HUMANITIES

GRADE 12-NAT REVIEW

Directions:Read the
following selections
carefully. Shade the circle
which corresponds to your
answer on your Answer
Sheet.
For items 1-3
According to research conducted by the National
Commission for Culture and the Arts, the T’boli woman
creates the traditional t’nalak cloth without the use of fixed
patterns or guides, but rather incorporates the mental
images she receives through her dreams, handed down by
her ancestors. The said design is handed down within every
weaver’s family, but it is not primarily shared within the
community. The cloth is primarily adorned with motifs,
such as the g’mayaw bird, the frog, and the dancing man. It
is made from abaca fibers, and hand-dyed using pigments
from plants and trees. It is coated with beeswax, and
buffed with a conch.
1.Which province in the
Philippines did the t’nalak
originate?
a. Jolo
b. Tawi-tawi
c. Davao Del Sur
d. South Cotabato
1.Which province in the
Philippines did the t’nalak
originate?
a. Jolo
b. Tawi-tawi
c. Davao Del Sur
d. South Cotabato
2. Why do the weavers coat the cloth with beeswax,
and buff it with a conch?
a. Bees are considered sacred animals in
the T’boli culture.
b. Their ancestors whispered in their
dreams to buff the cloth with a conch.
c. They believe that the voices of spirits
stored in the conch will protect the cloth.
d. They believe that the application of
beeswax will give the cloth a smooth
sheen.
2. Why do the weavers coat the cloth with beeswax,
and buff it with a conch?
a. Bees are considered sacred animals in
the T’boli culture.
b. Their ancestors whispered in their
dreams to buff the cloth with a conch.
c. They believe that the voices of spirits
stored in the conch will protect the cloth.
d. They believe that the application of
beeswax will give the cloth a smooth
sheen.
3. Based on the passage, what could be inferred
about the designs shown in the t’nalak cloth?
a. The ancestors of all weavers tell the same
message.
b. The design of the t’nalak cloth differs from
one family to the next.
c. The weavers talk about their dreams during
the creation of the cloth.
d. The design shown in the cloth is more
modern today than what was produced back
then.
3. Based on the passage, what could be inferred
about the designs shown in the t’nalak cloth?
a. The ancestors of all weavers tell the same
message.
b. The design of the t’nalak cloth differs from
one family to the next.
c. The weavers talk about their dreams during
the creation of the cloth.
d. The design shown in the cloth is more
modern today than what was produced back
then.
For items 4-6
The development of Philippine Art comes from
traditions. Early Filipinos used local materials such
as anahaw, bamboo, cogon, rattan and other light
materials available in the surroundings. Spain
replaced indigenous arts with Western art forms,
mainly for propagating Christianity and
maintaining power for the colonization. However,
the art in the country did not result in a pure
Western art but a mix of Western and indigenous
art.
4. Evidence of Philippine art works are manifested
through the use of local materials and it is
influenced in Spanish and American Colonization.
Based on the reading, what is the most effective
art?
a. The use of low-cost materials
b. The use of creativity and style
c. The use of Western influence
d. The use of mixture of indigenous and
Western influence
4. Evidence of Philippine art works are manifested
through the use of local materials and it is
influenced in Spanish and American Colonization.
Based on the reading, what is the most effective
art?
a. The use of low-cost materials
b. The use of creativity and style
c. The use of Western influence
d. The use of mixture of indigenous and
Western influence
5. Philippine art is a mixture of Western and
localized indigenous materials. No pure creation but
based on available local materials with Western art
forms. What is the most effective way in developing
Philippine art?
a. Artist produces complex design and style.
b. Artist puts personal touches in every art work.
c. Artist produces only on contemporary way of
art.
d. Artist produces an art output depicting
mixture of influences.
5. Philippine art is a mixture of Western and
localized indigenous materials. No pure creation but
based on available local materials with Western art
forms. What is the most effective way in developing
Philippine art?
a. Artist produces complex design and style.
b. Artist puts personal touches in every art work.
c. Artist produces only on contemporary way of
art.
d. Artist produces an art output depicting
mixture of influences.
6. Technological innovations twist the style and design of
Philippine artwork from early to contemporary times. It
reflects the Philippine culture and society through its
expressions, themes, and methodologies. In what way
can we improve good art in the Philippines?
a. The establishment of art galleries.
b. The production of non-conventional themes.
c. The enhancement of art education in the
curriculum.
d. The establishment of art association in the
Philippine
6. Technological innovations twist the style and design of
Philippine artwork from early to contemporary times. It
reflects the Philippine culture and society through its
expressions, themes, and methodologies. In what way
can we improve good art in the Philippines?
a. The establishment of art galleries.
b. The production of non-conventional themes.
c. The enhancement of art education in the
curriculum.
d. The establishment of art association in the
Philippine
For items 7-9
In 2015, Jerrold Tarog, together with Artikulo Uno, created the
film “Heneral Luna” that details Gen. Antonio Luna’s assassination
during his service as Supreme Chief on the Philippine Revolutionary
Army. Shown below is scene from the said film:

Many critics have found great similarities with Juan Luna’s Spoliarium
with the film attached above. During the Madrid Exposition of 1884,
the Spoliarium won the first gold medal, while Felix Ressureccion
Hidalgo’s Virgenes Cristianas Expuestas al Populacho garnered the
silver medal.
7. What is the main message that Luna is trying
to convey through the Spoliarium?
a. The rampant presence of violence in the
streets of Rome.
b. The colonial oppression of the indigenous
populations.
c. The insignificant role of women during the
pre-Hispanic times.
d. The immediate passing of time and of life.
.
7. What is the main message that Luna is trying
to convey through the Spoliarium?
a. The rampant presence of violence in the
streets of Rome.
b. The colonial oppression of the indigenous
populations.
c. The insignificant role of women during the
pre-Hispanic times.
d. The immediate passing of time and of life.
.
8. What primarily inspired Jerrold Tarog to refer to
the Spoliarium in his film “Heneral Luna”?
a. The fact that Antonio and Juan Luna are
brothers.
b. To state that what happened in the past is
also happening in the present.
c. Because Tarog was inspired with Luna’s gold
medal, which he also deeply covets.
d. Because Spoliarium is a famous painting
which Filipinos can immediately recognize.
8. What primarily inspired Jerrold Tarog to refer to
the Spoliarium in his film “Heneral Luna”?
a. The fact that Antonio and Juan Luna are
brothers.
b. To state that what happened in the past is
also happening in the present.
c. Because Tarog was inspired with Luna’s gold
medal, which he also deeply covets.
d. Because Spoliarium is a famous painting
which Filipinos can immediately recognize.
9. In Jose Rizal’s speech for the occasion, he toasted for Luna and
Hidalgo, and said:
“Luna and Hidalgo are the pride of Spain as of the Philippines – though born
in the Philippines, they might have been born in Spain, for genius has no
country; genius bursts forth everywhere; genius is like light and air; the
patrimony of all: cosmopolitan as space, as life and God.”
Beyond Luna and Hidalgo’s triumph in the 1884 Madrid Exposition, what
is Rizal trying to proclaim?
a. That Luna and Hidalgo are brilliant than Spanish painters.
b. That the Philippines is better than any other nation in the
world.
c. That the Philippines deserves to be treated equally like any
other nation.
d. That he is trying to invite the world to come to Philippines and
witness its beauty.
9. In Jose Rizal’s speech for the occasion, he toasted for Luna and
Hidalgo, and said:
“Luna and Hidalgo are the pride of Spain as of the Philippines – though born
in the Philippines, they might have been born in Spain, for genius has no
country; genius bursts forth everywhere; genius is like light and air; the
patrimony of all: cosmopolitan as space, as life and God.”
Beyond Luna and Hidalgo’s triumph in the 1884 Madrid Exposition, what
is Rizal trying to proclaim?
a. That Luna and Hidalgo are brilliant than Spanish painters.
b. That the Philippines is better than any other nation in the
world.
c. That the Philippines deserves to be treated equally like any
other nation.
d. That he is trying to invite the world to come to Philippines and
witness its beauty.
For items 10-12
The Torrogan is the grand ancestral house of the Maranao
royalty where the Datu and his extended family are accommodated.
The house is known for its intricately carved panolong (beam-ends)
with okir designs and laden with decorations that display status, rank,
prestige and wealth. The torogan has remarkable disaster-resilient
features that can be potentially relevant to the community today. It is
designed to resist flood by being elevated to up to 2.21 meters from
the ground using tree strumps. Culturally, it was also utilized as a
venue and space for enthronement during Muslim holidays, secular
and religious festivities. It served as the sultan’s office where he
settles disputes whenever major conflicts between individuals and
families arise. It’s also in the torogan where people in need ask for
help and support of the sultan.
10. Okir motifs found in the interior and exterior of the
Torogan house are designed with carved panolongs,
pakorabong (growing fern) and naga (serpent). What do
these designs imply to the culture of the Maranao
people?
a. It provides the socio-economic profile of the
Maranaos.
b. It shows the extravagance of the Maranaos.
c. It reflects the political hierarchy of the
Maranaos.
d. It demonstrates the creativeness of the
Maranaos.
10. Okir motifs found in the interior and exterior of the
Torogan house are designed with carved panolongs,
pakorabong (growing fern) and naga (serpent). What do
these designs imply to the culture of the Maranao
people?
a. It provides the socio-economic profile of the
Maranaos.
b. It shows the extravagance of the Maranaos.
c. It reflects the political hierarchy of the
Maranaos.
d. It demonstrates the creativeness of the
Maranaos.
11. The purpose of the torogan house has evolved
throughout the time from being the ancestral house of the
royalty to being a place for the community to benefit from.
Given the information above, which of the following
statements does NOT indicate the purpose of the torogan
to the community?
a. It is a place for enthronement and celebrations.
b. It serves as a place to perform community rituals.
c. It serves as a venue to discuss affairs of the
people.
d. It is utilized as a space where people can ask
support.
11. The purpose of the torogan house has evolved
throughout the time from being the ancestral house of the
royalty to being a place for the community to benefit from.
Given the information above, which of the following
statements does NOT indicate the purpose of the torogan
to the community?
a. It is a place for enthronement and celebrations.
b. It serves as a place to perform community rituals.
c. It serves as a venue to discuss affairs of the
people.
d. It is utilized as a space where people can ask
support.
12. Today, the Philippines have been experiencing
calamities and disasters. The torogan house has
contributed on how buildings can be disaster-resilient.
Based from the architectural structure of the torogan
house, what is the characteristic that makes it disaster-
resilient?
a. It uses wood shingle roofs.
b. It uses elevated tree stumps.
c. It uses round boulders that serve as rollers.
d. Its elevated flooring gives support to the
structure.
12. Today, the Philippines have been experiencing
calamities and disasters. The torogan house has
contributed on how buildings can be disaster-resilient.
Based from the architectural structure of the torogan
house, what is the characteristic that makes it disaster-
resilient?
a. It uses wood shingle roofs.
b. It uses elevated tree stumps.
c. It uses round boulders that serve as rollers.
d. Its elevated flooring gives support to the
structure.
For items 13-15

Pan de San Nicholas originated from St. Nicolas, one of the

most beloved saints of Pampanga, the culinary capital of the
Philippines. It uses different wooden cookie molds and such molds
tell which family in Pampanga they originated from. The longer,
oval and harp shaped cookie molds belonged to the Lansangan
family, who is immersed in music. The leaf shaped molds belonged
to the Hizon families, who were vast landowners. Likewise, the
circular round molds were to the Bustos and Madrid families, from
another part of the province. According, to folklore, the heirloom
recipe was made patiently by rolling the dough, baked carefully,
stored in large jars and when illness struck were fed to the ailing
person, with an accompanying prayer.
13. The manlilikhas of Pan de San Nicolas is
renowned for their craft which defines their
distinct culture but also reflects Filipino
values. Hence, what outstanding
characteristic may be attributed to the
Filipinos are exhibited by the manlilikhas?
a. hard-work b. creativity
c. patience d. determination
13. The manlilikhas of Pan de San Nicolas is
renowned for their craft which defines their
distinct culture but also reflects Filipino
values. Hence, what outstanding
characteristic may be attributed to the
Filipinos are exhibited by the manlilikhas?
a. hard-work b. creativity
c. patience d. determination
14. The Pan de Nicolas uses different
wooden cookie molds which tells
where it originated from. The cookie
molds also got its inspiration from its
patron saint, San Nicolas. From what
province did San Nicolas come from?
a. Tarlac b. Bulacan
c. Pampanga d. Pangasinan
14. The Pan de Nicolas uses different
wooden cookie molds which tells
where it originated from. The cookie
molds also got its inspiration from its
patron saint, San Nicolas. From what
province did San Nicolas come from?
a. Tarlac b. Bulacan
c. Pampanga d. Pangasinan
15. Pan de Nicolas is an exceptional piece of folk art. Such
art tradition has been around the centuries. Hence, it is
deemed important that such artistic traditions must be
handed down to the next generation. How will you help
preserve such artistic tradition?
a. Attend formal art schooling that offers artistic
tradition.
b. Participate in workshops and seminars to acquire
skills.
c. Interview the renowned artists for such artistic
tradition.
d. Immense in the community where artistic tradition
originated.
15. Pan de Nicolas is an exceptional piece of folk art. Such
art tradition has been around the centuries. Hence, it is
deemed important that such artistic traditions must be
handed down to the next generation. How will you help
preserve such artistic tradition?
a. Attend formal art schooling that offers artistic
tradition.
b. Participate in workshops and seminars to acquire
skills.
c. Interview the renowned artists for such artistic
tradition.
d. Immense in the community where artistic tradition
originated.
For items 16-18
Ryan Villamael is a young artist known for reliving the art of
paper cutting. He earned the Fernando Zobel Prize for Visual
Arts at the 2015 Ateneo Art Awards because of his artwork,
“Isles.” He was also able to showcase “Locus Amoenus” at the
Singapore Biennale 2016. He grew up, fostered into care by his
mother, who is a scientist; and his father who is am overseas
contract worker. Shown below is a shot of “Locus Amoenus”:
16. From which province in the
Philippines has paper cutting,
particularly that of pastillas wrapper,
been recognized as an established art
form?
a. Quirino b. Bulacan
c. La Union d. Guimaras
16. From which province in the
Philippines has paper cutting,
particularly that of pastillas wrapper,
been recognized as an established art
form?
a. Quirino b. Bulacan
c. La Union d. Guimaras
17. Based on Villamael’s short biographical information,
what is he trying to communicate as he creates his artworks
through maps?
a. He proves to the world that he can go to
different places.
b. He remembers his father and where he
could possibly travel with him.
c. He wants to be unique and be renowned
as the first person to cut out maps.
d. He wants the Philippine map to be
translated to globally recognized medium.
17. Based on Villamael’s short biographical information,
what is he trying to communicate as he creates his artworks
through maps?
a. He proves to the world that he can go to
different places.
b. He remembers his father and where he
could possibly travel with him.
c. He wants to be unique and be renowned
as the first person to cut out maps.
d. He wants the Philippine map to be
translated to globally recognized medium.
18. In 2015, Kenneth Cobonpue designed “Sama-sama” (A) as the presidential token for the
heads of the member nations during the Asia-Pacific Economic Cooperation Summit 2015.
It was highly compared to Ryan Villamael’s “Isles” (B), which won earned him the Fernando
Zobel Prize for Visual Arts at the 2015 Ateneo Art Awards.

(A) Cobonpue’s “Sama-sama” (B) Villamael’s “Isles”

In Villamael’s interview with inquirer, he mentioned that, “I know that Kenneth is very much
against intellectual dishonesty, and he has always been a great role model for Western and
Oriental creatives alike”. Based on this recount, what is Villamael trying to convey?
a. Given that the issue is mired with controversy, he gave a clear message of disrespect.
b. He states that Cobonpue should not be given a chance to provide his side of the story.
c. Villamael regards Cobonpue is a brilliant artist.
d. Cobonpue’s artwork must be contained in global scene and not in the Philippines.
18. In 2015, Kenneth Cobonpue designed “Sama-sama” (A) as the presidential token for the
heads of the member nations during the Asia-Pacific Economic Cooperation Summit 2015.
It was highly compared to Ryan Villamael’s “Isles” (B), which won earned him the Fernando
Zobel Prize for Visual Arts at the 2015 Ateneo Art Awards.

(A) Cobonpue’s “Sama-sama” (B) Villamael’s “Isles”

In Villamael’s interview with inquirer, he mentioned that, “I know that Kenneth is very much
against intellectual dishonesty, and he has always been a great role model for Western and
Oriental creatives alike”. Based on this recount, what is Villamael trying to convey?
a. Given that the issue is mired with controversy, he gave a clear message of disrespect.
b. He states that Cobonpue should not be given a chance to provide his side of the story.
c. Villamael regards Cobonpue is a brilliant artist.
d. Cobonpue’s artwork must be contained in global scene and not in the Philippines.
For items 19-21

Kut-kut Art is an ancient Philippines art style and technique

based on late 15th century art forms. It is a technique combining
ancient Oriental and European art process. This technique is
based on combination of sgraffito, encaustic and layering. The
merging of these ancient styles produces a unique artwork
characterized by delicate swirling interwoven lines, multi-
layered texture and an illusion of three-dimensional space.
Further, the technique was practices by the indigenous people of
Samar Island between early 1600 and late 1800 A.D. Kut kut is
considered lost art and highly collectible art form because very
few known art pieces exist today.
19. Which of the following statements is NOT
inferred from given text?
a. Kut-kut is technique based on
sgraffito.
b. Kut-kut is an ancient form of a
visual art.
c. Kut-kut is created by using
intertwined lines.
d. Kut-kut is practiced by the
indigenous people of Samar.
19. Which of the following statements is NOT
inferred from given text?
a. Kut-kut is technique based on
sgraffito.
b. Kut-kut is an ancient form of a
visual art.
c. Kut-kut is created by using
intertwined lines.
d. Kut-kut is practiced by the
indigenous people of Samar.
20. What art techniques are involved in
the practice of Kut-kut Art?

a. sigraffito encaustic and layering

b. sargafitto, acoustic, and
layering
c. sgraffito, encaustic and layering
d. sagraffito, encausting and
layering
20. What art techniques are involved in
the practice of Kut-kut Art?

a. sigraffito encaustic and layering

b. sargafitto, acoustic, and
layering
c. sgraffito, encaustic and layering
d. sagraffito, encausting and
layering
21. Based on the given text,
where was Kut-kut Art
practiced?
a. Samal Island
b. Samoa Island
c. Samar Island
d. Samat Island
21. Based on the given text,
where was Kut-kut Art
practiced?
a. Samal Island
b. Samoa Island
c. Samar Island
d. Samat Island
For items 22-24
According to Frederick Sanger, “Through art and science in
their broadest senses, it is possible to make a permanent
contribution towards the improvement and enrichment of human
life. “Art conservation laboratories, like those at the Lopez
Conservation Center in Manila, examine, analyze, and treat
artworks using x-ray equipment, polarizing microscopes, and leaf
casting machines.
Conservators are artists in their own rights, as they do not
only understand the physical and chemical conditions, but also
the historical contexts of the artworks, and of their cultural
significance. The conservators at the Lopez Conservation Center
follow the “less-is-more” policy in the conservation measures
22. The 1887 print of Jose Rizal’s Noli Me Tangere
from Berlin has been found. Which of the following
sources of information will art conservators most
likely consider as they try to preserve the said
document?
a. The fibers of paper used.
b. The biography of Jose Rizal.
c. The environment of modern Berlin.
d. The absence of the second page in the
book.
22. The 1887 print of Jose Rizal’s Noli Me Tangere
from Berlin has been found. Which of the following
sources of information will art conservators most
likely consider as they try to preserve the said
document?
a. The fibers of paper used.
b. The biography of Jose Rizal.
c. The environment of modern Berlin.
d. The absence of the second page in the
book.
23. In order to ensure that the artworks restored in the
conservation center are authentic, art conservators subject the
artworks in various processes. Why is it important to ensure the
documents authenticity?
a. Because art conservators believe that those
artworks are products of history.
b. Because art conservators are paid to ensure that the
documents are authenticated.
c. So that art conservators would know what art
conservation method they are going to apply.
d. So that art conservators would not waste time in
trying to preserve a placebo document.
23. In order to ensure that the artworks restored in the
conservation center are authentic, art conservators subject the
artworks in various processes. Why is it important to ensure the
documents authenticity?
a. Because art conservators believe that those
artworks are products of history.
b. Because art conservators are paid to ensure that the
documents are authenticated.
c. So that art conservators would know what art
conservation method they are going to apply.
d. So that art conservators would not waste time in
trying to preserve a placebo document.
24. Why do you think the conservators at the Lopez
Conservation Center in Manila follow the “less-is-more” policy
in the conservation measures they implement?
a. The conservators do not have the skills to paint like
painters.
b. The Philippines does not have the mechanisms
required to fully restore an artwork.
c. The conservators ensure that the artworks look like
they have been refurbished.
d. Restoring an artwork takes a lot of time, and
conservators have a lot of artworks to mend.
24. Why do you think the conservators at the Lopez
Conservation Center in Manila follow the “less-is-more” policy
in the conservation measures they implement?
a. The conservators do not have the skills to paint like
painters.
b. The Philippines does not have the mechanisms
required to fully restore an artwork.
c. The conservators ensure that the artworks look like
they have been refurbished.
d. Restoring an artwork takes a lot of time, and
conservators have a lot of artworks to mend.
For items 25-27

In 2015 the Tesoros Group CE, spearheaded by

Maria Isabel “Beng” Tesoro, initiated “Disenyo at
Talento”, which aims to promote local talents who
define “the new and revitalized Filipino.” In the said
exhibition, Mary Velmonte, founded “The Takatak
Project” together with her friends Missy Galang and
Claude Rodrigo Canete. Together they started to create
handicrafts made out of paper mache, and as the
photos on the right show, are formed to mimic the
shapes of animals.
25. The Takatak Project tries to revive a
traditional art form in the Philippines
called the “taka.” Which province in the
Philippines did the “taka” originate?
a. Baguio
b. Laguna
c. Tacloban
d. Sorsogon
25. The Takatak Project tries to revive a
traditional art form in the Philippines
called the “taka.” Which province in the
Philippines did the “taka” originate?
a. Baguio
b. Laguna
c. Tacloban
d. Sorsogon
26. In the 1920’s, Maria Bangue covered wooden molds of
horses with strips of paper doused with paste. This is the
first documentation on the production of “taka.” During
the American colonization period, from 1898 to 1946, an
excess of newsprint became available in the municipality.
How will the abundant supply of newsprint affect the
production of “taka” in Bangue’s municipality?
a. More “taka” will be produced
b. Lesser “taka” will be produced
c. The people will get hired as news writers.
d. The people will create more new articles about
“taka”
26. In the 1920’s, Maria Bangue covered wooden molds of
horses with strips of paper doused with paste. This is the
first documentation on the production of “taka.” During
the American colonization period, from 1898 to 1946, an
excess of newsprint became available in the municipality.
How will the abundant supply of newsprint affect the
production of “taka” in Bangue’s municipality?
a. More “taka” will be produced
b. Lesser “taka” will be produced
c. The people will get hired as news writers.
d. The people will create more new articles about
“taka”
27. The Takatak Project has three main initiatives, namely: (a) To
update the traditional “taka”, (b) to educate young Filipinos about
the “taka”; and (c) To arrange discussions with traditional makers
and contemporary artists interested in making “taka.” Based on
these initiatives, what will most likely happen to the “taka”
industry?
a. The price range of the “taka” shall rise because of its
popularity.
b. The traditional “taka” will entirely be replaced with modern
designs.
c. The traditional makers of the “taka” will be given lesser jobs
d. The young people will most likely know what “taka” is.
27. The Takatak Project has three main initiatives, namely: (a) To
update the traditional “taka”, (b) to educate young Filipinos about
the “taka”; and (c) To arrange discussions with traditional makers
and contemporary artists interested in making “taka.” Based on
these initiatives, what will most likely happen to the “taka”
industry?
a. The price range of the “taka” shall rise because of its
popularity.
b. The traditional “taka” will entirely be replaced with modern
designs.
c. The traditional makers of the “taka” will be given lesser jobs
d. The young people will most likely know what “taka” is.
For items 28-30

1 Land of the morning

2 Child of the sun returning,
3 With fervor burning,
4 Thee do our souls adore.
5 Land, dear and holy,
6 Cradle of noble heroes,
7 Ne’er shall invaders
8 Trample thy sacred shore
28. Line number 4 can be associated
to a figure of speech called _______.
a. simile
b. metaphor
c. metonymy
d. personification
28. Line number 4 can be associated
to a figure of speech called _______.
a. simile
b. metaphor
c. metonymy
d. personification
29. Line number 5-8 state that the
Philippines is a land of brave and free
people. These lines suggest that Filipino
should possess_____.
a. charity
b. heroism
c. patriotism
d. compassion
29. Line number 5-8 state that the
Philippines is a land of brave and free
people. These lines suggest that Filipino
should possess_____.
a. charity
b. heroism
c. patriotism
d. compassion
30. Based on the text, which of the following is likely
to happen when invaders attacked the Philippines?

a. Filipinos will fight back when invaded.

b. Invaders will never attack the Philippines.
c. No invader will dare conquer the
Philippines.
d. Invaders can never set their foot on
Philippine soil.
30. Based on the text, which of the following is likely
to happen when invaders attacked the Philippines?

a. Filipinos will fight back when invaded.

b. Invaders will never attack the Philippines.
c. No invader will dare conquer the
Philippines.
d. Invaders can never set their foot on
Philippine soil.
For items 31-33
Literary Period Pre-Colonial Spanish American Japanese Contemporary
Characteristic Based on oral Religious and Imitated English Fiction prevailed Martial Law
traditions, Crude secular and American over poetry repressed and
on ideology and models curtailed human
phraseology rights, including
freedom of the
press. Writers
used symbolisms
and allegories to
drive home their
message, at the
face of heavy
censorship. From
the eighties
onwards, writers
continue to show
dynamism and
innovation.
Literary Form Oral Literature Written literature Poetry and Fiction Fiction Poetry and Fiction
Performance Performance
(Oral) (Drama)
31. What title best describe the chart?
a. Literary history of the Philippines
b. The history of Philippine Arts and
Literature
c. Philippine Literature: Its
Characteristics and form
d. Philippine Literature through Time:
characteristics and Form
31. What title best describe the chart?
a. Literary history of the Philippines
b. The history of Philippine Arts and
Literature
c. Philippine Literature: Its
Characteristics and form
d. Philippine Literature through Time:
characteristics and Form
32. Below is a chart classifying the literary forms of each
period into prose and poetry:
PROSE POETRY
Spanish Pre-Colonial
American Spanish
Japanese American
Contemporary Contemporary

On what periods of history did both literary forms exist?

a. Spanish, Pre-Colonial, Contemporary
b. American, Spanish, Contemporary
c. American, Spanish, Japanese
d. Spanish, Japanese, American
32. Below is a chart classifying the literary forms of each
period into prose and poetry:
PROSE POETRY
Spanish Pre-Colonial
American Spanish
Japanese American
Contemporary Contemporary

On what periods of history did both literary forms exist?

a. Spanish, Pre-Colonial, Contemporary
b. American, Spanish, Contemporary
c. American, Spanish, Japanese
d. Spanish, Japanese, American
33. Based on the chart, which statement best describe the
linguistic and ethnic dimension of Philippine Literature?
a. Philippine Literature is based on the origin of the
literary piece of colonizers.
b. Philippine Literature varies through time brought by
the colonizer’s influence.
c. Linguistic and ethnic characteristic of colonizer’s
literature greatly affects Philippine Literature.
d. Linguistic and ethnic characteristic of the colonizer’s
literature do not affect Philippine Literature in any
way.
33. Based on the chart, which statement best describe the
linguistic and ethnic dimension of Philippine Literature?
a. Philippine Literature is based on the origin of the
literary piece of colonizers.
b. Philippine Literature varies through time brought by
the colonizer’s influence.
c. Linguistic and ethnic characteristic of colonizer’s
literature greatly affects Philippine Literature.
d. Linguistic and ethnic characteristic of the colonizer’s
literature do not affect Philippine Literature in any
way.
For items 34-36, analyze the text below:

A B
I am a love of quietness – When I was one-and-twenty
Unechoed songs within a I heard a wise man say,
silent heart, “Give crowns and pounds and
A silver pond, a statued guineas
loveliness But not your heart away;
Give pearls away and rubies
Where words can take no But keep you fancy free.”
part. But I was one-and twenty
No use to talk to me.
-taken from QUIETNESS by Amador T. Daguio
-taken from WHEN I WAS ONE-AND TWENTY by A.E.Housman
34. Comparing the texts above, in
what element of poem did the two
differ?
a. line
b. meter
c. rhyme
d. tone
34. Comparing the texts above, in
what element of poem did the two
differ?
a. line
b. meter
c. rhyme
d. tone
35. Which of the following best describes the
structure of poem A?
a. The text uses varied umber of words per line
b. The choice of words involves a number of
syllables per line.
c. The choice of words are arranged and formed
to ensure unity in form.
d. The text’s emotional appeal is reflected
through careful choice of words.
35. Which of the following best describes the
structure of poem A?
a. The text uses varied umber of words per line
b. The choice of words involves a number of
syllables per line.
c. The choice of words are arranged and formed
to ensure unity in form.
d. The text’s emotional appeal is reflected
through careful choice of words.
36. What is the effect of inconsistent number of syllables
per line on the aesthetic value of the two poems?
a. It affects the aesthetic value of the poem because of the
careful usage of language.
b. It does not affect the aesthetic value of the poem because
of the careful usage of language.
c. It affects the aesthetic value of the poems because of its
careful usage of language and meaning
d. It does not affect the aesthetic value of the poem because
of the careful usage of language and meaning.
36. What is the effect of inconsistent number of syllables
per line on the aesthetic value of the two poems?
a. It affects the aesthetic value of the poem because of the
careful usage of language.
b. It does not affect the aesthetic value of the poem because
of the careful usage of language.
c. It affects the aesthetic value of the poems because of its
careful usage of language and meaning
d. It does not affect the aesthetic value of the poem because
of the careful usage of language and meaning.
For items 37, read the following text carefully:

Yet having left the Manila International Airport in a pink

cloud of despedidas and sampaguita garlands and
pabilin, the dream turns into a nightmare very quickly.
But why? Because the first bastion of the Filipino spirit is
the palate. And in all the palaces and fleshpots and
skyscrapers of that magic world called “abroad”, there
is no Patis to be had.
-taken from Where’s the Patis by Carmen Guerrero Nakpil
37. Which of the following statements represents the idea
of passage?
1. Life is full of surprises. Patis is all over the world!
2. There is no place like home. Nowhere in the world
Patis found.
3. Home is where the heart is. Patis can only be found
in the Philippines.
4. What has been done cannot be undone. There is no
way to have Patis in a foreign land.
a. 1 and 2 c. 2 and 3
b. 1 and 3 d. 2 and 4
37. Which of the following statements represents the idea
of passage?
1. Life is full of surprises. Patis is all over the world!
2. There is no place like home. Nowhere in the world
Patis found.
3. Home is where the heart is. Patis can only be found
in the Philippines.
4. What has been done cannot be undone. There is no
way to have Patis in a foreign land.
a. 1 and 2 c. 2 and 3
b. 1 and 3 d. 2 and 4
For items 38-39, study the following descriptions of prose and poetry.

Characteristics of Prose and Poetry: (a) used

creative modes of expression (b) resemblance
to everyday speech pattern (c) use of limited
words (d) source of learning (e) aesthetic
quality (f) measured and controlled (g) free-
flow of sentences (h) unmeasured (i)
manifestation of creative thinking
38. Using the descriptions, which word series, illustrates
characteristics of poetry?
a. used creative modes of expression, free flow
of sentences, manifestation of creative thinking
b. aesthetic quality, use of limited words, measured and
controlled
c. resemblance to everyday speech patterns,
unmeasured, source of learning
d. source of learning, aesthetic quality, manifestation of
creative thinking
38. Using the descriptions, which word series, illustrates
characteristics of poetry?
a. used creative modes of expression, free flow
of sentences, manifestation of creative thinking
b. aesthetic quality, use of limited words, measured and
controlled
c. resemblance to everyday speech patterns,
unmeasured, source of learning
d. source of learning, aesthetic quality, manifestation of
creative thinking
39. Using the description listed above,
what concept flow can be derived from it?
1. Prose >>> free flow of sentence >>> unmeasured >>> resemblance to everyday
speech pattern
2. Poetry >>> aesthetic quality>>> source of learning >>> used creative modes of
expressions
3. Poetry>>> manifestation of creative thinking >>> used of creative modes of
expressions >>> unmeasured
4. Prose >>> measured and controlled>>> use of limited words >>> source of
learning

a. 1 and 3 c. 2 and 3
b. 1 and 2 d. 3 and 4
39. Using the description listed above,
what concept flow can be derived from it?
1. Prose >>> free flow of sentence >>> unmeasured >>> resemblance to everyday
speech pattern
2. Poetry >>> aesthetic quality>>> source of learning >>> used creative modes of
expressions
3. Poetry>>> manifestation of creative thinking >>> used of creative modes of
expressions >>> unmeasured
4. Prose >>> measured and controlled>>> use of limited words >>> source of
learning

a. 1 and 3 c. 2 and 3
b. 1 and 2 d. 3 and 4
For items 40-42.

The monkey volunteered to get the fruit for the

turtle. When he was up there, he did not care to go
down anymore. He ate everything. He was so full that
he slept with a banana in his mouth. This made the
turtle very mad.
Silently, the turtle plante bamboo sticks around the
banana stalk. When the monkey turned on his side, he
fell and was at once impaled. Helplessly, the monkey
agonizingly died.
-taken from The Monkey and The Turtle, a Bilaan folktale from an Analysis of Three Bilaan Folktales, Mindanao
Journal 1,2(Oct –Dec. 1974) by Theresa D. Balayon
40. Based on the text, which of the following
statements is TRUE?
a. The monkey did get the fruit but forgot to give the
fruits to turtle.
b. The turtle gets mad and was able to think of a plan
to get even with the turtle.
c. The monkey did not get the fruit for the turtle after
collecting and eating all the fruits
d. The turtle was tricked by the monkey, believing that
the latter will give the fruits to him
40. Based on the text, which of the following
statements is TRUE?
a. The monkey did get the fruit but forgot to give the
fruits to turtle.
b. The turtle gets mad and was able to think of a plan
to get even with the turtle.
c. The monkey did not get the fruit for the turtle after
collecting and eating all the fruits
d. The turtle was tricked by the monkey, believing that
the latter will give the fruits to him
41. Filipinos are known to be social in nature. Which
of the following statements reflects this
characteristics as reflected from the above Bilaan
folktale?
a. The monkey did not care to go down anymore.
b. The turtle gladly accepts the offer of the monkey.
c. The monkey volunteered to get the fruit for the
turtle.
d. The turtle planted bamboo stakes around the
banana stalk.
41. Filipinos are known to be social in nature. Which
of the following statements reflects this
characteristics as reflected from the above Bilaan
folktale?
a. The monkey did not care to go down anymore.
b. The turtle gladly accepts the offer of the monkey.
c. The monkey volunteered to get the fruit for the
turtle.
d. The turtle planted bamboo stakes around the
banana stalk.
42. Which statement generalized the context of the Bilaan
folktale as reflected in the text?
a. Bilaan uses folktales to expose the different
characteristics of its people.
b. Bilaan narrates in its folktales the different
daily encounters of its people.
c. Bilaan folktales generally convey and describe
the humanity of its people.
d. Bilaan recognizes in its folktales the strength
and weaknesses of its people.
42. Which statement generalized the context of the Bilaan
folktale as reflected in the text?
a. Bilaan uses folktales to expose the different
characteristics of its people.
b. Bilaan narrates in its folktales the different
daily encounters of its people.
c. Bilaan folktales generally convey and describe
the humanity of its people.
d. Bilaan recognizes in its folktales the strength
and weaknesses of its people.
For items 43-45.

Realizing that my world literature course may possibly be the only one of its
kind that many students will take, my challenge as a new professor was configuring
a one-semester course that maximizes the intellectual rewards of world literature. It
is still quite common to encounter the “great books” model, the idea that world
literature is an aggregate of what Margaret Cohen calls the “great unread.” The peril
of this approach is that it turns world literature into the instrument of some
perfunctory “multiculturalism” that requires little mental labor from students,
reducing them to impassive cultural tourists. Instead of this approach, world
literature courses at the introductory and general level must unsettle students by
making them “unthink” their worldviews, or at the very least be conscious of them.
World literature must show them the synergies between the local, national,
regional, and global.
-taken from The Local as the Global: Reflections on Teaching World Literature
by Emad Mirmotahari
Source: https://www.worldliteraturetoday.org/2016/may/local-global-refelctions-teaching-world-literature
emad-mimotahari
43. Based on the given text, which of the following
statements is NOT TRUE?
a. Reading the Great Books is still effective in studying
World Literature.
b. Reading the Great Books is no longer effective in
studying World Literature.
c. Making students “Unthink” their world view is
effective in studying World Literature.
d. Making students “Unthink” their world view is
synergy in studying World Literature.
43. Based on the given text, which of the following
statements is NOT TRUE?
a. Reading the Great Books is still effective in studying
World Literature.
b. Reading the Great Books is no longer effective in
studying World Literature.
c. Making students “Unthink” their world view is
effective in studying World Literature.
d. Making students “Unthink” their world view is
synergy in studying World Literature.
44. The writer of the essay claims that the following statement is true
EXCEPT
a. Reading “great books” has its share of advantages and
disadvantages in teaching World Literature.
b. The approach of “unthinking” world context will unsettle
students, making them received intellectual rewards.
c. Synergies between the local, national, regional and
global context can be achieved through “great books”
approach.
d. Synergies between the local, national, regional and
global context can be achieved through “great unread”
approach.
44. The writer of the essay claims that the following statement is true
EXCEPT
a. Reading “great books” has its share of advantages and
disadvantages in teaching World Literature.
b. The approach of “unthinking” world context will unsettle
students, making them received intellectual rewards.
c. Synergies between the local, national, regional and
global context can be achieved through “great books”
approach.
d. Synergies between the local, national, regional and
global context can be achieved through “great unread”
approach.
45. What context can the learners of the 21st Century
World Literature generate from the text?
a. “Unthinking” approach manages the peril of the
“great books” approach.
b. “Great Books” approach manages the peril of the
“unthinking” approach.
c. World literature can be best taught and learned
through “great books” approach.
d. World literature can be best taught and learned
through “unthinking” approach.
45. What context can the learners of the 21st Century
World Literature generate from the text?
a. “Unthinking” approach manages the peril of the
“great books” approach.
b. “Great Books” approach manages the peril of the
“unthinking” approach.
c. World literature can be best taught and learned
through “great books” approach.
d. World literature can be best taught and learned
through “unthinking” approach.
For items 46-48.
AETA SUBANON
1. Wearing a crown but not a queen, 3. Apu’s waist band, that no one may
wearing scales but not a fish. borrow (PHYTON)
(PINEAPPLE)
4. When the old dives, his navel is sticking
2. A cave with a jungle knife inside, out. (FISH HOOK)
full of bones but not a grave
(MOUTH)

ISNEG TAGBANWA
5. On Iggat’s thigh, everything is in a rush, 7. I am the sanggiring plant, cut it and it
(HONEY IN A HIVE) lives on. (HAIR)
6. Black stone in Gannad, 8. A big house, surrounded by many
Surrounded by tiny fish (MORTAR) windows (FISHING NET)
46. Which of the following statements conform to the
concept that pre-colonial literature answers and explains
utility and uniqueness of things around us?
a. Riddles are conceptualized to answer the wonders
of simple things.
b. Riddles are made to challenge people of their ability
to think differently.
c. Riddles are fun to play for it trains our mind to think
differently based on reality.
d. Riddles can be a game that sharpens our capacity to
associate things in its characteristics and mystic.
46. Which of the following statements conform to the
concept that pre-colonial literature answers and explains
utility and uniqueness of things around us?
a. Riddles are conceptualized to answer the wonders
of simple things.
b. Riddles are made to challenge people of their ability
to think differently.
c. Riddles are fun to play for it trains our mind to think
differently based on reality.
d. Riddles can be a game that sharpens our capacity to
associate things in its characteristics and mystic.
47. Answers given for each riddle reflect that pre-
colonial literature ______.
a. Completes the identity of every Filipino.
b. Exposes norms and traditions of old times.
c. Makes us understand the many things that
surround us.
d. Explains the beginning of life and or
supernatural heroes.
47. Answers given for each riddle reflect that pre-
colonial literature ______.
a. Completes the identity of every Filipino.
b. Exposes norms and traditions of old times.
c. Makes us understand the many things that
surround us.
d. Explains the beginning of life and or
supernatural heroes.
48. What elements are needed to construct a riddle based
on the given texts?
a. an object to be associated to what is to be
identified
b. the situation commonly engaged to the
associated object
c. the situation common to the community and to
the object to be identified
d. an object familiar to the community to be
associated to what is to be identified
48. What elements are needed to construct a riddle based
on the given texts?
a. an object to be associated to what is to be
identified
b. the situation commonly engaged to the
associated object
c. the situation common to the community and to
the object to be identified
d. an object familiar to the community to be
associated to what is to be identified
THANK YOU & GOD
BLESS EVERYONE!