HUMANITIES

Directions: Read the following selections carefully. Shade the circle which corresponds to your answer on your Answer Sheet.
BEGIN HERE:

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 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 coach.

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 believed 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,

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.

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 form early to contemporary times. It reflects the Philippine
culture and society through its expression, 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 arts 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 Gen. Antonio Luna’s assassination
during his service 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 Resurreccion 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 rote 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.

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 more brilliant than Spanish painters.
B. That the Philippines is better than any other nation in the world.
C. That the Philippines des7ves to be treated equally like any other nation.
D. That he is Wing to invite the world to come to the Philippines and witness its beauty.

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.

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 Maranaos.
D. It demonstrates the creativeness of the Maranaos.

11. The purpose of the torogan house has evolved throughout 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 the affairs of the people.
D. It is utilized as a space where people can ask support.
12. Today, the Philippines have been experiencing calamites 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.
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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 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 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 as exhibited by the manlilihas?
A. hardwork
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

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. Immerse 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 Femando Zobel Prize for Visual Arts at
the 2015 Ateneo Art Awards because of his "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 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

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. ln 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 eamed him the
Femando Zobel Prize for Visual Arts at the 2015 Ateneo Art Awards.

In Villamaers interview with Inquirer, he mentioned that, "l 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 dear 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 19-20

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 practiced by the indigenous people of Samar Island between
early 1600 and late 1800A.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 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. 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 c. Samar Island
B. Samoa 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, Ike 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 they implement.

22. In 1887 print of Jose Rizal’s Noli M Tanger 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 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
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 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 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

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 newsprint affect the production of “taka” in Bangue's municipality?
A. More “taka” will be produced
B. Lesser “taka” Will be produced

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C. The people wilt get hired as news writers

D. The people will create more news 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 popularity.

B. The traditional “taka” will entirety be replaced with modem designs.

C. The traditional 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

29. Lines numbers 5-8 state that the Philippine is a land of brave and free people. These lines suggest that Filipinos 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 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 repressed and
traditions, Crude Secular and American over poetry curtailed human rights,
on ideology and models including freedom of the press.
phraseology 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 Petry and Fiction Poetry and Fiction
Fiction Performance (Drama
Performance
(Oral)

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31. What title best described 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: Characteristic and Form.

32. Below is 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 colonizers 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.
When I was one-and-twenty
I am a lover of quietness- I heard a wise man say,
Unechoed songs within a silent heart, “Give crowns and pounds and guineas
A silver pond, a statued loveliness But not your heart away;
Where words can take o part Give pearl and away and rubies
But keep your fancy free.”
But I was one-and twenty”
-taken from QUITNESS No use to talk to me.
By Amador T. Daguio
- Taken from When I was ONE-AND TWENTY
BY. A.E Houseman

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 number 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 the inconsistent number of syllables per line on tie aesthetic value of the Wo 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 poem because of the careful usage of language.
C. It affects the aesthetic value of the poem because of its careful usage of language and meaning.
D. It does not affect the aesthetic value of the poems because of its careful usage of language and meaning.

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For Item 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 is 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
B. 1 and 3
C. 2 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 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 expression >>> unmeasured
4. Prose >>> measured and controlled >>> used of limited words >>> source of learning

A. 1 and 3
B. 1 and 2
C. 2 and 3
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 planted bamboo stakes 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 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 fruit to the turtle.
B. The turtle gets mad and was able to think of a plan to get even with the turtle.
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C. The monkey did not get the fruit for the turtle after colleting 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 characteristic 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 of 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 Worl Literature
By Emad Mirmotahari
Source: https://www.worlliteraturetoday.org/2016/may/local-global-reflections-teaching-world-literature-
emad-mirmotahari

43. Based on the given text, which of the following statements is NOT TRUE?
A. Reading the Great Books is still effective in studying Worl Literature.
B. Reading the Great Books is no longer effective in studying Worl Literature.
C. Making students “Unthink” their world view is effective in studying World Literature.
D. Making students “Unthink” their world view shows 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 advantages in teaching Worl 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. Worl literature can be best taught and learned through the “great books” approach.
D. World literature can be best taught and learned through “unthinking” approach.

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For Items 46-48

AETA SUBANON

1. Wearing a crown but not a queen. Wearing scales 3. Apu’s waist band, that no one may borrow
but not a fish. (PINEAPPLE) (PHYTON)

2. A cave with a jungle knife inside. Full of bones but 4. When the old one dives, His navel is sticking out.
not a grave. (MOUTH) (FISHHOOK)

ISNEG TAGBANWA

5. On Iggat’s thigh, everything is in a rush. (HONEY IN 7. I am the sanggiring plant, cut it and it lives on
A HIVE) (HAIR)

6. Black stone in Gannad, 8. A big house, surrounded by many windows

surrounded by tiny fish. (FISHING NET)
(MORTAR)

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 minds 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.

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.

*****END OF HUMANITIES****

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