Building Instructor Versatility

(Formerly named Aerobics: Basic & Creative)

© Copyright 1998 by Pam Germain. All rights reserved.

Online Correspondence Course

Section 1 - Introduction: Basic & Creative Equals Versatility
Section 2 - Cardiovascular Versatility - Aerobic Improvisation
Section 3 - Muscular Endurance & Strength: Group Class Options
Section 4 - Mind/Body Fitness & Flexibility Training
Section 5 - Evaluating Your Instructional Techniques
Correspondence Course Assignments
Online Course Descriptions
"How to Order."

INTRODUCTION: BASIC & CREATIVE EQUALS VERSATILITY

TEACHING PRINCIPLES & DEFINITIONS
Movement Learning
Cueing
Movement Design

Group exercise is fun, profitable, efficient, and effective if programmed and taught correctly. The trend is toward many formats of group classes, not just aerobics. The instructor who can teach many kinds of group classes is going to be the one in high demand. This course is designed to help build the necessary skills for teaching the varied forms of group exercise to different population groups and becoming a versatile instructor.

A challenge may be arising out of the trend in crosstraining. Crosstraining is of the best ways of motivating people to stick with an exercise program. However, many fitness facilities find that they do not have the staff resources to offer a wide variety of activities. The trend in crosstraining demands that fitness instructors be trained in “versatility.” Human nature being what it is, many instructors see this need for knowledge in many areas to be overwhelming.

As a solution to this problem, “Building Instructor Versatility” will use several exercises to help you develop versatility and reach a wider array of students. What immediately comes to your mind as you think about fitness and crosstraining? Do you have the desire to teach a variety of physical skills to your members and clients?

A main concept in versatility is there are three areas of fitness that form a complete program: Cardiovascular, Strength, and Flexibility. The varied formats of group fitness classes will fall under one of these categories:

1. Cardiovascular: High/low aerobics, step training, walking, running, skating, cardio-equipment classes
2. Strength: Weight training, body sculpting, sport specific training, circuit training
3. Flexibility: Stretching, yoga, most mind/body disciplines

Of course there is some crossover in these three fitness components and all three can be addressed in the same class or as separate classes.

In developing versatility, it is not necessary to be an "expert" in every fitness discipline to offer a sample to your students. The basic movements in most kinds of group classes are familiar, with different applications. The students can get new experiences with familiar and proven ideas used in versatile and creative ways.

A truly versatile instructor is one who is comfortable in the teaching situation even when challenges arise. Skill and versatility are the result of “Mastery of the Basics”. Instructors often attend workshops in hopes of getting an “advanced” set of movements to use with their own students. When the material is not fast paced or different enough, they seem to think that they have not had an optimal learning experience. However, to be versatile in any class you may want to teach you must practice the basics over and over. If you are bored with applying and practicing basic movement principles, you haven’t learned mastery. Repetition is the path toward excellence and skill in teaching fitness.

When you analyze choreography or sport related skills, you realize that all complex movements and patterns are merely a combination of basic movement. All movement patterns are combinations of the basic anatomical movements the body is able to do. Complex patterns are merely a few simple movements combined into many. The versatile instructor learns to ask questions that reflex this simple/complex relationship:

1. How many ways can I do the same simple (basic) set of moves?
2. How can I look for ways to do this as I am teaching?
3. How can I use this versatility to adapt the movement to the students’ needs?

Instructor versatility is also developed and created with the attitude of taking mental risks with your teaching skills and a willingness to allow for mistakes. Brainstorming activities, exercise games, and your inner creativity will be used in the assignments that will expand your versatility as an instructor.

Development of versatility is dependent on mastery of the basic movement principles. You may want to refer to the manual you studied when you first became a fitness professional at times during this course. Below are some definitions and basic information that may refresh your memory and or at least ensure that we are using the same terminology.

TEACHING PRINCIPLES & DEFINITIONS

Movement Learning

• Neuromuscular Pathways

  Communication between the brain and the body is essential for learning movement skills. The motor cortex in the brain sends movement commands to lower brain centers and the spinal cord. The spinal cord sends movement commands to the muscles. When learning new movements, these signals may get mixed up. With practice, a "pathway" is created between the brain and muscles. You can liken it to a road under construction. When it is a dirt road, the bumps prevent a smooth ride. When it has been finished with asphalt, moving on it is easier.

  
  

• People Learn With:

  1. Imitation.

  The instructor must be doing the movement correctly so the imitation will also be correct.

  2. Verbal cues.

  The instructor must be giving clear instructions.

  3. Trial and error.

  Students will make mistakes. It is OK.

  
  

• Path of Instruction

  1. Whole to Part.

  Structured choreography, as seen in performances on stage, have specific movements happening at specific times. This method gives the student only one chance to "get" the moves. The routine is repeated at each class session and the students gradually learn it. This is not the recommended method to teach group exercise.

  2. Part to Whole

  Freeform choreography builds from simple to complex. It has a movement goal or routine, but is flexible in the method of arriving at the end result. Movement progressions also flow from slow to fast and big to small. This is a very logical way for people to learn.

  
  

• Learning Personalities

  1. Auditory

  Need explicit directions. These students must understand all details, hear all information through verbal commands. Instructor should say what is going to happen, using a consistent vocabulary

  2. Visual

  These are physical actionaries who rely on energy transference from the teacher. These students need hand gestures, facial expressions, BIG body language. The instructor should make eye contact with each person, smile and use posture and hand signals to communicate.

  3. Kinesthetic

  These students must do the movement to learn it; they learn by feeling the motion.

  
  

• "Tell-Show-Do" Teaching Method

  The instructor provides auditory, visual, and kinesthetic learning experiences to utilize all learning pathways.

  1. Explanation:

  A concise verbal description of the exercise.

  2. Demonstration:

  A visual presentation of the exercise. Communicate proper form. Demonstrate slowly, then at normal speed.

  3. Performance:

  Students practice the exercise. Instructor monitors and observes moving around the room to correct errors and encourage proper form.

Cueing

• Communication

  Communication means sending a message and RECEIVING a RESPONSE.

• Cueing

  A prompting system that notifies students of upcoming moves to allow them to follow the movement patterns with ease and confidence. Cueing is vital to the success of class. Proper cueing ensures smooth transitions.

  1. Cues should be:

  Timely, consistent, precise, and deliberate.

  2. Cues tell students:

  What to do.
  When to do it.
  Where to go.
  How to do it safely.

  
  

• Verbal Cueing

  1. Footwork Cueing

  Which foot to move.

  2. Directional Cueing

  Which direction to move.

  3. Rhythmic Cueing

  Slow or fast. Cue with the beat of the music.

  4. Numerical Cueing

  Counting the rhythm. Count down the last 4-8 steps or beats preceding a transition or change. Counting down helps in a smooth change.

  5. Step Cueing

  Name of the step. Identifies arm movements, too. Cue must occur during the last few beats of the previous phrase to alert students in advance.
  Examples - "over the top", "upright row."

  6. Descriptive Cueing

  Describes the action of the pattern, verifies the step, and helps students who may not have a clear view of the instructor.
  Examples - "knee up", "back lunge."

  7. Verbal Previews

  Preface a countdown with an explanation of the next pattern or movement.
  Example - "Keep stepping. When I tell you, you will...." Then count down.

  8. Verbal Cues Are:

  Short, Specific, Dynamic

  
  

• Visual Cueing

  1. Transitional Cues

  Place hands on hips before a transition to alert students to pay attention for a change in the pattern.

  2. Directional Cues

  Hand or arm signals that indicate the direction to move.

  3. Numerical Cues

  Count down the last four steps or beats with your fingers

  4. Visual Previews

  Students continue a movement while the instructor demonstrates the next one, allowing them to visualize the path of the sequence.

  5. Instructor Orientation

  The instructor should be able to teach facing the class or facing the mirror, if there is one.

  
  

• Correctional Cueing

  These correct errors the students are making. They can be in general or directed to a specific student. They can be given verbally or combined with hands-on assistance.

Movement Design

• Balance Components

  1. Muscles

  Use of opposing muscles in aerobics and conditioning.

  2. Repetitions

  Doing the same number of moves with both legs or arms.

  3. Direction

  Balancing the movements done front to back and side to side

  4. Lead Leg/Arm

  Doing movement combinations starting with both the right and left sides.

  
  

• Reverse Pyramid

  Repetition reduction involving a decrease in the number of repetitions a move is performed This allows for combining one reduced move with another reduced move to build a combination. Count reverse pyramids from the highest number down so the students will know when to switch.
  

  Practice Examples

  4 knee lift R, 4 knee lift L
  2 knees R, 2 knees L
  Alternate knee lifts
  
  Step touch 8x; Step abduct 8x
  Step touch 4x, Step abduct 4x
  Step touch 2x, Step abduct 2x
  Step touch 1x, Step abduct 1x, Switch legs.
  
  On the Step
  8 Basic R, 8 Basic L
  4 Basic R, 4 Basic L
  2 Basic R, 2 Basic L
  Alternating Basic

  
  

• Add-On Method

  1. Definition

  Adding one move at a time to a pattern
  A
  A+B
  A+B+C
  A+B+C+D
  

  2. Examples:

  Hi/Low
  A - March 4F, 4B
  B - Add 4 count march in place after 4F and 4B
  C - Add 4 alternate side lunges after the 4 count march in place
  D - Add Grapevine R&L after the 4 alternate side lunges
  
  Step
  A - Alt. basic - 8
  B - Alt. knee lifts - 8
  C - Slide hold on floor - 4
  D - Step knee up and tap on floor/Turn Step or Travel 1x - 4

  
  

• Link Method

  Combining simple movements into a larger movement pattern

  Teach A
  Teach B
  Combine A+B
  Teach C
  Teach D
  Combine C+D
  Link (A+B)+(C+D)

  Step:

  A - Alternate back lunge (8)
  B - Alternate down, down, up, kneeup (8)
  C - Alternate side lunge (8)
  D - Straddle down, jump up (4)
  

  Hi/Low:

  A - March 3, tap (2xF)
  B - Step touch 4B
  C - Grapevine R or L
  D - Step touch 2

Section 1 - Introduction: Basic & Creative Equals Versatility
Section 2 - Cardiovascular Versatility - Aerobic Improvisation
Section 3 - Muscular Endurance & Strength: Group Class Options
Section 4 - Mind/Body Fitness & Flexibility Training
Section 5 - Evaluating Your Instructional Techniques
Correspondence Course Assignments
Online Course Descriptions
"How to Order."

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