scw nationally recognized certifications · instructors cue their students in and out of many body...
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SCW Nationally Recognized Certifications
SCW Fitness Education is a nationally recognized certification organization that has trained over
100,000 Fitness Professionals. Our certifications are recognized by fitness facilities across the USA
and Internationally. The SCW Fitness Education Certifications are both general and specialty in
orientation and span from Group Ex, PT, Aqua, Yoga, Barre, Pilates, Sports Nutrition, Weight
Management, Kettle Weights and more. Each certification is developed and lead by qualified,
veteran trainers that have 20+ years of fitness experience. Theory, practice, and application combine
to credential our SCW professionals and prepare them for quality instruction at large, small and
specialty facilities.
Most SCW Online Certifications are presented live at each of our SCW MANIA® conventions.
When offered, our live certifications are free (within one year) for those who have completed the
courses.
SCW Fitness Education
SCW is an internationally recognized education body that provides hands-on certifications and
continuing education courses and conventions to fitness professionals in multiple disciplines
nationwide. For the past 28 years, since 1987, Personal Trainers, Group Exercise Instructors, Small
Group Training Leaders, Aquatic Exercise Professionals, Cycling Teachers, Mind-Body Experts,
Sport Specific Training Educators and many more get certified through SCW. This outstanding
Family of Leaders also supports Managers, Directors and Owners of clubs and facilities nationwide.
As the largest Conference Leader and Continuing Education Provider in the world, MANIA® offers
eight Professional Training Conventions in Philadelphia, California, Florida, Atlanta, Dallas, DC,
Midwest (Chicago), and Boston serving over 10,000 health and wellness professionals and reaching
over 90,000 virtually.
SCW Certifications Published by SCW Fitness Education
3675 Commercial Ave.
Northbrook, IL 60062
847-562-4020
www.scwfit.com
Copyright © 2015 by SCW Fitness Education.
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in a database or retrieval system, without the written permission of the publisher. SCW Fitness Education logo and all
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from the publisher
Disclaimer:
The authors and publisher of this material are NOT RESPONSIBLE in any manner whatsoever for any injury which
may occur through reading or following the instructions in this manual.
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Table of Contents Course Introduction p. 4
Chapter 1 – Meet Your Body pp. 5-10
Chapter 2 – Class Modes, Types and Elements pp. 11-13
Chapter 3 – Safety and Injury Prevention pp. 14-16
Chapter 4 – Class Structure : 3 Phases pp. 17-23
Chapter 5 – Music pp. 24-29
Chapter 6 – Intensity, Frequency, and ACSM Guidelines pp. 30-34
Chapter 7 – Creating Movement pp. 35-38
Chapter 8 – Cueing pp. 39-41
Chapter 9 – Muscular Strength and Endurance pp. 42-52
Chapter 10 – Flexibility and Mind-Body Programming pp. 53-58
Appendix A – Legal Issues for Fitness Professionals pp. 59-70
Sample Forms pp. 71-74
Appendix B – Frequently Asked Questions pp. 75-77
Appendix C – Leadership and Professionalism Tips p.78
Appendix D – Resources p. 79
Appendix E – Calculating Target Heart Range Using the Karvonen Method pp. 80-81
Appendix F – Bibliography pp. 82-84
Commitment to Group Exercise p. 85
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COURSE INTRODUCTION
WELCOME to the SCW Fitness Education’s Group Exercise Certification course!
Whether you are a current fitness professional who wants to begin teaching classes or
simply a fitness enthusiast, our certification program is a comprehensive and effective way
to learn how to lead group exercise classes. No previous teaching experience is necessary.
Certification is important because it provides Instructors with a recognized standard of
competency for teaching group exercise classes. While challenging, this course is basic
enough for beginning Instructors. It relies on current, sourced information for exercise
science while combining applicable teaching skills and techniques.
Our THEME in this course is BENEFITS over RISKS, which we also can restate as
keeping classes EFFECTIVE yet SAFE. Most of us know we can search for and find
exercises and class idea on the internet, but this sort of approach does not ensure safe
choices that will benefit your class members. Creativity and motivation will prove to be
important qualities in your career as a group fitness leader, but understanding the risks and
benefits of various fitness modes is a most important aspect of the Group Exercise
Instructor’s job.
Our POPULATION: Our course prepares participants to train apparently healthy adults
with no special limitations, needs, or physical issues, and does not include children, the
elderly or pre or post-natal Clients. SCW offers courses for training special populations,
including Aquatics, Active Aging and Pregnancy (“Moms in Motion”). With that said,
part of each Instructor’s goal is to be able to progress and regress (advance and modify)
moves to make everyone with different abilities or challenges feel successful. Students
may come to class for reasons beyond its “level”, time of day, Instructor reputation, or
daycare options—this mix of attendees causes a need for multi-level instruction. Our
premise for this course is that today’s Group Exercise Instructors will be teaching multi-
level classes for a variety of skill levels.
Our GOALS are to ensure that Instructors completing this course:
can create and teach multi-level classes that are safe and effective
have group exercise participants who leave their classes feeling successful
know the basics relating to safe exertion, joints, muscles and range of motion
understand how people best work in a group setting, without equipment
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Chapter 1
Meet Your Body in (10-5-4-3-2-2) Steps
Instructors cue their students in and out of many body positions through a lot of
movements, but the main body positions in group fitness consist of ten basic postures. A
most important consideration for understanding safety and stability in group exercise
classes is the spine, which is divided into five sections. Along with this, there are four
types of movement of the spine, and three planes of motion through which you can move
your body in space. Finally, two movements at the joints and two types of muscle
contractions are discussed.
To keep our learning goals of “safe and effective” training along with “successful” classes
for participants, we begin from the perspective of class design integrity with significant
attention paid to the human bodies’ various postures, movements and planes of motion.
To help you remember this important information, we will break these concepts down and
help you meet your goals. You will learn:
10 Body Postures (positions)
5 Sections of the Spine
4 Movements of the Spine
3 Planes of Movement
2 Movements at the Joints & 2 Contractions
10 BODY POSTURES
Please keep in mind that most body movements in group fitness classes originate from ten
positions. To coach the proper alignment for these postures, we need to understand setting
up the body from the point of view of contact points (with floor or wall) and joint
alignment.
When setting up any of the 10 positions of the body, cueing first what contacts the surface
area (usually the floor, but it can be a mat or piece of small equipment, for example) helps
promote success from the start. Stability is key and it is based upon this foundation.
Note the following positions, and where a contact point is made:
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POSITION EXAMPLES
1. STANDING
2. HINGING
3. KNEELING
4. SITTING
5. SUPINE
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6. SIDE-LYING & SIDE
PLANK
7. PRONE
8. ALL 4’S
9. PLANK
10. REVERSE PLANK
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ALIGNMENT: The body is “in alignment” when the major joints follow symmetrical
patterns between the two sides, and/or display vertical alignment with no twisting.
Cueing the alignment of the major joints of the body (with some additional physical
landmarks, for example, direction of toes) promotes stability (a solid foundation) before
adding mobility (movement or range of motion). “Stability before mobility” is a teaching
approach favored in therapeutic and exercise science communities and the SCW
certification courses.
The major joints are: ankles, knees, hips, elbows, shoulders, neck, and wrists. Additional
cueing that might accompany joint alignment includes add pelvic floor and transverse
abdominus contraction, ears and eyes, toes and fingers.
NEUTRAL: The body is in “neutral” when the joints line up with the ears, the ribs and the
hip connection is fixed (not soft) and the bowl-shaped bones of the pelvis, front and back,
are in alignment. Movement in fitness can take the body out of neutral, but never out of
alignment. The spine is in a neutral position when it is naturally EXTENDED.
Example: When standing tall with good posture, the body’s joints line up in one line,
which creates alignment. The body is in NEUTRAL. If we flex the knees and put our
hands on the quadriceps and round our backs, we are no longer in neutral, but we are still
in alignment when all of the joints line-up in one long curve from the ankles to the ears.
To maintain a safe environment, Instructors should teach NEUTRAL and ALIGNMENT
as much as possible.
Deviations from NEUTRAL: When standing, sometimes the muscles in the upper front
of the body pull too strongly and overstretch the muscles in the upper back and shoulders,
resulting in forward head posture and an upper flexion of the spine. This is called
KYPHOSIS.
When the muscles in the lower back pull the pelvis towards the back with weaker
abdominals, this is a “swayback” condition called LORDOSIS. Finally, a spine that
features an “S” shape to varying degrees indicates a condition called SCOLIOSIS.
Instructors should not diagnose these deviations, but recommend that students displaying
them seek therapeutic or medical advice.
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Above: The first photo illustrates a kyphotic stance while the second photo illustrates a
lordotic stance, and the third photo features a neutral alignment.
5 SECTIONS OF THE SPINE
The healthy spine is extended and neutral but
not straight. Each section has a small, normal curve. When the curves become
exaggerated, these are unnatural deviations.
Instead of “sit up straight”,
Instructor terminology should
reflect a more realistic approach to
spinal stability while encouraging
a neutral spine with words such as
“lifted”, “extended”, and
“elongated”.
4 SPINAL MOVEMENTS
Flexion: Decreasing the angle or
space between bones.
Extension: Increasing the angle or
space between bones.
Rotation: Medial (inward) or
lateral (outward) turning about the
vertical axis.
Lateral Flexion: Flexion (see
above) laterally (to one side of the
body).
3 PLANES OF MOVEMENT
Exercise movements occur from
the 10 body positions in a variety
of possibilities, but all movement
occurs in only three planes in
space.
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SAGITTAL PLANE: space for moving forward and backward, pushing and pulling, and
often with FLEXION and EXTENSION
FRONTAL PLANE: space for moving side to side (can be easily seen from the front) and
often with abduction and adduction
TRANSVERSE PLANE: space for moving across and around, sweeping or twisting
across the body
Instructors should consider using movements during the WARM-UP that provide spinal
attention and body movement in the following order: sagittal, frontal, transverse planes
2 MORE MOVEMENTS AT THE JOINTS Abduction: Movement away from the midline of the body
Adduction: Movement toward the midline of the body
2 TYPES OF MUSCLE CONTRACTIONS Isometric: A contraction in which there is no change in the angle of the involved joint (absence of joint movement) and little or no change in the length of the contracting
muscle. EXAMPLE: Hold a push-up position or prone plank. Since there is no movement
at any joint, this is an example of an isometric contraction.
Isotonic: A contraction in which a muscle changes length against a force resulting in
movement; a constant load (for example, a dumbbell or body) is moved through a range of
motion of the involved joint. Within an isotonic contraction, there are two phases:
concentric (shortening/tension increases) and eccentric (lengthening/tension releases).
EXAMPLE: In your push-up, on the down phase, it’s eccentric: your chest is stretching.
During the up phase, it’s concentric as the pecs shorten and tension must increase to push
your body back up against gravity.
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Chapter 2
Class Modes, Types, and Elements
MODES Almost every type of group exercise class today can be categorized as having one of three main purposes, called “modes”, which are
1) Cardiovascular
2) Strength
3) Flexibility
Research supports classes that have a more traditional plan: cardiovascular before strength
followed by flexibility. However, there is also a movement toward putting strength before
cardiovascular training in a class, which is then followed by flexibility. Class formats that
mix a combination of modes are also popular such as BootCamp style classes or other
fusion formats.
Fusion: When there is a combination of two or more of the following modes, the industry
terms this a fusion class. Examples might be “Step and Sculpt” or “Aqua Circuit”, for
example, because there is a fusion of strength/endurance and cardiovascular conditioning.
When there is only one mode—or purpose—but a combination of approaches, this is
another type of fusion class.
For instance, cardiovascular training is the only mode in a “Cardio Circuit” class, but it
can be a fusion of approaches, consisting of trampoline jumping, jump-ropes, and dance.
What is an example of the most BASIC and singular example of each of the three modes
of classes that you have experienced?
What are examples of other FUSION classes?
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TYPES If we raise and maintain workout intensity at a steady level for the majority of a class, this is called STEADY STATE training. An example of steady state training is stepping at a
consistent speed of the music’s beats per minute (bpms) for an entire class. If, however,
we raise and lower this intensity at frequent timed intervals, this is called INTERVAL
training. Examples of common interval training classes are Tabata and indoor cycling
programs.
In exercise classes where Instructors lead students through observable movements, this is
ISOTONIC work. Examples are toe tapping and squatting. During exercises where there
is NO visible movement, but the muscles are still in use, this is ISOMETRIC work.
Examples are holding a forearm plank or a wall sit.
Another term related to breath is AEROBIC, which is derived from the meaning “in the
presence of oxygen”. In all states of being alive, even when we are sleeping, we are
“aerobic,” but not necessarily involved in “aerobic conditioning”. Aerobic exercise means
activities that allow the free conversion of oxygen in the air, through the lungs, into the
blood and muscles of the body—such as climbing, walking, running and dancing.
Conversely, ANAEROBIC exercise is that which requires more oxygen than is available
for the body to take in and convert for use inside the working muscle. The body therefore
breaks down other stored energy sources such as glycogen (stored carbohydrates) or ATP.
Weight training for strength or power is considered anaerobic as is most concentrated
work against heavy loads.
Some types of classes which manipulate intensity between short aerobic bursts or more
concentrated anaerobic exercise periods are called INTERVAL classes—examples
include titles such as H.I.T.T., Tabata, and certain BootCamp/drill style classes.
GENERAL ELEMENTS OF CLASSES
BALANCE & BREATH Fitness Instructors should address both balance and breathing within a safe and effective group exercise class regardless of mode. Proper breathing is a clue to participants’ levels
of exertion and supports their movements with oxygen intake. Balance is key to agility for
athletes as well as everyday functional movements for individuals. Most importantly, both
are integral to safety in group exercise classes whether we are doing cardiovascular,
strength/endurance, or flexibility moves.
DURATION Keep in mind that there is no set class length. Introductory classes may be 15 minutes in length, such as “Intro to Yoga Breathing” or “Pre-Race Warm-Ups”. Thirty minute classes
are popular as they address the number one reason why many people claim that they do
not take classes inside of a gym, lack of time (Perrottet). Forty-five minute classes
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became popular with the onset of indoor cycling and many other disciplines followed suit.
Fifty to fifty-five minute classes are popular because they also allow for the transition time
between classes, which enables one Instructor to finish his/her class while another
Instructor prepares the equipment and other room needs (temperature, lighting, music).
INTENSITY The level at which class participants work can usually be safely adjusted with the right instruction and their own awareness. However, many classes are of a general intensity by
nature, which depends on the MODE and type. Many factors affect exercise intensity,
which range from load, reps and rest between sets to class duration, range of motion, or
even musical beats per minute. Planning for intensity progression & regression is essential
and fully covered in Chapter 6.
SAFETY PRECAUTIONS Safety cannot be overstated as a goal for fitness Instructors and a specific element of group exercise programs. As such, Chapter 3 discusses numerous approaches to safety and
injury prevention for SCW Group Exercise Certification Candidates.
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Chapter 3
Safety and Injury Prevention
10 Suggestions for Safety:
1. Think of the body’s alignment, symmetry, and support in all positions considering
the joints and ears and lower back:
EARS
SHOULDERS
ELBOWS
HIPS
LUMBAR AREA
KNEES ANKLES
TOES
2. Protect the spine internally and externally whenever possible, especially with new
participants.
3. Emphasize control of movement over the number of repetitions and competition.
4. Recommend R.I.C.E. for injuries until students can seek professional care: Rest, Ice,
Compression, and Elevation.
5. Balance work for both sides of the body to promote overall muscular balance and
reduce mechanical stress.
6. Lower the heels to the floor with cardiovascular movements whenever possible,
especially for running and jumping jacks.
7. Consider classroom space, layout, equipment condition and proper usage carefully.
8. Keep music volumes at reasonably low levels (less than 90 decibels if measurement
is possible) and keep the beats per minute appropriate to the discipline.
9. Keep CPR and AED certifications current.
10. Use robust verbal and visual cueing to ensure that the highest percentage of
learners in class can follow.
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10 Suggestions for Injury Prevention and Instructor Self-Care:
Preventing exercise-related injuries is one of our primary responsibilities as Group
Exercise Instructors. We want to teach fun and effective classes, but above all, they should
be safe! Most of the injuries sustained in group exercise classes are mild and do not
require medical treatment, but keeping our participants injury-free should be our goal! We
also need to keep ourselves safe as well.
1. Invest in a good pair of shoes designed for teaching the types of activities specific to
your schedule. Many reported injuries in group exercise occur below the knee. A good
pair of shoes can help absorb the impact forces and reduce the risk of injury. Barefoot
programming requires special education.
2. Exercise on an appropriate floor. Suspended wood floors are best for absorbing shock.
If the floor is not wood, ensure that it has adequate cushioning.
3. Adhere to ACSM’s recommendations to avoid the Overuse Syndrome. Exercising too
often, for too long or at too high of an intensity can manifest itself in such chronic injuries
as muscle strains, tendonitis, stress fractures and bursitis.
4. Vary your exercise activities and types of classes you teach. It is especially important
to combine high impact activities with low and non-impact activities.
5. Ensure adequate hydration, especially in hot, humid environments. Try to consume
enough water before, during, and after class. Hint: “Enough hydration” produces light
yellow urine, the color of lemonade.
6. Encourage all students to attend the entire group exercise class. Arriving late and
missing the warm-up dramatically increases the risk for injury. Leaving early prior to the
flexibility segment can result in tight, sore muscles and possible muscular imbalances.
7. Teach only as much as necessary. In our pursuit of earning a living as a fitness
professional, we often teach too many classes. Be aware of the signs of over-training:
fatigue, anemia, weight loss, unusual changes in resting and recovery heart rates, chronic
pain and any of the injuries listed in number three above. Try to teach a variety of class
types and formats.
8. Protect your voice. Teach with a microphone whenever possible and speak in a normal
voice. If a microphone is unavailable, play the music at a level that does not require you to
yell to be heard. Take frequent sips of water during class to keep your vocal cords
lubricated. Avoid frequently clearing your throat.
9. Teach according to your preparation. If you want to teach with specialty equipment,
seek specialty training for that equipment. Ignorance of proper form and technique places
both you and your students at risk.
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10. Learn the benefits of self-myofascial release with small balls or foam rollers to help
take care of the muscles & connective tissue.
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Chapter 4
Class Structure: 3 Class Phases
Creating a multi-level structure includes organizing it around progressions and regressions
for everyone who might be in attendance. To increase or decrease the overall intensity of
moves, Instructors can implement the acronym D.R.I.L.L.S coined from Sara Kooperman.
Instructors can define almost every progression and regression from this acronym, from
warm-up to cool down in nearly every MODE of Group Exercise.
D: DIRECTION (usually anything other than standing still facing forward makes
a progression)
R: RANGE OF MOTION, REPETITIONS, AND RHYTHM (increasing
rhythm makes a progression, except for strength/endurance training)
Cardio: (e.g. jumping jacks) faster usually is a
progression
Strength/Endurance: (e.g. pushups) slower is usually is a progression
Range of motion and repetition are ways to alter intensity: increasing
reps and/or range of motion generally progresses a movement
I: INTENSITY AND IMPACT (intensity and impact are not always related;
“impact” simply refers to vertical impact forces on the body when removing the
feet from their surface. “High impact” occurs when both feet leave the floor
and land on it again.
LL: LEVER LENGTH (usually longer levers provide progressions)
S: STABILITY (add stability, such as two feet versus one for a regression)
Understanding more about the definition of each aspect of this acronym proves crucial as
a tool so we can funnel all progressions and regressions through these DRILLS in our
effort to teach multi-level classes.
D is for Direction: The pattern that is created by traveling. For example, many Instructors
choose to travel their movements either forward and back or right and left. However, there
are many other ways to travel such as on a diagonal. Movements that travel will always be
more intense than doing the same movement stationary because it takes more energy to
move the body through space. It is often best to introduce new movements to your
students in a stationary manner and then add the traveling sequence when they have
mastered the new move.
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R is for Rhythm: This is the tempo at which you move your body through space. Some
movements can be done at three different speeds: regular time, half-time (which is slower)
and double-time (which is faster). Syncopation involves some beats being faster and some
being slower, usually involving a quick “hold” pattern. For example: a step touch.
Performed at regular time, it takes 4 step touches to fill an 8-count of music. Performed at
half time, you step out on 1 & 2 and step together on 3 & 4, and it becomes a slow squat to
the side. Performed at double-time, it becomes a hop side to side.
I is for Intensity (and Impact): Intensity refers to the amount of energy expended by
performing an activity. Impact refers to the amount of mechanical stress placed on the
body. Non-impact activities are those that are non-weight bearing such as swimming and
cycling. However, we know swimming and cycling can still be very intense! Low-impact
activities are those in which one foot stays in contact with the ground at all times such as
walking. In aerobics, movements such as marches and side-to-side squats are low impact.
High-impact activities are those in which both feet lose contact with the ground. Jumping
and hopping are high impact and also explosive training moves known as plyometrics.
Proper flooring, foot care, and shoes are essential to high impact training.
High impact movements place more mechanical stress on the body than low and non-
impact movements, yet it is important to remember that some high impact activity is not
necessarily bad as research has shown it has the potential to increase bone density and
strengthen both muscles and connective tissue (tendons and ligaments). Classes offering a
combination of high and low impact movements can allow participants to receive multiple
benefits while minimizing the risk for injury.
LL is for Long Levers: Bones that move about a fulcrum or pivot point are also known as
levers. Our arms and legs are our main levers. We can make them either long (straight leg
kick) or short (knee lifts). When you flex at the middle of a joint (knee or elbow), you will
change a long lever to a short lever. For creating intensity, remember that long levers
generally are more intense than short levers.
S is for Stability: Stability refers to the distance of the space between the contact of the
body and the flooring. Standing barefoot on a BOSU balance trainer is extremely
unstable, whereas standing with high-top cross-training shoes on a cement floor is
extremely stable. Holding on to a ballet barre gives you stability while being in the middle
of the floor holding onto nothing is less stable.
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CLASS PLANNING PHASE ONE: WARM-UP
The warm-up phase has 2 purposes:
1. The first is to gradually increase the overall temperature of the body to prepare the body
for work.
2. The second is to rehearse the muscular or cardiovascular system in a way we will use it
during the body of the class.This is called the REHEARSAL effect, drawing on the
principle of SPECIFICITY, which says that a muscular system should be both prepped
and used in similar ways.
SPECIFICITY EXAMPLES:
Mambos should appear in the warm-up if later in the class the students will be performing
mambos, salsa, cha cha, etc.
A squat should appear in the warm-up if later in the class students will be performing
squats, lunges, pliers, jumping, etc.
Running in place should appear in the warm-up if later in the class students will be
performing activities such as running around the room, sprints, etc.
CORE PLANAR SEQUENCING:
A logical manner in which to warm-up the body in terms of planes of movement from a
functional standpoint comes from the American Council on Exercise (ACE), which
recommends including movements in this order to warm-up the spine:
1. Sagittal (since the participants walk into the studio that way)
2. Frontal (since other muscles are involved that are busy as STABILIZERS)
3. Transverse (since twisting is the most involved and dynamic of the three planar
movements, but it is safer to warm-up within the other two planes first)
DURATION:
For apparently healthy adults, the warm-up should consist of approximately 1/5 or 15-20
percent of total class time
WARM-UP INTENSITY:
The warm-up should begin at a low intensity based upon the fitness level of the majority
of the participants
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JOINT PREPARATION:
In the warm-up, Instructors should use regressions of the DRILLS since joints need
FLEXIBILITY, which is the unrestricted movement of connective tissue and muscles
around a joint
The warm-up should incorporate ACTIVE/ DYNAMIC/RHYTHMIC stretching, which
prepares muscles while simultaneously increasing the heart rate and preparing the muscles
with a rehearsal effect
The 4 Main Types of Flexibility discussed in this course:
1. ACTIVE/DYNAMIC/RHYTHMIC Stretching is used to increase synovial fluid in the
joints, to raise core temperature, and to prepare muscles for work. This should be a part of
the warm-up and also follow the conditioning phase of cardio work to bring down the
heart rate when elevated before progressing to other sections of the class.
2. STATIC Stretching is recommended during the end of class to increase muscle length
3. BALLISTIC Stretching, which is bouncing and pulsing during a stretch, can make the
muscle feel as if it is being stretched. However, the muscle is actually contracting (not
stretching) to protect itself against sudden changes in length, and this may lead to injury. If
a muscle is stretched quickly and with force, a reflex is initiated that causes the stretched
muscle to contract in order to protect itself. Ballistic type movements can invoke the
stretch reflex. In order to avoid the stretch reflex, static stretches should be held, in the
final phase of class (Overturf & Kravitz).
4. OTHER types of stretching exist that transcend this course, such as those that occur
using a Personal Trainer. Examples are proprioceptive neuromuscular facilitation (PNF),
partner-assisted, foam rolling, and myofascial release.
COMMON MOVEMENTS for GROUP CARDIO WARM-UPS:
SAGITTAL PLANE:
LEGS:
Small Marches & Mambos Jumping Jacks - low to mid intensity in the warm-up
ARMS:
Pushing Arms Overhead halfway-up
Reach and Pull halftime
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FRONTAL PLANE:
LEGS:
Step-Touches & Grapevines
Lift Steps
ARMS:
Side to Side Reaches
TRANSVERSE PLANE:
LEGS:
Standing Twists or Low Roundhouse Kicks
ARMS:
Stable Twisting Punches
D.R.I.L.L.S.: USE THE CHART BELOW TO FILL IN YOUR OWN WARM UP
IDEAS FOR THREE MODES OF CLASS DIRECTION RHYTHM (Range Of Motion * Repetition)
INTENSITY and IMPACT
LEVER LENGTH
STABILITY
STRENGTH CARDIOVASCULAR FLEXIBILITY
Squats Marches Standing cat stretch
Lunges Step-touches Standing abdominal stretch
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PHASE TWO: CONDITIONING/TRAINING
This segment consists of the training of one or more of the three possible modes. Structure
your class using the DRILLS method again with a focus on progressions. “Zumba®”
trains the cardiovascular system. “BODYPUMP®” focuses on strength and endurance.
“Hatha Yoga” focuses on flexibility and isometric strength.
COMMON MOVEMENTS for GROUP CARDIO CONDITIONING
EXAMPLES OF PROGRESSED MOVEMENTS FROM WARM-UP
SAGITTAL PLANE:
LEGS:
Marches and Mambos with arms
Jumping Jacks at a medium intensity
ARMS:
Pushing Arms Overhead
Reach and Pull in Double Time
FRONTAL PLANE:
LEGS:
Step-Touches & Grapevines with arms
Lift Steps, add high knees
ARMS:
Side to Side Reaches
TRANSVERSE PLANE:
LEGS:
Standing Twists, Full Roundhouse Kicks
ARMS:
Twisting Punches, Add One Leg Lifts
DURATION:
For apparently healthy adults, the conditioning phase should consist of the remaining time
between the warm-up and final phase. The duration of the entire class determines how
long this will be, but it will consist of approximately 30 – 35 percent of the class time.
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PHASE THREE: FINAL PHASE/TRANSITION
This segment is composed of the final section of class in which we transition the body
through to end the class. We address FLEXIBILITY in this section, and since we know
that it’s better to stretch connective tissue and muscles when they are warm, the term
“cool-down” does not adequately reflect our goal. However, use of this term is common.
Keep in mind, the transition is basically from class conditioning to rest.
The most common MODE of this section is STATIC FLEXIBILITY in which we hold
stretches for 10-30 seconds to increase overall joint and muscle health, decrease soreness,
increase the ease of activities of daily life (ADLs) and prevent injury.
STATIC STRETCHES are held positions in which the resting length of the muscle is
gradually increased until it reaches the limit of its range of motion. By holding a muscle
in this position for an extended period of time (10-30 seconds), we increase flexibility.
Since FLEXIBILITY is a MODE of class type in and of itself, we will dedicate more
detail to the discussion of it in Chapter 10.
DURATION:
For apparently healthy adults, the final phase/transition should consist of approximately 5-
10 percent of total class time.
Instructors have many options when sequencing their group fitness classes. They must
first determine the goals and length of the class and then choose activities that will help
them achieve their goal in the amount of time provided. All classes, regardless of type,
should begin with an appropriate warm-up and end with a flexibility section for maximum
safety and effectiveness.
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Chapter 5
Music
Music has a variety of roles in the group fitness arena. When a class would be almost
impossible to carry on without music, this is using music in the FOREGROUND.
Examples are Zumba®, pre-choreographed programs, and the typical cycle class. When
its role is not paramount to the class’s success, its role is BACKGROUND. Examples are
some types of aquatic programming and BootCamp style classes.
Our discussion of music begins with BEAT. This is the regular pulsation that occurs
continuously throughout the music. Beats form a pattern of strong and weak pulsations.
The stronger pulsation or sound is the downbeat. This is where group exercise Instructors
usually begin movement. The weaker sound is the upbeat. The series of beats in the music
forms the rhythm.
A meter arranges beats into musical patterns, or measures. For example, 4 beats per
measure. A measure is formed by the regular occurrence of the downbeat at the start.
Most cardio music for Instructors is created with a meter of 4/4 time, which indicates that
each measure has four beats. An advantage of this meter is its continuous rhythm. It is
easier to count and choreograph to a steady meter. A steady tempo or pace will also be an
advantage. This usually means music will continue close to a certain amount of beats per
minute. Free applications exist for smartphones today to assist Instructors in determining
beats per minute of any given song.
Group Exercise Instructors have adopted counting music from dance choreography, where
the music and steps are counted in 8’s. Group Exercise Instructors should try to count
measures DOWN from 8 to enable students to determine when a change is coming and
also to accurately determine their own progressions and regressions when they know how
many repetitions are left of any particular movement pattern.
One musical phrase consists of four sets of eight or 32 beats. If an Instructor has a
BILATERAL move, which is a movement that occurs on one side then the other side of
the body, or to one side then the other side of the room, then an additional 32 counts are
required to create a COMPLETE BILATERAL pattern, which will take 64 counts of
music. Most instructors form their choreography with 32 count phrasing in mind.
When listening to music specifically arranged for teaching group exercise, the first beat of
an eight-count is very strong and easily felt. To find the downbeat to begin your
movement, listen to the music and just tap your finger or foot to the rhythm and count the
beats—8-7-6-5-4-3-2-1. Graduate slowly to a march. First, get comfortable with just
moving in time to the strong beat of music.
After you’ve felt the downbeat and are confident moving to an eight count, the next step is
to find the top of the 32-count phrase. Beginning your choreography on the top of the
phrase is important because it creates better flow for your class. It will also allow your
students to anticipate your movement changes more easily. Listen for a musical change or
25
introduction such as: 1. drums beating very strong, 2. lyrics starting or finishing, 3. a
building up of cymbals in the music, 4. a change in volume, or, quite often, 5. the name of
the song being sung, such as “Dancing Queen” is the name of the song and the lyrics.
“Dancing Queen” always begin at the top of the phrase or the start of the 32 counts. The
chart below illustrates a musical phrase, broken into four measures, each with 8 counts: A,
B, C, and D.
_8 (A) _8 (B) _8 (C)
_8 (D)
CARDIOVASCULAR EXAMPLE:
8 MARCHES (counts 1-8) A
4 STEP TOUCHES (counts 9-16) B
4 KNEE LIFTS (counts 17-24) C
4 HAMSTRING CURLS SINGLE, SINGLE DOUBLE (counts 25-32) D
STRENGTH EXAMPLE (moves in a square):
2 FRONT R LUNGES (counts 1-8) A
2 SIDE SQUATS (counts 9-16) B
2 REAR R LUNGES (counts 17-24) C
1 SLOW HELD NARROW SQUAT (counts 25-32) D
A (8) D (8) B (8)
C (8)
A B C D
SAMPLE SCRIPTS FOR CUEING MOVEMENT ON PHRASES:
• 8-7-6-5-4-3-2-1
• 8-7-6-5-“CUE THE MOVE NOW” • 8-7-6-5-“step touch left, NOW”/ “hamstrings left NOW”
• S I L E N C E – “movement” + “NOW”
• (insert motivational, alignment, safety) + “movement” + “NOW”
26
SAMPLE CHART FOR WRITING CHOREOGRAPHY for CARDIO
MOVE COUNTS LEAD
LEG LETTER
STEP TOUCH 1-8 L A
ALTERNATING KNEES 9-16 L B
2 MAMBO STEPS 17-24 L C
HAMSTRINGS: SINGLE SINGLE DOUBLE
25-32 L D
REPEAT OTHER (R) SIDE
SAMPLE SCRIPT FOR WRITING CHOREOGRAPHY for STRENGTH
MOVE COUNTS LEAD
LEG LETTER
2 L LUNGES FRONT 1-8 L A
2 L SIDE SQUATS 9-16 L B
2 L LUNGES BACK 17-24 L C
2 SQUATS LEGS TOGETHER 25-32 L D
REPEAT OTHER (R) SIDE
The TRANSITION is the part of a combination that involves beginning movement with
one lead leg and changes the lead to the other leg.
2 Key Techniques to Remember with Transitions:
1. Teach the Transition skills first to make the combination biomechanically balanced
from the start
2. The ideal place for the Transition skill is usually last, at the end of a combination
When delivering movement patterns in blocks, the instructor prepares a set amount 32
count combinations for the exercise class. The blocks are broken down and delivered one
at a time and repeated “from the top”. For example, the Instructor teaches combo A, then
teaches combo B, then goes back to the top and puts A & B together. Next, the instructor
teaches combo C and then goes back to the very top and puts A, B, and C together.
When teaching in blocks, an Instructor can slowly layer the changes in his/her
choreography, and thus turn a very basic movement into something more complex. It is
also possible to give options for more advanced movement, such as changing a mambo
into a pivot. This teaching technique accommodates a multi-level environment. The less
advanced student can stay with the mambo and the more advanced student can turn or
pivot.
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Since the human mind instinctively arranges events into patterns, Instructors have realized
that teaching choreography in blocks can be very helpful to their students. With the
repetition involved in “teaching from the top”, exercise participants are more likely to
learn the movement patterns and perform them successfully. This is very beneficial for
cardiovascular conditioning because it allows the students to achieve their goals.
When putting a class together, preparation is key! Regardless of how you decide to deliver
the choreography, it should be arranged neatly in your mind. Some Instructors choose to
write all of their patterns on index cards in order to review them. Other Instructors
rehearse the patterns in their homes, cars, and minds before class. To be a successful
Group Exercise Instructor, it’s important to have your thoughts for class organized and
arranged in a sensible and safe manner.
TIMING YOUR CUES TO MUSIC
The timing of your cues is very important. If you cue too far in advance, your class will
make a change without completing the current movement sequence. If the timing is too
late your participants get lost.
Cue your next move (both verbally and visually, where possible) on the last 4 counts
of the move you are performing. This enables your students to complete the move they
are doing and think about transitioning into the next. Remember, this ability comes with
practice and patience. Do not get discouraged if it doesn’t always flow.
IMPORTANT CUEING TIPS
1. Count down instead of counting up, 4-3-2-1 Now Kick front, left
2. Use your music and cueing before the top of the next 32-count phrase to help you
change moves. Again, 4-3-2-1 Now Kick right, left
3. Use concise cueing
4. Practice combining both visual and verbal cues simultaneously so body language
complements words
5. For individually-choreographed programs, there is no magic number to the number of
repetitions you perform. Hold a move until the majority of students master that move.
Drop your hands to your thighs and say “show me” and be sure that the majority of
students can execute the movement at hand alone before demonstrating the next skill.
Show them, too. Remember to point in the direction as you turn.
6. Wait for your phrase until YOU feel comfortable and remember the skill of
“professional stalling”.
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COUNTING CHOREOGRAPHY
When counting choreography, it’s important to count each foot strike and cue each lead
leg. A mambo has 4-foot strikes, so it would be a four-count move. Step R front on count
4, step L back on count 3, step R back on count 2, step L front on count 1.
Count these moves and write down how many counts each one gets. Next, determine how
many you would need to complete an eight-count of choreography.
# OF COUNTS EACH HOW MANY IN 8 COUNTS
EXAMPLE: Grapevine 4 counts 2
Fill in the blanks below # OF COUNTS EACH HOW MANY IN 8 COUNTS
Step touch
3 knee repeater
Jumping jack
4 Hamstring curls
MUSIC TEMPO
Music tempo simply means the speed, or pace, of the music. This can be determined by
counting each beat of music for one minute. This is also referred to as beats per minute
or bpm. The bpm will play an important role in determining the progression as well as the
intensity in any group exercise class. Using common sense for safety is important when
choosing music tempo for your classes. If the class participants cannot complete full range
of motion following the beat of the music, the music is too fast!
SPEED: Basic beats per minute guidelines are recommended for different types of classes
when music’s role is FOREGROUND:
Cardiovascular Conditioning 120-160 bpm
Step Cardiovascular Conditioning 120-128 bpm Strength/Endurance 120-135 bpm
Choreographed Mind-Body under 100 bpm
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VOLUME should be kept under 90 decibels for all group fitness classes. Decibel
applications exist for smartphones that tell instructors the volume of ambient noise. When
possible, know which decibel levels you can set your gadgets and stereo volumes to
during class. Otherwise, use caution and your best judgment to keep music at reasonable
levels.
Unfortunately, sometimes Instructors use the crutches of VOLUME and SPEED to create
intensity whereas this does not always prove the desired outcome. Music that is too loud
leaves participants with impaired eardrums, and music that is too fast can elicit the
momentum response in strength training which usually produces a decrease in intensity.
It is both convenient and ethical to purchase your group exercise class music from
companies that produce releases just for this purpose. In the fitness industry, it is referred
to as “square” music because it consists of all 32-count phrases formed by four eight-
counts. Gone are the days of having to purchase a CD where someone else chooses for
you what motivates you and your classes.
With a computer, Instructors wishing to go the electronic route to download legal, instant
music in an effort to “go green,” may wish to explore options such as clickmix.com in
which they can choose their songs, lyrics or not (or 50% lyrics), bpms, the order of songs,
the mix (or gaps) of their songs, and total compilation playtime. Also popular is a
“mashup”, which is a combination of two songs for the time allotment of every traditional
one song. The advantages of using mashups include a greater likelihood of pleasing more
people per each song since there are two songs instead of one. This will enable Instructors
to please people from more than one generation or era.
Additionally, applications such as “Tempo Power” for smartphones can now alter the
bpms of any song you possess electronically without altering the vocal quality as the
speed changes.
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Chapter 6
Intensity, Frequency and ASCM Guidelines
All energy comes from fuel. What determines the fuels we are burning will be
INTENSITY and DURATION, which are INDIRECTLY related. The following explains
how intensity and duration are indirectly related. As our intensity increases over time, it’s
harder to maintain a longer workout experience, and vice-versa. For example, in a 15
minute dance-based cardio class, your intensity output undoubtedly would increase
because you know you can “give it your all” for only 15 minutes of work. On the contrary,
if you were climbing a mountain, you likely wouldn’t be able to run all the way up the
steep slope since you have a long way to go and you need to keep your strength for the
duration.
Cardiovascular conditioning is the term used to describe any exercise that creates an
increased demand for oxygen in the body. Exercise of this type forces the heart (“cardio”)
and the system of arteries and veins in your body (“vascular”) to work together with the
lungs to efficiently deliver blood and oxygen to working muscles. Regular performance of
cardiovascular conditioning exercise will result in a good level of cardiorespiratory
fitness, which is defined as the ability to perform large muscle movements over a
sustained period of time. It is related to the capacity of the heart-lung system to deliver
oxygen for sustained energy production.
While performing cardiovascular conditioning exercises, a major component of Group
Exercise programs, the body will use all three of its different energy pathways. The first
energy pathway is the phosphagen system. It is sometimes referred to as the ATP-CP
system because it derives its energy from the breakdown of ATP that is stored in the
muscle. ATP is the chemical compound adenosine triphosphate, the usable form of
chemical energy derived from the food we eat. CP is creatine phosphate, which is used by
the body to resynthesize ATP during the chemical process. The ATP-CP/phosphagen
system is considered an anaerobic energy system because it does not utilize oxygen in the
chemical breakdown process. It is utilized during the first 1 to 10 seconds of extremely
intense activity, like a 100 meter dash.
For very intense activities lasting longer than 10 seconds, the body will use a second
energy pathway referred to as anaerobic glycolysis or the lactate system. Here the body
breaks down glycogen (the stored form of glucose, which is derived from the foods we
eat) to rapidly produce energy for the activity. This is still an anaerobic energy pathway,
and in the absence of adequate oxygen, the muscles can only partially breakdown the
glycogen which results in a limited supply of energy and the accumulation of lactate. As
lactate accumulates, muscle fatigue occurs. This energy pathway is utilized for intense
activities lasting up to 90 seconds, for example, a 400 meter (1/4 mile) dash.
Finally, for moderate intensity activities lasting longer than 3 to 5 minutes, the body will
use the aerobic energy system, which requires a continuous supply of oxygen to
completely breakdown glycogen. Because this system can completely breakdown
31
glycogen (anaerobic glycolysis only partially breaks it down), it is a very efficient energy
system with an unlimited capacity. During the first approximate 20 minutes of activity,
glucose and glycogen are the primary fuel source (aerobic glycolysis). After 20 minutes of
sustained activity, fatty acids become the primary fuel source (fatty acid oxidation).
Running longer than a mile or a traditional group exercise class are examples of activities
that utilize the aerobic energy system.
It is important to remember that these energy systems do not operate independently, but
rather, they are used in combination with one another to produce the energy that is
necessary for the activity. In other words, the relative proportion of energy derived from
each system varies with the type of movements performed as part of the exercise.
Exercise physiology, as it relates to the different energy systems of the body, can be quite
complicated, and entire college-level courses exist on this subject alone! This chapter
provides a short overview of how the body produces energy for exercise. For the purposes
of this certification, it is most important that you know the difference between the aerobic
(with oxygen) and anaerobic (without oxygen) energy systems as this is important when
an Instructor decides how to sequence his or her class. When you leave them gasping for
air, you are working them anaerobically, burning CP and/or glycogen.
STEADY STATE: To work in a steady state, the Instructor should carefully choose and
sequence movements that are of approximately the same intensity so that “ups and downs”
of intensity are minimized. Class participants will feel comfortable working in steady state
because after the first 3 to 4 minutes of exercise, the amount of oxygen demanded by the
body is met by the supply coming in through respiration resulting in homeostasis or
system stability.
INTERVAL TRAINING: This format uses alternating periods of higher and lower
intensity movements. Participants use both the anaerobic and aerobic energy systems
described above. To achieve interval training, the Instructor sequences peak aerobic
movements with low intensity movements or he/she could use different modalities. For
example, a higher intensity strength routine can be sequenced with a more moderate
intensity aerobic routine. The duration of the work intervals (high intensity period) and
“rest” intervals should be based upon the fitness level of the class participants (regress
intensity intervals for less fit class members). A 3:1 ratio, the rest interval should be three
times as long as the work interval, works well for a general population. A 1:1 ratio is an
advanced progression.
There are several benefits of interval training that may not be appropriate for beginning
level exercisers. Even very fit exercisers should combine steady state and interval training
formats to achieve the best results and minimize the risk of injury. Kickboxing classes are
often taught using an interval format.
32
INTENSITY While teaching a group exercise class, Instructors should pay special attention to the students’ physical condition and appearance to help participants monitor their exercise
intensity and ensure they are exercising at their own appropriate level. There are three
industry-recognized standards to monitor intensity:
1. PERCEIVED EXERTION
2. TALK TEST
3. HEART RATE
PERCEIVED EXERTION
The perceived exertion method asks students to rate the intensity of their exercise on a numeric scale. A popular, simple scale, used currently is from 1 to 10, corresponding to
the level of physical exertion they are experiencing at the moment. There is no true
relation to any aspect of heart rate. This method teaches people to listen to their bodies,
and research has found that when used correctly, the original scale closely corresponds to
true exercise intensity.
With 1 being very easy, 5 - 6 being moderately hard and 9 being very hard (10 = very very
hard or the hardest possible), participants should strive for an intensity level between
“moderate” to “very hard”. This range should correspond closely with their heart rate
training range and insure that they are exercising at a safe and effective level. Perceived
exertion can be used alone or in conjunction with the heart rate, and it is especially useful
for participants to self-monitor their exercise level throughout the workout session.
TALK TEST Another way to monitor intensity is to use the talk test. Class participants should be able to talk and/or count without becoming breathless. They should not necessarily be able to
carry on a lengthy conversation since that may indicate that they aren’t working hard
enough. However, if they cannot talk because they are too out of breath, the Instructor
should encourage them to decrease their intensity level.
By simply asking your students, “How do you feel?” you are initiating the talk test. When
they answer you in controlled and clear sentences, they are completing and passing the
test. It is very easy to pose this question several times during the cardiovascular
conditioning phase without disrupting the flow of your class.
NOTE: We include Heart Rate information in this manual should you or your students
want to know more about more precise heart rate calculations. This information is not
included in this course’s practical or written examination because the industry has moved
to electronics to calculate these figures, such calculations are complex, and these type of
mathematics are best performed away from the group fitness classroom versus in an
active teaching environment.
33
HEART RATE Heart rate can be an effective means to monitor intensity because a direct relationship usually exists between heart rate and exercise intensity. An example of when there is NOT
a direct correlation occurs when watching a scary movie; your heart rate accelerates but
you are not engaged in any fitness activity. As exercise becomes more difficult, the heart
rate will increase. The American College of Sports Medicine recommends that exercisers
work out at 60% to 90% of their maximum heart rate.
Maximum heart rate (MHR) is the maximum number of times the heart can beat per
minute. The only true way to determine maximum heart rate is through the performance of
a graded exercise test, which should only be performed in a medically supervised
environment. However, it has been determined through research that most people can find
their maximum heart rate by subtracting their age from 220. Remember, though, that this
is only an estimation.
MHR = 220 – age
Once maximum heart rate has been determined, you may want to establish the “training
range” which is 60% to 90% of the maximum heart rate. By exercising within this range,
the American College of Sports Medicine has determined that the exercise will be safe,
effective and challenging for the average adult exerciser. The most accurate way to find
this training range is by using the Karvonen Formula detailed at the end of the manual in
an appendix. It requires knowing the participant’s resting heart rate. Using the resting
heart rate increases the accuracy because resting heart rate is indicative of a person’s
fitness level.
All three methods outlined here are valid forms of monitoring intensity. You as the
Instructor should decide what works best for you and your students depending on the class
situation. The most important thing is to make sure that you do monitor class intensity
during the workout session.
ACSM GUIDELINES & THE FITT PRINCIPLE The American College of Sports Medicine (ACSM) guidelines regarding exercise Frequency, Intensity, Time and Type are frequently referred to in this course. In sum,
these directives are often referred to as the FITT principle. The purpose of the FITT
principle is to help people achieve results from their exercise sessions by highlighting the
minimum and maximum amount of exercise necessary to achieve improvements in fitness
and health.
Everyone should try to participate in different types of activities because cross-training is
known to reduce the risk of injury, increase adherence, and produce positive exercise
results.
34
When determining the “best” class type for any individual, we can consider three modes
of fitness as appropriate choices to blend for most healthy adults throughout a class
schedule or a typical active week. Still, the most longevity and adherence come from
choosing programs we are willing to do the most 1. pleasure 2. intensity 3. duration 4.
commitment and 5. safety. Within those choices, we must also strive for variety and
changing our programming from time to time since this works well for our bodies due to
the principle of ADAPTATION (Borg).
When students ask about making changes to a particular area of the body, Instructors
should educate them on two principles:
1. Spot Strengthening: If the desire is to train the muscles in a certain area, we should
engage in muscular strength/endurance exercises as the FITT principles dictate. Functional
training for strength in particular areas can be added with frequency or intensity, but a
balanced strength training program is safest overall.
2. Spot Reduction: Fat cannot be reduced in any particular area with cardiovascular
conditioning; we must exercise the body using the large muscle groups that burn
carbohydrates and fat. Also, body fat cannot be lost in any particular order—it really
depends upon an individual’s genetic make-up.
The American Council of Sports Medicine (ACSM) FITT Principles
FREQUENCY INTENSITY TIME TYPE
CARDIO-
RESPIRATORY
3-5 DAYS/
WEEK
TALK TEST
R.P.E. SCALE
20-60 MINS STEADY STATE
OR INTERVAL
8-10
MULTI/SINGLE
JOINT
STRENGTH
2-3 NON
CONSECUTIVE
DAYS
8-15 REPS FOR
MUSCULAR
FITNESS
TO THE
FATIGUE MUSCLES
WITHIN 90
SECONDS
MIN. 10-30
SECONDS
EXERCISES,
WITH CIRCUIT,
BODYWEIGHT,
FUNCTIONAL,
ISOTONIC,
ISOMETRIC
ACTIVE,
FLEXIBILITY MINIMUM 2-3 DAYS/WEEK
POINT OF
DISCOMFORT
EACH,
MAX 60
SECONDS
DYNAMIC (WARM-UP)
STATIC (FINAL)
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Chapter 7
Creating Movement
CHOREOGRAPHY is the harmony and coordination of planned movement through time
and space. Music, either in background or foreground, accompanies most group fitness
class types. Most major approaches to creating movements fall within the following four
categories.
1. FREESTYLE This occurs when an instructor chooses movements, equipment, and flow right on the spot. This takes an incredible amount of skill, usually acquired over the years from
discovering what makes successful teaching occur.
PLANNED The remaining three categories are similar yet different according to WHO is doing the planning.
2. PRE-CHOREOGRAPHED This occurs when a company like Water in Motion® or Les Mills® does the choreography and provides Instructors in the network the exact moves, music, script, and education
necessary for providing the class. Such programs aim to have all Instructors maintain
consistency. Anyone teaching a certain release on a certain date would reflect everyone
else teaching the same program.
3. PRE-FORMATTED This occurs when a company like Zumba® gives Instructors a formula, model, or “format” from which to make choices and decisions for the class flow, genre, music, and
moves. Instructors receive a checklist to follow with recommendations for their classes,
and in many cases, outlining what not to do as well.
4. INDIVIDUALLY CHOREOGRAPHED This occurs when an Instructor is fully responsible for his or her movements as well as devising a plan including room orientation, music, equipment, and sequence of
movements.
Writing choreography, or making notes to keep on moves that you will guide the class
through, is an unique process for Instructors working on creating movements for Pre-
Formatted or Individually choreographed classes. Here are some simple shortcuts
Instructors can take to help keep choreography notations easy to follow:
36
SAMPLE SCRIPT FOR WRITING CHOREOGRAPHY for CARDIO
MOVE COUNTS LEAD
LEG LETTER
STEP TOUCH 1-8 L A
ALTERNATING KNEES 9-16 L B
2 MAMBO STEPS 17-24 L C
HAMSTRINGS: SINGLE SINGLE DOUBLE
25-32 L D
REPEAT OTHER (R) SIDE
SAMPLE SCRIPT FOR WRITING CHOREOGRAPHY for STRENGTH
MOVE COUNTS LEAD
LEG LETTER
2 L LUNGES FRONT 1-8 L A
2 L SIDE SQUATS 9-16 L B
2 L LUNGES BACK 17-24 L C
2 SQUATS LEGS TOGETHER 25-32 L D
REPEAT OTHER (R) SIDE
When presenting any form of PLANNED CHOREOGRAPHY, Instructors can draw
from different METHODS and CUEING DIMENSIONS
1. SECTIONS/BLOCKS: This method involves teaching one move until students
demonstrate mastery, adding a second move until students demonstrate mastery, and then
adding the moves together. Add your examples:
STRENGTH CARDIOVASCULAR
2. LAYERS: This method involves teaching a complete pattern in the most simple of
regressions, usually in 8, 16, 24, or 32 counts of music. The Instructor then adds layers of
complexity to the final parts in small pieces. Each time the class repeats the moves from
the start. Add your examples:
STRENGTH CARDIOVASCULAR
37
3. HOLDING: This method involves putting students in a holding pattern, such as march
in place, while students master certain moves before inserting additional moves into the
pattern, which are optional. Add your examples:
STRENGTH CARDIOVASCULAR
4. SPEED MANIPULATION: This method involves putting in a holding pattern while
students master certain moves before inserting faster moves into the pattern. Add your
examples:
STRENGTH CARDIOVASCULAR
6. LINEAR BUILDING: This method involves making only one change at a time.
When delivering choreography as part of a linear progression, the Instructor introduces
one movement and then transitions into another, then another, etc. without ever going
back to the original movement.
A great way to build a smooth linear progression is by changing one variable at a time,
such as arms, a lever, direction or tempo.
Linear progressions are very useful for introducing new movement and for adding
variations. For example:
Teach a march with arms at the sides.
Add arms reaching to the sides.
Change the march to a step touch.
Add arms on the hips
Change the march to hamstring curls.
Add arms reaching to the front.
Change hamstring curls to knee lifts
Add arms on the hips
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7. REDUCTIONS/CUTTING DOWN: This method involves putting in a holding
pattern while students master certain moves before trimming back on moves in the pattern.
Add your examples:
STRENGTH CARDIOVASCULAR
BALANCE For successful cardiovascular conditioning, it is wise to select movement patterns based on physiological and biomechanical balance.
PHYSIOLOGICAL: Varying intensity and duration is an example of physiological
balance. If you teach a combination with high impact knee lifts, make your following
move a little less intense (i.e. low impact lunges). This allows participants to maintain
steady state without experiencing complete fatigue or muscle failure.
BIOMECHANICAL: Instructors create biomechanical balance when we balance planes,
sides of the body, and muscles. Variety of planes means planar balance. If an entire class
focuses on side-to-side movements in the frontal plane, Instructors should include front-
to-back movements in the sagittal plane as well as some rotational movements in the
transverse plane. If a combination of movement goes towards one side of the space used,
for example, then Instructors should repeat that combination towards the other side of the
used space for muscular balance.
Finally, muscular balance also means including movements in cardiovascular, strength,
and flexibility sections that use opposing muscle groups. If a particular combination
focuses on the quadriceps, for example, then another should incorporate the hamstrings.
There will be an additional discussion on opposing muscle groups and actions in Chapter
9.
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Chapter 8
Cueing
CUEING involves communicating information to class participants and is extremely
important to your role as an Instructor! Seven percent of cueing depends on words, 38%
on the tone and volume of the words, and the rest depends on visual body language
(Castells). The real key to attaining great cueing skills is to understand how your students
learn. Learning is a complex process often involving all three types of learning styles to
some degree (verbal, visual and kinesthetic). Since all classes contain different types of
learners, the best Instructors aim to include at least a little of all three types of cueing.
We use three types of cueing to lead our Group Exercise classes:
1. VERBAL CUEING: includes all sounds and language from the mouth, and relies on
the language skills of both the speaker and the students. Note: if student’s native language
is not the same as the Instructor, there may be a disconnect between (teacher) intention
and (student) performance. EX: 4,3,2,1 Switch! Other side… Great job!
2. VISUAL CUEING: includes directive body language and facial expressions. (i.e.
touching abs, pointing down, mouthing “shhh”).
3. KINESTHETIC CUEING: involves conveying a sense of both how movements should
feel and where they should be felt.
Cueing assures safety with:
speed
alignment
numbers
direction
position
regressions/progressions
anatomy
motivation
breathing
Practice cueing each of the moves below with verbal, visual and kinesthetic cues, and then
combine two of the cueing styles followed by all three.
STRENGTH CARDIOVASCULAR FLEXIBILITY
squats marches standing cat stretch
lunges step-touches standing side stretch
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Updated Instructor Terminology
20th Century 21st Century
aerobics group exercise
modification Progression and regression
straight/flat (spine/back) neutral, extended, elongated,
lengthened
exercise movement
cool down transition, final phase
belly/tummy/stomach abdominals, core
don’t keep
beginner, intermediate, advanced level 1, 2, 3
failure fatigue
Instructor Cueing & Class Orientation When instructing a group exercise class, the Instructor has the option to either face his/her students or face the mirror and teach with his/her back to the class.
Mirror-Image Teaching Benefits (facing the class) This is the preferred method of teaching Group Exercise in most instances since it allows you to interact face-to-face with your students instead of through a mirror (it’s a much
better connection, encourages you as a leader of group energy, and shows a great deal of
respect for their experience). Perhaps even more importantly, it allows you to better
monitor your students for safety and correct form because you are looking directly at
them.
Mirror-Image Teaching Challenges
Right and Left instructions to the class become opposite to the Instructor’s own right and left. Cueing transverse plane movements are extremely challenging for students to capture
and are best done with the same room orientation as the students. Another difficulty for
students is the ability to learn movements that involve turns and twists. Turn and give your
students your back view so everyone can follow the complicated movements more easily
without having to interpret how a mirror-image flip of the direction would appear.
. Front-Facing Teaching Benefits (facing the mirror) Teaching with your back to the class is easier because it does not require special cueing skills, but it will be more difficult to project your voice, and your ability to see your
students can be very poor, especially if you are teaching in a facility with limited mirrors.
If you teach with your back to the class and have no mirrors, you won’t be able to monitor
your class at all! This is not recommended.
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Front-Facing Teaching Challenges: Some participants come to classes because of their social nature and will feel more welcome when you are interacting with them face-to-face. Great Instructors will usually
introduce and conclude their classes facing their students to make the entire program more
personable, interactive, and approachable.
For beginning Group Exercise Instructors, it can be very intimidating to attempt to teach
choreography in mirror image. Therefore, we recommend that you begin by facing the
class during the warm-up when the movement sequences are simpler. Later, when
movement complexity and intensity increase, you can teach your choreography with your
back to the class. Turn around and face them again for the strengthening and final phase
sections of class.
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Chapter 9
Muscular Strength and Endurance Anterior view of major muscles of the body
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Posterior view of major muscles of the body
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THE START OF THE CORE: PELVIC FLOOR
THE LATERAL STABILIZER OF THE CORE CONNECTING UPPER BODY WITH THE
LOWER BODY: QUADRATUS LUMBORUM (Q.L.)
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Common Muscles used in Group Fitness
Muscle Action
anterior tibialis ankle dorsiflexion
gastrocnemius/soleus ankle plantar flexion
quadriceps knee extension, hip flexion
hamstrings knee flexion, hip extension
hip flexors hip flexion
gluteus maximus hip extension
rectus abdominus spinal flexion
erector spinae spinal extension
external obliques rotation
internal obliques rotation
pectoralis major horizontal shoulder adduction
rhomboids & middle trapezius scapular retraction
deltoids (front, mid, back) front: flexion
mid: abduction
back: extension
latissimus dorsi shoulder extension & adduction
biceps elbow flexion
triceps elbow extension
A key MODE addressed in many group fitness classes is muscular strength and
endurance. Generally speaking, STRENGTH refers to the maximum amount of force that
a muscle can produce in a single effort and endurance refers to number of times a muscle
repeatedly exerts a submaximal force or the length of time a given muscular force can be
sustained.
When the ACTIVITIES OF DAILY LIFE (called “ADLs”) involve moving an object a
short distance or a few times, we need strength. This occurs when we lift a child, lift a
heavy suitcase into the trunk of a car, or move a wheelbarrow. Conversely, when we walk,
cook, and take ballroom dance classes, these movements require repeated muscular
movements over time called muscular endurance.
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Most people attend group exercise classes to lose or manage their weight and many have
been led to believe that cardiovascular conditioning is the way to “burn fat”. It’s true that
cardiovascular conditioning will burn excess calories that might otherwise be stored as fat,
but including muscular strength and endurance exercises in conjunction with
cardiovascular conditioning will build lean tissue.
In 1994, Dr. Miriam Nelson, Ph.D., conducted a study at the USDA Human Nutrition
Resource Center on Aging at Tufts University. Her study was published in the Journal of
the American Medical Association (JAMA) and has been widely accepted as valid. This
study followed ten overweight women over the age of 40 for one year who were
attempting to lose weight. All individuals were given customized food plans as well.
Additionally, fifty percent of the individuals also performed strength training exercises
twice per week. The “diet only” participants lost an average of 13 pounds during the
study. However, 2.8 pounds of this weight loss was lean muscle mass. The women who
strength trained lost approximately 13.2 pounds. They gained 1.4 pounds of lean muscle
and lost 14.6 pounds of body fat. In summary, the women who performed strength &
endurance training along with caloric restriction lost 44 percent more body fat than the
“diet only” group.
Research like this is important to pass on to our Clients as we develop classes that are in
their weight management interests, which will often include strength training modes.
Furthermore, building lean muscle mass can increase basal metabolism by 15 percent or
more according to a recent study published by the Journal of Applied Physiology.
This research study was conducted at the University of Alabama and included a group of
men and women ages 61 to 77 years old. Study volunteers participated in a three day per
week strength training program for six months. On average, the volunteers lost 6 pounds
of body fat, gained 4.5 pounds of lean tissue, and had a 12 percent increase in total energy
expenditure (calories burned in one day). This boost in metabolism meant that the
volunteers were burning approximately 230 more calories per day than before they
participated in the study.
To summarize, some fusion of the modes of cardiovascular exercise in conjunction with
muscular strength and endurance exercises along with flexibility is the best way to achieve
long-term weight management.
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There are other documented benefits of STRENGTH TRAINING:
1. Increased bone density
2. Increased vitality and strength 3. Improved mood and sleep habits
4. Better balance and flexibility
5. Reduced risk of heart disease
6. Decreased risk of diabetes, cancer,
arthritis and other debilitating conditions
7. Reduced chronic aches and pains
8. Enhanced body image
According to ACSM guidelines, strength training begins with the performance of one set
of 8 to 10 repetitions of a load bearing exercise moving the muscle at the joint, to
accumulative fatigue, referred to sometimes as “exhaustion”. Exhaustion should not be
confused with muscle failure. “Exhaustion” means if the exercise were to continue a lack
of control would be evident; improper alignment, reduced range of motion, or
compensation by other muscle groups. “Failure”, by contrast, means a total loss of
control and/or the inability to perform another repetition.
For muscular strength and endurance, a safe and effective way to begin is bodyweight
training against gravity. Sometimes, individuals do achieve their goals in this way alone,
such as bodyweight BootCamps, yoga, Pilates, and other disciplines requiring little to no
equipment. For others, it can be difficult to achieve full gains in strength when training in
the group exercise environment without special equipment (i.e. body bars, barbells, elastic
tubing). It is important to understand the difference between muscular strength and
endurance.
Muscular strength: The maximum amount of force that a muscle can produce in a single
effort, also referred to as a 1RM (1 repetition maximum).
Muscular endurance: The number of times a muscle repeatedly exerts a sub-maximal
force or the length of time a given muscular force can be sustained.
Certainly, these two properties are interrelated, but, in general, muscular strength is
developed by lifting heavier weights for fewer repetitions, and muscular endurance is
developed by lifting lighter weights for greater repetitions. Furthermore, while many
fitness enthusiasts become preoccupied with muscular strength, we must remember that,
on a daily basis, most of our daily life activities involve muscular endurance activities,
such as carrying groceries, pushing strollers, and walking.
It would be ideal if all of our group exercise participants also trained for muscular strength
in the weight room where they could have access to heavier weights. However, we know
that this is not the case! Most people who come to group exercise classes expect to have
all of their exercise goals met within the class. Therefore, Instructors have a responsibility
to provide their students with safe and effective exercises that can develop strength and
enhance muscular endurance whenever possible.
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In order to do this, it is necessary to be able to identify the major muscles and understand
some basic kinesiology principles and important terms about the muscles and joints of the
human body. See pages 48 through 51 of this manual for a basic review of anatomical
names and locations.
Muscles are strengthened when they are contracted and properly overloaded. Often,
muscle contraction will cause movement at a joint (where two bones meet).
Flexion: Decreasing the angle between two bones
Extension: Increasing the angle between two bones
Abduction: Movement away from the midline of the body
Adduction: Movement toward the midline of the body
Rotation: Medial (inward) or lateral (outward) turning about the vertical axis of bone.
Circumduction: Movement of 360 degrees. This is motion that describes a “cone”
combining flexion, abduction, extension and adduction in sequential order. (i.e. Standing
arm circles for a warm-up, or Leg Circles in Pilates class)
There are other important joint actions such as dorsi-flexion and plantar-flexion for the
ankle, and elevation and depression for the shoulder girdle. These are important because
they are heavily related to posture and efficient gait patterns.
Muscles take on different roles depending upon the movement
Agonist: A muscle that is directly responsible for the joint movement. The term prime
mover can also be used.
Antagonist: A muscle that acts in opposition to the action produced by an agonist muscle.
For example, when you bend your arm at the elbow, the bicep muscle, acting as the
agonist contracts to produce elbow flexion. At the same time, its opposing muscles, the
triceps, act as the antagonist, and stretches or lengthens to allow the elbow flexion to take
place. Conversely, on a loaded triceps extension, the triceps become the agonist and the
lengthening biceps become the antagonist.
Assistor: A muscle that helps, but does not cause the action. The term “synergist” can also
be used.
Stabilizer: A muscle that contracts to hold a position. It is important to not fatigue
muscles as stabilizers and/or assistors before working them as agonists.
We strengthen muscles when we make them contract and “push” them beyond what they
normally need to do so they must overcome resistance and recover as a result. This is the
principle of OVERLOAD.
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ISONTONIC CONTRACTIONS When a muscle changes length against a force, resulting in movement, or a constant load (for example, a dumbbell) is moved through a range of motion of the involved joint, this is
a classic strength move requiring an isontonic contraction of the muscle.
Within an isotonic contraction, there are two phases:
CONCENTRIC: The muscle SHORTENS against the force; usually this is the more
difficult of the 2 phases; this is when we “concentrate” on making the exhalation, we have
to push hard or think of “flexing”. In a biceps curl, it is during the actual curl phase, when
you shorten the angle at the elbow joint.
ECCENTRIC: The muscle LENGTHENS against the force; this is the phase that is
responsible for making us sore, often times referred to as a “negative” contraction. In a
biceps curl, it is when you are lowering the weight.
ISOMETRIC Contractions: A contraction in which there is no change in the angle of
the involved joint (absence of joint movement) and little or no change in the length of the
contracting muscle; such as in stationary yoga postures. There is still strength and
endurance work to be done for muscles with isometric exercise. Hold something heavy up
over your head for a long time and you will understand. A gymnast holding an iron cross
on the rings is contracting numerous upper body muscles while remaining perfectly still
and has built both strength and muscular endurance with a great deal of isometric work.
SPEED Exercises should be performed at the appropriate (slow to moderate) speed. If the movement is done too fast, the muscle does not have proper time for contraction and
strengthening actions. For maximum effectiveness, it is also important to move the muscle
through its entire range of motion. While you can vary the range of motion (i.e. small
pulses) for variety, be sure to include at least some exercises that move the muscle both
through the fullest range of motion that is safe and against gravity. Lastly, moving a
muscle too quickly through its range of motion, increases the chance of injury.
VARIETY AND AVOIDING IMBALANCE It is also important to use a variety of exercises and variations of those exercises. If a muscle repeatedly performs the same movement, bears the same load, etc. it grows more
efficient at performing that movement. This will result in the muscle eventually not
making further progress in terms of strength and endurance.
Whenever a muscle is worked as an agonist, it is important to also work its opposing
muscle in such a way that makes that muscle the antagonist. Working muscles in this
complimentary fashion reduces the risk of developing or adding to muscular imbalances
that can lead to injury. In some individuals, muscular imbalances already exist. For
example, many runners have highly developed quads, and weaker hamstrings, increasing
the risk of a hamstring injury due to compensation. In a group fitness setting, the general
guidelines Instructors follow involve seeking muscular balance to promote the general
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health of all participants and trying to exacerbate any already existing imbalances which
might exist in class members.
OPEN & CLOSED CHAIN There are two different categories of muscular strength and endurance exercises. In Open- chain exercises such as a seated leg extension and bicep curl, movement is initiated from
a moving limb which is not fixed in space or supported at the end point. Closed-chain
exercises are usually compound exercises—involving movement at more than one joint—
and the limb is fixed or anchored and does not move, as hands in a push-up or feet in a
squat. Physical therapists refer to closed-chain activity as “dynamic stabilization” because
the body must stabilize itself against a dynamic movement. Closed chain activities often
build advanced coordination and strength, which in turn may cause a greater
musculoskeletal challenge.
While both types of exercises are safe and effective, there are advantages to each. Closed-
chain exercises focus on balance and control. Core strength and stabilization are key with
these exercises. The “core” refers to the pelvic floor, abdominals, hip region, and back.
Open-chain exercises are effective for developing strength in particular muscle groups,
and they may be more appropriate for deconditioned exercisers with less balance and
control.
SMALL EQUIPMENT
Hand weights, tubes and bands are inexpensive and very portable. They provide their own opposing force so the effectiveness of the exercise is no longer dependent solely upon the
body being positioned against gravity. Bands also provide extra support for flexibility
work in the final phase of class. Caution your students about maintaining a neutral line of
the arm and wrist when using equipment with handles. Also, encourage students to select
weights and/or resistance that they can use with control.
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In order to prepare a safe and effective muscular strength and endurance section for
classes, Instructors should consider the SCW PRINCIPLES OF EXERCISE DESIGN
for STRENGTH/ ENDURANCE
1. What is the PURPOSE of the exercise?
2. What is the proper POSITION or POSTURE in which to perform the exercise? Is the
body properly aligned and does it maximize the use of resistance (i.e. the pull of gravity
and/or the weights)?
3. What is the appropriate PROGRESSION OR REGRESSION? How can the difficulty
and intensity be increased or decreased?
4. What is the appropriate POPULATION and PRESCRIPTION? For who is this
exercise appropriate, and how can it be modified to accommodate a variety of fitness
levels?
5. What is the appropriate PHASE FOR BREATHING SUGGESTION?
Note that all the PRINCIPLES begin with the letter “P” to help you remember them.
They are also applicable to other sections of group exercise as well, which includes
general class design.
Following are some sample exercises for achieving muscular strength and endurance. It is
not intended to be a comprehensive list, but rather to be examples of safe and effective
exercises that would be appropriate for a large number of people in the group exercise
setting. These exercises are simply organized into lower and upper body and core
exercises.
Remember that just getting into and maintaining isometrically any of our 10 positions is
considered strength/endurance work because it involves many muscles coming together to
create core stability.
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1. STANDING A. Squats B. Lunges
2. HINGING A. Bilateral Hinges B. Unilateral Hinges
3. KNEELING A. Quadriceps Extensions
4. SITTING A. V Sit Isometric Core Stabilization
5. SUPINE A. Rectus Abdominus Crunches B. Oblique Crunches
C. Bilateral And Unilateral Bridges
D. Sliding Heels
6. SIDE-LYING & SIDE PLANK A. Leg Abduction B. Hip Hikes
7. PRONE A. Spinal Extension B. Hip Extension
8. ALL 4’S A. Spinal Extension B. Hip Extension
C. Reaching Isometric Core Stabilization
D. Push-Ups
E. External Rotations
9. PLANK A. Stabilization B. Push-Ups
10. REVERSE PLANK A. Triceps B. Leg Lifts
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Chapter 10
Flexibility and Mind-Body Programming
This chapter addresses muscular flexibility, perhaps the most forgotten element in the
trilogy of fitness modes among cardiovascular endurance, muscular strength/endurance,
and muscular flexibility.
Flexibility refers to the uninhibited range of motion around a joint. The purpose of
flexibility is to improve general body function, efficiency, posture, and avoid injury. In
addition, stretching may reduce the occurrence of DOMS, or delayed onset muscle
soreness that follows weight lifting for 24 to 48 hours after the exercise.
Like our other modes, flexibility requires both isometric stability and isotonic
mobility. Stability refers to the part of the body that supports itself in alignment with no
movement. Mobility refers to the part of the body that actively or passively moves through
its range of motion with control around its joint. Balance between mobility and stability is
necessary because even hyper-flexible individuals need proper stability and core strength.
For example, for a standing hamstring stretch, stability in the upper core and hip areas
must exist in order for knee extension and hip flexion to occur in alignment and hamstring
and hip mobility must exist to stretch effectively.
Ranges of flexibility vary from individual to individual. Bony structures, previous injury,
postural deviations, and age may limit flexibility. Joint ligaments should not be stretched
because this leads to joint instability (also called “laxity”).
Flexibility should be part of every fitness program. Flexibility in the warm-up
should be dynamic/active/rhythmic.
Flexibility at the conclusion of a workout should be static stretches for a minimum
of 10-30 seconds, and 60 seconds maximum.
Muscles should first be warm before performing static stretches for optimum
benefit.
Instructors should avoid ballistic, or pulsing/bouncing stretching, since it can produce
injury. Ballistic stretching should not be confused with general, active, rhythmic, and
dynamic movements that increase range of motion at the beginning of class.
An additional type of flexibility methodology is called proprioceptive neuromuscular
facilitation, in which a muscle is maximally contracted and then stretched. This method is
generally not used in group exercise (often occurs with one-on-one personal training).
Instructors should know the difference between ACTIVE and PASSIVE flexibility. Active
flexibility refers to uninhibited movement without assistance, such as standing tall and
executing a chest stretch with the hands behind the body, touching nothing. Passive
flexibility refers to the addition of an external prop to increase the range of motion and
stretch the targeted muscle, such as the floor, a hand, or a piece of equipment. An example
is standing doing the chest stretch but with a hand against a wall for a deeper stretch.
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Neither type of flexibility is better. Effective flexibility programs incorporate both active
and passive exercises.
Not all individuals are flexible in the same way. Instructors must remember that not all
stretches “feel good” to all people. The last thing that a participant wants to hear when
sweating through an uncomfortable, but necessary, stretch is “This stretch always feels
great!” Likewise, just as with cardiovascular and strength moves, not all stretches are for
all people. Instructors should be prepared to offer different body positions (standing,
supine, prone) to stretch the same body part. For example, the quadriceps can be stretched
while standing as in the example above if participants are able to balance, or a side-lying
or prone position may be more appropriate for older and deconditioned individuals.
Instructors should maintain a positive view of the flexibility portion of class and should
discourage competition among members. Men and women do not always stretch in the
same way nor do they always feel stretches alike. Avoiding phrases like “poor” and
“failing” in flexibility exercises will keep the mood positive. Remember that the more
inflexible a participant is, the more appropriate it may be to isolate a particular muscle
being stretched so that increased stability and mobility are not compromised at other
joints.
During the course of a group exercise class, the PURPOSE of flexibility changes
throughout the class. In a group exercise warm-up, our goal is maintaining flexibility and
increasing range of motion, and thus dynamic and static stretches are not usually utilized.
In the closing phase of a class, our main purpose is improving flexibility, which prompts
us to hold our stretches for a range of 10-30 seconds.
The final flexibility section of a class, therefore, serves as a logical conclusion to the class
by making us re-examine the original purpose of the class. Each instructor needs to
remember and incorporate the SCW EXERCISE PRINCIPLES by asking the following
questions to prepare an effective flexibility section for each class taught:
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SCW EXERCISE PRINCIPLES for FLEXIBILITY CLASS DESIGN
1. What is the PURPOSE of the exercise? (i.e. to improve or maintain flexibility)
2. What is the proper POSITION or POSTURE in which to perform the exercise? Is the body properly aligned and does it maximize the use of
resistance (i.e. the pull of gravity)? What are the major agonists and
antagonists used that we need to stretch? Should I stretch any of the
stabilizers, assistors/synergists?
3. What is the appropriate PROGRESSION/ REGRESSION? How can the difficulty and intensity be increased or decreased? Should we
incorporate some mind-body techniques or stretches to improve posture?
4. What is the appropriate POPULATION and PRESCRIPTION? For whom are these stretching exercises appropriate and how can it be
modified to accommodate a variety of fitness levels.
5. What is the appropriate BREATHING SUGGESTION? GENERALLY SCW RECOMMENDS EXHALING ON THE CONCENTRIC PHASE.
Following are general guidelines for stretching:
1. Keeping the body aligned as much as possible heightens the efficacy of the
stretches. Muscles profit most from flexibility when they are stretched
along the longitudinal line of the muscle, which means how the muscle
fibers run. Instructors therefore need a general understanding of how
muscle fibers run and stretch accordingly.
2. Warmer muscles respond to prolonged stretching more effectively than
muscles whose temperatures are cooler.
3. Maintain stretches a minimum of 10-30 seconds when the purpose is to
increase flexibility making sure that participants continue breathing through
the prolonged stretches. An example of an appropriate cue is “Keep
stretching here, and keep breathing too.”
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Common Group Fitness Stretches:
Muscle Group Traditional Stretch Mind-Body Stretch
Gastrocnemius/Soleus Standing in lunge position
with rear knee flexed
(soleus) or extended
(gastrocnemius)
Anterior Tibialis Standing in lunge position
with top of rear foot towards
the floor (plantarflexed)
Inspired from T’ai Chi: step
sideways and down to the right
with the right leg, then sideways
and down to the right with the left
leg, plantarflexing the foot as
much as possible, as slowly as possible; repeat each side
Hamstring Group From standing in lunge
position, support body on rear leg with knee flexed;
extend front leg forward and
flex at hip but not spine
Inspired from yoga: sit with legs
extended in front, adducted, and
place hands on the floor next to
hips; neither knees nor spine
should flex; bring upper body
closer to lower body
Quadriceps Group
Stand with knees together
and reach for the ankle of the
foot on the same side; knees
remain close and hip pushes
forward slightly on side being stretched
Hip Flexors From standing lunge
position, lower knee of rear
leg towards the floor while
maintaining erect and vertical spine from hips to
head
Inspired from yoga: from
standing lunge position, lower
knee of rear leg towards the floor
and encourage the shoulders to move behind the hips, towards the
rear, while spine remains extended
Erector Spinae From standing position, reach arms overhead and
then forward to stretch upper
back; limit unsupported
spinal flexion
Inspired from Pilates: from sitting position, flex the knees with legs
adducted; let the spine flex and
body rock back towards the floor
and then up onto gluteals, keeping the body as a unit; repeat (neck
does not touch the floor) Abdominals From standing position,
place palms of hands against the back area and look
upwards, extending the spine
Inspired from yoga: from prone
position, come up onto palms and
elbows into “modified cobra”
Trapezius From standing position,
incorporate stretches from
“Latissimus Dorsi” and “Deltoids”
Inspired from T’ai Chi “Sinking
the Chi”: spine stretch forward,
reach arms down, then overhead as high as possible then push
hands down towards hips, slowly,
then repeat, reverse
Pectoralis Major From standing position,
abduct arms to shoulder
height and then abduct the
shoulders horizontally
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Triceps/Biceps Triceps: from standing
position, take one arm
overhead and point elbow forward while bringing the
palm towards behind the head. Biceps: from standing
position, extend the elbow to its full range
Deltoids From standing position,
bring arms to front to stretch
rear deltoids, towards the floor or across the chest to
stretch the middle deltoids
(and triceps), and towards
the rear behind you to stretch
the anterior deltoids
Inspired from yoga: from
kneeling position, sit on the heels
and place the palms on the floor
behind you, fingers pointing
towards the knees; squeeze the
shoulders together behind you as
you lift the chest towards the sky
Latissimus Dorsi From standing position,
reach arms overhead Inspired from yoga: from prone
hands and knees position, sit back
towards the heels and walk the
palms out in front with forehead touching the floor
ALTERNATIVE FLEXIBILITY EXERCISE Many mind-body and Eastern/world fitness disciplines are “non-traditional” to some in the West. But increasingly, alternative exercise methods are finding their way into mainstream
group exercise classes. Among these class types are Yoga, Pilates, and T’ai Chi. Each of
these emphasizes slower, controlled, mindful, barefoot movement, and therefore are
known as “mind-body” fitness disciplines. They also emphasize the breathing as a central
feature of the work, far more than many Western classes. Yogic breathing is generally
exclusively nasal, Pilates breathing with a strong exhalation through the mouth, and T’ai
Chi invites inhalation through the nose and a soft, quiet exhalation through the mouth.
YOGA Yoga means “union,” and specifically in this fitness form, the union of mind, body, and the breath. The body is placed in various positions that increase strength in some areas
while increasing flexibility in others, thereby fusing the two principles of stability and
mobility. With their origin in India, yogic postures, or asanas, generally gather their
Sanskrit names when standing from things (mountain, moon, tree), and from animals
when on a mat (cat, cow, camel). There are no rules for how long stretches must be held,
although generally there is an emphasis on maintaining a posture for more than three
breath cycles of inhalation and exhalation.
PILATES Pilates classes were named after the late Joseph Pilates who designed many types of exercises throughout the 1900’s for dancers, athletes and individuals requiring
rehabilitation. Some work is done on the floor without the addition of props, and other
work requires barrels, rings, or equipment featuring variable resistance using springs and
cords. The famous “Reformer”, features a sliding carriage offering a combination of
resistance and instability for building advanced degrees of flexibility and strength.
Whereas yoga postures tend to concentrate on stasis and isometric contractions, most
Pilates exercises require isotonic movement initiated at the core. The purpose of Pilates is
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to stabilize and control movement from the center, then progress it out to the extremities.
Healthy flexion and extension of the spine are hallmarks of the Pilates method.
T’AI CHI T’ai Chi means “slow, meditative boxing through moving meditation.” Current research shows that T’ai Chi not only improves flexibility, but improves cardiovascular
performance as well (Lund). In a T’ai Chi session, emphasis is placed on the group so that
everyone moves in synchronization, as slowly as possible. Movement is relaxed and
systematic. Patterns of movement are “forms” which have survived centuries from China.
The purpose of T’ai Chi is to train the muscles to work as an integrated unit in a super-
slow speed so that up-to-speed movement will be more efficient. A T’ai Chi form works
rhythmically and bilaterally and is usually repeated several times.
By comparison, yoga addresses flexibility through static stretching while T’ai Chi and
Pilates address it through more dynamic, flowing range of movement. Whether you
choose traditional or more Eastern techniques for improving flexibility, remember:
the purpose of flexibility in the warm-up is different from the final phase
static stretches should last from 10-30 seconds in most group fitness scenarios
with flexibility work there is a need for both stability and mobility
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Appendix A
Legal Issues for Fitness Professionals
As a new Group Exercise Instructor, there are many legal issues you need to be aware of
when starting to teach. One of the most important is determining your legal status. As a
fitness professional, this status is extremely important in identifying your LEGAL
LIABILITY, INSURANCE NEEDS, and TAX RESPONSIBILITIES.
EMPLOYEE/INDEPENDENT CONTRACTOR To determine if someone is considered an employee or an independent contractor, the courts look at the theory of "respondeat superior". This theory analyzes whether an
employee's activities are directly monitored or supervised by his or her employer (i.e.
when an employee "responds" to his or her "superior"). The activities looked at include
who actually collects money from the clients, whether the instructor is on the schedule
regularly, and how the employer controls the work performed by the employee/
independent contractor (for example, does the employer "train" the employee?).
EMPLOYEE If a club collects all membership dues and training fees, and the club has the instructor teach specific classes or sessions at specific and regular times, and the club manager trains
the staff periodically, the group exercise instructor or personal trainer is identified as an
employee. The club or fitness center is liable for injuries arising from the Group Exercise
Instructor's and the Personal Trainer's activities during his or her job-related activities.
This means that the employer would be responsible for paying all legal fees and damage
awards should an injured client sue the club/instructor and win. If the club carries
insurance, the insurance company would have to pay the legal fees and the damage awards
depending upon the extent of the coverage. Therefore, the club should carry insurance on
all employees.
TAXES An employer is also responsible for taking taxes out of an employee's paycheck and submitting the funds to the government. If the club fails to do this and the Instructor fails
to declare income earned when paying taxes, the government may sue the club for the
undeclared funds and appropriate penalties. Thus, the club could be held liable for the
government fines, back taxes, and back workers' compensation fees.
INDEPENDENT CONTRACTOR A fitness professional who is an independent contractor is responsible for carrying his or her own insurance, all liability surrounding their job performance, and for declaring his or
her income and paying taxes to the government. The legal status of an independent
contractor is much more difficult to define than the employee status. An employee's
activities are directly monitored or supervised by his or her employer. While an employee
"responds" to his or her "superior", an independent contractor acts independently of his or
her employer. The independent contractor need not respond to his or her superior (the
employer) for job direction.
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For example, house painters do not ask the home owners who have hired them, what brush
to use, how to apply the paint, or what ladder to use when painting. The painters monitor
their own activities. In the scenario of group exercise instructors who teach in
corporations, the instructors would be independent contractors and the corporations would
be the employers. Since the corporations know nothing about group exercise training
techniques, and the instructors collect their own funds or are paid by the corporations, the
group exercise instructors are considered independent contractors, and the corporations are
considered the employers. The group exercise instructors should carry their own insurance
and make sure to declare their income from the classes in their taxes. If they are tax
audited for any reason and have not declared this income, they could be liable for
penalties starting at $3,000.
LEGAL RELATIONSHIPS If, as a fitness professional, you are unsure of your legal relationship with your employer, it is recommended that you clarify it for insurance and tax purposes. Often, employers
have their instructors sign independent contractor/employee relationship contracts to
outline their legal statuses. Assuming that both parties understand the ramifications of
these contracts, the courts will honor these arrangements.
STANDARD OF CARE: REASONABLE AND PRUDENT To determine if a fitness Instructor is liable for an injury experienced by a Client, the courts ask: "What would a reasonable and prudent exercise professional do in a similar
situation"? Determining if a Fitness Instructor is liable means determining if he or she
was negligent. Four elements must all be present before an injured student (a plaintiff) can
recover from an Instructor (a defendant). The four elements of negligence are:
1. Duty 2. Failure to perform that duty
3. Proximate cause
4. Damage
DUTY The "duty" that the courts place upon a fitness Instructor is "to respond as a reasonable and prudent exercise professional would in a similar situation." The first element of this
duty is that the Instructor must act "reasonably and prudently." Instructors must maintain
an industry-wide standard of what is "reasonable and prudent." More and more fitness
professionals are seeking certification and are maintaining their education. Therefore, it is
important, if not imperative, that fitness Instructors be currently certified to teach group
exercise and/or personal train.
CPR/AED and REASONABLE AND PRUDENT Fitness Instructors in some states are required by statute to maintain their CPR/AED certification. There is a push for the legislature to require Fitness Instructors to be certified
to teach group exercise and perform personal training as well. While this is not a state or
national requirement as of yet, it is a recommendation that Instructors and club owners
should not take lightly. All "reasonable and prudent" Instructors are now certified.
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SIMILAR SITUATION The second element of this "duty" requires that the Instructor act "reasonably and prudently" in a "similar situation". For example, if someone were injured in a class seven
years ago because he or she was doing high impact aerobics on a cement floor, the
Instructor may not be held liable. The reason would be that seven years ago, low impact
aerobics was not as prevalent and research surrounding exercise surfaces was not readily
available. A "reasonable and prudent" exercise Instructor seven years ago would teach
high impact aerobics on a cement floor. Today, of course, we know that this would be
dangerous to both our students and ourselves. However, the courts look at what was
"reasonable and prudent" in a "similar situation" seven years ago when the injury
occurred.
TIME FRAME FOR SIMILAR SITUATIONS The example of a student suing an Instructor or club for an injury that occurred seven years prior is unlikely to occur. All states have "statutes of limitations". These statutes
require that an injured party sue within a certain time frame. For example, Illinois civil
procedure rules require that a person must sue within a two-year time period for certain
types of personal injuries. This means that if a student is injured and decides to sue three
years after the injury, the courts prohibit him or her from doing so. The main reason for
this limitation is that, after several years, the people who would be testifying in the suit
may forget some of the incidents surrounding the litigation. The injured party, the
witnesses, the Instructor, and even the attending physician's memories become faulty after
time. Further, the courts are so back-logged with litigation that if people could sue after
indefinite time periods, our legal system would grind to a halt from overuse.
FAILURE TO PERFORM THAT DUTY The second element of negligence would be the failure to respond as a reasonable and prudent exercise professional in a similar situation. To prove that an Instructor or club
failed in some way to respond reasonably, the court would look at industry-wide
standards. They would seek expert testimony regarding the safety standards that are set by
the industry. The courts would analyze what the certifications train, what fitness manuals
recommend and what workshops on the market prescribe. Industry standards must be met.
This means that Instructors must remain abreast of new research, new training techniques,
and updated standards. It is our legal responsibility to act as "reasonable and prudent
exercise professionals in a similar situation".
PROXIMATE CAUSE The third element of negligence is proximate cause. This requires that the injury actually be caused by the fitness professional. This means that the Instructor can either "do"
something to encourage an injury or "fail to do" something to encourage an injury. If the
Instructor is leading an antiquated exercise that is bad for the knees and fails to look
around the room to spot if any participants are in danger of injury, the Instructor could be
found liable. For example, an Instructor would be liable if the Instructor actually "did"
something to cause the injury by using an old exercise that was unsafe or contrary to the
protocols recommended by group fitness certifications or "failed to do" something by not
looking around the room to spot the students.
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PREEXISTING INJURY If a client has a preexisting injury and the exercise that the Instructor leads simply triggers this injury, the courts may still find the Instructor liable for this injury. The courts are very
lenient with the requirement of proximate cause. It is recommended that all Instructors,
clubs, or studios ask their Clients to complete health history forms (see sample Health
History Form at the end of this section). If, while completing a health history form, a
student fails to indicate a preexisting injury and the court discovers this preexisting injury,
the court will most likely not hold the Instructor liable. This is because the Instructor
requested the information from the student and the student failed to inform or hid the
injury from his or her Instructor. Therefore, it would appear that the Instructor did not
proximately cause the injury as he or she was not made aware of any susceptibility
towards injury on behalf of the student.
DAMAGE The legal implications of teaching group exercise can seem overwhelming. Remember that you cannot be sued if there is no damage! Yes, a sprained ankle is an injury, but where
is the true damage? There probably are no doctor bills because the student treated the
injury with R.I.C.E. (rest, ice, compression, and elevation). The student did not have to
miss work, the student did not have to find a baby sitter for his or her children, nor did the
student have to go to a psychiatrist to recover from the emotional damage of the sprain.
There were no out-of-pocket expenses spent on the sprained ankle. To support a lawsuit, a
court must find that there were actual damages arising from the injury. Be careful, but
don’t worry.
DAMAGE AMOUNTS Damages are calculated by adding up the expenses relating to the injury. In California, if a student is injured as the result of an Instructor's touch (for example, the Instructor pushed
the student to enhance a stretch and the student tore a muscle as a result) the court can
award triple damages. This means that because the Instructor physically handled or
mishandled a student, the student can recover three times the amount of actual damages
that he or she incurred.
CONTROVERSY ABOUT TOUCHING STUDENTS
SCW recommends that Instructors do not touch their students. Cue and correct by teaching the three dimensions of cueing. When it is absolutely necessary to make a
kinesthetic intervention, place your hands toward the solutions and invite the student to
move away from the risky position and towards the solution. In this way, students learn to
self-correct and Instructors are still not touching their students.
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INCIDENT REPORTS AND ADAPTATIONS If an Instructor sees a student using hand weights during a high impact section of class and fails to stop that student from performing an unsafe exercise, the Instructor could be found
liable. This is a failure to act as a "reasonable and prudent exercise professional in a
similar situation". Specifically, if the Instructor approaches the student and recommends
or requests that the hand weights be put down until the sculpting section of class, the
Instructor must make sure that the student follows through and actually puts the hand
weights down.
It is not recommended that the Instructor engage in a conflict with the student to ensure
that the hand weights are not used. However, it is recommended that the Instructor take
his/her position as a teacher seriously and understand that he/she is liable if that student is
stubborn and fails to put down the hand weights. If an altercation ensues, the Instructor
should call or get one of the managers on duty at the club to come into the classroom and
take charge of the situation. Quickly explain to the manager that this student will not
comply with safety standards in your classroom. Then you (the Instructor) will have
complied with the duty to act as a "reasonable and prudent exercise professional". If there
is no manager on duty and the Instructor does not wish to interrupt the class, the Instructor
should ask the student to sign an incident report directly after class. This report should
state that the Instructor informed the student of the dangers of using hand weights while
participating in high impact aerobics, that the student assumes the risk of the injuries that
can result from this type of activity, and that he/she will not sue you or the club as a result
of such possible injuries.
This serves two purposes. It insures the club, studio, and/or Instructor will not be held
liable should the student sue for a resulting injury, and it also informs the student that you
are serious about safety in your classroom. While this approach seems quite severe, please
remember that lawsuits are equally severe. Further, the Instructor need not be demanding,
condescending, or intimidating when requesting that the form be signed. A calm and
considerate explanation that for legal and insurance purposes it is required that this type of
form be filled out usually appeases the client's feelings of aggression. The Instructor
should be as polite and accommodating as possible, even explaining that our lawyers and
our insurance carriers require this form. By placing the blame, or requirement, on
someone other than yourself (the Instructor), the student is usually much more willing to
comply. The Instructor should use the above language and fill out this form by using a
club or studio incident report form.
POSTING RULES & REGULATIONS An easy and inexpensive way to deal with this type of situation is to document that certain behavior is not permissible under the club's published rules and regulations (i.e. members
must adhere to Instructor's requirements during fitness classes). Members should be
required to read these regulations, which should be subject to periodic renewal and
change, and members should be subject to losing their membership privileges if they
violate the rules and regulations.
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INCIDENT REPORTS All clubs should create their own incident report forms. These types of forms are excellent to use to jog the memories of witnesses and Instructors if a lawsuit does arise based upon a
specific incident. These forms should contain spaces for the names, addresses, and
telephone numbers for the injured party(s), the Instructor(s), the witness(s), and the club
supervisor(s) on duty. Dates, times and locations should all be reported. Comments
surrounding the incident, answering who, what, where, when, and how the incident
occurred, should be thoroughly and completely documented.
HEALTH HISTORY FORMS Health history forms are now the norm in the fitness industry. These forms are quite valuable because they can actually reduce the number of injuries that may occur. When a
club and an Instructor are made aware of a preexisting condition that makes a student
subject to injury, the club or the Instructor can make allowances for the student and better
accommodate individual needs. As a positive consequence, fewer injuries may result.
However, health history forms are a double-edged sword because the more that you know,
the more that you are liable for with regards to a lawsuit. This means that if you (the
Instructor) or the club is made aware of the possibility of injury due to a preexisting
condition, the club and/or the Instructor is voluntarily assuming the responsibility to
specifically prevent against this tendency to injure. Therefore, it is imperative that clubs,
and specifically Instructors, utilize the information that they gather in the health history
forms.
USE ALL DATA Actively using all of the data collected in these forms is virtually impossible. The Instructor cannot be expected to know each and every fact about each and every
participant that comes into the club. Therefore, it is important that clubs cover themselves
against this “Pandora's Box” of liability.
WRITING A HEALTH HISTORY FORM First, the club should only ask questions on the health history form that the person conducting the initial interview would know how to use to prevent injury. Do not inquire
about medical prescriptions unless the person conducting the interview has been
specifically trained in this area. Second, the club should limit the usage of the information
collected from the health history form to the initial interviewer. This is important because
club managers, individual Instructors, and substitute Instructors cannot possibly read and
remember every individual member’s health history information. To limit the usage of the
information collected in the health history form, insert a clause at the conclusion of the
health history form that reads: "I attest that the above information is true and correct to the
best of my knowledge. I further affirm that the information collected on the health history
form will ONLY be used for the purpose of this initial interview and general fitness
programming recommendations. The club, its staff, Instructors, substitute Instructors, and
affiliates will NOT be responsible for knowing or using any of the information collected
on this health history form". Then ask the Client to sign and date this paragraph. Below
this signature and date, include the sentence: "I attest that I have read and understand the
information collected in this health history form and the above paragraph limiting the
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usage of this form and know it to be true and correct". Then include another place for the
Client to sign and date the bottom of this attestation clause. This last clause assures the
court that the Client has in fact read and understood what he or she has signed. This clause
encourages the Client to actually read and ask questions if she/he does not understand all
information noted on the form. While such a clause has never been tested in court, this
may be a viable way to limit the health history questionnaire’s usage to the interviewer
and limit the liability of the club.
WAIVERS OF LIABILITY In May of 1987, the Illinois Supreme Court decided a very important case for the fitness
industry. This case, Larsen v. Vic Tanny International, confirmed that an individual:
1. who knew of the dangers which may cause an injury in a health club
2. who realized the possibility of injury
3. who entered into a contract not to sue a health club voluntarily
Simply, this means that if you require your Clients to sign a waiver of liability
(specifically, an informed consent form) prior to beginning an exercise program with you,
and they injure themselves in your program, they may not be able to sue you. In spite of
this decision, some fitness professionals still believe the old adage, “Waivers of liability
are not worth the paper that they are written on". While in the past this blanket statement
may have been true, it is not true anymore!
WAIVER OF LIABILITY VERSUS INFORMED CONSENT FORM A waiver of liability is an agreement between the club and the Client that if the club permits the Client to exercise in its facility, the Client agrees not to sue the club should the
Client become injured. An informed consent form documents that the Client has been
fully informed of the risks and possible discomforts involved in a physical fitness
program, that the Client assumes the risk of injury in contract form, and the Client cannot
sue the club should he or she become injured. The difference between a waiver of
liability and an informed consent form is that in an informed consent form, the
Client has been informed of the possible injuries that could occur prior to
contractually waiving the right to sue. Currently, there is a trend in the law to uphold
waivers of liability if they comply with certain standards. The most important of these
standards is that the Client/member must have "assumed the risk" that the injury may
occur to him or her.
ASSUMPTION OF THE RISK To assume risk, the Client must have entered into the contract "voluntarily". This means that he or she signed the contract without being forced into it. In some states, the Client
must also have been informed of the possible injuries or discomforts possibly incurred,
such as "muscle tears or strains, broken bones, heart attacks, etc." Courts reason that if a
Client "voluntarily assumes the risk" of an injury, the club should not be held liable. This
means that if a contract specifically describes the injuries that may occur and the Client
signs the contract, the courts will uphold the contract and not hold the club liable if such a
designated or sufficiently similar injury occurs.
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RANGE OF ACTIVITIES In other states where such a waiver specifically sets forth in clear language the range of activities to which it applies, the courts have enforced the contract. Newmann v. Gloria
Marshall Figure Salon, Illinois Appellate Court, Second District, 149 Ill. App.3d 824,500
N.E.2d 1011. The key words in this phrase are "range of activities". In these states, a
contract need not specifically declare particular injuries such as heart attacks, muscle tears
or strains that a Client/member can incur. The court may still uphold the contract even if
the waiver merely mentions an activity in which the client was injured. No longer does the
seller/club need to articulate specifically the injury sustained. The only restriction on this
rule is that the Client/member must have been able to reasonably contemplate that he or
she assumed the risk of injury resulting from the specific activity.
COURTS The term "the court" commonly refers to what the highest court has ruled on a particular issue. The most powerful court in the United States is the United States Supreme Court.
Next in line are the State Supreme Courts and then the various District Courts. There are
several other types of courts, but we will not address their relationships at this time.
Unless the United States Supreme Court has heard and decided a case dealing with a
particular issue, the individual State Supreme Courts decide the issue for themselves. If
neither the United States Supreme Court nor the State Supreme Courts have decided a
particular issue, the District Courts decide the issue. In the case of informed consent
forms, the United States Supreme Court has not addressed the issue as it pertains to health
clubs. This leaves the State Supreme Courts and often the District Courts to look to other
state and district courts for guidance. Most often, the courts follow the decisions of out-of-
state courts. This interstitial complementary decision-making is how trends in the law
develop.
ELEMENTS OF AN ASSUMPTION OF THE RISK CLAUSE Accordingly, the courts, when viewing issues dealing with waivers of liability in health clubs, have looked from state to state to assist their decision-making. Thus, when drafting
a waiver of liability that incorporates an assumption of the risk clause, one must utilize the
recommendations made by other courts. Several of these recommendations include:
a. Inform the buyer/member of the exercise program thoroughly and impartially
including all the various activities ("range of activities") in which the
participant may engage and the particular injuries that may incur.
b. Inform the buyer/member (either verbally or in the contract itself) that he or
she is free at any time to withdraw consent and discontinue participation
without prejudice. Should the buyer/member solicit questions regarding the
exercise program, one should give unbiased answers to these inquiries. This
assures that the buyer/member was truly "informed" about the program and
"voluntarily assumed the risk" of participation.
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c. Include a statement to the effect that the participant acknowledges that he or
she is in "good physical condition."
d. Include a statement that inhibits the buyer/member's "heirs and assigns" from
suing your facility.
e. Make sure that the buyer/member fully comprehends what he or she is signing.
Make sure that the contract is easily readable to someone of moderate
intelligence. Do not use confusing “legalese”. Offer guidance to anyone who
appears puzzled. Make sure that the buyer/member speaks English and
understands what he or she is reading ("informed").
f. Have the buyer/member initial or circle something halfway through the waiver
to document the fact that the contract was actually read ("informed").
g. At the conclusion of the contract, place an attestation clause. An attestation
clause is a phrase such as: "I attest that I have read and fully understand the
above waiver". This is a psychological ploy to encourage the buyer/member to
actually read the contract and also proves to the court the seller/club's intent
was for the buyer/ member to do so.
h. Make sure that the waiver is on a separate piece of paper from the printed
brochure, enrollment receipt, or membership contract. This ensures that the
contract was independently entered into and was not a membership
requirement.
See the sample Informed Consent Form at the end of this section.
COLLECT WAIVERS Even if your attorney discovers that waivers of liabilities are not upheld in your state, it is still recommended that you redraft your waiver to comply with these recommendations.
Laws may change. Should your attorney discover that waivers of liability/informed
consent forms are upheld in your state, you will have the opportunity to negotiate with
your insurance carrier to reduce your rates. The trend in the law is clear; it's up to us to use
waivers.
LEGAL MUSIC SOURCES The definition of the 1976 Copyright law states that "the copyright owner has the right to charge a fee for the use of his or her music in public performance". Public performance is
defined as "a place open to the public or as any place where a substantial number of
persons outside a normal circle of family and its social acquaintances is gathered". Health
clubs, studios, and even church basements, where fitness classes are sometimes offered,
fall into this category. Licensing fees must be paid to each of the two major performing
rights organizations, ASCAP and BMI. When you buy a legally produced music release
from a professional group fitness company, your ASCAP and BMI rights are not covered.
Clubs are still required to pay ASCAP and BMI for the right to play the music in their
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facility, and, similarly, Instructors who teach in places that are not clubs that pay fees
should contact ASCAP and BMI to arrange to pay fees.
Summary: 1. Group Fitness Instructors need to purchase legally licensed music for group fitness classes when the classes fall under the guidelines of “public performance”
2. BMI and ASCAP are the legal music licensing companies in the United States who
should receive fees for the use of music for group fitness classes and public performance.
Fees exist because the artists, copyright owners, composers, lyricists, and publishers of the
songs should receive remuneration for their talent. To insure that the talent who produced
the songs receives just compensation, music companies and video production businesses
are required to pay for each and every song that they use. The music companies pay for
the right to use the music from the record labels (such as Virgin Records) directly. While
this can be quite expensive, fines for using unlicensed music can run as high as $10,000
and not less than $250 for each song. Currently, the record labels are suing illegal music
distributors. The courts are imposing fines and actual jail sentences.
From the PowerMusic®.com site:
ASCAP, BMI and Public Performance of Music
All businesses, such as radio stations, restaurants, retail stores, spas and concert venues that publicly perform music are required by law to obtain a Public Performance License
from ASCAP, BMI and SESAC in the United States and SOCAN in Canada for those
performances. With a few exceptions, health clubs, gyms, and fitness studios are also
required to purchase Public Performance Licenses as well. These licenses are normally
granted for one year and the fees for fitness businesses are based on a formula that
evaluates the size of the venue, the type of activities in your facility and the number of
members.
When you purchase a digital download or CD, you have the right to use that music for
your own personal use in a non-commercial environment. As a record label, Power Music
has obtained the necessary licenses to reproduce the compositions for such use. However,
once that music is used in a group fitness class, you as the owner of a club, gym or studio
are required to purchase the Public Performance License. Even if you have hired the
Instructors as independent contractors and they bring in music for their classes, it is the
club owner’s responsibility to obtain the license. In some cases, an independent contractor
who might teach a class in an unlicensed church, firehouse or gymnasium would be
responsible for securing this license as well.
You may wonder why such a license is necessary. The reasoning behind the license is that
your classes and business benefit from the performance of the music and thus, the
composer and his or her publisher should benefit as well. The fees collected by ASCAP,
BMI, SESAC and SOCAN are distributed to the composers and publishers who control
the musical compositions.
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A license issued by one of the 3 United States performance societies covers all
compositions within a particular society’s repertoire of songs. In the United States, a
Public Performance License from only one of the three societies does not cover every
song found on a Power Music CD or download. To legally publicly perform any music
you need to secure licenses with all three societies. Most of the titles we release contain
compositions that are either ASCAP or BMI represented compositions.
For further information you may contact:
ASCAP: 1-800-505-4052 or ascap.com
BMI: 1-888-689-5264 or bmi.com
SESAC: 1-800-826-9996 or sesac.com
In Canada, contact:
SOCAN: 1-800-557 6226 or socan.com
DISABILITY POLICY A club should establish a disability policy and enforce that policy. This means that if you would require any other member who has a communicable disease to supply a note from a
physician stating that it is acceptable for the disabled person to exercise, it would be
perfectly legal to require a member who has a disease to supply similar physician
approval. Further, if a health club has a rule that members with open sores may not
exercise in the facility, the health club must enforce this policy. This means that the club
should enforce this policy even when a member has a scratch as well as when a member
has an open sore.
REVOCATION OF MEMBERSHIPS / COMMUNICABLE DISEASES Singling out a member and revoking membership because he or she has a disease might be found discriminatory. If the club documents a rule that members who contract
communicable diseases may temporarily lose their membership until remission or cure of
that disease, and the rule is used for all applicable situations, the courts may find that
enforcement of this rule is acceptable. The even-handed enforcement of this rule is what
the courts examine. This means that the memberships of other Clients have similarly been
revoked because of similar communicable disease contraction.
STANDARDIZED POLICIES Clubs should set up standard policies regarding communicable diseases. These policies should be posted in rules and regulations for the facility. In the membership contracts that
Clients sign (or in the informed consent forms that members sign), the members should be
notified that they are responsible for adhering to all rules and regulations regarding
membership privileges.
A sample rule and regulation of this type may read:
"Membership privileges may be temporarily or permanently revoked should a Client
contract a communicable disease, whether it is curable or not, whether the source of
communicability be known or unknown".
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Another policy may read:
"All membership privileges may be temporarily or permanently revoked if a member has
an open sore".
AMERICANS WITH DISABILITIES ACT According to the Americans with Disabilities Act, club owners must reasonably accommodate those with disabilities unless they can establish "undue hardship" on the
operation of their business. This relates to club owners who cannot accommodate
members with disabilities.
EMPLOYMENT MANUALS Employment manuals are one of the most important documents that a club can develop. These manuals set policies regarding employee discipline and termination. They notify the
owners, managers, and employees of standards and expectations. They also serve to define
company policies and set guidelines that involve the law. A lawyer should be consulted
when a club is drafting their manual to avoid any later claims of discrimination or
prejudice.
WRITTEN EMPLOYEE EVALUATIONS When a club does terminate an employee's job, an employment manual provides documentation that the employee's behavior did not meet legitimate company standards. It
is very important to enforce the company policies even-handedly and consistently. Should
an employee’s behavior be inconsistent with company policy, this behavior should be
documented in writing and given to the employee's superiors and to the employee directly.
The management and the employee alike must be made aware of the
unacceptable behavior. States vary as to the number and type of unacceptable behavior
notifications that must be given to an employee. Please check with your own attorney.
DISCRIMINATION CHARGES Groundless discrimination charges may be avoided if a club clearly documents in an employee manual and in written evaluations of employee performance exactly what
behaviors are expected from employees. In this way, tardiness, absenteeism, poor work
conduct, etc. can be documented and unfounded charges may be dismissed.
CONCLUSION The law is somewhat intimidating. However, if you plan and react properly, you can save yourself from expensive legal fees and lawsuits. Have new members sign
waivers/informed consent forms. Collect health history forms on a regular basis and utilize
the information that you collect. While legal forms are somewhat burdensome, they can
save your Clients from tragedies and protect your business from financial ruin. Sample
forms are included below. Feel free to use them as needed.
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Sample Forms
SAMPLE CONSENT FORM
"I, (print name) , have enrolled in a program of strenuous physical activity including, but not limited to, a variety of group exercise classes, weight training, stationary bicycling, and various aerobic conditioning machinery offered by (club name here). I hereby affirm that I am in good physical condition and do not suffer from any disability which would prevent or limit my participation in this exercise program. In consideration of my participation in (club name here) exercise program, I, (please initial) , for myself, my heirs and assigns, hereby release (club name here) (its employees and owners), from any claims, demands, and causes of action, now or in the future, arising from my participation in the exercise program. I fully understand that I may injure myself as a result of my participation in (club name here) exercise programs including, but not limited to miscarriage, heart attack, muscle strains, pulls, or tears, broken bones, shin splints, heat prostration, knee and lower back/foot injuries and any other illness, soreness, or injury however caused occurring during or after my participation in the exercise program.
Signature Date
I hereby affirm that I am exercising with my physician's approval regarding this program and have read and fully understand the above agreement.
Signature Date
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HEALTH HISTORY FORM
NAME
ADDRESS
CITY STATE ZIP
HOME PHONE ( ) WORK PHONE ( _)_
DATE OF BIRTH /_ / AGE SEX: M / F (circle one)
In case of emergency, contact:
NAME
HOME PHONE ( ) WORK PHONE ( )
NAME
HOME PHONE ( ) WORK PHONE ( )
Physician's Name
Physician's Phone Number ( _)_
Do you have now, or have you had within the past year: Yes No
1. Difficulty with physical exercise?
If yes, explain
---- ----
_ 2.
Advice from a physician not to exercise?
----
----
If yes, explain
_ 3.
A history of heart problems?
----
----
If yes, explain
_ 4.
High blood pressure?
----
----
73
If yes, explain
_
5.
High blood cholesterol?
----
----
If yes, explain
_
6.
Knee problems?
----
----
If yes, explain
_
7.
Back problems?
----
----
If yes, explain
_
8.
Shoulder problems?
----
----
If yes, explain
_
9.
A history of miscarriage?
----
----
If yes, explain
_
I attest that the above information is true and correct to the best of my knowledge. I further affirm that the information collected on the health history form will ONLY be used for the purpose of this initial interview and general fitness programming recommendations. The club, its staff, instructors, and affiliates will NOT be responsible for knowing or using any of the information collected on this health history form.
Signature Date
I attest that I have read and understand the above.
Signature Date
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CLASS SIGN-IN SHEET
CLASS DATE
INSTRUCTOR LOCATION
I agree to be solely responsible for any and all liability costs, damages, and expenses incurred by me as a result of any injury sustained by me from participating in the group fitness program and further agree not to hold the management, staff, instructors, employees and/or trainers of responsible in any way for any injury whatsoever. I understand that I may incur an injury as a result of participating in this group fitness class, including, but not limited to, miscarriage, strains, sprains, tears to muscles, broken bones, heart attacks, etc.
I attest that I am in good physical condition, am exercising with my health care provider's approval, can participate in this vigorous program, and have read and fully understand the above.
PLEASE SIGN LEGIBLY.
1. 16.
2. 17.
3. 18.
4. 29.
5. 20.
6. 21.
7. 22.
8. 23.
9. 24.
10. 25.
11. 26.
12. 27.
13. 28.
14. 29.
15. 30.
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Appendix B
New Group Exercise Instructor
Frequently Asked Questions
1. Now that I’m certified, what is my next step?
Ask for advice from a group exercise coordinator at a local health club. Ask if they have
an “apprenticeship” or “mentoring” program where you could begin team-teaching with
an experienced Instructor. You can start by teaching a small portion of the class. For
example, you could teach the warm-up. Then each class, you could teach a little more
until you are ready to teach the entire class by yourself.
If you feel that you are ready to begin teaching classes on your own, visit local health
clubs and fill out Instructor applications and inquire about an interview and/or auditions.
Most clubs are always looking for Instructors to at least substitute. Getting on the “sub
list” can be the first step in acquiring a regular class assignment.
Beginning Instructors may feel most comfortable teaching beginning level classes as they
do not require that you prepare and teach a great deal of choreography. It can also be
helpful to teach circuit style classes that combine several different activities so that you
only have to prepare a small amount of material for each activity.
2. What should I expect in a job interview?
The group exercise coordinator and some additional Instructors from the club will most
likely conduct the interview. You should be prepared to tell them why you want to teach
group exercise, what training you have participated in and what certifications you have
achieved. Also, be sure to point out any additional qualifications that you have such as
CPR/AED training. Outline the types of classes that you feel comfortable teaching and
what your availability for teaching will be (i.e. anytime, only mornings, only evenings,
etc.).
Some questions that you may want to ask the during an interview include:
a) Will I be an employee or independent contractor?
b) What type of sound system do you have and is there a microphone available? Is
there a dress code for Instructors?
c) What is the pay scale and how do I make myself eligible for a raise?
d) Will I receive a free or discounted membership?
e) Are there any additional Instructor benefits (discounts in the pro shop, free
babysitting, guest privileges)?
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3. If I’m asked to audition, what should I prepare?
Instructor auditions vary greatly and some clubs might even have you “audition” by
teaching one of their regular classes. Ask the group exercise coordinator if there are
guidelines/recommendations for the audition. If not, then simply prepare a small segment
of the different classes that you are comfortable teaching: warm-up, high/low impact, step,
aqua, muscle conditioning, etc. You should be prepared to use your own music or music
provided by the club. Most importantly, try to take a class at that club to experience the
“club culture” and group expectations of the students so you can experience what
everyone will expect of you.
4. Should I carry liability insurance?
Yes.
5. When should I refer a student to another health or fitness professional?
By earning your certification, you are now qualified to teach group exercise to healthy
adults. However, being a Group Exercise Instructor has a very limited scope of practice.
You should not administer specific dietary guidance unless you have additional training in
nutrition. You should not diagnose an injury or recommend rehabilitative exercises since
this is beyond your scope of practice. Alternatively, you should recommend that the
participant see his/her doctor. For minor injuries that are sometimes sustained in group
exercise classes such as strains or muscle soreness, it is acceptable for you to recommend
R.I.C.E. which stands for Rest, Ice, Compression and Elevation.
6. What is the difference between a controversial movement and a contraindicated
movement?
A contraindicated movement is one that trusted industry professionals have reviewed and
determined poses a risk that outweighs any benefit that a particular participant might
receive from doing the exercise. An example is the hurdler’s stretch where one foot is
placed behind you by torqueing the knee. This position is used to stretch the hamstrings by
flexing forward and the quadriceps by lying back. However, there are much safer ways get
this stretch benefit without endangering the knee joint. This exercise should be avoided in
all group exercise settings.
A controversial exercise is much more difficult to determine. It is one that may have
questionable application in the group exercise setting simply because not all exercises are
appropriate for all individuals. For example, the full plough position as performed in yoga
may be appropriate when it is taught to advanced individuals in a yoga class by a qualified
yoga instructor. However, it is most likely an inappropriate exercise for a group exercise
class that is not yoga based with participants who do not have enough strength or
flexibility to perform it correctly.
77
Avoid contraindicated exercises. Before choosing to include a new or untested exercise in
your classes, attempt to determine if it is appropriate for the population that you are
teaching as your class participants should always guide your exercise choices.
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Appendix C
Leadership and Professionalism Tips
When you choose to become a Group Exercise Instructor, it is important that you
understand the variety of roles that you will be assuming. Your class participants will
expect more from you than simply to lead them in exercise. They will expect you to be
their motivator, educator, confidant and many other things. The following suggestions will
help you to become a true fitness professional.
1. Maintain a level of professionalism. This means being prompt and prepared for your
classes and dressing neatly and appropriately. Some health clubs even have dress codes
for their Instructors.
2. Adhere to industry standards and always teach exercises that are safe and effective for
your class participants.
3. Know your scope of practice. Refer Clients to more qualified fitness, medical or health
professionals when appropriate.
4. Respect your Clients and class participants and maintain the confidentiality of any
information that they share with you.
5. Maintain your group exercise certification and your CPR/AED training. Stay up-to-date
on current research and techniques in the fitness field. Participate regularly in continuing
education workshops.
6. Comply with business practices and copyright laws as outlined in Appendix A. Ensure
that you carry adequate insurance coverage.
79
Appendix D
Resources
Instructor Resource Sites www.scwfitness.com 1-877-SCW-FITT
Music Sources www.dynamixmusic.com 1-800-843-6499 www.powermusic.com 1-800-777-BEAT (2328)
Equipment www.power-systems.com 1-800-321-6975 www.spriproducts.com 1-800-222-7774
www.fitnesswholesale.com 1-888-FW-ORDER (39-67337)
Research and Fitness and Health Information www.medscape.com www.webmd.com
www.strongwomen.com
Liability Insurance
C.M. Meiers Company, Inc. 1-800-596-0969 FitnessPak, Interwest 800-873-FPAK (3725)
80
Appendix E
Calculating Target Heart Range Using the Karvonen Formula
Heart rate can be measured at a variety of sites. The carotid artery (on the neck under the
jaw), and the radial artery (on the inside of the wrist) are the two most popular sites, but
heart rate can also be taken at the temple or even by simply placing the hand over the
heart.
To determine resting heart rate, you should find your heart rate first thing in the morning
(preferable after waking up on your own, without a jolting alarm clock). Find your pulse at
either the carotid or radial site and count for one minute. It is best to do this for at least
three consecutive mornings and add the readings together and divide by three. This will be
your resting heart rate (RHR).
Once maximum heart rate (MHR) and RHR have been determined, the training range of
60% to 90% can be calculated using the following formula:
220-age = MHR
MHR – RHR = Heart Rate Reserve (HRR)
(HRR x 60%) + RHR
= Lower end of training range
220-age = MHR
MHR – RHR = HRR
(HRR x 90%) + RHR
= Upper end of training range
For example, Anne is 32 years old and has a resting heart rate of 65 beats per minute. To
determine her training range:
220-32 = 188
188-65 = 123
(123 x 60%) + 65 = 138.8
The low end of Anne’s training range should be 139 beats per minute. If you take a 10-
second heart rate check during cardiovascular conditioning, Anne’s heart rate should be no
lower than 23 beats. The 23 beats is determined by noting that there are six 10-second
counts in one minute (6 x 10 seconds = 60 seconds / 139 divided by 6 = 23). Instructors
often prefer taking a 10-second count during class because it gives an accurate indication
of intensity, but keeps participants from standing still for a long period of time.
81
220-32 = 188
188-65 = 123
(123 x 90%) + 65 = 175.7
The high end of Anne’s training range should be 176 beats per minute which would be 29
beats for a 10-second count.
For practice, determine your own training range:
Maximum Heart Rate MHR = (220 – age)
Resting Heart Rate RHR =
Low end (60% of MHR) = beats per minute
beats per 10 seconds
High end (90% of MHR) = beats per minute
beats per 10 seconds
It is up to the Class instructor as to when to use a heart rate check, but it is recommended
that it be taken during the highest intensity portion, which is difficult to do while moving.
It can be quite difficult to perform a 10-second heart rate check several times during the
cardiovascular conditioning phase. Stopping exercise to take a heart rate disrupts the flow
of the exercise routine, and if done repeatedly, it can even lower the intensity of the
workout. Also, class participants should avoid abruptly stopping vigorous exercise as this
results in blood pooling in the extremities and may even lead to fainting.
82
Appendix F COMPREHENSIVE
BIBLIOGRAPHY including WORKS
CITED
American Council on Exercise. ACE Group Fitness Instructor Manual (3rd ed.). San Diego:
American Council on Exercise. 2011.
Aerobics and Fitness Association of America. 2010. Fitness: Theory & Practice (5th ed., L.A.
Gladwin, Ed.). Sherman Oaks, CA: Aerobics and Fitness Association of America. 2010.
Aerobics and Fitness Association of America, “Practical Teaching Skills Instructor Training
Study Guide,” 1999.
AFAA Education Advisory Board. (2010). Basic Exercise Standards and Guidelines. In L.A.
Gladwin (Ed.), Fitness: Theory & Practice (5th ed., pp. 185-223). Sherman Oaks, CA: Aerobics
and Fitness Association of America.
Alcamo, I. Edward, Ph.D., Anatomy Coloring Workbook, Princeton Review Publishing, 1997.
Alter, M.J. 1988. Science of Stretching. Champaign, IL. Human Kinetics Books.
American College of Sports Medicine, “The Recommended Quantity and Quality of Exercise for
Developing and Maintaining Fitness in Healthy Adults,” 1998.
Biscontini, Lawrence. 2013. Cream Rises: Excellence in Private and Group Education. New
York: FG2000.
Biscontini, Lawrence. 1999. “Exercising Your Global Talents: Making the most of your ACE
Faculty status.” ACE Faculty Network, Fall 5 (3), 1-3. Biscontini, Lawrence. 2000. “Nothing Softer than the Water! What Mind-Body Hydro Classes
Can Do For You.” The AKWA Letter Magazine, June-July: 10-11.
Bishop, Jan G., Fitness Through Aerobics, Gorsuch Scaris Publishers, 1995.
Blievernicht, John. “Balance Training.” IDEA Personal Trainer. September, 1998.
Borg, Gunnar, “Psychological Bases of Physical Exertion,” Medicine and Science in Sport and
Exercise, 1982.
Brooks, Douglas, MS, and Brooks, Candice Copeland. “Integrated BOSU® Balance
Training: A Programming Guide for Fitness and Health Professionals.” DW Fitness, 2002.
Brooks, Douglas. Effective Strength Training: Analysis and Technique for the Upper Body,
Lower Body, and Trunk Exercises. CA: Moves International Fitness, 2001.
83
Brownstein B, Bronner, S: “Evaluation Treatment and Outcomes Functional Movement in
Orthopedic and Sports Physical Therapy.” New York, NY: Churchill Livingstone, Inc., 1997.
Carrico, Maria. 1997. Yoga Journals Yoga Basics: The Essential Beginners Guide to a Lifetime of
Health and Fitness. NY: Henry Holt. Castells, M. 2009. Communication Power. NY: Oxford University Press.
Cotton, Richard T., managing ed. 2006. Personal Trainer. CA: American Council on Exercise
(ACE).
Crompton, Paul. 1990. The Elements of T’ai Chi. Dorset, England: Element Books Limited.
Etnyre, B.R. 1988. “Antagonist muscle activity during stretching: a paradox re-assessed.”
Medicine and Science in Sports and Exercise, 20: 285-298.
Fitness Gets Personal, Health and Fitness Cards, Aerobics and Fitness Association of America,
1996.
Fox, Jenni, and Gould, Paul. 1999. Yoga 101, a Practical and Fundamental Guide. Avon Books.
Glisan, B. The Spine in Sports, St. Louis: Mosby-Yearbook, Inc.
Hall, CM, et al.: “Therapeutic Exerciser: Moving Toward Function.” New York City: NY:
Lippincott Williams & Wilkins, 1999.
Komi, PV, editor. Strength and Power in Sport. IL: Human Kinetics Publishers, 1992.
Kendall, F.P., and McCreary, E.K. 1993. “Muscles and Testing Function.” Baltimore: Williams
& Wilkins.
Laskowski, Edward, et. al. “Refining Rehabilitation with Proprioceptive Training.” Physician and
Sports Medicine, 25 (10), 89-102. Lund, Richard. Wellness through T’ai Chi: Instruction in the Traditional Yang Style Taijiquan.
NJ: Woodbridge.
Magee, DJ. 1997. “Orthopedic Physical Assessment” (3rd ed.). Philadelphia, PA: WB Saunders
Company. McGill, S. M. “Low-Back Stability: From Formal Description to Issues for Performance and
Rehabilitation.” Exercise and Sports Sciences Reviews, Vol 29 (1), 26-31.
Mingwu, Zhang. 1988. Chinese Oigong Therapy. Jinan, China: Shandong Science and
Technology Press.
84
Moranetz, Roseann and Jill Schlesinger, The Fitness Notebook, 1996.
Nelson, Miriam E., Ph.D., Strong Women Stay Slim, Bantam Books, 1999.
Nelson, Miriam E., Ph.D., Strong Women Stay Young, Bantam Books,1998
Norkin, CC, Levangie, PK: “Joint Structure & Function, 2nd Edition. Philadelphia, PA:
FA, Davis Company, 1992.
Overturf, R. & Kravitz, L. (2002). Strength training and flexibility. IDEA Personal Trainer, 13(8),
17-19.
Perrottet, Tony. 2004. The Naked Olympics: the True Story of the Ancient Games. New York:
Random House. Quinlan, P., Lane, J., Aspinall,L. 1997. “Effects of hot tea, coffee, and water ingestion on
physiological responses and mood: the role of caffeine, water and beverage type.”
Psychopharmacology, 34 (2), 164-173. Ricci, B. 1981. “Biomechanics of Sit-Up Exercises.” Medicine and Science in Sports and
Exercise, 13, 54-59
Stiegler, P., Cunliffe, A. (2006). The Role of Diet and Exercise for the Maintenance of Fat-Free
Mass and Resting Metabolic Rate During Weight Loss. Sports Medicine, 36(3): 239 – 263.
Westcott, W. “Golf and Strength Training and Compatible Activities.” Strength and
Conditioning, 18 (4), 54-56.
Wolf, Chuck. “Moving the Body.” IDEA Personal Trainer, 2001, June.
85
Exam Instructions
After you complete the course, you will be ready to take the exam. Please follow these simple
instructions:
1. To take your exam click on the following link: http://www.scwfit.com/groupxexam
2. After you click on the link above, you will be asked to create a log-in and password to
access your exam, results and certificate
3. Keep your log-in and password in a safe place and do not lose it
4. Begin your exam.
5. There is no time limit for the exam - you can even start and stop your exam with the
ability to resume later. The exam will be available for 60 days after the date of your
purchase.
6. You must obtain a score of 80% or greater to pass. You have two attempts to pass the
exam.
7. Once you pass your exam, you can print your customized certificate by clicking on the
certificate link on the bottom right hand corner of the page
Certification Renewal
Upon successful completion of your examination you will be SCW certified for two years. To
renew your certification you must complete 15 continuing education credit hours. Three of these
15 credit hours must be from SCW Fitness Education. All SCW, ACE, AFAA, AEA, ACSM,
NASM and academic courses in the fitness field from accredited colleges and universities count
toward SCW Fitness Certification renewal.
There is a renewal fee for each SCW Certification. If you do not renew your certification before
it expires, a late fee will be assessed. If your certification is not renewed within six months of
expiration, you will need to take the course again.
Earn up to 12 CECs with each SCW Online Certification. www.scwfit.com/certifications
To bring a Live SCW Certification to your facility, please visit www.scwfit.com/hostsite.
Earn up to 21 CECs in one weekend and offer CECs for SCW, ACE, AFAA, AEA, ACSM and
NASM. www.scwfit.com/MANIA
Philadelphia MANIA® | February
California MANIA® | March
Florida MANIA® | May
Atlanta MANIA® | July
Dallas MANIA® | August
Midwest MANIA® | Sept-Oct
DC MANIA® | Oct-Sept
Boston MANIA® | November
SCW Fitness Education
www.scwfit.com
(847) 562-4020