Quarter 3 MUSIC

ERNESTO RONDON HIGH SCHOOL

Road 3, Project 6, Quezon City

MAPEH DEPARTMENT
LEARNING ACTIVITY SHEET

Name: ____________________________________________ Teacher: _________________________________

Grade and Section: __________________________________
MAPEH Component (Check or choose from below.)
Music Arts Physical Education Health
x
Type of Activity (Check or choose from below.)
x
Concept notes Performance Task Formal Theme Others
Exercise/Drill Illustrations Informal Theme
x
x
Lesson: Music of the Romantic Period (1820-1910)
Learning Target: Describes musical elements of given Romantic period pieces (MU9RO-IIIa-2)

Romantic Period is described by some musicians, composers and researchers around the
world as a cultural movement that stressed emotion, imagination, individualism and freedom of
expression. it was characterized by expanding the formal structure within a composition and making
the pieces more passionate and expressive.

Nationalism is one of the main features of this era. This is evidently shown in some
compositions made by Romantic composers. One of which is the Polonaise of Frederic Chopin, a
dance composition for piano which is famous in Poland until today. In addition, the composers’
focuses mainly on individuality of style and expressive aims and subjects.

Emotions, variety of musical style in compositions, freedom of expression are only a few things
that characterized the music of the Romantic period. It was during the heights of popularity of Ludwig
Van Beethoven, one of the great composers during the Classical period made a great distinction to
change the phase of composing music by bridging the music from Classical to Romantic era.

The culture of extensive music education in Europe extends from the Classical period and explored
more in this era. Orchestra grows in number and becomes limitless, composers explored
instrumentation and many compositions were inspired by emotions in addition to a musical theme.

There are some facts about Romantic musical period that everybody should know. The piano music
is in free form such as fantasy, rhapsody, ballad and nocturne and program music were expressed in
tone poems and Symphony Fantastique. The music was used to tell stories and express ideas. Most
of the composers were proud of their country’s music and often use folk songs in their works.

The music during this period used forms borrowed from Classical music and made them bigger longer
songs and more instruments. The themes they wrote in their composition are mainly about nature,
literature, history, and feelings.

Lesson: Composers of the Romantic Period

Learning Target: Explains the performance practice (setting, composition, role of composers/
performers, and audience) during Romantic Period (MU9RO-IIIb-h-3)

VIOLIN AND STRINGS MUSIC

Niccolo Paganini was born in October 27, 1782 in Genoa, His violin teachers could not
keep up with the progress of his violin skills that he kept on transferring from one violin teacher to
another. This led him to adopt all his teachers’ influences in playing the violin.

Paganini became the most famous violin virtuoso in the world. However, together with his fame
came the rumors about his amazing violin skills that was said to be a gift
from the devil and that he sold his soul in exchange for those skills.

Some Works of Niccolo Paganini:

• “La Campanella”
• 24 Caprices for Solo Violin, Op. 1
• Concerto No. 1 in Eb, Op. 6
• 15 Quartets for Guitar and Strings Trio
• The Carnival of Venice

PIANO MUSIC
Piano music of the Romantic period was filled with innovations. Most of the compositions
require a high level of virtuosity. Some were reinventions of sonatas from the Classical era. Today,
some piano compositions from the Romantic period have been adapted into songs. An example of
this is Chopin’s Etude Op. 10, No. 3 in E major that was used for the song “No Other Love”.

Frederic Chopin
Frederic Chopin was known as the “Poet of the Piano”. He was born on
March 1,1810 in Zelazowa, Poland. Frederic Chopin began to play piano at age 4.
He composed polonaise at the age of 7. He studied piano at Warsaw Conservatory
under Wilhelm Würfel and most of his music was influenced by folk music. He
wrote almost exclusively for piano.
He made extensive use of piano pedal in most of his compositions. Chopin
composed almost primarily for the piano and some of his most well- known
compositions are Fantasie in F minor, Op. 49, Revolutionary Etude, Op. 10, No.
12 and 24 Preludes, Op. 28. In 1831, Some of his music is characterized by its
beautiful tone, rhythmic flexibility, grace, and elegance. Some of his compositions
like mazurkas and polonaise express his love for Poland.

Chopin is famous for the following:

• Ballade- a verse form or narrative that is set to music
• Etude –a piece composed for the development of a specific technique.
• Mazurka - a Polish dance in triple time signature
• Nocturne - an instrumental composition of a pensive, dreamy mood, for the piano
• Polonaise – as low Polish dance in triple time that consists of a march or procession
• Prelude - a short piece of music that can be used as a preface, and introduction to another
work or may stand on its own
• Waltz - a German dance in triple meter
• Impromptu–a short free-form musical composition usually for a solo instrument, like the
piano
• Scherzo - a musical movement of playful character, typically in ABA form
• Sonata - composition for one or more solo instruments usually consisting of three or four
independent movements varying in key, mood, and tempo

Franz Liszt
The best word that describes the works of Franz Liszt is “virtuosity”.
He was known as the virtuoso pianist, a composer and the busiest musician
during the romantic era. He played and studied in Vienna and Paris while
performing in concerts in the rest of Europe. He was also known with his
generosity in sharing time and money to the orphans, victim of disasters and
the many students he taught music for free.

Some of Liszt’s Piano works:

• La Campanella
• Liebestraume No. 3
• Liszt's "Hungarian Rhapsodies" were originally written for solo piano,
but many were arranged for orchestra or other combinations of instruments.
• The Hungarian Rhapsody No.2 is the most popular and was the basis for the Tom & Jerry
cartoon called the Cat Concerto
• Un Sospiro
• Sonata in B Minor
• Arrangements of the 9 Beethoven Symphonies
• Transcriptions of Lieder by Schubert
• ORCHESTRAL COMPOSITION - Symphonic Poems (Hamlet, Les Preludes)
Robert Schumann
One of the famous Romantic composers that beautifully combined
music and words is Robert Schumann. He was a composer and music critic.
Robert Alexander Schumann was born in 1810 in Zwickau. His father wanted
him to study law and so in 1821, Schumann went to Leipzig to study law.
It was in 1834 when Schumann founded the music journal, Jornal
Neue Zeitschrift fur Musik, wherein he edited and wrote music criticism for
his publication. He wrote numerous write-ups and one of which was the
performance of Frederic Chopin in Paris, France. In his journal, Schumann
often wrote under two pseudonyms - Eusebius (his sensitive, lyrical side) and
Florestan (his fiery, stormy side).

PianoWorks:
• "Abegg Variations," Opus 1(1830)
• "Davidsbundlertanze" ("Dances of the Band of David"), Opus 6 (1837)
• "Carnaval," Opus 9 (1835) - a portrait of a masked ball attended by his allies and his beloved
Clara
• "Phantasiestucke," Opus 12 (1837) - a series of mood pieces
• Kreisleriana," Opus 16 (1838) - a fantasy on the mad Kapellmeister
• "Kinderszenen," Opus 15 (1838) - a poetic series of evocations of a child's world

He wrote over 100 Art Songs. Some of which are:

• "Frauenliebe und Leben" ("A Woman's
• Love and Life") "Dichterliebe" ("A Poet's Love")

Orchestral music:
• "Piano Concerto in A Minor," Opus 54"Overture, Scherzo “Finale," Opus 52 (a mini
• symphony)
• "Konzertstuck in F Major for Four Horns and Orchestra," Opus 86

PROGRAM MUSIC
Program music is an instrumental composition that conveys images or scenes to tell a short
story without text or lyrics. It entices the imagination of the listener.

Hector Berlioz
Hector Berlioz is a French romantic composer born on December 11, 1803.
At his young age, he learned to play guitar and flute but never became skilled in
a specific musical instrument. One of his famous musical compositions is a five-
movement symphony called “Symphonie Fantastique”.

Peter Ilyich Tchaikovsky (Pyotr Ilyich Chaykowsky)

Peter Ilyich Tchaikovsky who was born on May 7, 1840 in Votkinsk, Russia,was known for his
ballet music. As a big fan of Mozart, Tchaikovsky studied composition with Anton Rubinstein and
moved to Moscow and started teaching at the new conservatory.
He continued his music career in New York despite having marital
problems and became famous after composing the musical poem “Fatum” and
“Romeo and Juliet”.

Some famous works:

• Swan Lake
• Sleeping Beauty
• The Nutcracker
• Romeo & Juliet
• 1812 Overture
• Symphony No. 2
• Symphony No. 6 “Pathetique”
• Piano Concerto #1
Camille Saint-Saëns
Camille Saint-Saëns was known as a talented musician from an early age. He was born in Paris
on October 9, 1835 He was considered as a composer who creates elegant music, neat, clean, polished
and never excessive. One of this is example is “The Swan”. As an organist and one of the best pianists
of his time, he sat very still at the piano and played gracefully and cool.

Best known music of Camille Saint-Saëns:

• Carnival of the Animals
• Danse Macabre and his Symphony No. 3
• The Swan
• Over 300 works, unusually in all genres, including o 3 operas (Samson
and Delilah the only one remembered)
• 5 Symphonies (best known No 3 the Organ Symphony)
• 3 concertos for violin and orchestra o 5 concertos for piano and orchestra
• 2 concertos for cello and orchestra o organ music
• numerous pieces for the piano or approximately 100 songs of chamber
music
• sacred music including a Requiem

Lesson: Relationship of Romantic Music to Other Arts Forms and its

History within the Era
Learning Target: Relates Romantic music to other art forms and its history within the era (MU9RO-
IIIc-h-7)

The Romantic Movement and Romantic Trends

Romanticism was a Western cultural movement that began in the early 1800s as a reaction
to the neoclassical love of reason and order that dominated the previous century. Romanticists were
imaginative individuals who championed creativity and artistic freedom. The movement affected all
forms of art, literature, and music in Europe, eventually spreading to the United States and other
parts of the Western world.

Emotional Subjectivity
Capturing extreme emotional states was a hallmark of
this era. French artist Théodore Géricault's painting 'The Raft
of the Medusa' depicts a scene of intense suffering and
desperation. This iconic work of French Romanticism shows
an impending storm at sea that threatens the helpless and
starving survivors of a shipwreck.
Romantic musicians liked using bold tone colors, a
term that describes the unique sound of a musical
instrument. To expand the tone color options available,
several new instruments were added to the orchestra during
this era, including a large amount of percussion instruments,
like the triangle, as well as the tuba, concert harp, and celesta,
a piano-like instrument that has a sound similar to that of a
music box. With this rich orchestral palate, composers were able to create intensely emotional music.
One composer who took advantage of the expanded orchestra to create highly emotional melodies was
Pyotr Tchaikovsky. His musical representation of the story of Romeo and Juliet perfectly captures
both the passion of the young lovers and the fiery intensity of the sword fights between the dueling
families.

Contemporary Events
Romantics often created art based on contemporary events, especially those related to politics.
One example is Ludwig van Beethoven's third symphony. Originally composed as a tribute to
Napoleon Bonaparte, a man whom Beethoven admired for his democratic ideals, Beethoven later
ripped up his dedication page in anger after Napoleon declared himself emperor. Beethoven renamed
his piece 'Heroic Symphony, Composed to Celebrate the Memory of a Great Man.' Most commonly
known by its nickname, 'The Eroica,' this symphony is one of the early masterpieces of musical
romanticism. The use of a descriptive title, rather than a generic one, is a particular hallmark of
Romantic era music aimed towards inspiring the imagination.
 Like Géricault's painting, the music of this symphony involves intense expressions of emotion,
changing from lighthearted cheerfulness to pained anguish in seconds. 'The Raft of the Medusa' was
based on a contemporary event as well, the highly controversial 1816 shipwreck of a French naval
vessel. The captain and chief naval officer saved themselves, abandoning 147 passengers on a hastily
made raft. Only 15 survived.

Nationalism
The reason Beethoven was so upset about Napoleon's
self-coronation was because he, along with many others, had
believed that Napoleon was a champion of the common man.
Democratic sentiments were sweeping the continent, and
nationalism became an important factor in encouraging
revolutionary activity. At the time, many Europeans were
seeking independence from the monarchical rule that had
dominated Europe for centuries, especially that of the Austro-
Hungarian Empire. As citizens rebelled, contemporary painters
helped promote nationalist agendas through their art by
glorifying this revolutionary activity. A famous example of this
is seen in Eugène Delacroix's 'Liberty Leading the People.'
This painting depicts the allegorical figure of Liberty at the head
“'Liberty Leading the People”
of a motley crowd of French revolutionaries from all social by Eugène Delacroix
classes. The painting is based on the July Revolution of
1830, a rebellion that dethroned King Charles X.
Some Romantic era composers, like Frédéric Chopin from Poland, wrote music that promoted
nationalism by incorporating folk music. Many of Chopin's piano pieces are written in the style of
Polish folk tunes and dances, like the mazurka. Other composers like Clara Wieck Schumann wrote
music with allegorically political lyrics, like her song 'Forward!'. The title was the slogan for the
German democratic movement, and the song became a rallying anthem for revolutionary activists
during the political demonstrations of 1848 and 1849.

Lesson: Musical Instruments of the Romantic Period

Learning Target: Improvises appropriate accompaniment to selected music from Romantic Period
(MU9RO-IIIc-h-8)

During the Romantic Period, musical instruments were greatly improved due to recent
advancements in technology and the artistic demands of the new movement. Instruments that were
improved, or even invented, during the Romantic Period included the flute, oboe, saxophone, and
tuba.

The Piano
During the Romantic period, the piano (pianoforte) became the most popular
single instrument. It became a musical symbol of Romanticism and was enlarged to
give it a wider range and more tonal power.

WOODWIND INSTRUMENTS

• Contrabassoon - also known as the double bassoon, is a larger version of the

bassoon, sounding an octave lower. Its technique is similar to its smaller cousin,
with a few notable differences.

• Bass Clarinet - a musical instrument of the clarinet family. Bass Clarinet

regularly perform in orchestras, wind ensembles/concert bands, occasionally in
marching bands, and play an occasional solo role in contemporary music and
jazz in particular.
 • Cor anglais (English horn in North America) - is a double-reed
woodwind instrument in the oboe family. It is approximately one and a
half times the length of an oboe.

• Piccolo – comes from the Italian word for "small"). It is a half-size flute,
and a member of the woodwind family of musical instruments. The modern
piccolo has most of the same fingerings as its larger sibling, the standard
transverse flute.

BRASS INSTRUMENTS

• Wagner Tuba - an infrequently-used brass instrument that combines tonal

elements of both the French horn and the trombone. Wagner tubas (or
Wagnertuben) are also referred to as Wagner horns or Bayreuth tubas in
English and as Bayreuth-Tuben or simply Tuben in German. It is named
after Richard Wagner.

• Trombone - derived from Italian Tromba (trumpet) and -one (a suffix

meaning "large"), so the name means "large trumpet".

• Cornet - a brass instrument similar to the trumpet but distinguished

from it by its conical bore, more compact shape, and mellower tone
quality. The cornet derived from the posthorn, by applying rotary valves
to it in the 1820s in France

• Tuba - the lowest-pitched musical instrument in the brass family. As with

all brass instruments, the sound is produced by lip vibration, or a buzz,
into a large mouthpiece. The person who plays the tuba is called a tubaist
or tubist, or simply a tuba player.

UNPITCHED PERCUSSION

• Cymbals- a common percussion instrument. Often used in pairs, cymbals

consist of thin, normally round plates of various alloys. The majority of
cymbals are of indefinite pitch, although small disc-shaped cymbals based
on ancient designs sound a definite note (such as crotales).

• Snare drum- or side drum is a percussion instrument that produces a

sharp staccato sound when the head is struck with a drum stick, due to
the use of a series of stiff wires held under tension against the lower skin.

• Gong - an East and Southeast Asian musical percussion instrument that takes
the form of a flat, circular metal disc which is hit with a mallet. The origin of
gongs is probably China's Western Regions in the sixth century. The term gong
originated in the Indonesian island of Java.

• Castanets - also known as clackers or palillos, the instrument are consisting of

a pair of concave shells joined on one edge by a string. They are held in the hand
and used to produce clicks for rhythmic accents or a ripping or rattling sound
consisting of a rapid series of clicks.
PITCHED PERCUSSION

• Xylophone- a musical instrument in the percussion family that consists of

wooden bars struck by mallets. the xylophone essentially consists of a set of
tuned keys arranged in the fashion of the keyboard of a piano.

• Celesta - or celeste, also called a bell-piano, is a struck idiophone operated by

a keyboard. It looks similar to an upright piano (four- or five-octave), albeit
with smaller keys and a much smaller cabinet, or a large wooden music box
(three-octave). One of the best-known works that uses the celesta is Pyotr
Ilyich Tchaikovsky's "Dance of the Sugar Plum Fairy" from The Nutcracker.

• Chimes / Tubular bells - resembles that of church bells, carillon, or a bell tower;
the original tubular bells were made to duplicate the sound of church bells within
an ensemble.

• Harp - a stringed musical instrument that has a number of individual strings

running at an angle to its soundboard; the strings are plucked with the fingers.
Harps can be made and played in various ways, including standing or sitting and
in orchestras or concerts. Its most common form is triangular in shape and made
of wood. Some have multiple rows of strings and pedal attachments.

Lesson: Selected Music from the Romantic Period

Learning Target: performs selected music from the Romantic period (MU9RO-IIIe-h-6)

At its core, composer of Romantic Era saw music as a means of individuality and expressing
of emotion. Indeed, they considered music as the art form most capable of expressing the full
range of human emotion; as a result, romantic composers broadened the scope of emotional content.
The music was expected to communicate to the audience, often by using a narrative form that fold
distinct stories.

Changes to orchestra during the romantic period is a critical mean to expanding the
expressiveness of the music- primarily through tonal color, broader dynamic and richer harmonies
were by increasing the number of instruments required to perform the composition. Romantic
orchestras became even bigger and louder.

Symphony No. 8 in E-Flat major / “Symphony of a Thousand” by Gustav Mahler

https://www.youtube.com/watch?v=nxf3xtH31jA

This requires to choirs and 120 musicians

including over 70 string musicians and orchestra from
classical era typically had around 30 musicians, the
orchestra continued to grow and evolve throughout the
Romantic period. Setting into the orchestra we know
today. As alluded to above, the wind and brass section
grew through the addition of a variety of instruments,
such as the Piccolo and contrabassoon, both of which
greatly expanded the tonal rage of music, the percussion
section also saw numerous instruments added from the
bass drums to get the triangle.

The string section also expanded. It remained comprised of the same four instruments: Violin,
viola, cello and double bass. However, the number of each string instrument increased. Enlarging the
number of strings allowed for the creation of more subsets within the string section. Romantic
composers would use different configurations of small groups of strings to deepen the texture and
contrast within a work.

1812 Overture (using cannons) by Pyotr Ilyich Tchaikovsky

https://www.youtube.com/watch?v=0F5k70xwGSk

Another orchestral innovation of the period was

intermittent use of non-traditional instrument. An
expanded orchestra was needed to perform the longer,
more dramatic symphonies from the Romantic Era. While
the symphony exploded to new intensity during this time,
the period is also notable from composers creating a variety
of types of “miniature” works.

Symphonie Fantastique by Hector Berlioz

https://www.youtube.com/watch?v=5HgqPpjIH5c

Extremely sensitive and imaginative musician tries to kill himself with opium due to depression
caused by discouraged love. Unfortunately, the dose was not enough and does not kill but instead,
plunges him into a heavy sleep flocked with nightmares. His experiences, feelings and memories are
translated in hallucinations of musical thoughts and images. The girl, Harriet Smithson (the subject
known as “Beloved”) he loves was transformed into melody and like a recurring theme, he meets and
hears everywhere. Each movement of symphony refers to a different vision in the young musician’s
mind.

Movement Title Tempo Form

Largo slow introduction) allegro agitato
Reveries/ (has both a tempo indication)
1st Movement
Passion e appasionado assai (agitated and very
impassioned allegro)
Allegro non Troppo
2nd Movement A Ball The second movement is ABA form
a waltz

Scene in the
3rd Movement Adagio waltz (slow tempo) ABA Coda Form
country

Allegretto (fasten than Composed of

March to the
4th Movement andante but not so fast) two different
Scaffold
non troppo themes

Dream of a Larghetto allegro (slowly with Most Fantastic

5th Movement
Witches Sabbath great expression) of the movement

Reference:
• Department of Education Learner’s Material for Music and Arts Grade 9, Unit III
 Quarter 3 ARTS
ERNESTO RONDON HIGH SCHOOL
Road 3, Project 6, Quezon City

MAPEH DEPARTMENT
LEARNING ACTIVITY SHEET

Name: ____________________________________________ Teacher: _________________________________

Grade and Section: __________________________________
MAPEH Component (Check or choose from below.)
Music Arts Physical Education Health
x
Type of Activity (Check or choose from below.)
x
Concept notes Performance Task Formal Theme Others
Exercise/Drill Illustrations Informal Theme ________
x
x
Lesson: Elements and Principles of Arts during the Neoclassic and
Romantic Period
Learning Target: analyzes art elements and principles in the production of work following a specific
art style from the Neoclassic and Romantic periods (A9EL-IIIb-1)

NEOCLASSICISM, 1780-1840
The word neoclassic came from the Greek word “neos” meaning new and the Latin word
“classicus” which is similar in meaning to the English phrase first class. The Western movement in
decorative and visual arts was called Neoclassicism. It also applies to literature, theater, music, and
architecture that were influenced by the classical art and culture of Ancient Greece and Ancient
Rome. The Neoclassical movement coincided with the 18th century Age of Reason also known as the
Age of Enlightenment.

I. Neoclassical Painting
Neoclassical artists embraced the ideals of order and moderation in
which artistic interpretations of classic Greek and Roman history was
restored to realistic portrayals.

Neoclassical painters gave great importance to the costumes, settings

and details of classical subject-matter without adding distracting
details but with as much historical accuracy as possible.

Oath of the Horatii

by Jacques-Louis David

II. Neoclassical Sculptures

The Neoclassical period was one of the great ages of public sculpture. Artists
looked to Roman styles during the time of Alexander the Great for inspiration
as well as to mimic their style.

Christus
by Bertel Thorvaldsen

III. Neoclassical Architecture

Neoclassical architectural styles started in the mid-18th century. It
turned away from the grandeur of Rococo style and the Late Baroque. In
its purest form, Neoclassical architecture was a style principally
derived from the architecture of Classical Greece and Rome and the
architectural designs of the Italian architect Andrea Palladio.

Pantheon, Paris
by Jacques-Germain Soufflot
ROMANTICISM, 1800s-1810s
Romanticism was a movement in which the artists of Neoclassical period sought to break new
ground in the expression of emotion, both subtle and stormy. It embraced a number of distinctive
themes, such as a longing for history, supernatural elements, social injustices, and nature.
Landscape painting also became more popular due to the peoples’ romantic adoration of nature.
Romanticism was a reaction to the classical, contemplative nature of Neoclassical pieces.

I. Romantic Painting (Portraits/Figures)

The paintings of the Romantic period gave more emphasis on
emotion. Artists expressed as much feeling and passion as it could be on a
canvas.
Insane Woman
by Théodore Géricault

II. 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.

Hercules Sitting on a Bull

by Antoine-Louis Barye

III. Gothic Revival Architecture (Neo Gothic)

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 Strawberry Hill House
Revival. by Horace Walpole

Lesson: Characteristics of Arts during the Neoclassic and Romantic Period

Learning Target: Identifies distinct characteristics of arts during the Neoclassic and Romantic periods
(A9EL-IIIa-2)

NEOCLASSICAL ART

1. Neoclassical painting
Neoclassical painting is characterized by the use of straight
lines, a smooth paint surface hiding brush work, the depiction of light,
a minimal use of color, and the clear, crisp definition of forms. Its
subject matter usually relates to either Greco-Roman history or other
cultural attributes, such as allegory and virtue. The softness of paint
application and light-hearted and “frivolous” subject matter that
characterizes Rococo painting is recognized as the opposite of the
Neoclassical style

The works of Jacques-Louis David are widely considered to be

the epitome of Neoclassical painting. Many painters combined aspects
of Romanticism with a vaguely Neoclassical style before David’s Oath of the Horatii
success, but these works did not strike any chords with audiences. by Jacques-Louis David
Typically, the subject matter of Neoclassical painting consisted of the
depiction of events from history, mythological scenes, and the
architecture and ruins of ancient Rome.
 2. Neoclassical Sculpture
As with painting, Neoclassicism made its way into sculpture in the
second half of the 18th century. In addition to the ideals of the
Enlightenment, the excavations of the ruins at Pompeii began to spark a
renewed interest in classical culture. Whereas Rococo sculpture consisted
of small-scale asymmetrical objects focusing on themes of love and gaiety,
neoclassical sculpture assumed life-size to monumental scale and focused
on themes of heroism, patriotism, and virtue.

In his tomb sculpture, the Enlightenment philosophe Voltaire is

honored in true Neoclassical form. In a style influenced by ancient Roman
verism, he appears as an elderly man to honor his wisdom. He wears a
contemporary commoner’s blouse to convey his humbleness, and
his robe assumes the appearance of an ancient Roman toga from Voltaire’s tomb: Panthéon, Paris
a distance. Like his ancient predecessors, his facial expression and by Jean-Baptiste Pigalle
his body language suggest an air of scholarly seriousness.

3. Neoclassical Architecture
Neoclassical architecture, which began in the mid-18th
century, looks to the classical past of the Greco-Roman era, the
Renaissance, and classicized Baroque to convey a new era based
on Enlightenment principles. This movement manifested in its
details as a reaction against the Rococo style of naturalistic
ornament, and in its architectural formulas as an outgrowth of
some classicizing features of Late Baroque. In its purest form,
Neoclassicism is a style principally derived from the architecture
of Classical Greece and Rome. In form, Neoclassical architecture
emphasizes the wall and maintains separate identities to each of
its parts.
Ange-Jacques Gabriel. Château of
The first phase of Neoclassicism in France is expressed in the Petit Trianon: The Petit
the Louis XVI style of architects like Ange-Jacques Gabriel (Petit Trianon in the park at Versailles
demonstrates the neoclassical
Trianon, 1762–68). Ange-Jacques Gabriel was the Premier architectural style under Louis XVI.
Architect at Versailles, and his Neoclassical designs for the royal
palace dominated mid-18th century French architecture.

ROMANTIC ART
Despite the early efforts of pioneers like El Greco (1541-1614), Adam Elsheimer (1578- 1610)
and Claude Lorrain (1604-82), the style we know as Romanticism did not gather momentum until the
end of the 18th century when the heroic element in Neoclassicism was given a central role in painting.
This heroic element combined with revolutionary idealism to produce an emotive Romantic style,
which emerged in the wake of the French Revolution as a reaction against the restrained academic
art of the arts establishment.

The tenets of romanticism included: a return to nature - exemplified by an emphasis on

spontaneous plein- air painting - a belief in the goodness of humanity, the promotion of justice for
all, and a strong belief in the senses and emotions, rather than reason and intellect. Romantic
painters and sculptors tended to express an emotional personal response to life, in contrast to the
restraint and universal values advocated by Neoclassical art. 19th Century architects, too, sought to
express a sense of Romanticism in their building designs: see, for instance, Victorian architecture
(1840-1900).

Two Men Contemplating the Moon (1830) The Lady of Shalott (1888)
by Caspar David Friedrich by John William Waterhouse
Lesson: The Representative Artists from Neoclassical Period
Learning Target: Identifies representative artists from the Neoclassic and Romantic periods (A9EL-
IIIa-3)
Describe the influence of iconic artists belonging to the Neoclassic and Romantic
periods. (A9PR-lllc-e-2)

NEOCLASSICAL PAINTING

1. Jacques-Louis David (1748-1825) France

Jacques-Louis David was an influential French painter in the Neoclassical

style, and considered to be the pre-eminent painter of the era. His subjects of
paintings were more on history.

Some of his works:

• The Death of Marat - David’s masterpiece shows the portrayal of a revolutionary

martyr. This is a painting of the murdered French revolutionary leader Jean-Paul
Marat.

• Napoleon Crossing the Alps - The painting that showed a

strongly idealized view of the real crossing that Napoleon and his
army made across the Alps through the Great St. Bernard Pass
in May 1800.

2. Jean-Auguste-Dominique Ingres (1780-1867) France

Ingres was a pupil of Jacques Louis David. He was influenced by Italian

Renaissance painters like Raphael, Nicolas Poussin, Botticelli, and his mentor,
Jacques Louis David. His paintings were usually nudes, portraits and
mythological themes. He was regarded as one of the great exemplars of academic
art and one of the finest Old Masters of his era.

Some of his works:

• Portrait of Napoléon on the Imperial Throne- The painting depicts Napoleon

in his decadent coronation costume, seated upon his golden-encrusted throne, hand
resting upon smooth ivory balls. During his reign, the painting was owned by the
Corps Legislatif which was a part of the French Legislature. The painting was believed
to be commissioned by Napoleon as King of Italy.

• The Apotheosis of Homer - The painting was a state- commission

by Charles X to have him remembered in the building works of the
Louvre. The painting depicts an image of Homer, receiving all the
brilliant men of Rome, Greece, and contemporary times.

NEOCLASSICAL SCULPTURE

1. Antonio Canova (1757-1822) Italy

Canova was a prolific Italian artist and sculptor who became famous for his
marble sculptures that delicately rendered nude flesh. He opened the idea for
portraying discrete sexual pleasures by using pure contours with his mythological
compositions.
Some of his works:

• Psyche Awakened by Cupid’s Kiss - A marble sculpture portraying the

relationship of Psyche and Cupid

• Washington - This is a marble sculpture of Washington currently

displayed at North Carolina Museum of History.

2. Bertel Thorvaldsen (1789-1838) Denmark

Thorvaldsen was the first internationally acclaimed Danish artist. He

executed sculptures of mythological and religious themes characters.

Some of his works:

• Christus - A marble sculpture image of resurrected Christ currently located at the

Thorvaldsen
Museum.

• Lion of Lucerne – A sculpture of a dying lion in

Lucerne, Switzerland that commemorates the Swiss
Guards who were massacred in 1792 during the
French Revolution.

NEOCLASSICAL ARCHITECTURE

1. Robert Adam (1728-1792) Britain

He was known as the Palladian architect of the Neoclassical who designed two well-known
American civic buildings- The White House and the United States Capitol. He had also designed
many country houses.

2. Henri Labrouste (1801-1875) France

His masterpiece is the Library of Sainte Geneviève.
 3. Charles Garnier (1825-1898) France
He designed the most famous classical block of all which is the Palais Garnier (a Neo baroque
opera house).

Lesson: The Representative Artists from the Romantic Period

Learning Target: Identifies representative artists from the Neoclassic and Romantic periods (A9EL-
IIIa-3)
Describe the influence of iconic artists belonging to the Neoclassic and Romantic
periods. (A9PR-lllc-e-2)

PORTRAIT/FIGURE PAINTING

1. Jean-Louis André Théodore Géricault (1791-1824) France

Géricault was the first French master and the leader of the French realistic
school. His masterpieces were energetic, powerful, brilliantly colored, and tightly
composed.

Notable artworks:

• The Raft of the Medusa - portrays the victims of a contemporary

shipwreck. The people on this raft were French emigrants enroute to West
Africa.

• Insane Woman - One of several portraits Gericault made of the mentally

disabled that has a peculiar hypnotic power.

2. Ferdinand Victor Eugène Delacroix (1798-1863) France

Delacroix was considered the greatest French Romantic painter of all. He
achieved brilliant visual effects using small, adjacent strokes of contrasting color.
He was the most influential to most of Romantic painters and eventually, his
technique was adopted and extended by the Impressionist artists.

Notable artwork:
• Liberty Leading the People - This painting commemorates the
July Revolution of 1830, which toppled King Charles X of France.
A woman holding the flag of the French Revolution personifies
Liberty and leads the people forward over the bodies of the fallen.
 3. Francisco Goya (1746-1828) Spain
Francisco Goya was a commissioned Romantic painter by the King of
Spain. He was also a printmaker regarded both as the last of the “Old Masters”
and the first of the “Moderns”.

Notable artworks:

• The Third of May – The Third of May is Goya’s masterpiece that sought
to commemorate Spanish resistance to Napoleon's armies during the
occupation of 1808 in the Peninsular War.

• Saturn Devouring His Son - This artwork depicts the Greek myth of the
Titan Cronus (Saturn), who fears that he would be overthrown by one of his
children, so he ate each one upon their birth.

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

Théodore Rousseau and 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.

Landscape with a Plowman Le Repos Sous Les Saules

(T. Rousseau) (J. Corot)

SCULPTURE

1. François 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 18th-
and early 19th-century French sculpture in favor of a dynamic, emotional style
and created many monuments that stirred the public for generations.

Notable artworks:

• Departure of the Volunteers - Known as La Marseillaise, this work portrays the

goddess liberty urging the forces of the French Revolution onward.

• Jeanne D’arc - portrayed with her hand up, listing to the mystical voice
calling her to fight for the liberty of France against the English invaders.
Her hair has already been cut to prepare her for battle, and her armor is by
her side.
 2. 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.

Antoine-Louis Barye Hercules Sitting on a Bull Theseus Slaying the Minotaur

ARCHITECTURE

1. Charles Barry (1795-1860) Britain

He was the name behind Britain’s foremost Gothic Revival monument, the Westminster Palace
(a.k.a. the Houses of Parliament).

2. James Renwick Jr. (1818-1895) USA

Renwick’s crowning American work: the St. Patrick’s Cathedral (New York).

Westminster Palace (London) St. Patrick’s Cathedral (Manhattan)

Charles Barry James Renwick Jr.

Lesson: Techniques and Styles of the Neoclassic and Romantic Period

Learning Target: Creates artworks guided by techniques and styles of the Neoclassic and Romantic
periods (e.g., linear style and painterly style) (A9PR-IIIc-e-1)

LINEAR VS. PAINTERLY STYLE

Neoclassical painting usually features a linear style (in which the outlines of objects are
sharply defined, controlled brushstrokes).

Romantic painters tended to favor a painterly style (in which freedom of color takes
precedence over sharply-defined forms; brushstrokes are less restrained, resulting in somewhat
"messy" outlines). The painterly style often has visible brushstrokes, while the linear style features
smooth areas of color, in which no brushstrokes can be seen.

Linear style Painterly Style

NEOCLASSICAL PAINTING
Neoclassicism appealed to artists supportive of the French Revolution, given the democratic
legacy of ancient Greece and Rome. Such artists included Jacques-Louis David, foremost of all
Neoclassical painters. David’s first great work was Oath of the Horatii, which depicts three legendary
warriors pledging allegiance to the Roman Republic. Later primary works include the portrayal of a
revolutionary martyr in The Death of Marat (his masterpiece) and Napoleon Crossing the Alps, one
of many works David produced as the emperor’s official painter.

Oath of the Horatii Death of Marat Napoleon Crossing the Alps

by Jacques-Louis David by Jacques-Louis David by Jacques-Louis David

ROMANTIC PAINTING
Romantic painting can be divided into two main types: figure painting (in which figures are
the primary subject) and landscape painting (in which the environment is the primary subject). The
former type was led by France, the latter by England.
Each nation produced two outstanding Romantic masters. The first French master was
Théodore Géricault, whose masterpiece The Raft of the Medusa portrays the victims of a
contemporary shipwreck. Eugène Delacroix, considered the greatest French Romantic painter,
achieved brilliant visual effects using small, adjacent strokes of contrasting colour. (While a number
of Romantic painters used this technique, which was eventually adopted and extended by the
impressionists, Delacroix was the most influential.) His masterpiece, Liberty Leading the People,
depicts the French Revolution in all its heroic glory and grisly destruction

NEOCLASSICAL ARCHITECTURE
Neoclassical buildings can be divided into three:

• Temple style buildings were uncommon during the

Renaissance; architects of that period focused mainly on
applying classical elements to churches and modern buildings
(e.g., palazzos, villas). Temple style architecture exploded during
the Neoclassical age. Many temple style buildings feature a
peristyle (a continuous line of columns around a building), which
is rarely found in Renaissance architecture. The most famous
temple style buildings of the Neoclassical age may be the
Panthéon (Paris, by Jacques-Germain Soufflot)

• Palladian style architecture is derived from the villas of Andrea

Palladio, the greatest architect of the Late Renaissance. Palladio,
like famous artists generally, was followed by many successors
who absorbed and worked in his style; these ranged from
unoriginal imitators to artistic geniuses, the latter of whom
applied old ideas in brilliant new ways. Interestingly, Palladio's
greatest successors emerged primarily in England.

• A Classical Block style building features a vast rectangular (or

square) plan, with a flat (or low- lying) roof and exterior rich in
classical detail. The exterior is divided into multiple levels, each
of which features a repeated classical pattern, often a series of
arches and/or columns. The overall impression of such a
building is an enormous, classically-decorated rectangular block.
(The classical block aesthetic is also known as "Beaux-Arts
style", since it was developed principally by the French École des
Beaux-Arts.)
ROMANTIC/GOTHIC REVIVAL ARCHITECTURE
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.
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.

Lesson: Evaluates Works of Art in Terms of Artistic Concepts and Ideas

Learning Target: Evaluates works of art in terms of artistic concepts and ideas using criteria from
the Neoclassic and Romantic periods (A9PR-IIIf-4)

NEOCLASSICAL ARTS

• Death of General Wolfe by Benjamin West

This painting shows the death of Major-General James Wolfe
on the Plains of Abraham at the Battle of Quebec in 1759 during the
Seven Years' War, known in the United States as the French and
Indian War. Wolfe was killed by musket fire in the brief battle as he
led the British forces to victory, setting in motion the conquest of
Canada from the French. We see him lying on the battlefield as he
is surrounded and comforted by a group of officers. His figure,
creating the base of a pyramidal grouping that rises to the partially
furled flag above, and his pale face are lit up with a Christ-like
illumination, making him the visual and emotional center of the
work. To the left a group of officers stand in attendance, conveying a distress reminiscent of depictions
of the mourning of Christ. In the left foreground, a single Indigenous man sits, his chin in his hand,
as if deep in thought. Two more officers on the right frame the scene, while in the background the
opposing forces mill, and black smoke from the battlefield and storm clouds converge around the
intersecting diagonal of the flag. A sense of drama is conveyed as the battle ends with a singular
heroic sacrifice.

• Le Panthéon by Jacques-Germain Soufflot and Jean-Baptiste Rondelet

This photograph shows the monumental façade of the
Panthéon, its portico with massive Corinthian columns rising to a
triangular frieze, reminiscent of classical Greek temples. The
columns with richly embellished capitals draw one's attention
upward to the dome, which was influenced by the Renaissance
architect Bramante's Tempietto (1502). At the same time, the
vertical lift of the columns, contrasting with strong horizontal lines,
creates an overwhelming effect of orderly grandeur dominating the
view of Paris. As architectural historian Dennis Sharp wrote, the
design exemplifies a "strictness of line, firmness of form, simplicity
of contour, and rigorously architectonic conception of detail."

• Psyche Revived by Cupid's Kiss by Antonio Canova

The work draws upon the mythological story of Cupid and Psyche as told in The Golden Ass
(c. 180) a Latin novel written by Lucius Apuleius. Venus, the goddess of love, was jealous of Psyche,
widely admired for her beauty, and sent her son, Cupid, so that his
arrows would make the girl marry the ugliest of men. Instead, Cupid fell
in love with her, and, learning that the two were lovers, Venus sent
Psyche to bring back a jar containing a "divine beauty" from the
underworld. Though instructed to not open the jar, Psyche did so, only
to fall into the sleep of the dead, as the jar contained the "sleep of
innermost darkness." This sculpture depicts the moment when revives
Psyche with a kiss. The flowing lines of Psyche's reclining form are
echoed in the drapery that partially covers her, and Cupid's melting
embrace. Dubbed in his time as the "sculptor of grace and youth,"
ROMANTIC ARTS

• The Nightmare by Henry Fuseli

Fuseli's strange and macabre painting depicts a ravished woman, draped across a divan with
a small, hairy incubus sitting on top of her, staring out menacingly at the viewer. A mysterious black
mare with white eyes and flaring nostrils appears behind her, entering the scene through lush, red
curtains. We seem to be looking at the effects and the contents of the woman's dream at the same
time. Fuseli's ghastly scene was the first of its kind in the midst of The Age of Reason, and Fuseli
became something of a transitional figure. While Fuseli held many of the same tenets as the
Neoclassicists (notice the idealized depiction of the woman), he was intent on exploring the dark
recesses of human psychology when most were concerned with
scientific exploration of the objective world. When shown in 1782 at
London's Royal Academy exhibition, the painting shocked and
frightened visitors. Unlike the paintings the public was used to
seeing, Fuseli's subject matter was not drawn from history or the
bible, nor did it carry any moralizing intent. This new subject matter
would have wide-ranging repercussions in the art world. Even
though the woman is bathed in a bright light, Fuseli's composition
suggests that light is unable to penetrate the darker realms of the
human mind.

• The Third of May 1808 by Francisco Goya

This groundbreaking work depicts the public execution of several Spaniards by Napoleonic
troops. On the left, lit up against a hill, a man in a white shirt holds out his arms as he kneels and
faces the firing squad. Several men cluster around him with facial expressions and body language
expressing a tumult of emotion. A number of the dead lie on the ground beside them and, their right,
a group of people, all with their faces in their hands, knowing they will be next. On the right, the
firing squad aims their rifles, forming a single faceless mass. A large square lantern stands between
the two groups, dividing the scene between shadowy executioners and victims. The painting draws
upon the traditional religious motifs, as the man in the white shirt resembles a Christ-like figure, his
arms extended in the shape of the cross, and a close-up of his hands reveals a mark in his right palm
like the stigmata. Yet, the painting is revolutionary in its unheroic treatment, the flatness of its
perspective, and its matte almost granular pigments. Additionally,
its depiction of a contemporary event experienced by ordinary
individuals bucked academic norms that favored timeless
Neoclassical vignettes. Goya intended to both witness and
commemorate Spanish resistance to Napoleon's army during the
Peninsular War of 1808-1814, a war marked by extreme brutality.
The painting's dark horizon and sky reflect the early morning hours
in which the executions took place, but also convey a feeling of
overwhelming darkness.

• Wanderer Above the Sea of Fog by Caspar David Friedrich

In this painting, an aristocratic man steps out upon a rocky crag as he surveys the landscape
before him, with his back turned toward the viewer. Out of swirling clouds of fog, tall pinnacles of
rocks loom, and a majestic peak on the left and a rock formation on the right fill the horizon. Many
of Friedrich's landscapes depict a solitary figure in an overwhelming landscape that stands in for a
Byronic hero, overlooking and dominating the view. While Friedrich made plein air sketches in the
mountains of Saxony and Bohemia in preparation for this painting, the landscape is essentially an
imaginary one, a composite of specific views. The place of the
individual in the natural world was an abiding theme of the
Romantic painters. Here, the individual wanderer atop a precipice
contemplating the world before him seems to suggest mastery over
the landscape, but at the same time, the figure seems small and
insignificant compared the sublime vista of mountains and sky that
stretch out before him. Friedrich was a master of presenting the
sublimity of nature in its infinite boundlessness and
tempestuousness. Upon contemplation, the world, in its fog,
ultimately remains unknowable.
 Lesson: Influences of Neoclassical and Romantic Periods on Philippine
Art Forms
Learning Target: Shows the influences of Neoclassical and Romantic periods on Philippine art forms
(A9PR-IIf-4)
Participates in an exhibit using completed artworks with Neoclassic and Romantic
periods characteristics (A9PR-lll-g-7)

NEOCLASSICISM AND ROMANTICISM IN THE PHILIPPINES

Here in the Philippines, the ideology of Neoclassicism and Romanticism can be seen through
various major artworks such as paintings, sculptures and architectural structures. Some of the well-
known contributing artists express their skills and ideas in their own respective field of specialization.

1. Félix Resurrección Hidalgo y Padilla (1855-1913), Manila

Felix Hidalgo was one of the great Filipino painters of the late 19th century
who was significant in the Philippine history for inspiring members of the
Philippine reform movement.

Las Virgenes Cristianas Expuestas al Populacho

(The Christian Virgins Exposed to the Populace)

The painting portrays two scantily clothed Christian female slaves

being mocked by a group of boorish Roman male onlookers.

2. Juan Luna y Novicio (1857-1899), Ilocos Norte

Juan Luna was a painter and sculptor, who became one of the first
recognized Philippine artists. He was also a political activist of the Philippine
Revolution during the late 19th century. One of his famous artworks was the
Spoliarium.

Spoliarium is a Latin word referring to the basement of the

Roman Colosseum wherein the fallen and dying gladiators were
dumped and devoid of their worldly possessions. The painting
features a glimpse of Roman history centered on the bloody
carnage brought by gladiatorial matches. The subject of Luna’s
Spoliarium can be interpreted as an allegory of Imperial Rome
corresponding to Imperial Spain. The image of the Romans
dragging the dead gladiators symbolizes the colonial oppression
of the indigenous populations.

3. Fernando Cueto Amorsolo (1892-1972), Manila

Amorsolo was a National Artist in Painting. He was a portraitist and
painter of rural Philippine landscapes, and he was popularly known for his
craftsmanship and mastery of the use of light.

Planting Rice with Mayon Volcano

Happy Filipino villagers in their bright clothes and straw hats work
together amid a green and sunlit landscape of plenty. Behind them,
releasing a peaceful plume of steam, rises the beautifully symmetrical
cone of Mayon stratovolcano. It is the ash erupted by the volcano over
its highly-active history that has made the surrounding landscape
fertile, and the tranquil cone appears here to be a beneficial spirit of
the earth standing guardian over the villagers and their crops.
 4. Guillermo Estrella Tolentino (1890–1976), Bulacan
Tolentino is a Filipino sculptor who was named National Artist for the
Visual Arts in 1973, and is hailed as the “Father of Philippine Arts.”

Some of his famous works are Oblation (UP Diliman) and Pambansang
Bantayog ni Andres Bonifacio (Monumento, Caloocan).

5. Napoleon Isabelo Veloso-Abueva (1930–2018), Bohol

Abueva is a National Artist for Sculpture. He was entitled as the "Father
of Modern Philippine Sculpture". He has been the only Boholano to be given
the distinction of National Artist of the Philippines in the field of Visual Arts.

One of his famous works is the Siyam na Diwata ng Sining

(UP Diliman).

There is an article on the internet by R.G. Chan & Associates that discusses some of the
Neoclassical and Romantic Architecture during the American colonization in the Philippines. Shown
below are the pictures of some buildings built that time.

Laguna Provincial Capitol Zamboanga Municipal Building Negros Occidental Provincial

Capitol

Cebu Normal School UP Manila Manila Post Office

Reference: Department of Education Learner’s Material for Music and Arts Grade 9, Unit III
 Quarter 3 PE
ERNESTO RONDON HIGH SCHOOL
Road 3, Project 6, Quezon City

MAPEH DEPARTMENT
LEARNING ACTIVITY SHEET

Name: ____________________________________________ Teacher: _________________________________

Grade and Section: __________________________________
MAPEH Component (Check or choose from below.)
Music Arts Physical Education Health
x
Type of Activity (Check or choose from below.)
x
Concept notes Performance Task Formal Theme Others
Exercise/Drill Illustrations Informal Theme
x
x
Lesson: Festival Dances
Learning Target: Executes the skills involved in the dance (PE9RD-IIb-h-4)

What are Festival Dances?

Festival dances are cultural dances performed to the strong beats of percussion instruments
by a community of people sharing the same culture usually done in honor of a Patron Saint or in
thanksgiving of a bountiful harvest. Festival dances draw the people’s culture by portraying the
people’s ways of life through movements, costumes and implements inherent to their place of origin

What is the nature of Festival Dances?

• Religious - in honor of a Patron Saint
• Secular -in thanksgiving of a bountiful harvest

Why do Filipinos celebrate Festival Dances?

• We celebrate our unity amidst the diversity of cultures
• We celebrate our industry bringing about a bountiful harvest.

Other benefits of Festival Dances:

• Festivals have been a consistent crowd-producing activity leading to upliftment of a
community’s economy due to its tourism and entertainment value.

RELIGIOUS FESTIVAL DANCES (in honor of a Patron Saint)

 SECULAR FESTIVAL DANCES (in thanksgiving of a bountiful harvest)

Lesson: Locomotor and Non-Locomotor Movements

Learning Target: Executes the skills involved in the dance (PE9RD-IIb-h-4)

LOCOMOTOR MOVEMENTS
These are movements that allow you to move from one point in space to another. It is coined
from two words, “locos” which means place and “motor” which means movement. They include the
following:

1. Step - This is the basis of all locomotor movements. It prepares you to move in any direction
you wish to go. It is defined as transfer of weight from one foot to the other. Try one! Stand
with your weight equally distributed to both of your feet. Now, let your right foot carry it all.
You got it! That’s what you call a step.

2. Walk - Series of steps executed by both of your feet alternately in any direction. In executing a
walk, observe that there’s this moment when both feet are in contact with the ground while
one foot supports the weight and transfers it to the other.

3. Run - Series of walks executed quickly in any direction wherein only one foot stays on the
ground while the other is off the ground.

4. Jump - This movement is simply described by having both feet lose its contact with the
ground. There five ways to do it:
• Take off from one foot and land on the same;
• Take off from one foot and land on the other;
• Take off from one foot and land on both feet;
• Take off from both feet and land on one foot; and
• Take off from both feet and land on both.

NON-LOCOMOTOR MOVEMENTS
These are movements that are performed in one point in space without transferring to another
point. They don’t allow you to move from one place to the other. These movements include:

1. Flexion - It is the act of decreasing the angle of a joint. Another term for flexion is to bend. If
you bend a joint, like your elbow or knee, you are performing flexion.

2. Extension - This is the opposite of flexion. You are extending if you are increasing the angle
of a joint. Stretching is another word for extension.

3. Contraction - A muscle movement done when it shortens, narrows and tightens using
sufficient amount of energy in the execution.

4. Release - A muscle movement opposite to contraction done when it let goes or let loses of being
held into a shortening movement.
 5. Collapse - To deliberately drop the exertion of energy into a body segment.

6. Recover - The opposite of collapse. This is to regain the energy exerted into a body segment.

7. Rotation - To rotate is to move a body segment allowing it to complete a circle with its motion.
It’s not only limited to circumduction which is done in ball and socket joints. Rotation can also
be done in wrists, waist, knees and ankles.

8. Twist - To move a body segment from an axis halfway front or back or quarter to the right or
left as in the twisting of the neck allowing the head to face right or left and the like.

9. Pivot - To change the position of the feet or any body part that carries the body’s weight
allowing the body to face in a less than 360 degrees turn.

10. Turn - To move in a turning movement with a base of support, usually a pointed foot, the other
raised, while equilibrium is maintained until the completion of the turn.

Lesson: Basic 24 Time Folk Dance Steps

Learning Target: Undertake physical activity and physical fitness assessments (PE9PF-IIa-h-23)
Involves oneself in community service through dance activities in the community
(PE9PF-IIIg-h-41)

Name of Step Step Pattern/Counting (Rhythm)

Close Step Step R sideward (1), Close Step L to R (2)

Bleking Step R in place (1), Heel Place L in front (2)

Touch Step Step R sideward (1), Point L in Front of R (2)

Walk Step R forward (1), Step L forward (2)

Change Step Step R (1), Close Step L to R (and), Step R in Place (2)

Cross Change Step Cross R over L (1), step L sideward (and), step R in place (2)

Hop Step Step R sideward (1), Hop R in place (2)

Point L in place (and), Step R in place (1), Point L in place (and), Step
Mincing
R in place (ct. 2)

Cross Step Step R across L (1), Step L sideward L (2)

Heel place R sideward (1), point L close to R (2), change step with R
Heel-toe, change Step
(maybe repeated with L)

ELEMENTS OF MOVEMENTS IN SPACE

Rhythm
Regular recurrence of a beat. It may be regular or irregular. In basic music, rhythm is regular
and metered (24, 34 or 44). They be slow, moderate or fast. This element of rhythm is called tempo.
Music dictates the speed of movements we create.

Level
This refers to the level of movement. It may be low, when knees are fully or slightly bent when
executing movement; medium, if knees are normally straight when executing movement; high, if the
heels are raised or movements are done while off the floor.

Range
This element refers to the scope of movement execution. It is dictated by the space provided. If
the space is wide then movements shall be wide and big. If space is limited then movements shall be
small and limited too.
Floor Patter/Design
This refers to the designs created on the floor by the bodies of dancers. They may be geometric
or non-geometric formations.

Direction
This element adds to variety of movement. They may be performed forward, backward,
sideward, or even upward.

Focus
This is the focal point of dancer’s attention while moving in space.

Lesson: Maintaining, Losing and Gaining Weight

Learning Target: undertakes physical activity and physical fitness assessments (PE9PF-IIIa-h-23)

Micronutrients are nutrients that a person needs in small doses.

• Vitamins
• Minerals

Macronutrients are nutrients that a person needs in larger amounts.

• Water
• Protein
• Carbohydrates
• Fats

Our body is like a machine. It needs to be fueled for it to run. Unlike machines, we eat foods
that make us go. You have learned in the past years about the three food groups but this time, we
will focus on energy giving foods. These specific foods that give us energy are called go foods. They
are the primary source of carbohydrates. They are found in rice, bread, pasta, or noodles, and others.
Other sources of carbohydrates also include proteins and fats. They give us energy. Energy is
measured in calories. Calories energize us and when we move or do any physical activity, light or
heavy, calories are consumed. Overconsumption of calories results to dizziness or hypoglycemia.
When this happens, we need to refuel our bodies to get it active and moving again.

How to lose weight?

So far, the safest and most acceptable method of losing weight is to engage oneself in
vigorous aerobic activities together with a well-planned diet. Administration of diet pills, herbal
medicines and other fad methods appear to be less effective and sometimes unhealthy especially if
weight loss is associated with increased daily bowel movement or dehydration due to excessive
perspiration with very minimal or total absence of physical activity.

How to gain weight?

On the other hand, on gaining weight, it has been found that the most effective approach is
for one to engage in weight resistance training together with a well-designed diet program. The
popular belief that one has to overheat in order to gain weight may be partially correct but with
regard to health and fitness, this approach may not be totally acceptable. Any excess in calories
that are not burned through physical activity is stored in the body and are later transformed into
fat. As mentioned earlier, the risk of CAD (coronary artery diseases) and CHD (coronary heart
diseases) is greater if this happens.

As a rule of thumb:
• To keep your weight the same, you need to burn the same number of calories as you eat and
drink.

• To lose weight, burn more calories than you eat and drink.

• To gain weight, burn fewer calories than you eat and drink.
 Lesson: First Aid for Common Dance Injuries and Emergency Situations
Learning Target: performs appropriate first aid for injuries and emergency situations in physical activity
and dance settings (cramps, sprain, heat exhaustion) (PE9PF-IIIb-h-30)

FRACTURE
A break or crack in a bone. An open fracture pierces the skin surface. A closed fracture when
the skin is intact.

First Aid:
1. Check vital signs.
2. Do not move injured part.
3. Stop bleeding if there is any.
4. If you have to move the person, immobilized the broken part with
splinting.
5. Seek medical help immediately.

DISLOCATION.
It is a partial or complete displacement of the bone.

First Aid:
1. Call for help immediately.
2. Splint the affected part.
3. Do not try to move a dislocated part or force it back into
place.
4. Apply ice on the injured part to reduce swelling.

SPRAIN
It is an injury of the ligament of a bone due to accidental tearing or overstretching.

STRAIN
It is an injury to the muscles or tendons which is a result of improper use of the muscles.

First Aid:
Apply the RICE method.
1. Rest injured part
2. Apply Ice.
3. Compress the injured part.
4. Elevate the injured part.

Reference: Department of Education Learner’s Material for Physical Education and Health Grade 9, Unit III
 Quarter 3 HEALTH
ERNESTO RONDON HIGH SCHOOL
Road 3, Project 6, Quezon City

MAPEH DEPARTMENT
LEARNING ACTIVITY SHEET

Name: ____________________________________________ Teacher: _________________________________

Grade and Section: __________________________________
MAPEH Component (Check or choose from below.)
Music Arts Physical Education Health
x
Type of Activity (Check or choose from below.)
x
Concept notes Performance Task Formal Theme Others
Exercise/Drill Illustrations Informal Theme
x
x
Lesson: The Basics of First Aid
Learning Target: demonstrates the conduct of primary and secondary survey of the victim (CAB)
(H9IS-IIIb-37)
assesses emergency situation for unintentional injuries (H9IS-IIIb-38)

First aid is an immediate and temporary care given to a person who suddenly becomes ill or
injured. It includes self-help and home care if medical assistance is not available or is delayed. It can
mean the difference between life and death in extreme cases. However, first aiders must know the
limits of the first aid they can give because improper first aid can actually do more harm than good
in some instances.

ROLES OF FIRST AID

1. It is a bridge that fills the gap between the victim and the physician.
2. It is not intended to compete with or to take the place of the services of the physician.
3. It ends when the services of the physician begin.

OBJECTIVES OF FIRST AID

1. To save lives
2. To prolong life
3. To alleviate suffering
4. To prevent further injury

CHARACTERISTICS OF A GOOD FIRST AIDER

1. Gentle- does not cause pain and panic
2. Observant- notices all signs
3. Resourceful- makes the best use of things at hand
4. Tactful- does not frighten the victim
5. Sympathetic- comforts and reassure the victim

PRINCIPLES OF FIRST AID

A. (Dos in Giving First Aid)
1. DO stay calm.
2. DO reassure and comfort the victim.
3. DO check for a medical bracelet indicating a condition, such as epilepsy or diabetes.
4. DO loosen any tight clothing.
5. DO keep the victim covered to reduce shock

B. (Don’ts in Giving First Aid)

1. DON’T give food and drink to an unconscious person.
2. DON’T move an injured person unless you need to place him/her in the recovery
position.
Lesson: Survey of the Scene and the Victims
Learning Target: demonstrates the conduct of primary and secondary survey of the victim (CAB)
(H9IS-IIIb-37)
assesses emergency situation for unintentional injuries (H9IS-IIIb-38)

STEPS IN ASSESSING EMERGENCY SITUATIONS

1. Is anyone in danger?
2. Move to the quietest victim.
3. Open the airway.
4. Check for breathing.
5. Look for signs of circulation.
• Start Cardiopulmonary Resuscitation (CPR) (Combine rescue breathing with chest
compression)
• Continue rescue breathing. Check for signs of circulation every minute.

DIFFERENCE BETWEEN SIGNS AND SYMPTOMS

• Signs are details discovered by applying your senses – sight, touch, hearing and smell during
the course of the examination. Example: bleeding, swelling, deformities

• Symptoms are sensations that the victim feels or experiences and may be able to describe.
Example: nausea, vomiting, heat, impaired sensations

TWO WAYS TO CONDUCT PHYSICAL EXAMINATION WHEN GIVING FIRST AID:

I. PRIMARY SURVEY - used when the victim is unconscious and to find out and immediately
treat life-threatening conditions.

A. Check for Consciousness

• Ask the victim: “Hey, hey, are you okay?” while carefully shaking the victim’s shoulder.
• When there is no response, not even mumbles or groans, the victim is unconscious and
in need of immediate medical help.

B. Open the Airway

• The victim’s unconsciousness maybe due to an obstruction in his/her airway. It may
also be caused by a narrowed airway making breathing impossible.
• Find out if there is loss of muscular control in the throat area which allows the tongue
to slip back and block the throat.
• Lift the chin and tilt the head of the victim (if the victim is an adult). This way you will
be able to lift the tongue from the back of the throat, leaving the airway clear.

C. Check for Breathing

• Put your face near the victim’s mouth and look, listen, and feel for breathing. You should
observe for: Chest movement, sound of breathing, or feel of breath on your cheek.

D. Check for Circulation

• Locate pulse using your middle and index finger. Pulse indicates blood circulation,
which is essential for the heart and brain to function.
• Poor blood circulation may be reflected on the pale color of the skin. This is fatal. To
revive circulation, perform CPR immediately.

II. SECONDARY SURVEY - when the victim is conscious or has revived. It aims to detect
everything about the patient’s condition.

A. History Taking
SAMPLE PAIN is the mnemonic in order to perform the steps more easily.
S- ymptoms (the chief complaint of the patient)
A- llergy (find out if the victim is allergic to anything)
M-edication (what are the medicines s/he is currently taking)
P-revious illness (that may be related to the problem)
L-ast meal (only for those subject for operation)
E-vents prior to what happened.
 P-eriod of pain (How long? What started it?)
A-rea (Where is the pain coming from?)
I-ntensity
N-ullify (What stopped it?)

B. Checking For Vital Signs

Vital Signs are measures of various physiological statistics taken in order to assess the
most basic body functions.

1. Pulse rate. The pulse rate may be taken in different points in the body like:
• Brachial • Subclavian
• Carotid • Axillary
• Wrist • Femoral
• Temporal

Normal Pulse Rate

Men: 60-70
Women: 70-80
Children over 7 years old: 80-90
Children 1-7 years old: 80-120
Infants: 110-130

2. Temperature. Body temperature is measured by using a thermometer within the:

• Rectum (rectal)
• Oral (mouth)
• Axillary (armpit)

3. Respiration. Between15-20 breaths per minute are normal for adults and older
children; 40 breaths per minute are normal for babies.

4. Skin color
Guidelines in checking skin color:
• Skin color reflects the circulation of blood and the saturation of oxygen in the
blood.
• The presence of mucous around the mouth, inner eyelids, and nail beds is a sign
of poor blood circulation.
• A healthy skin is warm and pink because blood flows normally in the blood
vessels.

C. Head to Toe Examination

1. Head and neck

• Are there any lacerations or contusions in the area?
• Is there a presence of blood in the victim’s hair? If yes, immediately find out where
it is coming from.
• Is there any fluid in the victim’s nose, and ears? If so, the victim has a skull
fracture.

2. Eyes. Pay close attention to the pupils.

Pupil Appearance Assessment
Dilated pupil State of shock
Very small pupils Poison or use of prohibited drugs
Different size Head injury that requires immediate attention
Small and bright Pupils are reactive
No reaction Death

3. Chest
• Check for cuts, bruises, penetrations, and other impairments.
• If the victim feels pain while you apply pressure onto his/ her chest, there could
be a rib fracture.
 4. Abdomen
• Does the victim’s abdomen hurt? Where is the pain coming from?
• Is his/ her abdomen tender?
• Did you feel any lumps? If yes, get immediate medical assistance.

5. Back
• Is there movement in the victim’s lower extremities?
• Is there sensation in these parts? If the answer is yes, do not move the victim.
Immobilize him/ her.

TOP TEN THINGS TO DO IN CASE OF EMERGENCY

1. Shout for HELP!
2. Survey the scene and assess the situation.
3. Determine if the accident warrants a visit to the nearest hospital or if simple cleansing and
band aid will do.
4. If you are certified in CPR and a victim needs it, begin CPR right away.
5. Stop the bleeding, if there is any.
6. Treat any symptoms of shock.
7. Look for the medical alert tag in every victim.
8. Seek trained medical assistance.
9. Never give anything by mouth to an unconscious victim.
10. Wait for medical professionals to arrive.

Lesson: Dressing and Bandages

Learning Target: explains the principles of wound dressing (H9IS-IIIc-d40)
demonstrates appropriate bandaging techniques for unintentional injuries (H9IS-
IIIc-d41)

DRESSING
A dressing is a piece of sterile cloth that covers a wound to prevent infection and/or to stop
bleeding.

Techniques in Applying a Dressing:

1. Wash hands and wear gloves, if possible.
2. Unwrap the dressing as close to the wound as possible. Be sure not to touch the wound.
3. Skin is not sterile. If the dressing slips over the victim’s skin while you are trying to
position it, discard and use a fresh one.
4. Place dressing over the wound.
5. Use a dressing that is large enough to extend at least 1 inch beyond the edges of the
wound.
6. If body tissue or organs are exposed, cover the wound with a dressing that will stick.
7. Secure the dressing with a bandage or adhesive tape.

COMPRESS
• Cold compress is used to reduce swelling and relieve pain, especially used for sprains and
strains. Cold packs can be used as cold compress.
• Hot compresses are also used to allow normal blood circulation. Cold and hot compress are
applied alternately for closed wounds or contusions.

BANDAGING
Bandages are used to apply pressure to bleeding; for covering wounds and burns; and
providing support for immobilization for broken bones, sprains, and strains. There are three main
types of bandages namely: triangular, ace and tubular.

1. Triangular bandage is made from cloth and can be used as cold compress, padding, support
for pressure, or support sling.
2. Ace bandage secures dressings in place.
3. Tubular bandage is used to support joints or hold dressings in place. Smaller tubular bandage
is used for finger injuries.
Two Phases of Bandaging
• An open phase bandaging is used for wounds on top and back of the head, chest, back,
hand, and foot, and as arm sling.
• A cravat phase bandaging is used for wounds that need extra support like wound on
the eye, forehead, ear, cheek, jaw, shoulder, hip, arm, leg, elbow, knee, and palm and
for a sprained ankle. The narrower the cravat is, the greater pressure it will give.

Techniques in Bandaging
1. Keep in mind the following:
a. Always use a square knot. Square
knot is right over left then left
over right.
b. Keep the cloth sterile to avoid
infection.
c. Always keep the ends.
2. Bandaging technique depends upon the size and location of the wound, your first aid
skills, and materials at hand.
3. Bandage firmly over bleeding and securely over the broken bone, not so tight so as not
to cut off blood circulation.
4. When wrapping bandages around the body, such as knees, ankles, neck, and small
back, use its natural hollows to slide the bandage gently into place.
5. Since most injuries swell, check regularly to ensure that the bandage is still comfortable
and that it remains firmly secured.
6. Secure the bandage with a tape, clips or a bow or square knot. Ensure that the
bandages, especially the knots, do not touch the skin.

WOUNDS
A wound is a break in the continuity of a tissue in the body. It may be closed in which there
is no break or damage in the skin. It is also called hematoma or contusion. A wound may also be
an open wound in which there is a break in the skin.

• Puncture is a piercing wound caused by nails, needles and other pointed objects.
• Abrasion is caused by rubbing or scraping the skin against a rough surface.
• Incision is a cut caused by knife, broken glass or any sharp object.
• Laceration is a blunt breaking or tearing of soft tissues usually resulting from
mishandling tools and other accidents.
• Avulsion is a forcible tearing or partial tearing away of tissues.

How to Manage Wounds

A. For management of hematoma, we use the mnemonic RICE:

1. Rest the injured part.
2. Ice application
3. Compression
4. Elevation

B. FirstAid for Open Wounds with Severe Bleeding

1. Wear gloves and remove or cut clothing as necessary to expose wound.
2. Control bleeding by applying direct pressure.
3. Elevate the injured part above the heart except for eye injury and wounds with
embedded object.
4. Cover wound with sterile dressing and bandage.
5. Care for shock.
6. Consult a physician immediately.
 Lesson: Carrying and Transporting an Injured Person
Learning Target: demonstrates proper techniques in carrying and transporting the victim of
unintentional injuries (H9IS-IIIe.f42)

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 victims)

ONE-MAN TRANSPORT
1. Fireman’s Carry – the easiest way to transport a light and smaller victim
2. Piggy Back – when the victim is conscious
3. Pack Strap Carry - when the victim is smaller than the first aider
4. Shoulder Drag – used when the floor is smooth, short distance transport
5. Fireman’s Drag or Tied-hands Crawl – used when first aider and victim must crawl
underneath a low structure
6. Blanket Drag – used when the victim is seriously injured and should not be lifted.

Fireman’s Carry Piggy Back Pack Strap Carry

Shoulder Drag Fireman’s Drag Blanket Drag

TWO-MAN TRANSPORT
1. Human crutch/Two-person drag – For the conscious victim, this carry allows the victim to
swing their leg using the rescuers as a pair of crutches. For the unconscious victim, it is a
quick and easy way to move a victim out of immediate danger.

2. Four-Handed Seat - This technique is for carrying conscious and alert victims in moderate
distances. The victim must be able to stand unsupported and hold themselves upright during
ransport

. Human crutch/Two-person drag Four-Handed Seat

 3. Two-Handed Seat - This technique is for carrying a victim longer distances. This technique
can support an unconscious victim.
4. Chair or Seat Carry – when there are two first aiders and a chair is available. This is a good
method for carrying victims up and down stairs or through narrow or uneven areas.

Two-Handed Seat Chair or Seat Carry

THREE OR MORE-MAN TRANSPORT

1. Hammock Carry – when there are three first aiders. The strongest member is on the side with
the fewest rescuers.
2. Bearers Alongside Carry – carriers will stay on the uninjured side of the victim
3. Six Man Lift and Carry – when there are six first aiders

Hammock Carry Bearer Alongside Carry Six Man Lift and Carry

Lesson: First Aid for Common Unintentional Injuries

Learning Target: demonstrates proper first aid procedures for common unintentional injuries
(H9IS-IIIg.h43)

FRACTURE. A break or crack in a bone. An open fracture pierces the skin surface. A closed fracture
when the skin is intact.

First Aid:
1. Check vital signs.
2. Do not move injured part.
3. Stop bleeding if there is any.
4. If you have to move the person, immobilized the broken part with splinting.
5. Seek medical help immediately.

DISLOCATION. It is a partial or complete displacement of the bone.

First Aid:
1. Call for help immediately.
2. Splint the affected part.
3. Do not try to move a dislocated part or force it back into place.
4. Apply ice on the injured part to reduce swelling.
SPRAIN. Is an injury of the ligament of a bone due to accidental tearing or overstretching.
STRAIN. Is an injury to the muscles which is a result of improper use of the muscles.

First Aid:
1. Rest injured part
2. Apply Ice.
3. Compress the injured part.
4. Elevate the injured part.

HEAT EXHAUSTION. Is caused by loss of salt and water due to excessively high temperature. This
may lead to heatstroke and even death.

First Aid:
1. Transport a victim to a cooler place.
2. Give him/her plenty of water.
3. Check for vital signs.
4. Seek medical help

FOOD POISONING. Is caused by consuming food or drink that is contaminated with bacteria or
viruses.

First Aid:
1. Help the person to lie down and rest.
2. Give him plenty of flavorless fluids to drink and a bowl to use if he vomits.
3. Call for medical help if the condition worsens.

CHOKING. Results when a foreign object blocks the throat

First Aid:
1. Ask the person if he is choking.
2. Encourage him/her to cough.
3. When the person cannot speak or stops coughing, give him five back blows. Stand
behind him and help him lean forward. Support his chest with one hand and give
five sharp blows between the shoulder blades with the heel of your hand.
4. If back blows fail, try abdominal thrusts. Stand behind the person and put your
arms around the upper part of his abdomen. Clench your fist with thumbs inward.
Place it between navel and the bottom of breast bone. Grasp your fist with your
other hand. Pull sharply inwards and upwards up to five times.
5. Check his mouth. If obstruction is not cleared, repeat the back blows and
abdominal thrusts.
6. If obstruction still has not cleared, call for an ambulance. Continue until help
arrives.

DROWNING. Happens when air cannot get into the lungs because of water. It can cause immediate
death when taken for granted.

First Aid:
1. Lay the person down on his back.
2. Check breathing and open airway.
3. Give rescue breaths and chest compression, if necessary.
4. If the person is breathing, place him in the recovery position.
5. Treat for hypothermia by removing wet clothing and covering him with a dry
blanket.

HEART ATTACK. Is caused by a sudden obstruction of blood supply to the part of the heart
muscles.

First Aid:
1. Help the person sit or lie down with head elevated.
2. Call for medical help.
3. If the person is conscious, give him a full-dose aspirin and advise him to chew it slowly.
4. Constantly monitor the vital signs. Be prepared to give rescue breaths and chest
compression.
CHEMICAL BURNS. May occur when electricity passes through the body.

First Aid:
1. Make sure that contact with electrical source is broken.
2. Flood the sites of injury at the entry and exit points of the current with plenty of cold
water.
3. Wear disposable gloves and place a sterile dressing or a bandage over the burn to protect
it from airborne infection.
4. Call for medical help.
5. Reassure the victim and treat for shock.

BURNS. Are often due to domestic incidents such as touching a hot iron, friction (rope burn) or
spilling boiling water on the skin.

First Aid:
MINOR BURNS
1. Flood the injured area with cold water for at least how long to stop the burning and relieve
pain
2. Put on gloves and cover the area with sterile non- adhesive dressing or bandage

SEVERE BURNS
1. Help the person to lie down and prevent the burnt area from coming into contact with the
ground. Douse the burn with plenty of cold liquid.
2. Seek for medical assistance. Do not delay medical help.
3. Wear disposable gloves and gently remove any rings, watches, belts, shoes, or smoldering
clothing before the tissues begin to swell.
4. Carefully remove any burnt clothing, unless it is sticking on the skin. Cover the burnt
area with non-adhesive dressing or bandage.
5. Continue to monitor vital signs
6. Reassure casualty and treat for shock.

HEAT STROKE. Is caused by a failure of the “thermostat” in the brain to regulate body temperature.
When this happens, the body becomes seriously heated.

FirstAid:
1. Move the person immediately to a cool place.
2. Remove as much of his outer clothing as possible.
3. Call for medical help.
4. Wrap the person in a cold, wet sheet and keep the sheet wet until his temperature drops
to 38 °C or 37.5°C under the tongue and armpit, respectively.
5. If the person has returned to normal temperature, replace wet sheet with dry one.
6. Monitor vital signs until help arrives 7. If temperature rises, repeat the cooling process.

STROKE. Is a condition in which the blood supply to a part of the brain is suddenly and seriously
impaired by a blood clot or ruptured blood vessel.

First Aid:
1. If the person is conscious, help him to lie down with his head and shoulders slightly
raised and supported.
2. Incline his head to the affected side and place a towel on his shoulder to absorb any
dribbling.
3. Call for help.
4. Loosen any tight clothing.
5. Monitor vital signs and reassure the victim.
6. If the victim is unconscious, give rescue breathing and chest compression.
7. Call for an ambulance or call for help.

Reference: Department of Education Learner’s Material for Physical Education and Health Grade 9, Unit III