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Sample Pages Only -- The CFES Group Fitness Instructor Course and Certification Program 2012

The CFESGroup FitnessInstructor CourseResource Manual

Certification Program

Canadian Fitness Education ServicesAdvancing the Standards in Fitness Leadership Training Since 1980

Sixth Edition


The CFES Group Fitness Instructor Course Resource Manual6th Edition, Canadian Fitness Education Services Ltd. (CFES) September 2012

All rights reserved. No portion of this manual or course program may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying), recording, or by any retrieval system without written permission from Canadian Fitness Education Services Ltd. (CFES)

The purpose of this manual and program is to educate. The enclosed materials have been well reviewed and every effort has been made to make this program as accurate as possible. This program is not a substitute for professional, medical, athletic or recreational counselling. Please consult the appropriate professional for personal and professional guidance. Thank you.

National Library of Canada ISBN Data: CFES Group Fitness Instructor Course Resource Manual ISBN 0-9731321-4-0

Program and Manual Development: Margaret Hewitt-Zaitlin, BA, BPE

Technical Editor 6.01 Edition: Samantha Reid, BSc. (Kinesiology), CFES Educator Research + Technical Writers: Heather Bourchier, B.P.E., NSCA, CSCS, CFES Educator Samantha Reid, BSc. (Kinesiology), CFES Educator Sandra Seary, CFES Educator Eva Stewart-Bindernagal, BPE Lorri Taylor, BHSC., MHSc, F&HP (Dip), CSEP-CPT, CFES Educator Margaret Hewitt-Zaitlin, BA, BPE

Graphic Design: Promet Canada

Illustrations: Teresa Jones, Tina Ranger, Dale West, Lisa Wong

Photography: Heather Bourchier, B.P.E., Chloe Lanthier, BPE., Samantha Reid, BSc. (Kin.), Shenoa Runge, BSc. (Kin.), Morrie Zaitlin, B.A.

Publisher: Canadian Fitness Education Services Ltd.

Other programs from CFES: The CFES Fitness Knowledge Course The CFES Fitness Knowledge Home Study Program TheCFESAquafitInstructorCourse The CFES Weight Training Instructor Course The CFES Personal Trainer Course The CFES Introduction to Weight Training for Young Adults Course

Canadian Fitness Education Services Ltd.Advancing the Standards in Fitness Leadership Training Since 1980Box 138, Summerland, B.C., V0H 1Z0Toll free: 1-877-494-5355 Fax: (250) 494-9355Email: [email protected] Website:www.canadianfitness.netCFES GFI RM Cover 093012 6.0


The CFESGroup Fitness Instructor Course

Table of ContentsChapter 1 An Introduction to Group Fitness

Chapter 2 The Use of Music

Chapter 3 Basic Lower and Upper Body Movement Library

Chapter 4 Postural Alignment and Biomechanics

Chapter 5 The Core Training Library

Chapter 6 Planning and Preparation for the Group Fitness Class

Chapter 7 The Fundamentals of Choreography

Chapter 8 The Warm-up

Chapter 9 The Cardiovascular Section

Chapter 10 The Muscular Conditioning Section

Chapter 11 The Resistance Training Library

Chapter 12 The Flexibility Section

Chapter 13 The Stretching Library

Chapter 14 A Focus on Safety

Chapter 15 Becoming a Certified Group Fitness Instructor

Index




Chapter 1

An Introduction toGroup FitnessIn this chapter you will learn about: The History of Group Exercise Group Exercise Today The Benefits of Group Exercise and Multi-dimensional Wellness o Physical Benefits o Health Benefits o Emotional and Social Benefits o Mental Benefits o Spiritual Benefits The Typical Group Exercise Class The Health Related Fitness Components Class Components Different Types of Group Exercise Classes Being an Effective Group Fitness Instructor Foundation Leadership Skills


The History of Group Exercise

In 1969, a young American woman named Jackie Sorenson was teaching dance classes at an Air Force Base in Puerto Rico. She recognized the health benefits of aerobic dance to train the cardio-vascular system. What distinguished her classes from existing pro-grams was that she choreographed her movements and exercises to

music. There was flow and continuity to the exercises which made them more interest-ing and more fun than the callisthenics based programs of the day. At that time, group exercise consisted of the 5BX and XBX programs developed for the Royal Canadian Air Forces by Dr. Bill Orban. In fact, the 5BX and XBX routines of the Canadian Armed Forces were state of the art at the time.

Exercise research and sports medicine fields were also evolving in the 1960s and 1970s, providing quantitative evi-dence about the positive health benefits of regular exercise. The systems of the body were better understood and methods of measuring these sys-tems, such as VO2 Max testing, were developed and used to describe cardiovascular (aerobic) fitness.

The term Aerobics was first coined in the late 1960s by Doctor Kenneth Cooper, an exercise physiologist with the U.S. Air Force. He developed the 1.5 mile walk/run testing protocol for assessing aerobic fitness and his research helped to provide clear evidence of the benefits of aerobic conditioning programs on cardiovascular health.

The early dance exercise programs of the 70s and 80s, such as Aero-bics and Jazzercise, were incredibly popular; however, they werent without their problems. They tended to be high impact and as a result people started getting injured. The quality of instruction was also quite unpredictable and inconsistent.

The XBX Plan1The Canadian Forces developed a XBX Plan for women. This plan is a physical fitness program made up of 4 charts of 10 exercises, arranged in progressive order of difficulty. The ten exercises on each chart are always performed in the same order for a maximum time limit of 12 minutes. The charts are divided into levels.

Forward Bend and Touch the FloorKnee RaisingLateral Bending Arm CirclesPartial Sit upsProne Chest and Leg ExtensionSide Leg Raising Push-up to Childs PoseSupine Alternating Leg Lift50 jog on the Spot and 10 hops

The 5BX Plan1The Canadian Forces developed a 5BX Plan which is comprised of six charts arranged in increasing order of difficulty. Each chart lists five exercises that are performed within 11 minutes. The first four exercises are calisthenics and the last exercise is an aerobic exercise. As an individual progresses within the system, the number of each type of exercise that must be performed increases and the difficulty of each exercise increases. Throughout the charts and levels, the five exercises are the same, but more difficult variations are introduced: Forward Bend and Touch the FloorFull Sit upProne Chest and Leg ExtensionPush-up Run on the Spot or Walk/Run over a Distance

These are only sample pages from each chapter of the manual


In fact, it was common for instructors to have little or no formal training. What the industry needed was better standards, regulations and higher quality instructor training programs.

Agencies such as the YMCA and YWCA were among the first to de-velop such programs. In Canada, national instructor training standards were established in the 1980s by an organization of private and public fitness agencies called NFLAC, the National Fitness Leadership Adviso-ry Council (now NFLA), and through the 1980s and 90s more instruc-tors became qualified.

Class formats also started to change, shifting from higher to lower impact, proving to be effective for fitness yet easier on the joints and ap-propriate for a higher percentage of the adult population.

Group Exercise Today

In a relatively short period of time, the group exercise industry has evolved to include a wide variety of classes to suit almost anyone. Today Health and Fitness research is more available and is better able to quantify the benefits of fitness programs and direct the develop-ment of new speciality programs and services. As a result, instructor training courses and workshops are expanding to provide the necessary

training for these new and more specialized classes and areas of interest.

Today, fitness classes extend to include all ages and fitness levels and the instructor is better equipped to meet the needs of the participant.

Cardiovascular programs are still very popular and there are many different formats to choose from. Todays classes place much more emphasis on resistance train-ing, functional core training, and choreography. Core strengthening and overall muscle conditioning are be-ing delivered through various

class formats, using both manual resistance (body weight) and equip-ment (e.g. dumbbells, resistance tubing, and stability balls).

Mind-body programs are available to provide breathing and relaxation techniques, mental and spiritual attention, and controlled stretching and strengthening. These classes are based on principles from Yoga, Pilates, Tai Chi and the Martial Arts and require specialized training for the instructor.



ReferencesAmerican College of Sports Medicine, ASCMs Guidelines for Exercise Testing and Prescription, 8th ed., Lippincott Williams and Wilkins, 2009

Baechle, T.R., Earle, R.W., Essentials of Strength Training and Conditioning, National Strength and Conditioning Association, 2008

Baer, Stephen. Speak With Purpose: Connecting With Your Audience. Library of Congress Control, 2010.

Chandler, T.J. and Brown, L.E, Conditioning for strength and human performance, Lippincott Williams & Wilkins, 2007

Heyward, V.H., Advanced Fitness Assessment and Exercise Prescrip-tion, 6th Ed., Human Kinetics, 2010

Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise Instruction, 2nd Edition. Human Kinetics. 2009

Knapp, M and Hall, J. Nonverbal Communication in Human Interaction, 7th Edition. Wadsworth, Cengage Learning, 2010.

Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Editionwith Connect. McGraw-Hill, 2010

McDowell, J. Encyclopedia of Human Body Systems, Volumes 1-2, Library of Congress Cataloging-in-Publication Data. 2010.

McGill, S. Ultimate Back Fitness & Performance, 4th Edition, Human Kinetics, 2009.

McGill, Low Back Disorders: Evidence-Based Prevention and Rehabili-tation, Second Edition, Human Kinetics, 2007.

McLester, J and St. Pierre, P. Applied Biomechanics: Concepts and Connections. Thomson and Wadsworth. 2008.

Reid, S and Bouchier, H. CFES Personal Trainer Resource Manual, Canadian Fitness Education Services, 2011.

Van Norman, Kay, A. Exercise and Wellness for Older Adults, Second Edition, Practical Programming Strategies, Human Kinetics, 2010.



Chapter 2

The Use of MusicIn this chapter you will learn about: Purchasing Music o Music Licensing o Copyright Issues o SOCAN Choosing and Using the Right Music o Is it appropriate? o Music Rules o Music Tempo Responsibilities Regarding Music Volume o Hearing Loss and Safe Volume o Voice Care Understanding Music o The Beat o The Downbeat o The Eight Count o The Phrase o Master Downbeat o Half Time and Double Time


The Impact of Music

Great music is one of the most significant aspects of a suc-cessful group exercise class. Music is motivating, as it has the power to get people moving and keep them mov-ing. It can create a specific mood, from high energy to complete relaxation adding to a participants experience. By using different styles of music, there is a creation of variety and interest.

Music is a teaching tool for the participant and instructor, provid-ing a regular counting mechanism for cueing and following move-ment patterns. In addition, music affects physiology, including heart rate and blood pressure.

Music has the potential to have a negative or positive impact on the class. Choosing the right music for your class is never easy and it can be time consuming, but the right music can really

make the differ-ence be-tween an av-erage class and an excep-tional one!

Music affects physi-ology.

According to a new study published in the journal Circulation, loud music increases heart rate and blood pressure, while soft music lowers both. The results were independent of subjective musi-cal preferences6. This study adds to the growing body of research documenting the effects of music on mood and physiology.

Purchasing MusicMusic LicensingIn the last few decades, there has been a tremendous change in the use of music in the fitness industry. Weve gone from vinyl records and mixed tapes to high quality CD/MP3 sound. In addition, the industry has progressed from having no guidelines to rather strict copyright and performance licensing that affects the use of music in classes.



Choosing and Using the Right MusicIs it appropriate?It is important to choose music that is appropriate for the type of class and the background, age, and demographics of the participants. Most importantly, the instructor should enjoy and be motivated by the music. Enthusiasm is contagious and if the instructor is motivated, then the participants are more likely to be motivated. In saying this, the instruc-tors preference may be very different from the participants. Therefore, ask regularly for feedback!

Music RulesA good rule to follow is to practice to the music that will be used for the class. If the instructor listens to their music repetitively, they will start to feel comfortable with the phrasing and they will be able to work more effectively with the music.

The music is only as good as the sound system it is played on; there-fore make sure that the music is played on quality sound equipment. Ensure that the music is cued up and ready to go for the start of the class and just in case, have back up music.

Music TempoWhen leading a choreographed class, the instructor must use profes-sionally made, 32-count music. The tempo of the music should be appropriate for the type of class. For example, a song at 140 beats per minute is too fast for a step class, increasing the risk of injury, whereas a song at 125 beats per minute is too slow for step, decreasing the mo-tivation and taking away from the intensity of the workout.

The speed or tempo of the music needs to be just right. If the music is too slow, there may not be enough enthusiasm, encouragement, or motivation to get a good workout. If the music is too fast, range of motion is com-promised and body mechanics suffer, increasing the risk for injury. Music with a tempo that is inappropriate can leave participants feeling frustrated.

The actual speed of the music depends on the portion of the class and the type of class.

Type of Class or Activity Beats per MinuteRunning 160 175 bpmCardio/High Impact 145 160 bpmCardio/Low Impact 135 145 bpmHigh and Low Impact Warm-up 130 135 bpmStep 124 128 bpm (Reference: Step

Reebok)Boxing/Kickboxing 130 140 bpmMuscle Conditioning 100 130 bpmCycling 120 122 bpmStretching and Relaxation Less than 120 bpm or anything

relaxing



References American College of Sports Medicine, ASCMs Guidelines for Exercise Testing and Prescription, 8th ed., Lippincott Williams and Wilkins, 2009

Baechle, T.R., Earle, R.W., Essentials of Strength Training and Conditioning, National Strength and Conditioning Association, (2008)




Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Editionwith Connect. McGraw-Hill, 2010









Chapter 3

Basic Lower and Upper Body Movement LibraryIn this chapter you will learn about: Body Alignment Cues For The Lower Body Body Alignment Cues For The Upper Body General Ways To Change The Intensity NOTE: Regarding Counts

For Each Exercise: Movement Dynamics Counts Safety Variations Direction of Travel


Basic Lower Body Movements March or Jog Grapevine Mambo Squat side to side Step Touch V Step Alternating Knees Alternating Taps Hamstring Curls Rocking Horse Kicks Jacks Pendulum Lunge Back

Basic Upper Body Movements Shoulder Rolls Push and Pull Reach Across Reach Up Pec Squeeze Bow and Arrow Front Raise and Lower Overhead Press Pull down from Overhead Side Press Press Down Jumping Jack Arms Rotator Cuff Arms Bicep Curls Tarzan Arms Hit the Drum Mountain Climber


ALTERNATING OR BILATERAL ROTATOR CUFFMovement Dynamics Elbows are flexed at 90 degrees and are secured at the sides of the

body. The humerus or upper arm alternates between internal and external rotation. (Think: opening the front of a jacket)

ALTERNATING OR BILATERAL BICEP CURLSMovement Dynamics Elbows are secured at the sides of the body and alternates between

flexion and extension. (Think: bicep curl and tricep pressdown)

VariationsPalms Down or Thumbs up

TARZAN ARMSMovement Dynamics Arms are parallel, reach-

ing in front of the body, shoulder width apart, and at shoulder height. Push one or both arms forward. If alternating, while one arm pushes forward, the op-posite arm pulls back, the hand or fist travels to the sternum behind the shoulder, and the elbow points out to the side. (Think: Tarzan beating his chest)These are only sample pages from

each chapter of the manual



Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs Essen-tials of Personal Training, Human Kinetics, 2008

Berne, R. and Levy, M. Physiology, Mosby, 2008




Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Edition with Connect. McGraw-Hill, 2010

Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology, Benjamin Cummings, 2009






Tortora, G.J., Derrickson, B.H., Principles of Anatomy and Physiology, John Wiley & Sons, 2009




Chapter 4Postural Alignment and Biomechanics

In this chapter you will learn about:

Anatomy Review Maintaining Posture and Core Stability Spinal and Body Alignment Postural Positioning Human Movement Terminology Muscle Balance The Role of Muscle Balance in Class Design Types of Muscle Contractions Analyzing the Movement as a Whole Basic Laws that Govern Movement o The Law of Gravity o Length-Tension Relationship o Force and Speed of Movement o Resistance or Load o Lever Length o Stability and Base of Support


Planes of the BodyIn order to be able to apply anatomical principles into class design, we must first review basic anatomy. As review, anatomical position is when the participant is standing erect with their feet shoulder width apart, their arms straight down at the sides, and their palms forward. There are also standard anatomical views of the body and these ana-tomical planes are very useful for describing human movement. These include:

Sagittal Plane (B)The sagittal plane is a view from the side of the body. The basic movements of the sagittal plane (B) include flexion, extension, hyperextension, dorsiflexion and plantar flexion. When these movements occur at the spine, the movements are described as occurring in the median plane.

Examples of moves in the sagit-tal plane include: bicep curls, alternating knee lifts, march on the spot, lunges

Median Plane (A)The median plane (A) is also called the midline of the body. This plane divides the body into equal left and right sections. The basic movements that occur in this plane are flexion, extension and hyperextension of the spine.

Examples of moves in the me-dian plane include: abdominal crunch, back extension

Frontal Plane (C)The frontal plane is a view from the front of the body. The basic move-ments of the frontal plane (C) include: adduction and abduction of the hip or shoulder.

Examples of moves in the frontal plane include: jumping jacks, side to side squats, lateral raises

Transverse Plane (D)The transverse plane is a view from the top of the body. The basic movements of the transverse plane (D) are transverse adduction, transverse abduction, medial rotation, lateral rotation, rotation, prona-tion, and supination.

Examples of moves in the transverse plane include: dumbbell chest press, oblique twist and push-up



Examples of isometric contractions include:1. Plank from the elbows requires the isometric contraction of the

core muscles

2. Wall Sit requires the isometric contrac-tion of the quad-riceps muscles

Isotonic or Dynamic ContractionIn an isotonic or dynamic contraction, the force generated causes movement at the joint. This type of contraction occurs during most activities. There are two phases of an isotonic contraction: the concentric contraction and the eccentric contraction.

Concentric PhaseA concentric contraction happens when the muscle overcomes a force and the muscle shortens. This is often called the working, ac-tion, or up phase of a movement.

Examples of the concentric phase of an exer-cise include:1. Bicep Curl with Dumbbells (flexing or bend-

ing the elbow)

2. Rear Fly prone on Stability Ball (squeezing the shoulder blades and lifting the arms away from the floor)

These are only sample pages from each chapter

of the manual




Berne, R. and Levy, M. Physiology, Mosby, 2008





Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology, Benjamin Cummings, 2009










Chapter 5

The Core Training LibraryIn this chapter you will learn about: Traditional Methods for Training the Core Myths associated with Training the Core Isometric Core Training o Progressing the Isometric Exercises Isotonic Core Training Application of Core Training o Teach Neutral Spine o Teach Proprioception and Body Awareness o During Movement, Teach Participants how to

Brace the Core Core Training Exercises o Transverse Abdominal Exercises o Single Knee Lift o Single Knee Lift with an Overhead Reach o Back Bridge o Back Extension Exercises o Prone Table Top o Plank o Traditional Crunch o Oblique Crunch o Side Bend Crunch on Stability Ball o Reverse Curls


Core Training

The Core refers, in the most general of terms, to the body minus the legs and arms. One can find the major muscles of the core in the trunk or midsection. This includes the abdominal muscles, the obliques, and the spinal extensor muscles.

Functional core training is a method that incorporates movement pat-terns that are alike the movements of active daily living. Functional training is designed to improve core strength and endurance using multi-joint exercises instead of single joint exercises. For example, performing core exercises on our back is not considered to be func-tional. On the other hand, it is considered to be functional when the core is strengthened while standing, sitting or moving. Incorporating exercises that participants perform in their daily lives can improve the quality of life of participants and allow participants to live independently for longer, improve joint stability and decrease risk of injury 1.

Traditional Methods for Training the CoreThere is currently little evidence to support the efficacy and safety of many of the abdominal training techniques that have been integrated into fitness classes over the last decade. We will explore some of the current practises in the fitness industry and the negative impacts, so that we can focus on integrating safe and effective training techniques into our classes. Integration of these techniques typically requires a significant amount of education for participants.

C*Internal Obliques

D*External Obliques

A*Transversus Abdominis

B*Rectus Abdominis

Anterior Deep View

Linea alba

Inguinal ligament

Iliac crestIlium

Pubic symphysisPubic crest

C-I

B-O

B-I

C-O

D

CBA

A-O

A-I

D-O

Costal cartilage

of rib SternumXiphoid process

Anterior Middle Layer View Anterior Superficial View

D-I



Core Training ExercisesActivation of the Transverse Abdominal (TrA) Exercise Gently pull the belly button to the spine while keeping the natural

curves of the spine Breath normally Activate the pelvic floor Any movement of the arms or legs is ceased when the pelvis shifts,

the spine arches or presses too firmly into the floor, the hips shift, or the TrA is no longer activated

Isometrically hold for 30 seconds while maintaining a normal breath-ing pattern

Progressing the Basic Activation of the TrAAdd movement of the arm(s) or leg(s). Discontinue if unable to maintain the position of the spine or hips.

Single Knee Lift One foot is lifted off of the floor, the thigh travels toward the chest

and the angle of the knee does not change

Single Knee Lift and Opposite Arm Overhead Reach Progress the single knee lift by reaching the opposite arm over the

head






Corbin, Lindsey & Welk, Concepts of Fitness and Wellness, McGraw Hill Publishers, 2008

Everett, T and Kell, C., Human Movement: An Introductory Text, 6th Edition, Elsevier Health Sciences, 2010

Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Edition with Connect, McGraw-Hill, 2010

Griffin, J. C. Client-Centered Exercise Prescription, 2nd Edition, Human Kinetics, 2006



Martini, F.H., Nath, J.L., Fundamentals of Anatomy and Physiology, Benjamin Cummings Publishers, 2008





Morrow James Jr., Jackson, A., Disch, J., Mood. D, Measurement and Evaluation in Human Performance, 4th Edition. Human Kinetics, 2010






Chapter 6

Planning and Preparation for the Group Fitness ClassIn this chapter you will learn about: How to plan a successful Group Fitness Class o Goal Setting for the Class o The Individual Lesson Plan o Teaching the Class o Evaluate the Effectiveness of the Plan Used o Redesign the Individual Lesson Plan as Needed Preparation for an Effective Group Fitness Class Health Screening o The PAR-Q o Informed Consent and Waiver Creating a Positive Atmosphere


How to Plan a Successful Group Fitness Class Set the goals of the class Develop an individual lesson plan Teach the class Evaluate the effectiveness of the plan used Redesign the individual lesson plan as needed

Goal Setting for the Class

Every class should be planned with a goal in mind. It is the re-sponsibility of the instructor to look at several factors when planning the class. These might include: the type of class being offered, the duration of the class, or the typical demographics of people that attend the class. It is very important that the instructor understand the needs and interests of the participants. If the participants are more likely to meet their own personal goals and they enjoy the process, they are more likely to be motivated to attend and to come back again. The instructor can use various methods to gather information surrounding: The interests of the class; Their fitness goals; Their expectations of the instructor and the class; Their preferences regarding teaching style, music, etc.

This information can be gathered through on-going written and verbal feedback. In addition, constant scanning and monitoring of the partici-pants is essential to ensure that the participants are enjoying the class and achieving success during the workout.

The style, duration, and time slot for the class is typically predeter-mined by the Fitness Programmer. In these cases, it is important to follow what was intended for the class. As there exists the potential for all levels of abilities to be seen in a single class, the instructor must be prepared with modifications and a plan B if necessary.

Where Instructors provide a class on their own (in the absence of an employer), the goal of the participants (e.g. weight loss, muscle condi-tioning, cardiorespiratory fitness) should direct the overall outcomes of the program. The overall profile of the participants attending the class (age, music preference, fitness level, history of exercise, etc.) should determine the best format for the class in terms of intensity level, dura-tion and level of impact. This information is best gathered through needs assessments, surveys, and questionnaires.

The Individual Lesson Plan (Micro Plan)The individual lesson plan, or Micro Plan, outlines the day to day picture and is the instructors specific fitness class plan. Ideally, the instructor will create individual lesson plans for each type of class that they teach. Individual lesson plans help ensure safe, effective work-outs that are appropriate for the participants. It is important to write these plans down so they can be referred to as needed before, during or after the class. These plans not only reduce the stress of teaching,



they can be compiled to create a data base of classes which can be used again and again. It is quite common for beginner and seasoned instructors alike to use a lesson plan many times.

Lesson plans should contain such information as: Equipment to be

used; Music; Formations; Specific cues; Exercise de-

scriptions; Time manage-

ment; Options or

modifications to alter intensity.

An individual lesson plan should also include a backup plan for when the original plan does not work. For example, four new participants attend class or there is extra time to be filled. It should be noted that it is not important that the instructor follows the lesson plan exactly. What is im-portant is that they put time and effort into properly planning the class, the flow of the movements, the length of each component of the class, and the overall movements or movement patterns to be used.

Prior to teaching the lesson plan, the instructor must be sure to review, re-hearse, and practice the class. Practice, practice, and practice some more!

Practicing the choreography, the verbal cues, and the visual cues in front of a mirror will provide valuable feedback. The instructor may even ask a friend to be a mock participant. These are easy ways to gather feedback regarding the accuracy of the descriptions and dem-onstrations. The demonstration of movements will be reflected in how participants perform them. The fitness instructor is the model; therefore they must ensure that their demonstrations are executed safely, pre-cisely and enthusiastically. Prior to actually teaching the lesson plan, it is important to review the plan to ensure that progressions are logical, choreography flows well, and the exercises are safe. Asking for the opinion of a supervisor, mentor, or co-worker is ideal if additional ideas or feedback is desired or required.

Prior to delivering the lesson plan, the instructor must ensure that the skills are broken into manageable segments and options are given for























Chapter 7

The Fundamentalsof Choreography

In this chapter you will learn about: Less Structured Choreography o Freestyle Structured Choreography o Each Movement has a Certain Number of Counts o Transitions Building Basic Combinations o Breaking Down and Teaching Choreography o Adding On o Laying o Ways to Layer the Movement Cueing o How to Change Movements Effectively o Cueing to Provide Information Regarding Exercise Technique o Cueing to Provide Motivation Counting Non-Verbal Cueing


The Fundamentals of ChoreographyI hear and I forget. I see and I remember. I do and I understand.

Confucius

Choreography is the flow, sequencing and arrangement of move-ments and movement patterns in the class. The lesson plans and style of choreography can range from very unstructured or free-flow-ing to intricately sequenced routines or from very simple to very complex choreography. The level of choreography is dependent on the teaching style, the type of class, the instructors ability, personal preference, the par-ticipants abilities, interests and preferences, and the format of the class.

In general the choreography should be varied, incorporating a balance between: moving on the spot and moving through space (travelling); movements leading from right leg and movements leading from

the left leg; higher intensity and lower intensity moves; movements front to back and movements left to right

By planning these elements of the class, the instructor can make sure to minimize repetitive stress on specific joints, over emphasize specific muscles, reduce the risk of injury, and reduce boredom. ChoreographyIn previous chapters, the basic fundamental lower and upper body movements were learned. Now it is time to put those movements to-gether to create basic, flowing, easy to follow choreography.There are two types of classes that will be discussed:1. Less Structured Choreography a. Freestyle2. Structured Choreography



Non-Verbal Cueing

Instructors must look for ways to supplement verbal cues to make tran-sitions, instructions, and directions clear and easy to follow. This can be accomplished with non-verbal communication.

Non-verbal cues are the visual cues and other audible sounds used to lead and motivate the class. They include hand signals, pointing, count-ing with fingers, motioning with the head, clapping, or snapping. They can be very effective on their own or used together with verbal cues.

Hand SignalsWhen using hand signals its important to teach the class what your hand cues mean and use them consistently. Hold your hand high above your head so it can be seen. Try to use the same hand as your lead foot.

Following are some of the most commonly used hand signals: Watch the change, Watch me now (index and middle finger point to

eye and elbow flares to the side); Adding-on (circle a finger in the air); Adding arms (cross arms and tap fingers on opposite arms); Hold the move (open palm in air like a stop sign); From the top (place hand on head); Point in Direction of Movement; Count Down with fingers; Show number of reps with fingers.

Count Down Hold the MoveDirection of Movement























Chapter 8

The Warm-upIn this chapter you will learn about:

The Warm-up o The Goal o The Duration o The 3 Components o Dynamic Stretching

Scanning and Monitoring

Giving Feedback

Checklist for the Warm-up


Music

Song #LengthBPM

#15:00min132 bpm

#25:00min133 bpm

Formations

X = InstructorO = classUse ar rows to show direction of travel

X

O O O O O O O O

Joint/Muscles

Joint ActionsTarget Muscles

Full ROM through arms, shoulders and spine.

Quads,Hip Flexors, Gluts,Hamstrings, Biceps, Triceps Deltoids,Lats

Gluts and Quads

Abdominals stabilize

Adductors,Hip Flexors,Mid Trapezius, Erector Spinae, Gastroc and Soleus, Hamstring,Pecs

Instructional Cues

TechniqueDirectionMotivationSafety

Welcome Everyone!Set your own pace and have fun!Stand TallDeep Breaths

Get lower to work harder.

1, 2, 3, up1, 2, 3, backElbow to knee.Squeeze the heel back.Push the heel out.Knee wide.

Exhale up.Keep it smooth.Thats it, four more!

Nice long spine.

Stretch up.

Keep elbows soft.

Knees bent, heels down.

Chest up.

Abdominals pulled in.

Breathe in and out.

High/Low Warm-Up Sample Lesson Plan

Exercise Description

Describe movementsExercise sequences or patternsInclude reps and sets

Wide StanceReach Up and InhaleArms Down and ExhaleFlex Forward and round the back to upright position (4x)

(March with Right Lead)March Wide (x4)March Narrow (x4) (repeat)

Moving Sequence1, 2, 3 knee fwd/backGrapevineGrapevine right with 3 alternating knees4 hamstring curls press wide4 step touch pull together

Add one move at a timeRepeat sequence

Transition to Left LeadMarch wide, then squat (48x)March wide, leading leftMarch narrow and repeat moving sequence.Once finished, return to marching, then plant feet wide

Stationary SequenceShift weight + side stretch (8x)Reach across chest (8x)Turn to the side and into lunge Reach up and lift back heel, pull down and heel down (8x)Hip tucks + elbows bends (8x)Hip flexor + upper back stretchShift back into hamstring + chest stretch, point/flex ankleRelease and turn to face front.

Shift weight side to side and repeat sequence, turning to the other side for the lunge etc.Finish facing front, slowly roll spine to standing











Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise In-struction, 2nd Edition. Human Kinetics. 2009












Chapter 9

The Cardiovascular SectionIn this chapter you will learn about: The Goal Designing the Cardiovascular Section of the Class The Energy Systems o The Benefits of Interval Training o Interval Training The Duration Intensity o Understanding Intensity o Monitoring the Intensity of the Participants Heart Rate Rate of Perceived Exertion Talk Test Monitoring for Signs and Symptoms of Over-Exertion Additional Factors to Consider o Safety o Create a Full Body Workout o Cue Visually and Verbally o Provide Modifications for all Levels of Fitness Skill o Exercise Suggestions to Increase the Intensity The Post-Cardiovascular Cool-down High/Low Sample Lesson Plan Checklist for Cardio


IntensityRegardless of the class description, there is likely to be a range of fit-ness levels in the class; some participants looking for more challenge and others needing an easier modification. This requires the instructor to both demonstrate and describe how participants can modify their pace to suit their own needs. Instructors should note that there is a tendency for participants (especially newer participants) to keep working at whatever pace the instructor is working at. It is important, therefore, to not only give the options but to stay at the lower intensity option quite regularly. This encourages people to work at this pace without feeling as self-conscious.

The role of the instructor is to encourage the participant to set their own pace, set their own intensity, and rest when needed. Instructors must follow the guidelines for decreasing intensity and remind participants of what they can do to decrease or increase the intensity by changing variables such as upper body movements, the pace, and the size of the movement patterns. Instructors should not expect new participants to know exactly how to monitor and adjust their own level of intensity. We, as instructors, need to teach them how to do this. Many participants believe that without discomfort, there is no benefit. Participants will also want to keep up with the instructor and the class so modelling levels of intensity is of utmost importance; even more important than verbal reminders.

Monitoring the Intensity of the ParticipantsIn order for the fitness instructor to monitor the intensity of the partici-pants, they are encouraged to use a variety of methods. These include: Heart rate Rate of perceived exertion Talk test Monitoring for signs and symptoms of over-exertion

Heart RateHeart rate measures are widely used in fitness to assess whether the participant is working at the appropriate target heart rate. Measuring heart rate should not be considered superior to other methods, as each method has its own positives and negatives. In fact, researchers sug-gest that combining a variety of methods to measure intensity is best in order to maximize effectiveness in a group exercise setting 4.

Finding the Pulse during ClassAs a general rule of thumb, heart rate should be checked midway to two-thirds of the way through the cardio section, once the class has reached steady state. While the participants are still gently marching, the instructor should turn the music down and alert the participants that a heart rate count is about to hap-pen. They are instructed to locate the pulse on the neck (carotid artery) or wrist (radial artery). With two fingers on the same side of the neck or the opposite wrist, have them gently apply pressure until a pulse is felt. Then the instructor should say to the class, Find your pulse. Keep walkingready and count.



Checklist for Cardio I utilized my scanning techniques continuously making eye contact with each participant. I was personable with my class, giving them the impression I am not perfect. I am clear my role is to be a wonderful hostess/host and I am constantly aware of the needs of my par-

ticipants adjusting my teaching style to meet their needs. I have an effective target heart rate chart up in the room during the class showing different beats/10 second

count for ages and intensities. I have prepared a micro plan for this section. I always provide an alternative for people to do low or high impact. I am always moving people through space (even when I am working in a small studio space), to provide

a balance for all connective tissue. I avoid high impact movements on the spot, for any extended length of time. I ensure a balance of joint movements in the choreography. I am sensitive not to use choreography that is too complex as this can be confusing and frustrating for

some participants I enjoy putting patterns of moves together to form a combination and give my class a variety of these moves. I break down these combinations so that my participants learn them and have fun with them. I am very clear with my cues using my voice, my facial expressions, and my body language (e.g. pointing)

to indicate direction. I give people enough warning when we are about to change a move. I am effective in my counting techniques and have a standard style my participants are used to. I change routines only when I know the class is ready. I am constantly giving safety cues about breathing, level of intensity, encouraging people to slow down

when they are feeling uncomfortable. My music is appropriate for the type and format of the cardio component. My music is motivating, has a strong beat, is tasteful, and the volume is kept at a level where people can

hear me give verbal cues. I educate my participants on the talk test, manual heart rate check, and perceived exertion monitoring

techniques. I am constantly scanning the class on the look out for any safety concerns and to check the atmosphere

of the class. I make certain people can always see and hear me without straining. When using the mirror I keep making eye contact with everyone in the class, maintaining the personal

connection. I keep my alignment in each move demonstrating effectively and giving safety cues for this. I always use short levers of my arms when a move is to be done quickly. I encourage people to be constantly drinking water during the class and after the cardio section. I do a cool down lasting three to five minutes after cardio to bring the heart rate down and to relieve ten-

sion in the lower back, shoulders, hips, etc.




Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs Essentials of Personal Training, Human Kinetics, 2008






Heyward, V.H., Advanced Fitness Assessment and Exercise Prescription, 6th Ed., Human Kinetics, 2010





McGill, Low Back Disorders: Evidence-Based Prevention and Rehabilitation, Second Edition, Human Kinetics, 2007.





Van Norman, Kay, A. Exercise and Wellness for Older Adults, Second Edition, Practical Programming Strategies, Human Kinetics, 2010



Chapter 10The Muscular Conditioning SectionIn this chapter you will learn about: The Goal o Muscular Strength, Endurance and Tone o Specificity o Progressive Overload Designing the Muscular Conditioning Portion of the

Class o Considerations in Planning The F.I.T.T. Principle The Duration Understanding Intensity Monitoring for Signs and Symptoms of Fatigue or Overload Rest and Recovery Additional Factors to Consider o Describe the Exercise Postural Cueing Cue the Starting Position Discuss Movement Mechanics o Demonstrate the Exercise o Have the Participants Do the Exercise Create a Balanced Muscular Conditioning Section Create a Full Body Workout Concentrate on Specific

Muscle Groups Lesson Planning for Muscle

Conditioning Circuit Training Training Principles Checklist for Muscle

Conditioning


Demonstrate the ExerciseFor sake of time, the instructor will start to demonstrate the exercise while they are still discussing and describing as outlined above. It is important that the instructor not only provides excellent verbal cues, but also demon-strates the exercise with excellent form, posture, and movement mechan-ics. Most participants, especially beginners, are visual learners; therefore they will do exactly what they see. Therefore, practice, practice, practice!

Have the Participants Do the ExerciseRule: Proper form and technique is never compromised in order to complete a set number of repetitions.

Some participants will fatigue earlier than others, while other participants will require cueing to help them to increase the intensity of the exercise. The most difficult task for instructors is to have all participants achieve fatigue and overload in the same amount of time. Give the participants permission to reduce intensity or change the movement when the original target muscle becomes fatigued and the body mechanics are compromised.

The instructor might say things like: Once you have fatigued, take a break, grab a lighter set of weights and continue when you are ready or Once you feel that you have reached fatigue with the overhead press, lower your dumbbells and continue with alternating bicep curls.

Create a Balanced Muscular Conditioning SectionEnsure that all sides of the joint are worked evenly. An easy way to ac-complish this is to choose a multi-joint, upper body exercise that targets the antagonist muscle group. For example, dumbbell chest press on the stability ball and seated row with tubing.

Dumbbell Chest Press on the Stability Ball: Pectoralis Major, Anterior Deltoid, Tricep

Seated Row with Tubing (wide grip, elbows at shoulder height): Latissimus Dorsi, Posterior Deltoid, Middle Trapezius, Rhomboids,

Biceps

The only major muscle group of the upper body that was not targeted was the middle deltoids.













McArdle, William D., Katch, Frank I., Katch, Victor L., Exercise Physiology: Energy, Nutrition, and Human Performance, Lippincott Williams & Wilkins; 2009








Van Norman, Kay, A. Exercise and Wellness for Older Adults, Second Edition, Practical Programming Strategies, Human Kinetics, 2010



Chapter 11The Resistance Training LibraryIn this chapter you will learn about and review:

Describe, Demonstrate and Do the Exercise Create a Balanced Muscular Conditioning Section Create a Full Body Workout Muscle Pairs Starting Postures o Starting Posture for Standing Exercises o Starting Posture for Sitting Exercises o Starting Posture for Prone Exercises o Starting Posture for All 4s Exercises o Starting Posture for Supine Exercises Tools of the Trade o No Equipment Manual Resistance o Dumbbells or Hand Weights o Resistance Tubing o Stability Balls o The Step Resistance Training Exercises by Major Muscle of the

Upper Body o Strengthening the Back, Posterior Deltoids, and Biceps o Strengthening the Chest, Anterior Deltoids, and Triceps o Strengthening the Middle Deltoids

Continued next page.


Resistance Training Exercises by Major Muscle of the Lower Body

o Strengthening the Glutes and Quadriceps o Strengthening the Hip Flexors o Strengthening the Hamstrings o Strengthening the Outer Thigh o Strengthening the Inner Thigh o Strengthening the Gastrocnmius and Soleus Sample Lesson Plans o Resistance Tubing o Stability Ball o Dumbbells


Bicep Curls with Tubing

Same as Bicep Curls with Dumbbells except the participant stands on the tubing and holds the handles at the sides of the body (hip level).

Strengthening the Chest, Anterior Deltoids, and TricepsFor the purpose of the group exercise class, the chest muscle (the pectoralis major) is typically grouped with the anterior deltoids and the triceps because they are all PUSH muscles.

Dumbbell Chest Press on Stability Ball

Prime Movers: Pectoralis Major, Anterior Deltoid, Triceps Lying Supine Posture

Starting Position: Lie supine on the stability ball

in the 3-point body contact position (head and shoulders in contact with the ball)

Feet are shoulder width apart placed firmly on the floor

Abdominals contracted for sup-port, spine in a neutral position

Move the dumbbells directly over the nipple line by extend-ing the elbows but not locking them

Flex the elbows and open through the chest in order to slowly lower until they are level with the chest or just above the shoulders (if a line was drawn be-tween the dumbbells, it would be 3 5 cms above nipple line)

Anterior Superficial View

Anterior DeltoidPectoralis Major

These are only sample pages from each

chapter of the manual


ALO Triceps long headALA Triceps lateral headAM Triceps medial head

A *Triceps BrachiiThe Sites of Attachments

Action of ContractionThe Muscle Location

Posterior Superficial View

AM

ALO-O ALA-O

A-IAll three

tricep groups join together to form the

tendon

Infraglenoid tubercle

Lateralepicondyle

ALO

cut

cut

ALA

Humerus

Olecronon of ulna

UlnaRadius

Medialepicondyle

AM-O

ALA

AM

Scapula

Common tendon

Clavicle

ALO

The TricepsTricep Kickback



References Allen, C; Harper, V; Laboratory Manual for Anatomy and Physiology, Wiley Publishing, (2011)

American College of Sports Medicine, ASCMs Guidelines for Exercise Testing and Prescription, Lippincott Williams and Wilkins, 2009



Corbin, C., Lindsey, R., Concepts of Physical Fitness with Laboratories, Dubuque McGraw Hill Publishers, 2010

Ebben, W. P. and Jensen, R.L. Electromyographic and kinetic analysis of traditional, chain, and elastic band squats. The Journal of Strength and Conditioning Research 16(4):547-550, 2002


Ganong, W.F.; Review of Medical Physiology, McGraw-Hill Medical; 22 edition 2009

Guyton, A.; Textbook of Medicial Physiology, Saunders College Publishing, 2010


Kapit, W., Elson, L.; The Anatomy Coloring Book, Addison and Wesley Inc. New York. Permission Department, 2002. Illustrations adapted, redrawn with permission


Matheson, J. W., et al. Electromyographic activity and applied load during seated quadriceps exercises. Medicine & Science in Sports & Exercise 33(10):1713-1725, 2001

McArdle, W., Katch, F., Katch, V,; Exercise Physiology: Energy, Nutrition and Human Performance, Lippincott Williams & Wilkins; 6th edition (2009)






Norkin, C.C., M.S. R.P.T., Levange, P.K., M.S. R.P.T.; Joint Structure and Function, a Comprehensive Analysis, F. A. Davis Company; 4th edition 2011


Sudy, M., ACE Personal Training Manual, The Ultimate Resourcefor Fitness Professionals, American Council on Exercise, HealthyLearning Publishing, 2010

Thompson, C. and Floyd, R .T.; Manual of Structural Kinesiology, McGraw-Hill Humanities/Social Sciences/Languages; (2012)

Tortora, G.J.; Derrickson, B.H.; Principles of Anatomy and Physiology, John Wiley & Sons, 2011.

Vander, S., Vander, L.; Human Physiology. The Mechanism of Body Func-tion, McGraw-Hill Companies 2010




Chapter 12The Flexibility SectionIn this chapter you will learn about:

Factors that affect Flexibility Benefits of Stretching Physiology of Stretching The Goal Types of Stretching o Active and Passive Stretching o Dynamic and Static Stretching Designing the Stretching and Flexibility Section of the Class F.I.T.T. Principles Applied Additional Factors to Consider o Safety o Describe the Exercise Postural Cueing Cue the Starting Position Discuss Movement Mechanics o Demonstrate the Stretch o Have the Participants Do the Stretch o Stretch all Muscles that were used during the Class o Concentrate on Specific Muscle Groups o Atmosphere is Key Checklist for Flexibility and Relaxation


Flexibility

At the end of the class, it is important to cool the body down from the preceding work-out; lengthening the muscles, releasing ten-sion from the body, relaxing the mind and connecting with the spirit. The atmosphere or mood should be peaceful and a variety of stretching and relaxation techniques should be incorporated to en-hance the physical, mental and spiritual experience for participants.

Flexibility is the range of motion in the joint(s). It is specific to each joint and it differs greatly between individuals. It is a trainable component of fitness but for most people the improve-ments happen in very small increments. Knowing this, instructors should encour-age participants to work at their own pace, gradually increasing their own range of motion over time.

All the major muscle groups, particularly those used extensively in the class and those that are typically tight, need to be stretched past their normal resting length to significantly affect joint range of motion and re-duce muscle tension. People who do not stretch regularly can develop tight muscles, meaning the muscles stay in a semi-contracted state, even at rest. This can cause muscle imbalance and lead to injury.

This section of the class is also a time to completely relax the body and the mind. Visualization techniques, stress reduction exercises, deep breathing and conscious muscle relaxation can be used to bring the mind, body and spirit into harmony and provide an opportunity for reflection before leaving to resume daily activities.

There are six basic criteria that should be met in order to maximize the benefits of flexibility training: Adequate frequency Increase in muscle temperature prior to stretching Appropriate type of stretching Adequate duration of stretching Appropriate intensity (force or tension) Proper technique

Factors that affect FlexibilityThe primary goal of flexibility training is to efficiently lengthen the mus-cle in order to permanently increase range of motion or at least return the muscle to pre-exercise status. In order to achieve this permanent increase, the group fitness leader must emphasize: stretching to the point of mild discomfort; holding the stretch for at least 30 seconds; stretching only when the core temperature has been elevated and

the muscles are warm.








Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Edition with Connect. McGraw-Hill, 2010 Ganong, W.F.; Review of Medical Physiology, McGraw-Hill Medical; 22 edition 2009


















Footnotes1. Kopansky, C., Basic Fitness Theory and Aquafitness Specialty

Training Manual, Third Edition. The Canadian Aquafitness Leaders Alliance Inc., 2010.

2. Leyland, T. Exercise, Health and Performance. Department of Biomedical Physiology and Kinesiology, Faculty of Science, SFU, 2010.

3. Reid, S and Bouchier, H., CFES Personal Trainer Resource Manual, Canadian Fitness Education Services, 2011.

4. Earle, R.W., Baechle, T.R., NSCAs Essentials of Personal Training, National Strength and Conditioning Association, Human Kinetics, 2008



Chapter 13

The Stretching LibraryIn this chapter you will learn about: Basic Guidelines regarding the Stretch at the End of Class Starting Postures for Stretches Stretching the Upper Body o Stretching the Neck o Stretching the Abdominals o Stretching the Erector Spinae o Stretching the Lats o Stretching the Pecs, Anterior Deltoid, and Biceps o Stretching the Posterior Deltoid and Upper Back o Stretching the Triceps Stretching the Lower Body o Stretching the Glutes o Stretching the Outer Thigh o Stretching the Inner Thigh o Stretching the Hip Flexors o Stretching the Quadriceps o Stretching the Hamstrings Flexors o Stretching the Lower Leg Sample Lesson Plans for Stretching and Relaxation


Reach the Arm across the Body Areas Stretched: Posterior Deltoid, TricepsStarting Posture for Standing Stretch

Stretching Position: Extend the arm but do not lock the elbow and

reach the arm across the body Drop the shoulder away from the ear The arm should cross at an angle so that the

forearm crosses just above the elbow of the other arm

Pressure is placed onto the forearm of the arm that is being stretched, gently pushing the arm toward the body, until a stretch is felt

Instructor Cues: Maintain a neutral spine Relax the shoulders and drop them away from the ears Keep the elbow soft Avoid twisting or rotating through the hips or knees

Change the StretchThread the Needle

From a childs pose, reach one hand un-der the opposite arm and extend the reach along the floor as far as possible. Lower the shoulder to the floor and allow the head to rest on the floor.

Upper Back StretchAreas Stretched: Middle trapezius, Rhomboids, Posterior Deltoids Starting Posture for Standing Stretch

Stretching Position: Reach the arms in

front of the body and interlock the fingers

Drop the chin to the Adams apple and push the back of the head to the ceiling to increase the stretch

Instructor Cues: Relax the shoulders and drop them away from the ears Keep the elbows soft








Fahey T, Insel P, Roth W, Wong I., Fit and Well, 2nd Canadian Edition with Connect. McGraw-Hill, 2010 Ganong, W.F.; Review of Medical Physiology, McGraw-Hill Medical; 22 edition 2009




















Chapter 14

A Focus on SafetyIn this chapter you will learn about:

How can the Instructor Prepare Themselves for Safety? The Occurrence of an Acute Injury Risk Management Accident Flow Chart CPR and Emergency First Aid Certification Causes and Mechanisms of Injury in Fitness Classes Causes and Mechanism of Injury related to the

Environment Causes and Mechanism of Injury Joint Safety Safety Supervision o Positioning and Class Formations o Scanning The Implementation of Prevention Strategies


A Focus on Safety

One of the most important responsibilities you have as an instruc-tor is to ensure that participants have a safe workout every time they come to class. This involves pre-screening participants, carrying liability insurance and planning classes based on knowledge of the following: participants health status and fitness level; proper exercise technique, training intensity and progression; exercise modi-fication and contraindications; prevention and management of injuries, equipment and facility safety. Participants entrust their bodies to the instructor and it is incumbent upon the instructor to respect and fulfill that trust by putting their safety as your foremost concern.

How can the Instructor Prepare Themselves for Safety? Become a certified instructor with a provincially/nationally recog-

nized agency such as CFES; Maintain a current first aid and CPR; Carry adequate liability insurance; Attend professional development courses and workshops; Stay up to date with literature on exercise, fitness and health; Pre-screen participants for readiness to exercise; Ensure a safe class environment; Teach proper exercise technique and modifications; Avoid high risk, contraindicated exercises; Design classes which are safe and effective for the participants.

The Occurrence of an Acute InjuryIf an acute injury occurs during a fitness class it is crucial that appropri-ate steps are taken. According to the Red Cross, basic first aid may be sufficient for injuries such as minor abrasions, blisters, and cuts. For fractures, dislocations, sprains, and strains, general care includes fol-lowing R.I.C.E. 1:

Rest: Do not move or straighten the injured area.Immobilize: Stabilize the injured area in the position found. Splint the injured part ONLY if the person must be moved.Cold: Apply ice to the injured area for 20 minutes. Place a thin barrier between the ice and bare skin.Elevate: Do not elevate the injured part if it causes more pain.

Diagnosis and treatment beyond basic First Aid Training and RICE should be immediate referral to a doctor.



Risk Management Accident Flow Chart Non-Life Threatening Situations Life Threatening Situations1. Minor accident occurs (no am-bulanceor medical treatment required)Contact supervisor:

Serious incident occurs (e.g.

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