Although an independent institution of the Philippine government, it receives an annual subsidy and is placed under the National Commission for Culture and the Arts for purposes of policy coordination.

The CCP provides performance and exhibition venues for various local and international productions at the 62-hectare (150-acre) Cultural Center of the Philippines Complex located in the cities of Pasay and Manila.

On the fourth year, the curtain will rise You do not develop culture by putting up a 50-million building on the bay... Before the turn of the 20th century, artistic performances were primarily held in plazas and other public places around the country.

In the meantime in 1965, Imelda Marcos at a proclamation rally in Cebu for her husband's bid for the Presidency, expressed her desire to build a national theater.

[7] Imelda, now the First Lady, persuaded the Philippine-American Cultural Foundation to relocate and expand plans for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila.

Imelda and the CCP board took a US$7 million loan through the National Investment Development Corporation to finance the remaining amount, a move that was heavily criticized by government opposition.

[8] Unfazed with the criticism, Marcos went ahead with the project and the Theater of Performing Arts (Now the Tanghalang Pambansa) of the Cultural Center of the Philippines was opened on September 8, 1969, three days before the President's 52nd birthday, with a three-month-long inaugural festival opened by Lamberto Avellana's musical Golden Salakot: Isang Dularawan, an epic portrayal of Panay Island.

Among those who attended the inaugural night were California Governor Ronald Reagan and his wife, Nancy, both representing United States President Richard Nixon.

When Filipino Margie Moran won the 1973 Miss Universe Pageant, the Philippine Government agreed to stage the succeeding year's contest, and plans for an amphitheater commenced.

Weeks of planning and discussions resulted in the commissioning of the Folk Arts Theater (Now the Tanghalang Francisco Balagtas), an open-air but roofed structure that could seat up to 10,000 people.

Construction of the new theater, which was also designed by Leandro Locsin, was completed in a record 77 days and was inaugurated in July 1972 with the grand parade, "Kasaysayan ng Lahi" ("History of the Race").

Designed by Froilan Hong, the structure was built on a strict critical path schedule requiring 4,000 workers working in 3 shifts across 24 hours.

The financial and human costs of constructing these buildings, in a time of widespread poverty and corruption, was seen as symptomatic of the First Lady's edifice complex, a charge Imelda has nevertheless welcomed in her later years.

Together with its vice president, Florendo Garcia, the new leadership consulted with various stakeholders to formulate a new direction for the CCP and officially redefine its mission and objectives in pursuit of "a Filipino national culture evolving with and for the people.

From 1972, the CCP administered the Order of the National Artists, which is the highest recognition the government of the Philippines gives to individuals who made significant contributions to the development of arts in the country.

The Pasinaya festival features performing arts group from all over the country, led by the center's resident companies, in a one-day showcase of local talent entirely held in the Tanghalang Pambansa's numerous venues.

The theater, which was also designed by Leandro V. Locsin, sits on a square plan dominated by a soaring pyramidal roof clad in clay tiles, a more literal interpretation of indigenous Filipino architecture when compared to the architect's previous works for the CCP.

In response to the need to widen its audience for the arts and to bring its programs closer to the people, the CCP has established a programmatic partnership with the Assumption Antipolo and De La Salle Santiago Zobel School in Alabang, Muntinlupa.

As CCP's Satellite Venues in the East and the South, these institutions commit to benefiting from the exchange of goodwill and assistance through move-over productions, performances, and artistic training workshops.

The De La Salle Santiago Zobel School established the Angelo King Center for the Performing Arts in 2000 to support the holistic development of its students.