HUMANITIES

NAT REVIEW – GRADE 12

DIRECTIONS: READ THE SELECTIONS CAREFULLY.
SHADE THE CIRCLE WHICH CORRESPONDS TO YOUR
ANSWER ON YOUR ANSWER SHEET.

HUMANITIES NAT REVIEWER 3/18/2024 2

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 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

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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 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.

2. Why do 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

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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 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.

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

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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 artworks 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 us 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

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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.

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 outs personal touches in every artwork
c. Artist produces only on contemporary way of art.
d. Artist produces an art output depicting mixture of influences.

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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.

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 associations in the Philippines

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FOR ITEMS 7-9.
IN 2015, JERROLD TAROG, TOGETHER WITH ARTIKULO UNO, CREATED THE FILM “HENERAL
LUNA” THAT DETAILS GE. ANTONIO LUNA’S ASSASSINATION DURING HIS SERVICE AS
SUPREME CHIEF ON THE PHILIPPINE REVOLUTIONARY ARMY. SHOWN BELOW IS A SCENE
FROM THE SAID FILM.

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MANY CRITICS HAVE FOUND GREAT SIMILARITIES WITH JUAN LUNA’S SPOLIARIUM WITH
THE FILM ATTACHED ABOVE. FURING THE MADRID EXPOSITION OF 1884, THE SPOLIARIUM
WON THE FIRST GOLD MEDAL, WHILE FELIX RESURRECCION HIDALGO’S VIRGENES
CRISTIANAS EXPUESTAS AL POPULACHO GARNERED THE SILVER MEDAL.

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7. What is the main message that Luna is trying to convey through 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.

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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

HUMANITIES NAT REVIEWER 3/18/2024 12

FOR ITEMS 10-12.
THE TOROGAN 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 STUMPS. 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.

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10. Okir motifs found in the interior and exterior of the Torogan house are designed with carved
panolongs, pakorabong (growing fer) and naga (serpent). What do these designs iply 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

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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 roots.

b. It uses elevated tree stumps.
c. It uses round boulders that serve as rollers.
d. Its elevated flooring gives support to the structure.

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FOR ITEMS 13-15.

PAN DE SAN NICOLAS 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 ACCOMPANYING PRAYER.

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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 as exhibited by the manlilikhas?

a. hard-work
b. Creativity
c. Patience
d. Determination

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14. The Pan de San 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

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15. Pan de San 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. Immerse in the community where artistic tradition originated

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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 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 AN OVERSEAS
CONTRACT WORKER. SHOWN
BELOW IS A SHOT OF LOCUS
AMOENUS.

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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

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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 a globally recognized medium.

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In 2015, Kenneth Cobonpue designed “Sama-sama” as the presidential token for the heads of the
member nations during Asia-Pacific Economic Cooperation Summit 2015. It was highly
compared to Ryan Villamael’s “Isles”, which won earned him the Fernando Zobel Prize for
Visual Arts at the 2015 Ateneo Art Awards.

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18. 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. 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 disrespect.
c. Villamael regards Cobonpue is a brilliant artist.
d. Cobonpue’s artwork must be contained in global scene and not in the Philippines.

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FOR ITEMS 19-21.

KUT-KUT ART IS AN ANCIENT PHILIPPINE ART STYLE AND TECHNIQUE BASED ON LATE 15 TH
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
PRACTISED 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.

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19. Which of the following statements is not inferred from the given text?

a. Kut-kut is a 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

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20. What art techniques are involved in the practice of Kut-kut Art?

a. sigrafitto, encaustic and layering

b. Sargafitto, acoustic and layering
c. Sgraffito, encaustic and layering
d. Sagrafitto, encausting and layering

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21. Based on the given text, where was Kut-kut Art practiced?

a. Samal island
b. Samoa island
c. Samar island
d. Samal island

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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 CONSEVATION 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 RIGHTD, 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 THEY IMPLEMENT.

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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 the paper used

b. The biography of Jose Rizal
c. The environment of modern Berlin
d. The absence of the second page in the book

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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
document’s 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

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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.

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FOR ITEMS 25-27.

IN 2015, THE TESOROS GROUP CE,

SPEARHEADED BY MARIA ISABEL “BENG”
TESORO, INITIATED “DISENYO AT TALENT”,
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
OF PAPER MACHE, AND AS THE PHOTOS
ON THE RIGHT SHOW, ARE FORMED TO
MIMIC THE SHAPES OF ANIMALS.

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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

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26. In the 1920s, 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 news print became available in the
municipality. How will the abundant supply of news print 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 news articles about “taka”

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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 “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.

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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,
28. Line number 4 can be associated to a figure of speech
5 LAND, DEAR AND HOLY
6 CRADLE OF NOBLE HEROES called __________.
7 NE’ER SHALL INVADERS
8 TRAMPLE THY SACRED SHORE
a. Simile
b. Metaphor
c. Metonymy
d. Personification

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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, 29. Lines numbers 5-8 state that the Philippines is a land
5 LAND, DEAR AND HOLY of brave and free people. These lines suggest that
6 CRADLE OF NOBLE HEROES Filipinos should possess ____________.
7 NE’ER SHALL INVADERS
8 TRAMPLE THY SACRED SHORE
a. Charity
b. Heroism
c. Patriotism
d. compassion

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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, 30. Based on the text, which of the following is likely to
5 LAND, DEAR AND HOLY happen when invaders attacked the Philippines?
6 CRADLE OF NOBLE HEROES
7 NE’ER SHALL INVADERS
8 TRAMPLE THY SACRED SHORE 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

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