Retablos & Santos: ‘Altaring’ The Life Of Philippine Heritage Through Future Generations Author: Anastazja Harding ¹ Co-authors: Dr. Nicole Tse ² & Dr. Ana Labrador³ 1 806-814 Swanston St, Carlton VIC 3053, Australia ² 2806-814 Swanston St, Carlton VIC 3053, Australia ³ Padre Burgos Ave, Ermita, Manila, 1000 Metro Manila, Philippines Email: anastazja.harding@gmail.com Abstract: This paper aims to examine the role of living cultural heritage to materials conservation and restoration of retablos and santos at the National Museum of Fine Arts in the Philippines (NMP) and the Parish Church of La Purísima Concepción in Guiuan. In researching the restoration practices of cultural communities that retablos and santos hold significance to, this paper is framed by textual analysis, and interviews with heritage, ecclesiastic and conservation professionals. With ever-increasing cultural homogenisation, the importance of conservators working towards preventing cultural identities from being absorbed by universal discourses and popular cultures are argued in this paper. In reflecting upon knowledge systems and communication platforms that support conservation, the exchange of knowledge, its usability and wide audience possibilities as necessary pathways to preserving memory for living and future generations will be focused upon. Keywords: Communication; Conservation; Knowledge Exchange; Memory; Restoration; Retablo; Santos; Social Media Introduction: The value of retablos and santos lies in their historical beginnings as works of indigenous Filipino craftsmanship influenced by colonial and immigrant religious and stylistic practices, and how its continuation supports the ongoing Catholic belief system in the Philippines. Retablos consist of niches for santos, columns, bas-reliefs and paintings, with niches of the earliest retablos in Spain being simple in design and painted decorations. 1 In comparison, anitos woodcarving was an ancient craft in the Philippines prior Spanish colonisation and Miguel Legazpi’s encounter with Paete carvers in Laguna in 1571. 2 This long-