse on community-based production systems.

As verbalized by the participants:

“Due to modernization, there are certain things that have to be sacrificed, such as the old ways of developing products, because there are now many processes that must be followed to ensure the safety of people or consumers, especially when the product is food.”(P4)

“The lack of equipment and materials used to transport our products is one of the challenges we face in maintaining them. Another factor that affects the maintenance of our products is the continuous increase in the prices of the materials we use. We can also see that the number of products that can compete with ours is increasing.”(P2)

According to Villanueva and Reyes (2020), modernization often demands the adoption of new tools, digital platforms, and mechanized processes, which can significantly improve productivity and expand market reach. However, these technological changes can displace long-standing production practices, especially those that are labor-intensive and rooted in ancestral knowledge. For many artisans, this shift creates a dilemma between staying competitive and staying culturally grounded.

Lopez and Domingo (2021) emphasize that the introduction of technology often requires a new set of skills, training, and mindset. For traditional producers—especially those in rural or aging communities—this can be a barrier to integration rather than an opportunity. The learning curve, combined with limited access to training and infrastructure, may exacerbate the digital divide and weaken the cultural continuity of traditional crafts.

Meanwhile, Torres (2019) warns of the cultural risks tied to over-modernization. When traditional products are overly altered to suit modern markets, there is a tendency to dilute their cultural meaning. In some cases, authenticity is compromised in favor of uniformity or efficiency, reducing the product’s role as a cultural symbol and turning it into a mere commodity.

However, as Fernandez and Salazar (2022) note, it is possible to create a productive synergy between tradition and innovation. Their study of OTOP producers in Northern Luzon reveals that when modernization is applied thoughtfully—such as through improved packaging, digital marketing, or hybrid techniques—artisans are able to retain cultural value while adapting to new economic realities. This balance is achieved when innovation is guided by cultural sensitivity and the active participation of producers in the transformation process.

Overall, the literature highlights a critical yet complex relationship between tradition and modernity in OTOP production. While modernization brings efficiency and scalability, it also challenges the preservation of heritage and identity. The key lies in strategic, inclusive innovation that respects cultural roots while embracing sustainable progress.

How do consumers’ perceptions of OTOP products influence their purchasing decisions and support for local consumers?

The Impact of Product Quality on Consumer Behavior

In the context of local enterprise initiatives such as the One Town, One Product (OTOP) program, product quality is a central determinant of customer satisfaction, brand loyalty, and long-term success. A growing body of literature emphasizes that consumers’ purchasing decisions are significantly influenced by their perception of quality, which in turn impacts their likelihood to repurchase and recommend the product to others.

As verbalized by the participants:

“Every community may tend to try the products of each respective community as such cultural exchanges can be promoted.”(P3)

Ti kalidad ti maysa a produkto ket umanay a mangimpluwensia ti desision ti gumatgatang. No magustuanda ti produkto agorderda iti ad-adu tapno maiparamanda kadagiti kakabagian wenno gagayyemda.(The quality of a product greatly influences the buyer’s decision. If they like the product, they will order more so they can share it with their relatives or friends)P4

According to Reyes and Santos (2020), product quality is one of the most important factors affecting consumer behavior in small and local businesses. When consumers perceive a product to be durable, well-crafted, and aligned with their expectations, they are more likely to become repeat customers. This loyalty is not only economically beneficial but also instrumental in establishing a stable market for community-based products.

Garcia and Lopez (2021) highlight that high-quality products often lead to spontaneous word-of-mouth promotion, especially in close-knit communities or social networks where personal recommendations carry significant weight. Satisfied buyers tend to share their positive experiences with friends and family, acting as informal brand ambassadors. This organic promotion enhances product visibility without incurring significant marketing costs, which is particularly beneficial for small-scale producers under programs like OTOP.

Furthermore, De Jesus and Villanueva (2019) argue that consistent quality builds consumer trust over time. In markets flooded with mass-produced goods, handmade or locally crafted products must distinguish themselves through excellence and reliability. For OTOP producers, maintaining high standards not only affirms cultural value but also ensures competitiveness in broader markets, including tourism, exports, and e-commerce.

A study by Ramos and Dela Peña (2022) supports this perspective, noting that customers are more likely to promote and advocate for brands that consistently meet their quality expectations. Their research on consumer satisfaction among OTOP patrons reveals that product quality was the most cited reason for both brand loyalty and social referrals. As such, producers who invest in quality control, craftsmanship, and product refinement tend to experience greater growth and sustainability.

Collectively, the literature confirms that product quality is not merely a functional attribute but a strategic factor in marketing and business development. For OTOP and similar community-based programs, quality serves as a bridge between cultural authenticity and commercial viability, enabling trust-based relationships and sustained word-of-mouth promotion.

To what extent do OTOP initiatives facilitate cultural exchange and awareness both within the community and beyond its borders?

Promoting Local Identity and Culture Through Quality Products

The “One Town, One Product” (OTOP) program is a community-driven development strategy that emphasizes the use of local materials, knowledge, and skills to promote unique products from specific regions. This initiative plays a significant role in showcasing the excellence of local craftsmanship and serves as a channel to preserve and promote cultural identity.

As verbalized by one participant:

Through the excellence and quality of an OTOP (One Town, One Product), it becomes an effective way for people to learn about the raw materials available in our area—materials that we can develop and take pride in, while also sharing our culture with other places. The awards we receive, which recognize the excellence of our OTOP products, also serve as a reason for our culture to be acknowledged and appreciated.(P4)

According to Villareal and Reyes (2020), OTOP products are deeply rooted in local traditions and heritage, often incorporating indigenous materials and traditional production methods. These elements make the products not only economically viable but also culturally significant. By highlighting unique local resources and skills, the OTOP program fosters community pride and ownership over cultural expression.

The role of craftsmanship in cultural preservation is emphasized by UNESCO (2019), which notes that traditional knowledge and artisanal skills are integral components of intangible cultural heritage. When communities engage in crafting OTOP products, they are actively participating in the continuation and evolution of their cultural practices, ensuring these traditions are not lost in the face of modernization.

Further, the recognition and awarding of OTOP products at regional and national levels amplify their cultural and economic value. As observed by De Guzman and Ordoñez (2021), awards and certifications not only validate the quality of these products but also legitimize the cultural stories behind them, increasing their appeal to broader markets and reinforcing community identity. This recognition often leads to increased visibility and demand, which, in turn, supports the sustainability of traditional crafts and local economies.

Cultural economist Throsby (2001) supports this view by arguing that cultural products hold both economic and intrinsic value. The celebration and commercialization of OTOP items represent a dual benefit: they provide livelihood opportunities while fostering a deeper appreciation for cultural diversity. This reinforces the idea that economic development and cultural preservation can go hand in hand.

In sum, the excellence of OTOP products does not only reflect artisanal quality but also embodies the identity, history, and values of local communities. Recognition through awards and promotion validates these traditions and encourages their preservation, thereby sustaining cultural heritage in an increasingly globalized world.

How does OTOP contribute to tourism by showcasing local culture and heritage through its products?

OTOP Products as Tools for Cultural Promotion and Global Recognition

The “One Town, One Product” (OTOP) initiative has emerged as a strategic program designed not only to stimulate local economic development but also to serve as a vehicle for cultural promotion and international recognition. Through the lens of cultural economics and heritage preservation, OTOP products can be understood as cultural artifacts that carry the identity, tradition, and values of their communities.

As verbalized by one participant:

Babaen ti nadumaduma a trade fair, maikkankami iti gundaway  a mangidanon kadagiti tattao ti produkto a pinartuatmi. Ken babaen ti pannangipakitami iti wagas a panagaramidmi, maatrakar dagiti tattao ken madegdegan ti interesda (Through various trade fairs, we are given the opportunity to bring our developed product to different people. By showcasing the way we create it, we are able to attract people and spark their curiosity (P4)

The manufacturers recognize the importance of the programs that aim to exhibit local products. Through these fairs, they can promote the uniqueness and quality of the OTOP.

In line with this result, the Department of Trade and Industry (DTI, 2021) highlights that OTOP’s strategic branding and marketing initiatives aim to position Filipino products in global markets. This exposure facilitates the international appreciation of Filipino cultural identity through high-quality, culturally embedded products. The integration of storytelling and heritage elements in product presentation increases their marketability and fosters deeper cultural engagement among global consumers.

OTOP products are more than just commodities; they encapsulate the unique cultural practices and historical narratives of the places from which they originate. The production processes often involve traditional techniques, indigenous materials, and local symbols that reflect the heritage of a particular region. As such, these products become cultural ambassadors, introducing local traditions to a broader, often global, audience (to Dela Cruz and Santos, 2020),

Caballero and Molina (2019) further explain that global recognition of OTOP products is achieved when cultural authenticity is maintained and paired with competitive quality standards. For instance, handwoven textiles, indigenous crafts, and artisanal food items from the Philippines have gained international acclaim not only for their craftsmanship but also for their rich cultural narratives. This dual appeal enhances the cultural diplomacy role of OTOP in promoting a more inclusive and diverse representation of Filipino culture on the global stage.

In conclusion, OTOP products act as powerful tools for cultural promotion and global recognition. By showcasing the richness of local traditions and craftsmanship, these products bridge cultural understanding, support heritage preservation, and elevate national pride on a global scale.

CONCLUSIONS

The manufacturers describe the One Town One Product (OTOP)as an opportunity to showcase the ingenuity and uniqueness of local products to all types of markets. This implies that there is a growing confidence in the global competitiveness of locally made goods, which suggests that local producers are not only preserving traditional crafts but also adapting them to meet broader market demands, potentially leading to increased visibility, sales, and investment opportunities.

Their ongoing efforts to innovate suggest that they recognize the need to adapt to changing consumer preferences and market trends to maintain a competitive edge and ensure sustained growth. Their use of indigenous materials and ancestral skills implies a deep respect for heritage and a commitment to preserving cultural identity while promoting sustainable and locally rooted practices. By promoting local culture and traditions through globally recognized products, OTOP strengthens cultural identity and enables communities to participate meaningfully in the global economy. This suggests that OTOP plays a vital role in inclusive development, cultural preservation, and international engagement.

RECOMMENDATIONS

With the significant contributions OTOP provides to the province, it is recommended that all Local Government Units (LGUs) of Ilocos Sur continue their provision of support and assistance to the manufacturers in their continuous innovation for the sustenance of the quality of the products, resulting in high customer patronage and a sustainable tourism industry. It is further recommended that regular monitoring be conducted by the government agencies to check on the kind of assistance the manufacturers need in the development of their products.

ACKNOWLEDGMENT

Sincerest gratitude is extended to Dr. Remely Sanidad,Mr. Marvin Galano, Dr. Gilbert Arce (+), and Dr.Mario P. Obrero for their support.

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