9

MAPEH
Quarter 3 – Module 5

AIRs - LM
Alternative Delivery Mode
MAPEH 9
Quarter 3 - Module 5
First Edition, 2020

Copyright @ 2020
La Union schools Division
Region I

All rights reserved. No part of this module may be reproduced in any form
without written permission from the copyright owners.

Development Team of The Module

Writers
Music : Edward G. Calica
Arts : Andrea L. Abansi
P.E. : Mark Jordan M. Julaton
Health : Raiza E. Bucao

Illustrator : Ernesto F. Ramos, Jr., P II

Editor: SDO La Union, Learning Resource Quality Assurance Team

Management Team:

ATTY. Donato D. Balderas Jr. Schools

Division Superintendent Vivian Luz S.
Pagatpatan, Ph. D.
Assistant Schools Division Superintendent
German E. Flora, Ph.D., CID Chief
Virgilio C. Boado, Ph.D., EPS in Charge of LRMS
Delia P. Hufalar, Ph.D., in Charge of MAPEH
Michael Jason D. Morales, P DO II
Claire P. Toluyen, Librarian II
 MUSIC

Lesson Performs Selected Music from Romantic Per

5

Target

In this lesson, you are going to revisit the Composers of Romantic

Period as they will be used later as basis in analyzing the different music
from past to present.

Most Essential Learning Competency

1. Improvises appropriate accompaniment to selected music from

Romantic Period. (MU9RO-lllc-h-8)

Jumpstart

Directions: What is your idea for Performance? Write YES or No on the

space provided.

1. Can you clap your hands?

2. Do you tap your foot when you hear a nice music?

3. Do you nod your head when you hear a fast beat?

4. Do you smile when you hear your favorite song?

5. Do you have a musical instrument at home?

1
 Discover

Romantic Period: Performers still commonly improvised pieces during performances. Liszt,
for example, enjoyed improvising pieces based upon themes suggested by the audience
(written on scraps of paper before the performance). ... However, improvisation began to
decline as memorized performances became popular.

Improvisation, also called Extemporization, in music, the

extemporaneous composition or free performance of a musical passage,
usually in a manner conforming to certain stylistic norms but unfettered by
the prescriptive features of a specific musical text. Music originated as
improvisation and is still extensively improvised in Eastern traditions and in
the modern Western tradition of jazz.

Many of the great composers of Western classical music were masters

of improvisation, especially on keyboard instruments, which offered such
celebrated composer-performers as Johann Sebastian Bach, W.A. Mozart,
Felix Mendelssohn, and Frédéric Chopin virtually boundless opportunities
for the spontaneous unfolding of their rich musical imaginations. Many an
idea so generated eventually appeared in a written composition. Some
composers have regarded improvisation as an indispensable warm-up for
their creative task.
Prior to the instrumental era in the West, improvisation within the
systematized musical context was largely limited to ornamental variants of
vocal parts in polyphonic compositions and to instrumental adaptations of
vocal compositions, especially by lute and keyboard virtuosos. The monodic
textures that originated about 1600, on the other hand, were ready-made,
indeed in large measure intended, for improvisational enhancement, not
only of the treble parts but also, almost by definition, of the bass, which was
figured to suggest no more than a minimal chordal outline.
In essentially monophonic musical cultures, whether Western or non-
Western, improvisation has been of paramount importance, if only because
successful improvisation is always more readily achieved by soloists than by
groups. A monophonic oral musical tradition, however, does not necessarily
imply the prevalence of improvisational practices. Quite to the contrary, oral
traditions have been prone to preserve the integrity of particular songs and

2
dances from generation to generation with a degree of precision virtually
unknown in literate musical contexts.

Rediscovering significant romantic music of the past through

performance. Romanticism waiting to be reanimated and to present to us an
aesthetic very different from that of our own age. This was the era when the
piano was at the centre of musical life; at the heart of the home and at the
crux of the conception of the Romantic as artist.Romantic Discoveries
Recordings seeks to present innovative world première recordings informed
by extensive research into the performance history of the Romantic era, and
recorded in a natural ambience evoking the acoustic of the typical Romantic
salon. These are not intended to be audiophile releases; instead, they are
interpretatively faithful performances that aim at an honest, direct and
sympathetic portrayal Romanticism waiting to be reanimated and to present
to us an aesthetic very different from that of our own age. This was the era
when the piano was at the centre of musical life; at the heart of the home
and at the crux of the conception of the Romantic as artist.
Discover the song through clapping and by listening to the music of
Romantic music.

Here are links to watch and to listen for piano performance in romantic
music.
https://www.youtube.com/watch?v=B-W1hZjIGdk- Yun di Li - Chopin -
Nocturne Op.9 No.2(20170407) https://www.youtube.com/watch?
v=TX0qN6QEvGg - Giuseppe Verdi - Aida
- Grand March
https://www.youtube.com/watch?v=PZ307sM0t-0 - Niccolo Paganini 24
Caprices Violin
https://www.youtube.com/watch?v=hNfpMRSCFPE – Tchaikovsky: Piano
Concerto No. 1, Op. 23 - Anna Fedorova - Live Concert HD
https://www.youtube.com/watch?v=71fZhMXlGT4 - Camille Saint-Saëns -
La danse macabre

3
 Explore

Experiencing performance through sight reading of a music composition.

Directions: Sight read the music piece. From this piece make your own
rhythmic pattern. Use this piece as a your guide. Read the music piece until
the end of the music.

This is how to put a notes into the given words.

example
Lyric Cha-ta-noo-ga Choo Choo Notes

4
 Deepen

Directions: Compose a song with a Verse and a Chorus as your

improvisation for the song for Romantic period. Listen to the music in titled
Nocturne op.9 No.2 by Fredric Chopin. Put a lyric into song while listening.
Here is the Link to follow
https://www.youtube.com/watch?v=9E6b3swbnWg

Write your lyrics on the blanks provided. Theme is about Romantic Music.

Title of Song
https://www.youtube.com/watch?v=9E6b3swbnWg

Verse

5 points
Chorus

5 points

5
Directions: Put lyrics on the given notes. Compose a lyric of the given notes or
sheet music. Write your composed lyrics on a separate sheet of paper.

Gauge

Direction: Make your own mini Orchestra using your own Voice. Write down
the sounds of the instrument given below. Record your performance into your
cellphone. Make a video clip out of created sounds below. Make your own
melody using the given created sounds. Mix your video/sound clip using
video creator in your cellphone. Incorporate all the given instruments.

1. Piano Tang Tang Tang_Tang 4pts

Created Sounds
2. Violin ing ing ing ing 4pts
Created Sounds
3. Bass Drums Boom Boom Boom Boom 4pts
Created Sounds
4. Trumpet Tot Tot Tot Tot 4pts
Created Sounds
5. Cymbals Clang Clang Clang 4pts
Created Sounds

6
 ARTS

Lesson Arts of the Neoclassic and Romantic Periods

4

Target

In this unit, you will about Neoclassical and Romantic artworks. Their
influences today were highly visible through the style of paintings,
sculptures and other artworks ads/opted by the well-known artists
intentionally and also by some of our National Artists. Some of the existing
architectural structures convey the traits and characteristics of such periods.

Most Essential Learning Competency

1. Applies different media techniques and processes to communicate

ideas, experiences, and stories showing the characteristics of the
Neoclassic and Romantic periods. (A9PR-lllc-e-3)
2. Evaluates works of art in terms of artistic concepts and ideas using
criteria from the Neoclassic and Romantic periods. (A9PR-lllf-4)

Jumpstart

Match the name of the following artworks with the corresponding artists
presented. Write the letter of the correct answer on the space provided
before the number.
1. Hercules Sitting on a Bull A. James Renwick
2. Departure of the Volunteers B. Theodore Rousseau
3. Landscape with a Plowman C. Jean Corot
4. The Church of Marissel D. Francois Rude
5. St. Patrick’s Cathedral E. Antoine-Louis Barye

7
 Discover
ROMANTIC PAINTING (Landscape Painting) Landscape painting depicts the
physical world that surrounds us and includes features such as mountains,
valleys, vegetation, and bodies of water. The sky is another important element
shaping the mood of landscape paintings. Landscape art ranges from highly
detailed and realistic to impressionistic, romantic and idealized.

Famous landscape artists during the Romantic Period:

1. Théodore Rousseau
2. Jean-Baptiste-Camille Corot
They were members of the Barbizon School (a circle of artists who held
meetings in the village of Barbizon) that led the Romantic landscape
painting in France.

The Church of Marissel, near Le repos sous les saules

Beauvais (J. Corot) (J. Corot)
Image from Louvre Museum Image from Institution: Musée des
Ursulines, Mâcon

Der Kleine Fischer Landscape with a Plowman

(T. Rousseau) (T. Rousseau)
Image from Musée d’Orsay Image from Hermitage Meseum

ROMANTIC SCULPTURE

Romantic sculpture can be divided into works that concern about the
human world and those that concern the natural world. The leading
sculptors of each type were Rude and Barye, respectively.

8
Francois Rude (1784-1855) France
He was best known for his social art which aimed to inspire and capture the
interest of a broad public. He rejected the classical repose of the late 18 th-
and early 19th-century French sculpture in favour of a dynamic, emotional
style and created many monuments that stirred the public for generations.

Famous Artwork:

Departure of the Volunteers (F. Rude) Jeanne d’Arc (F. Rude)

Photo taken by Jebulon2013 Known Photo taken by Mansour Nasiri2007
as La Marseillaise, this work Portrays
the goddess liberty urging the forces
Revolution Onward.

Antoine-Louis Barye (1796-1875) France

He was the most famous animal sculptor of all

time. He studied the anatomy of his subjects
by sketching residents of the Paris zoo.

Famous works:
1. Hercules Sitting on a bull
2. Theseus Slaying the Minotaur
Portrait of Antoine-Louis Barye
(by Leon Bonnat)
Image Source: Musee Bonnat De Bayonne

Hercules Sitting on a Bull Theseus Slaying The Minotaur

(A. Barye) (A. Barye)
National Museum in Warsaw Baltimore Museum of
Art BurgerersSF2012 Chhe2010

9
GOTHIC REVIVAL ARCHITECTURE (NEOGOTHIC)

Gothic Revival, also referred to as Victorian Gothic or Neo-Gothic, is an

architectural movement that began in the late 1740s in England.
Many of Neogothic buildings feature castellation in which the walls and
towers are crenellated in imitation of medieval castles. Indeed, heavily
castellated Neogothic buildings have been often referred to as “castles”, even
though they never served as a defensive structure. Among them was
Strawberry Hill (demolished and restored), the most famous work of the
decorative phase of the Gothic Revival.

Strawberry hill, London (Restored)

Chiswick Chap2012

Gothic Revival became widely used for churches and civic buildings
throughout the West, especially in Britain and the United States. Bricks and
stones were both commonly used.

Architects who used Neogothic Style:

1. CHARLES BARRY was the name behind Britain’s foremost Gothic Revival
monument, the Westminster Palace (a.k.a. the Houses of Parliament).
2. JAMES RENWICK
Renwick’s crowning American work: the St. Patrick’s Cathedral (New York)

Westminster Palace (London) St. Patrick’s Cathedral

http://upload.wikimedia.org/wikipedia/ (Manhattan)
commons/7/75/ Parliament_at Sunset.JPG (Author) MoTabChoir01
2010 Mgimelfarb2008

10
 Explore

Paint me a landscape picture showing the ideas of Romanticism. You can

use any of the following medium in painting.
 Black/brown coffee(instant)
 Charcoal
 Azuete
 Any colorful leaves, flowers, vegetables and fruits

RUBRIC
CRITERIA 5 4 3 2
QUALITY OF All 1-2 3-4 Most of the
ARTWORK instructions instructions instructions instructions
were followed were not were not were not
correctly followed followed followed
correctly correctly correctly
VISUAL Artwork Artwork Artwork Artwork did
IMPACT conveys the mostly somehow not orderly
idea and conveys the conveys the convey the
dimensions idea and idea and idea and
of landscape dimensions dimensions dimensions
of landscape of landscape of landscape
PUNCTUALITY Artwork was Artwork was Artwork was Artwork was
submitted on submitted 1 submitted 2 submitted 3
time day late days late days late
NEATNESS Artwork Artwork Artwork Artwork
presentation presentation presentation presentation
was neat and was mostly was somehow was
orderly neat and neat and disorderly.
orderly. orderly.

11
 Deepen

If you were given a chance to design your dream house, how would
like it to be? Choose from the different architecture that we discussed and
use it as inspiration for your dream house. Use Oslo paper to do your output.

RUBRIC

CRITERIA 5 4 3 2
QUALITY OF All 1-2 3-4 Most of the
ARTWORK instructions instructions instructions instructions
were followed were not were not were not
correctly followed followed followed
correctly correctly correctly
VISUAL Artwork Artwork Artwork Artwork did
IMPACT conveys the mostly somehow not orderly
idea and conveys the conveys the convey the
dimensions idea and idea and idea and
of landscape dimensions dimensions dimensions
of landscape of landscape of landscape
PUNCTUALITY Artwork was Artwork was Artwork was Artwork was
submitted on submitted 1 submitted 2 submitted 3
time day late days late days late
NEATNESS Artwork Artwork Artwork Artwork
presentation presentation presentation presentation
was neat and was mostly was somehow was
orderly neat and neat and disorderly.
orderly. orderly.

12
 Gauge

Supply the missing words to complete the message about Romanticism.

Choose your answer below.

Landscape Painting Romantic

Charles
Sculpture
Barry Barbizon SchoolFrancois Rude
Constellation Victorian Gothic Antoine -Louis Barye
Hercules Sitting on a bull
Theseus slaying the Minotaur Neo-Gothic

1. depicts the physical world that surrounds us and

includes features such as mountains, valleys, vegetation, and bodies of
water while 2.
Can be divided into works that concern the human world and those that
concern the natural world. 3. was best known for his
social art which inspires and captures the interest of a broad public. Gothic
Revival is also referred to as 4. or 5.
where buildings feature 6.
.
7. was the most famous animal sculptor of all time. 8.

Is one of his famous artwork. Theodore Rousseau is a member of 9.

while
The name behind Britain’s foremost Gothic Revival monument the
Westminster Palace is
10. .

13
 Physical Education

Lesson 5

Target

In this lesson, you will go deeper and further as you will be given
opportunities to reflect and understand more the relevance of festival
dancing to that of fitness and well-being. You are also going to revisit the
basic support and first aid for an injury during dance performance vis-a-vi
with the benefits of Dancing.

Most Essential Learning Competency

 Performs appropriate first aid for injuries and emergency situations in

physical activity and dance settings (cramps, sprain, heat exhaustion)
(PE9PF-IIIb-h-30)

14
 Jumpstart

Directions: Encircle or Highlight 10 words related to injuries/first aid during

dance performance. Write your answers on the table provided below

W T E N D O N I T I S N
T R I G G E R T O E P R
R Z O R E L T E Q V R M
A T K E N A R T S O E Q
P O T H I V A U L V S T
L C B T A K I C L E T S
W I E Y R U N A A P H O
E N F Q P O S T R A I N
D O V H S E G A D N A B
S R A E T U C R O T V H
P H B C O N T U S I O N
E C I R E S S T A I K E

ANSWERS
1. 6.
2. 7.
3. 8.
4. 9.
5. 10

Discover
In this lesson, you will go deeper and further as you will be given
opportunities to reflect and understand more the relevance of festival
dancing to that of fitness and well-being. You are also going to revisit the
basic support and first aid for an injury during dance performance vis-a-vi
with the benefits of Dancing.

15
 Explore

ACTIVITY 2: RECOLLECT IT!

Directions: Cite one recent occasion where you were asked to dance
individually or in a group. Read and answer the questions carefully in the
first column. Write your answer on the second column/ on a separate sheet
of paper.

According to Polly de Mille, an exercise physiologist at the Women’s Sports

Medicine Center in New York, the health benefits gained through dancing is
similar to other forms of activities that involve sustained effort in the target
zone.
PART 1: DANCE BENEFITS
Directions: Based on your experience and observation. Give at least two
benefits of dance based on the following.
1. PHYSICAL = 1.
2.
2. EMOTIONAL = 1.
2.
3. MENTAL = 1.
2.
4. SOCIAL = 1.
2.
5. CULTURAL = 1.
2.
An injury is tissue or organ damage due to mechanical trauma. Similar to
athletes, dancers are highly motivated to perform well. They push their body
to the limit and spend hours in technique training and mastering a
choreography.
PART 2: LIST ME DOWN!
Directions: List five common factors among dancers who have an injury.
1.
2.
3.
4.
5.

16
 Deepen

Dance - is an art of rhythmic bodily movements that projects an ordered

sequence of moving visual patterns of line, solid shape, and color.
Acute injury – is dance-related injuries that occur when the mechanical
force is absorbed by the musculoskeletal structure.
Chronic injury – is a dance-related injury, the pain and other symptoms occur
at a gradual rate, which is usually worsened with activity or training
due to repetitive trauma and the body is not given enough time to
recover.
BENEFITS OF DANCE
When done regularly, dancing is a good way to develop cardiovascular and
muscular endurance, body composition (Malvar, 2006) as well as balance
and flexibility (Fine, 1891; Keller, 2007; Childs, 2007).
 Dance training also improves coordination and also gives other
psychological health benefits as compared to other forms of exercise.
 Dance provides a unique opportunity for meaningful group
involvement as it encourages intense, positive social interaction and
interpersonal relationships in a working group and gives a sense of
togetherness in a group.
 Dance promotes a place or country’s rich culture through showcasing
the different cultural dances. It is through looking at the different
dances of other countries will one see the value of one’s culture.

FACTORS THAT INCREASE THE RISK OF INJURY AMONG DANCERS

According to the Meeuwisse model (1994), some intrinsic factors predispose
an individual to injury and another set of extrinsic factors increases the
susceptibility of an individual. However, these risk factors require an event
that will lead to an injury. Several factors have been found associated with
these injuries such:

1. Poor body alignment and technique. The anatomical alignment and

technique of the dancer are some of the intrinsic factors that are
commonly associated with an injury. Dance requires moving the limbs
in a controlled and precise manner. These movements are anchored at
the trunk, which means that the trunk should be stable, and the
spine is aligned properly. Poor spinal alignment and low trunk
stability can lead to uncoordinated movements, which predispose an
individual to injury. Some dance styles such as break dancing require
perfect execution of technique to ensure safety of the individual.

17
2. Excessive training duration and intensity. Excessive training and limited
recovery impair the ability to heal and repair damaged tissues. Intense
technique training will most likely lead to microscopic injury to the
musculoskeletal structures due to repetitive loading. Without proper
rest and sufficient nutrition, the body is not able to rebuild the tissues
and this predisposes the dancer to severe injury. An abrupt increase in
training intensity will also lead to this scenario.

3. Hard dance floor. The floor is where dancers rehearse and perform. An
optimal dance floor should be able to absorb the impact that is
generated by the performer. A hard floor does not help in dissipating
the impact and returns the force to the dancer. The repetitive shock
absorbed by foot would eventually damage the foot or other parts of
the lower extremity.

4. Poor shoe design. Footwear can correct foot mechanics and reduce the
impact on the foot. A shoe that does not fit properly or has insufficient
shock absorption will significantly contribute to injury risk.
Furthermore, some materials used on the soles do not offer sufficient
traction on the floor and this could lead to slips and falls.

5. Muscle imbalance. Muscle imbalance is an uncoordinated muscle action

because of uneven strength between muscle groups. This is attributed
to various factors such as anatomy, technique, and past injury. For
example, the thigh muscles pull up the patella or kneecap every time
it contracts. In many individuals, the muscles on the outer thigh are
much stronger than the muscles on the inner thigh. This causes the
patella to move slightly outwards instead of going up straight. Over
time, the repetitive abnormal motion of the patella irritates the knee
joint, which leads to pain and inflammation (Sommer, 1988).

WHAT ARE THE COMMON TYPES OF DANCE-RELATED INJURIES?

An injury is damage to your body. Injuries can happen at work or play,
indoors or outdoors, driving a car, or walking across the street. There are
two types of musculoskeletal injuries: acute and chronic. Acute injuries
occur when the mechanical force that is absorbed by the musculoskeletal
structure is more than what it is accustomed to. The onset of pain and
other symptoms occur immediately after the impact. Chronic injuries
occur due to repetitive trauma and the body is not given enough time to
recover. The onset of the pain and other symptoms occur at a gradual rate,
which is usually worsened with activity or training.

18
WHAT ARE SOME STRATEGIES THAT COULD REDUCE INJURY RISK?
The cause of injury is interplay of the factors that make an individual
susceptible to injury and biomechanical stress experienced by the
musculoskeletal structure. While there are no strategies that would prevent
someone from getting injured; an injury is significantly reduced when the
factors associated with it are addressed.

1. Programmed exercise and training. It has been reported that dancers are
not as physically fit as other types of athletes. Moreover, several studies
reported that poor cardiovascular endurance increase the risk of
dance-related injuries (Angioi et al., 2009), Most injuries occur as
fatigue sets in. A dance training session is commonly divided into a
warm-up, technique training, choreography, and cool-down. The bulk
of the training session is devoted to technique training and learning
choreography. Refining the dance technique and learning
choreography does not trigger cardiovascular changes in the same
manner as endurance training. Aerobic exercise and resistance
exercises must be included in the overall training program.
2. Adequate recovery. Recovery is an important phase of training. It is the
period wherein the body repairs and rebuilds itself. Many dancers
take several classes a day and spend more than three hours a day in
training and rehearsals. This regimen depletes energy sources and the
nutrients that are important to normal body function. Without proper
recovery, the body will be weak and fatigue easily, which predisposes
the dancer to injury. There are two key factors to effective recovery;
nutrition and rest. Proper eating habits and adequate sleep aid in
replenishing nutrients and repairing the tissues.
3. Appropriate environment. A suspended floor is a floor designed to absorb
the impact when dancing or jumping. It can accommodate the force
because it has a dense foam block between the wood and the concrete.
This reduces the force absorbed by the musculoskeletal structures and
minimizes the risk of injury. The floor should be properly maintained
and not slippery. Dancers prefer a training facility or performance
center that is a bit warm because it helps them in their warm-up and
prepares them psychologically.

4. Proper footwear. Shoes protect the lower extremities from injury by

reducing the impact when dancing. Shoes can correct over pronation
of the foot, which has been linked to plantar fasciitis and fat pad
contusions. A properly fitted shoe insert can also prevent excessive
foot movement and reduces the risk of twisting the foot. An orthotic

19
 shoe insert can also prevent excessive foot movement and correct over
pronation.

5. Proper warm-up and technique. Dance movements require a great degree

of flexibility. A proper warm-up helps improve flexibility before dance
training or performance. Beginners need to learn the proper technique
to minimize the risk of straining the muscles. Surveys among dancers
show that technique training from teachers who were aware of the
anatomical limitations helped reduce the risk of injury.

6. Cross-training. Many dancers feel stressed because they are pressured to be

perfect. The inability to manage stress leads to fatigue and burnout
which is associated with an injury. Cross-training is a type of physical
training that is different from what is usually performed. It helps
maintain physical fitness but it minimizes the mental stress that is
associated with dancing.

7. Early recognition. Pain is a good indicator that there is damage to the

tissue. However, dancers and athletes tend to have a higher tolerance
for pain. Moreover, they associate pain with improvement and part of
the training. It is only when the pain becomes intolerable that they
would consider consulting a physician. At this point, the condition
has worsened, and the only remedy is complete rest and medication.
This can be avoided if the dancer recognizes the pain early and seeks
medical advice.

ACTIVITY 3: ANSWER ME!

Directions: Answer the following questions briefly but substantially.
1. Do you think dancers are at a higher risk of injuries as compared to other
athletes? Why?

20
 Gauge

ACTIVITY 4: MULTIPLE CHOICE TEST.

DIRECTIONS: Write TRUE if the statement is correct and FALSE if it is
incorrect.

1. Dancing can improve coordination, balance, flexibility, and body

composition.
2. A shoe that does not fit properly has insufficient shock
absorption and will significantly contribute to injury risk.
3. There are two types of musculoskeletal injuries -acute and
overuse.
4. Pain is a good indicator that there is damage to the tissue.
5. The inability to manage stress leads to fatigue and burnout
which is associated with an injury.
6. Dancers are known to be flexible thus they don’t need to perform
a warm-up before their dance training or performance.
7. Dance comes in different forms. All dance styles are not alike
and they are distinctive.
8. Dancing can help in releasing emotions and improves body
image.
9. Dancing is a great way to lower the risk of cardiovascular
diseases.
10.Dance provides a unique opportunity for meaningful group
involvement as it encourages intense, positive social interaction
and interpersonal relationships in the working group.

21
 Health

Target

Welcome to your fifth safety adventure. At this stage, you will

experience different things. You will be challenged to analyze situations and
use your muscular strength and endurance to carry and transfer an injured
person to a safer place. At the end of this lesson, you are expected to
demonstrate the proper techniques in carrying and transporting the victims
of unintentional injuries.

Most Essential Learning Competency

1. Identify the different types of carrying and transporting of an injured

person
2. Demonstrate proper techniques in carrying and transporting the
victim of unintentional injuries. (H9IS-IIIe.f42)

22
 Jumpstart

Activity 1. Hidden Box

Directions: Find the 10 kinds of transport hidden in the box.

Q C C N H B V Y R R A C N O S R E P O W T C M
S D F E F V C B N H J K M L O U T G R P C F N
D F V D T G B F C D F V G B N M K L I I R D B
C G F I R E M A N S C A R R Y C V B N G R V V
G T R S C V B G N H J Y H J K L O P T G C B C
B G F G D R C V G T G F D G F V B N H Y F T X
N B G N C F S C D F G B A C B G D R R B G R Z
H D H O V G R F G B C R T G D S V R C A B F L
K V H L F H C G B H D T G F C G A T G C N G K
I F N A G N C V B T F G H J K C G H J K M B J
O R G R B B C V E T Y U I O R S D F G H K Q H
L G A E H F V K G H J K L I Z X C V B N O A G
R Y R R Y V N C V B N M A A S D F G H J Y Z F
T U D A U A C V B N M H Q W E R T Y U I H X D
Y O R E L O V E R S C A R R Y C V G R F N D S
H L E B T G B H N M K L O P E D S C V F T C A
N K D S C F V B N J M K T G F V B H N J G V P
F W L C V B N Y R R A C P A R T S K C A P F O
V C U T G H N B M K L O E D F C V B T T T R I
H F O Q W E R T Y U I O P P L K H G F D G G Y
H R H A M M O C K C A R R Y C V B N M G B H T
W T S A Z X C V B N M L K J H G F D S A W N R

23
 Discover
Here is what you need to know….
Transporting an injured person to a safer place requires great care. A
first aider must undergo proper training. When doing this, a first aider must
consider the following factors:
a. Weight and height of the victim
b. Status of the victim (conscious or unconscious)
c. Environment (safe, floor is smooth, narrow or wide)
d. Special need considerations (injuries of the victim)

Different kind of Transport

1.One-Man Transport

a. Fireman’s Carry- the easiest way to transport a light

and smaller victim.

b. Piggy Back Carry- is used when the victim is conscious.

c. Pack Strap Carry- is used when the victim is smaller than

the first aider.

d. Shoulder Drag- used when the floor is smooth. Short

distance transport.

e. Fireman’s Drag or Tied-hands Crawl- used when the

first aider and the victim must crawl underneath a low
structure.

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 f. Blanket Drag- used when the victim is seriously injured
and should not be lifted.

2. Two-Man Carry

a. Chair or Seat Carry- used for carrying the

victim up and down or through narrow or
uneven area.

3. Three or More-Man Transport

a. Hammock Carry -Three or more

rescuers get on both sides of the
victim. The strongest member is
on the side with the fewest
rescuers.

b. Bearer Alongside Carry- Carriers will

stay on the injured side of the victim.

c. Six Man Lift and Carry- when there are

six first aider.

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 Explore

Activity 3. How will you bring me to a safe place?

Directions: Study the situations and determine the kind of transport that
should be used.
Situations
Kind
No. of Available Status of Injured of
First Aider Materials Person Must Do
Transport
Pass underneath a 1.
1 None Unconscious low structure
Experiencing a very 2.
1 Malong serious injury and
should not be lifted.
Classroom, Unconscious Carry the victim 3.
2 Chairs and No injury on neck, downstairs
Tables back or pelvis
Injured person will 4.
3 None Unconscious be carried on his
back or face
First Aiders will 5.
3 None Unconscious have to stay on one
side of the injured
person

Deepen

Activity 4. Lifts and Carries

Directions: Analyze and answer the following questions based on your
acquired knowledge in the previous lesson.

1. Why should you carry an injured carefully?

2. What are the things that you need to consider when transporting or
carrying an injured person?

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 3. What is the best method to use to transport an unconscious victim
who should not be lifted due to serious injuries?
4. What does a first aider must consider in transporting an injured
person?
5. When should you move an injured person?

Gauge

Activity 1. Identification Test. Directions: Identify the type of transport described in

each sentence. Write your answer on the space provided.

1. This is an ideal way of pulling a victim as the victim is

relatively safe with a blanket.

2. This is useful when there is a need for conscious victims to be

moved to moderate distances.

3. This is used for carrying the victim up and down the stairs or
through narrow or uneven areas.

4. This carry is used to lift victims on bed or stretcher, and for

supporting them in short distances.

5. Three or more rescuers alternately position themselves on

both sides of the victim, with strongest rescuer on the side with fewer
rescuers.
Activity 2. True or False
Directions: Write T if the statement is true, and F if the statement is false.

6. Piggy back carry is used when the victim is unconscious.

7. Fireman’s Carry is the easiest way to transport a light and

smaller victim.

8. Blanket Drag is used when the victim is seriously injured and

should be lifted.

9. Shoulder drag is used when the floor is smooth, long distance

transport.

10. Hammock carry is used when there are six first aiders.

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