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Total questions: 40

Worksheet time: 20mins

Name
Class
Date
1.

An artist uses old political posters as the background of a digital painting protesting current social issues. Which principle of contemporary art best applies?

a)

Performance

b)

Appropriation

c)

Hybridity

d)

Space

2.

A flash mob inside a mall blurs the boundary between art and ordinary public life. This illustrates:

a)

Appropriation

b)

Hybridity

c)

Space

d)

Technology

3.

Coffee painting, marble art, and abaca-fiber installations exemplify which principle in contemporary art?

a)

Hybridity

b)

Technology

c)

Appropriation

d)

Performance

4.

TikTok dance challenges are considered contemporary art forms when analyzed under which principle?

a)

Space

b)

Technology

c)

Performance

d)

Appropriation

5.

If Duchamp’s L.H.O.O.Q. (Mona Lisa with a mustache) is evaluated today, what makes it a lasting reference in contemporary art criticism?

a)

It emphasizes the grandeur of classical art

b)

It embodies appropriation as a critique of originality

c)

It merges with new media with technology

d)

It is performed in unconventional spaces.

6.

What sets the GAMABA award apart from the National Artist award?

a)

GAMABA emphasizes international exhibitions

b)

GAMABA focuses on folk and traditional practices

c)

National Artist recognizes only visual arts

d)

GAMABA is conferred exclusively by UNESCO

7.

Samaon Sulaiman’s mastery of the kutyapi contributes to:

a)

Documentation of Sulod-Bukidnon epics

b)

Preservation of Maguindanaon musical heritage

c)

The evolution of Hanunoo ambahan poetry

d)

The revival of T’boli weaving

8.

Federico Caballero’s role as a mangunguhay (arbiter) reflects GAMABA’s concern not only with art but also with:

a)

Epistemological critique

b)

Social justice and cultural continuity

c)

National integration policies

d)

Hybridized ritual performance

9.

Eduardo Mutuc’s intricate silver and bronze religious icons are appropriately analyzed in which category?

a)

Performing Arts

b)

Carving

c)

Ornament

d)

Textile Art

10.

Ginaw Bilog’s ambahan poetry provides a key to Mangyan philosophy. Which quality of indigenous literature does this highlight?

a)

Linear narration of myths

b)

Pragmatic instructions for farming

c)

Symbolic wisdom transmitted orally

d)

Universal themes of western epics

11.

Which GAMABA artist is associated with T’nalak weaving of the T’boli people?

a)

Lang Dulay

b)

Salinta Monon

c)

Magdalena Gamayo

d)

Yabing Masalon Dulo

12.

Salinta Monon’s insistence on weaving sinukla and bandura garments illustrates what cultural value?

a)

Resistance to colonial education

b)

Continuity of Bagobo traditional identity

c)

Revival of Spanish baroque aesthetics

d)

Ritual function of textiles

13.

Whang-Od’s tattoos are considered ornament art because they:

a)

Serve as commercial tourism products

b)

Function solely as fashion statements

c)

Embody ancestral memory and social markers

d)

Replicate foreign tattoo techniques

14.

In pottery, the Manunggul Jar’s significance goes beyond its function because it:

a)

Shows hybrid materials of resin and clay

b)

Represents early cosmological beliefs about afterlife

c)

Illustrates Spanish colonial religious symbols

d)

Demonstrates decorative minimalism.

15.

Ambalang Ausalin’s weaving mastery of sinulauan and seputangan is challenging for apprentices because:

a)

These textiles are mass-produced using machines

b)

The patterns require layered mathematical sequencing

c)

The designs are only symbolic and not technical

d)

They require foreign synthetic dyes

16.

The bahay kubo epitomizes bayanihan values because:

a)

It is decorated with hybrid ornaments

b)

It symbolizes collective unity through mobility

c)

It fuses foreign architectural styles

d)

It is made of reinforced concrete

17.

Which of the following illustrates folk architecture as cultural symbolism?

a)

Paco Park designed for memorial use

b)

Intramuros grid layout as colonial strategy

c)

Rice Terraces as harmony between people and nature

d)

Coconut Palace as a presidential residence

18.

The vinta of the Bajau embodies cultural identity primarily through:

a)

Its functionality as a warship

b)

Its colorful sails symbolizing tradition

c)

Its technology-driven engine design

d)

Its mass production for tourism

19.

Napoleon Abueva’s Sandugo monument exemplifies carving because it:

a)

Repurposes unconventional materials

b)

Scrapes away portions of stone to form figures

c)

Emphasizes dance rituals in Kalinga

d)

Represents epics chanted in Iloilo

20.

Guillermo Tolentino’s Oblation resonates as a symbol because:

a)

It is a purely decorative nude figure

b)

It embodies sacrifice and heroism in Filipino nationalism

c)

It depicts agricultural productivity

d)

It honors western sculptural traditions

21.

Which principle best explains why GAMABA awardees are required to pass their skills to apprentices?

a)

Sustainability of cultural heritage

b)

Economic security

c)

Increased agricultural productivity

d)

Continuity of spiritual traditions

22.

If a student stages a play inside a jeepney to critique urban struggles, which two principles intersect?

a)

Performance and Space

b)

Technology and Hybridity

c)

Appropriation and Ornament

d)

Carving and Textile

23.

When comparing abel weaving of Ilocos and pis syabit of the Tausug, the main analytical dimension is:

a)

Mythological references

b)

Symbolism in fiber patterns

c)

Foreign colonial adaptation

d)

Literary oral epics.

24.

A scholar analyzes Fernando Amorsolo’s Fruit Gatherer alongside Lang Dulay’s T’nalak. What makes this comparison meaningful?

a)

Both works are exclusively textile-based

b)

Both highlight harmony between art and agrarian culture

c)

Both are considered GAMABA masterpieces

d)

Both are foreign-influenced compositions.

25.

Which art form is most vulnerable if oral transmission fails:

a)

Carving

b)

Epic chanting

c)

Pottery

d)

Ornament

26.

If Whang-Od’s tattoo practice is commodified for tourism, which principle of contemporary art might unintentionally dominate?

a)

Appropriation

b)

Hybridity

c)

Performance

d)

Technology

27.

The Rice Terraces as living heritage differ from museum-preserved artworks because they:

a)

Function only as tourist attractions

b)

Require active community labor for survival

c)

Are no longer recognized by UNESCO

d)

Are modern replications of foreign styles

28.

The difference between Eduardo Mutuc’s silver altarpieces and Samaon Sulaiman’s kutyapi performances lies primarily in:

a)

Use of hybrid materials

b)

Temporal versus permanent art forms

c)

Oral versus written tradition

d)

Western versus indigenous origin

29.

If a digital artist merges T’boli weaving patterns with AI-generated designs, the best principle describing the work is:

a)

Hybridity through material convergence

b)

Space as unconventional performance

c)

Appropriation of classical epics

d)

Ornament emphasizing tattoo practice

30.

Which contemporary analysis would validate Ambahan poetry as “living literature”?

a)

It thrives only in written manuscripts

b)

It is recited, adapted, and reinterpreted across generations

c)

It is primarily digitalized in virtual archives

d)

It was institutionalized only through RA 7355.

31.

In critiquing the Coconut Palace as folk architecture, one major controversy is that:

a)

It contradicts environmental sustainability

b)

It symbolizes agricultural harmony

c)

It represents authentic indigenous design

d)

It was built by GAMABA awardees

32.

The Sarimanok is considered plastic/graphic art because it:

a)

Functions as a sacred performance

b)

Is embroidered into abaca textiles

c)

Is sung in Maranao epics

d)

Exists as a carved ornamental motif with symbolic meaning

33.

If GAMABA artists stop teaching apprentices, what is the likely long-term consequence?

a)

Globalization of indigenous art

b)

Extinction of intangible cultural heritage

c)

Increase of national artists

d)

Hybridization into new styles

34.

Which distinguishes GAMABA’s weaving traditions from commercial textile industries?

a)

Use of synthetic chemical dyes

b)

Dependence on foreign machinery

c)

Embedding of community identity and ritual values

d)

Adoption of fast fashion principles

35.

Which principle of contemporary art allows the reinterpretation of the Manunggul Jar in modern video art?

a)

Technology

b)

Space

c)

Performance

d)

Hybridity

36.

If you compare Bahay Kubo and Intramuros, which best explains their contrasting symbolism?

a)

Unity versus Colonial Power

b)

Foreign hybridity versus indigenous performance

c)

Ornament versus Textile Art

d)

Literature versus Pottery

37.

An art critic argues that GAMABA reflects resistance to cultural homogenization. Which statement best supports this?

a)

GAMABA awards increase tourism income

b)

GAMABA highlights regional distinctiveness against globalization

c)

GAMABA focuses on western aesthetics

d)

GAMABA promotes standardization of folk arts.

38.

The most crucial factor linking weaving, carving, and tattooing is that they:

a)

Are dependent on imported materials

b)

Function mainly as entertainment

c)

Require embodied knowledge and skill transmission

d)

Can be mass-produced by machines

39.

If a cultural researcher documents Samaon Sulaiman’s kutyapi pieces using 3D scanning, which contemporary principle dominates?

a)

Appropriation

b)

Space

c)

Hybridity

d)

Technology

40.

Why is the GAMABA award tied to cultural preservation policies rather than solely artistic excellence?

a)

It prioritizes economic profit from heritage

b)

It aims to safeguard endangered traditions as living practices

c)

It honors only those with foreign recognition

d)

It supports artists who work with digital platforms