STUDENT PORTFOLIO
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Student Portfolio<br />
ZUMBA® COMBO<br />
QUALIFICATION<br />
<strong>STUDENT</strong><br />
<strong>PORTFOLIO</strong><br />
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Student Portfolio<br />
Introduction<br />
• Welcome<br />
• Qualification Overview<br />
• Assessment Overview<br />
• Quality Assurance<br />
• Programme Stages<br />
• Online Learning<br />
• Time Requirements<br />
• Contact Details<br />
• Health & Safety<br />
• Portfolio Information<br />
• Candidate Record of Achievement – to be completed by student and trainer<br />
• Learning Outcomes & Assessment Criteria<br />
Course Delivery Modules<br />
Module 1:<br />
Module 2:<br />
Module 3:<br />
Module 4:<br />
Module 5:<br />
Module 6:<br />
Module 7:<br />
Module 8:<br />
Material<br />
Planning<br />
Music & Rhythm<br />
Teaching Methods<br />
Alternatives<br />
Warm-up & Cool-down<br />
Evaluation<br />
Legalities<br />
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Student Portfolio<br />
Introduction<br />
Welcome<br />
We would like to welcome you to the Zumba Combo Qualification.<br />
In doing so we would like to congratulate you on taking the steps required to enhance your<br />
skills and knowledge as a professional instructor in the dance and fitness industry. The Exercise,<br />
Movement and Dance Partnership (EMDP) hope that you enjoy your course experience and assure<br />
you that many years of history and passion have gone into creating an informative, dynamic,<br />
inspirational programme.<br />
This portfolio has been prepared to support you through the course and contains documents and<br />
information that will be integral to your learning experience. You will find within this introductory<br />
section, guidance on what to expect from the different elements of your course elements and some<br />
valuable information to help you prepare for your assessments.<br />
NB: The following information is correct at the time of going to print. However the programme is<br />
subject to regular review and amendments made from time to time.<br />
Qualification Overview<br />
This course has been specifically designed to provide comprehensive training for those who want to<br />
achieve a nationally recognised, accredited Level 2 qualification; the Certificate in Teaching Exercise,<br />
Movement and Dance, specializing in Zumba. Upon successful completion of all units, the student is<br />
also awarded the Level 2 Certificate in Fitness Instructing (Exercise to Music).<br />
Enhancing your status as a fully qualified Zumba instructor, this certification allows you to teach<br />
Zumba in a wide range of professional settings (gyms, public venues, community halls, dance<br />
studios, school halls... the list goes on!). As an Dance Fitness professional, you can offer classes<br />
throughout the dance fitness sector, offering an alternative to gym and studio based exercise.<br />
Once qualified, a holder of the Level 2 Certificate in Teaching Exercise, Movement and Dance<br />
(Zumba) will be equipped with the knowledge, skills and understanding to plan and deliver a safe<br />
and effective Zumba classes to participants of a range of ability and fitness levels.<br />
Assessment Overview<br />
Assessment will take place throughout the course and will cover theoretical knowledge and<br />
practical teaching. Assessment will largely take the form of worksheets; teaching observation and<br />
written examinations.<br />
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Student Portfolio<br />
Quality Assurance<br />
Each course will be subject to a process of internal and external quality assurance.<br />
Programme Stages<br />
The course is broken down into two parts – online study and practical course delivery. Practical<br />
sessions will involve taking the theory learnt and putting it into practice. Students will be given<br />
the opportunity to practice teaching during the practical elements of the course. Students will be<br />
encouraged to support this with additional practice in their own time.<br />
Online Learning<br />
During online learning you will obtain the underpinning knowledge, relevant to teaching group<br />
exercise, through the completion of four units, via an e-learning portal. As a guideline the online<br />
learning element will take approximately 98 hours to complete. Each unit will be individually<br />
assessed, via two multiple choice examinations and two written worksheets.<br />
• Anatomy and Physiology for Exercise and Health – approximately 41 learning hours<br />
• Principles of Exercise, Fitness and Health – approximately 28 learning hours<br />
• Health, Safety and Welfare in a Fitness Environment – approximately 16 learning hours<br />
• Know How to Support Clients Who Take Part in Physical Activity – approximately 13 learning hours<br />
During the practical section of the course you will have the opportunity to speak with your trainers<br />
in a face-to-face environment and review your online learning. This will also identify to your trainers<br />
any key focus areas you require assistance with before completing your assessed worksheets and<br />
sitting your theory exams.<br />
Time requirements<br />
Whilst the time spent on course is fixed, the time required to complete work away from the<br />
course will vary from candidate to candidate based upon factors such as previous knowledge and<br />
experience, time since last involved in learning etc.<br />
EMD Academy Contact Details:<br />
Tel: 01403 266000<br />
Email: training@emdp.org<br />
Website: www.emdacademy.org<br />
Lifetime Contact Details:<br />
Tel: 0870 120 1207<br />
Email: info@lifetimetraining.co.uk<br />
Website: http://www.lifetimetraining.co.uk/<br />
CYQ Contact Details<br />
Central YMCA Qualifications, 112 Great Russell Street, London, WO1B 3NQ<br />
Tel: 020 7343 1600<br />
Email: info@cyq.org<br />
Website: www.cyq.org.uk<br />
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Student Portfolio<br />
Health & Safety<br />
The EMDP has a Health and Safety Policy Statement a copy of which can be downloaded from the<br />
student area of the EMD Academy website.<br />
The EMDP Code of Ethics also contains a safety section which contains guidelines that teachers<br />
should understand and comply with.<br />
If you have any questions in relation to your own or another students Health and Safety during<br />
your training please bring this to the attention of your relevant course trainer or if necessary the<br />
EMD Academy.<br />
Portfolio Information<br />
This Portfolio contains all the worksheets and study notes for your training course. These<br />
worksheets form part of your on-going assessment on the course. You will be required to complete<br />
these worksheets in your own time and submit them to your trainer for assessment before the end<br />
of your course.<br />
All of the student resources are available on-line and you can download the electronic files through<br />
the student area of the Academy website – log in details will be sent to you at enrollment.<br />
Your trainer will mark worksheets and respond with written feedback as relevant.<br />
Candidate Record of Achievement<br />
It is very important that you manage your own work and find time to complete the work outside of<br />
the course contact days. The Candidate Record of Achievement acts as your assessment log and is<br />
a tool to help you manage your own work and keep track of your worksheets. You are also required<br />
to sign the authenticity statement at the bottom of this Candidate Record of Achievement. Against<br />
each worksheet/assignment name you will need to write date submission. If you need to resubmit<br />
the worksheet/assignment for any reason please record each resubmission date on this document.<br />
Upon successful completion of each worksheet, as confirmed by the relevant trainer, you will also<br />
need to record the sign off date.<br />
Candidate Record of Achievement:<br />
To be completed by Student and Trainer Assessor. To be submitted by Trainer Assessor to EMDP<br />
following sign off of all achievements.<br />
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Student Portfolio<br />
Worksheet/<br />
Assignment Name<br />
Student to<br />
complete by<br />
Name<br />
of<br />
Trainer<br />
Submission<br />
Dates<br />
Online First Second<br />
On Course<br />
E-Learning & MCQ<br />
Examination: Anatomy<br />
& Physiology<br />
E-Learning & MCQ<br />
Examination: Principles of<br />
Exercise Fitness & Health<br />
Worksheet: Health Safety<br />
& Welfare in a Fitness<br />
Environment<br />
Worksheet: Know How to<br />
Support your Clients who take<br />
part in Exercise & Physical<br />
Activity<br />
EMD<br />
CYQ Instructing<br />
CYQ Planning<br />
EMD Risk Assessment<br />
Checklists x 2<br />
PARQ<br />
Session Plan x 1<br />
Practical Summative<br />
Assessment – checklist<br />
and evaluation<br />
Practical Summative Assessment<br />
MCQ Exam<br />
Date<br />
MCQ Exam<br />
Date<br />
Summative<br />
Assessment<br />
Date<br />
Pass<br />
Refer<br />
Date<br />
Signed off<br />
by Trainer<br />
Authenticity Statement: I confirm that the information within this pack is entirely my own work.<br />
I understand that the work must be completed within the given time frames.<br />
Name Print: ________________Signed:<br />
______________________Date: ____________ (Student)<br />
Trainer Assessor comments, date and signature:<br />
Comments:<br />
Name Print: ________________Signed: ______________________Date: ____________ (Assessor)<br />
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Independent Assessor comments, date and signature (if relevant):<br />
Internal Quality Assurer comments, date and signature (if relevant):<br />
Learning Outcomes and Assessment Criteria:<br />
The following information relates to the 2 qualifications included in this course delivery<br />
programme. All taught sessions and tasks are included in this courses to ensure learners are<br />
provided with relevant information for both qualifications and required assessments.<br />
Plan and prepare exercise, movement and dance sessions to music<br />
The learner will:<br />
1. Understand how to collect and record information about participants<br />
• Explain why it is important to collect accurate and up-to-date information about participants<br />
• Identify what information needs to be collected about participants<br />
• Describe different methods to collect participant information (questionnaire;<br />
interview; observation)<br />
• Describe how to determine which methods of collecting information are appropriate according to<br />
the situation<br />
• Explain the principles of screening participants prior to exercise to music to include the use of the<br />
physical activity readiness questionnaire (PARQ)<br />
• Explain the process of informed consent<br />
• Describe different formats for recording information about participants<br />
• Outline legal and organisational requirements for data protection and confidentiality<br />
2. Be able to collect and record information about participants<br />
• Establish a rapport with participants<br />
• Collect information about participants using appropriate methods<br />
• Record the information in a way that will help to analyse it<br />
• Maintain participant confidentiality in line with good practice procedures<br />
3. Understand how to analyse information about participants<br />
• Give examples of how participant information could affect the planning of an exercise movement<br />
and dance session<br />
• Describe the factors, based on client screening, which affect safe exercise participation<br />
• Explain when it may be necessary to refer participants to another professional and describe the<br />
procedure that should be followed<br />
• Identify the reasons for temporary deferral of exercise<br />
4. Be able to analyse information about participants<br />
• Analyse the information collected and identify any implications for planned sessions<br />
• Identify any barriers to participation and encourage participants to find a solution<br />
• Identify any participants who need referral to another professional<br />
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5. Understand how to plan and prepare an exercise, movement and dance session to music<br />
• Explain the importance of careful and thorough planning and preparation before physical activity<br />
• Explain how to design an exercise, movement and dance session according to accepted good practice<br />
• Explain how to apply the principles of exercise, movement and dance to session design<br />
• Describe how to plan exercise, movement and dance to music to meet the needs of clients with<br />
different objectives<br />
• Explain how to decide on the order of exercises and activities in the session<br />
• Identify a range of equipment used in exercise, movement and dance to music, and its uses<br />
• Explain how to select and prepare the resources and facilities needed<br />
• Explain why alternatives are needed<br />
• Describe how to provide alternatives<br />
• Describe how to plan group exercise, movement and dance to music using circuit formats<br />
6. Be able to plan and prepare an exercise, movement and dance session<br />
• Identify objectives that are appropriate to:<br />
• the likely needs and potential of the participants<br />
• accepted good practice in the industry<br />
• own level of competence<br />
• Plan safe and effective group exercise to music to achieve planned objectives for the session<br />
• Select exercises that will help clients to develop:<br />
• cardiovascular fitness<br />
• muscular fitness<br />
• flexibility<br />
• motor skills<br />
• Select a range of exercises that are safe and appropriate for participants and include<br />
possible alternatives<br />
• Identify the safe and effective technique for a range of exercises/movements<br />
• Identify the resources needed, making best use of the facilities in which participants will exercise<br />
• Plan realistic timings, intensities and original choreography for sessions<br />
• Record plans in a format that will help you to implement the session<br />
7. Understand how to use music to enhance group exercise<br />
• Describe how to select speed and type of music as appropriate to the participants and phase of<br />
the class<br />
• Describe the legal requirements covering the use of music<br />
• Describe the principles involved in developing choreography for a group exercise session<br />
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Deliver and review exercise, movement and dance to music sessions<br />
The learner will:<br />
1. Understand how to prepare participants for an exercise, movement and dance session<br />
• Explain why the instructor should meet participants punctually<br />
• Outline how to make participants feel at ease<br />
• Identify the information about participants that needs to be collected immediately prior to the session<br />
• Explain why there may be necessary changes to the session<br />
• Explain why any necessary changes need to be recorded<br />
2. Be able to prepare participants for an exercise, movement and dance session<br />
• Meet participants punctually and make them feel welcome and at ease in the exercise environment<br />
• Outline the planned exercises and movements to participants, including physical and technical demands<br />
• Check participants’ level of experience, ability and physical/medical condition<br />
• Confirm or revise plans as appropriate and record any necessary changes to the planned session<br />
• Explain the purpose and value of the session, including warm-up and cool-down<br />
• Explain the health, safety and emergency procedures to participants<br />
3. Understand how to teach and adapt an exercise, movement and dance session<br />
• Explain how to balance activity with discussion within a session<br />
• Describe different teaching styles appropriate to different participants<br />
• Describe how to develop participant co-ordination by building exercises/movements up gradually,<br />
to include:<br />
• layering techniques<br />
• holding patterns<br />
• Describe effective methods of combining movements<br />
• Describe the principles of group behaviour management during exercise to music sessions<br />
• Explain how to warm up participants safely and effectively prior to exercise<br />
• Explain how to correct participants’ technique<br />
• Identify the safe and effective alignment for a range of exercise, movement and dance<br />
movements to develop:<br />
• cardiovascular fitness<br />
• muscular fitness<br />
• motor skills<br />
• Explain how and why to adapt exercises/movements to ensure appropriate progression and regression<br />
4. Be able to teach and adapt an exercise, movement and dance session<br />
• Obtain and prepare resources needed for the planned exercises<br />
• Provide safe and appropriate equipment sufficient for the participants<br />
• Prepare self to instruct the session<br />
• Organise sufficient space for safe exercise performance<br />
• Ensure there is an effective balance of activity and discussion within the session<br />
• Use teaching styles and communication that are appropriate to participants and accepted<br />
good practice<br />
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• Use warm up activities that are safe and effective for the participants and appropriate to<br />
the session<br />
• Give instructions, explanations and demonstrations that are technically correct with safe and<br />
effective alignment of exercise/movement positions<br />
• Use volume, pitch and voice projection relative to the music, with or without a microphone<br />
• Provide cueing to enable participants to work to the structure and phrase of the music<br />
• Vary the pace and speed of exercise/movements to ensure safety and effectiveness<br />
• Ensure participants exercise safely<br />
• Keep to the planned timings for the session<br />
• Adopt appropriate positions to observe participants and respond to their needs<br />
• Check that participants can perform the exercises/movements as instructed<br />
• Use appropriate methods to correct and reinforce technique, including<br />
• changing teaching positions<br />
• asking questions<br />
• verbal and visual communication<br />
• mirroring<br />
• Provide feedback and instructing points which are timely, clear and motivational<br />
• Adapt exercises/movements with suitable progressions and regressions according to<br />
participants’ needs<br />
5. Understand how to bring an exercise, movement and dance session to an end<br />
• Explain how to cool down participants safely and effectively<br />
• Explain how and why to give participants feedback on the session<br />
• Describe the correct procedures for checking and dealing with any resources used<br />
• Explain why it is important to leave the environment in a condition suitable for future use<br />
6. Be able to bring an exercise, movement and dance session to an end<br />
• Allow sufficient time to end the session according to participants’ needs<br />
• Use cool down activities that are safe and effective for the participants and appropriate to<br />
the session<br />
• Give the participants an accurate summary of feedback on the session<br />
• Give the participants the opportunity to:<br />
• reflect on the session<br />
• ask questions<br />
• provide feedback<br />
• identify further needs<br />
• Follow the correct procedures for checking and dealing with any equipment used<br />
• Leave the environment in a condition acceptable for future use<br />
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7. Be able to review an exercise, movement and dance session<br />
• Review the outcomes of working with participants and their feedback<br />
• Identify:<br />
• how well the exercises met participants’ needs<br />
• how effective and motivational the relationship with the participants was<br />
• how well the instructing style matched the participants’ needs<br />
• Identify how to improve personal practice<br />
• Explain the value of reflective practice<br />
8. Be able to support clients taking part in exercise to music<br />
• Present a positive image of self and organisation to clients<br />
• Establish an effective working relationship with clients<br />
• Communicate with clients in a way that makes them feel valued<br />
• Use motivational styles appropriate to the client and the exercise format<br />
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Module 1:<br />
Material<br />
Contents:<br />
• Overview: Delivery of Zumba Fitness Class<br />
• Dance Elements<br />
• Fitness Elements<br />
• Combining Dance & Fitness Elements<br />
• Zumba Fitness Class Delivery<br />
• Alignment and Safe Practice<br />
• Exercises for Cardiovascular Fitness, Muscular fitness, Flexibility, Motor Skills<br />
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Module 2:<br />
Planning<br />
Contents:<br />
PART ONE: Preparing<br />
• Pre-class preparation<br />
Plan appropriate content for the skill and fitness level of the participants (including alternatives and<br />
modifications) – always consider a mixed ability group)<br />
• Preparing self & equipment<br />
Instructors should convey a professional approach to the session<br />
• Preparing Participants<br />
Confirm or revise plans if appropriate following screening and meeting participants<br />
• Welcome to class; what to say<br />
• Building Client Rapport<br />
This helps to make clients feel valued and encourages them to return<br />
• Barriers to Participation<br />
• How to overcome the barriers<br />
• Information Collection<br />
• Importance of Collection<br />
Conducting a health appraisal enables you to consider the risk that can be associated with initiating<br />
an exercise routine. Assists you in catering the class to the participants needs and enjoyment<br />
• Collection Methods<br />
• What is Informed Consent?<br />
“Identifying the associated benefits and risks of the exercise in order to help the client make an<br />
informed decision to participate”<br />
• What is Screening?<br />
“Establishing an individual’s suitability to participate in an exercise programme”<br />
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• Action required as a result of data collection and / or screening, including:<br />
Deferral<br />
Referral to specialist professional<br />
Provision of alternative exercises<br />
Positive PARQ responses<br />
Visual/verbal identification of contraindications<br />
• Recording Information<br />
• Confidentiality<br />
• When to Refer<br />
PART TWO: Planning<br />
• Planning: Goals and Objectives:<br />
• Session plan<br />
• The importance of planning<br />
• Risk management<br />
• Structure of a Lesson<br />
• Considerations:<br />
• Body Conditioning considerations / additional fitness elements / resistance<br />
• The 5 R’s<br />
• Using circuit formats<br />
• Changes to a planned session<br />
• Choreography design and planning<br />
• Choreography Tools<br />
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Session Plan<br />
Teacher: A. N. Other, Date: 02.01.13, No. of participants: 15, Age range: 16+, Venue (including space/size): Large sports hall<br />
Theme/Style: Zumba, Session Aim: Participants to take part in a Zumba Fitness class gaining an all over body workout.<br />
Learning Outcomes: By the end of the session the participants will be able to:<br />
• Follow class choreography successfully<br />
• Dance to at least 4, B1 rhythms – Merengue, Salsa, Cumbia and Reggaeton<br />
• Take part in fitness variations for upper, mid and lower body.<br />
Resource requirements: CD player / IPod Dock<br />
Special considerations / Differentiation requirements: Mixed ability. Some newcomers to Zumba. Some experienced (other classes & regular<br />
attendees).<br />
Phase/Song /<br />
Component<br />
Time/Reps<br />
/Music<br />
Exercises/Movements<br />
(specific details/ technical language)<br />
Teaching Methods/ Activities Teaching Key Points &<br />
Adaptations / Modifications<br />
Warm Up 0-15 mins Welcome the participants. Introduce Zumba format<br />
and the approach for today’s class.<br />
3 music tracks to include mobilisation and a<br />
gradual progressive increase in cardiovascular<br />
demand. Features:<br />
• Step touch: Basic step touch adding arm, leg,<br />
body variations suitable for each stage of the<br />
progressive warm-up.<br />
• Travelling movements to increase heart rate and<br />
body temperature.<br />
• Introduction of movements to be used later in<br />
the session to develop muscular training for<br />
upper, mid and lower body.<br />
• Steady tempo, basic movements and variations<br />
• Dynamic stretching of major muscle groups<br />
(lower and upper body) incorporated through<br />
progressive increase in range of movement and<br />
repetition of moves.<br />
Tutor-led demonstration.<br />
Facing class.<br />
Demonstrating correct form<br />
throughout.<br />
Repetitive, easy to follow<br />
cueing and teaching points<br />
throughout.<br />
Fun atmosphere<br />
Tutor to assess class during track one and<br />
offer modifications for participants during<br />
following tracks as required. To allow for :<br />
• Smaller range of movement<br />
• Varying complexity in choreography<br />
• Separate arm/leg considerations<br />
• Stability/ balance<br />
• Rhythmic variation<br />
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Phase/Song /<br />
Component<br />
Time/Reps<br />
/Music<br />
Main Section 15-20min<br />
Merengue<br />
Main Section 20-25min<br />
Salsa<br />
Main Section 25-29min<br />
Cumbia<br />
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Exercises/Movements<br />
(specific details/ technical language)<br />
• Choreography following Zumba Formula using 4<br />
Basic Merengue steps:<br />
• March<br />
• 2 Step<br />
• 6 Count<br />
• Beto Shuffle<br />
• Incorporating variations suitable for all<br />
participants.<br />
• Choreography following Zumba Formula using 4<br />
Basic Salsa steps:<br />
• Salsa Right and Left<br />
• Salsa Front and Back<br />
• 2 Step<br />
• Rock Back<br />
• Incorporating variations suitable for all<br />
participants.<br />
• Choreography following Zumba Formula using 4<br />
Basic Cumbia steps:<br />
• 2 Step<br />
• Cumbia Front and Back<br />
• Sleepy Leg<br />
• Machete<br />
• Incorporating variations suitable for all<br />
participants.<br />
Teaching Methods/ Activities Teaching Key Points &<br />
Adaptations / Modifications<br />
Teaching of choreography to<br />
be done facing the class.<br />
Continuous delivery with use<br />
of advance visual cues.<br />
Observation of class to check<br />
all participants can follow<br />
choreography.<br />
Build up variations following basic steps as<br />
required. Features:<br />
• Arm variations<br />
• Fitness variations<br />
• Rhythmical variations<br />
• Directional variations<br />
Ensure good alignment.<br />
Verbal motivation to<br />
encourage the class<br />
participants and develop a fun<br />
atmosphere.<br />
As Above As Above<br />
As Above As Above
Student Portfolio<br />
Phase/Song /<br />
Component<br />
Time/Reps<br />
/Music<br />
Main Section 29-33min<br />
Reggaeton<br />
Main Section 33-37min<br />
Merengue<br />
Main Section 37-41min<br />
Salsa<br />
Main Section 41-44min<br />
Cumbia<br />
Main Section 44-47min<br />
Reggaeton<br />
Cool Down 47-52min<br />
Cool Down<br />
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Exercises/Movements<br />
(specific details/ technical language)<br />
Choreography following Zumba Formula<br />
using 4 Basic Reggaeton steps:<br />
Stomp<br />
Knee Lift<br />
Destroza<br />
2 Step<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Merengue steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Salsa steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Cumbia steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Reggaeton steps<br />
Incorporating variations suitable for all<br />
participants.<br />
1 track to include basic choreography for<br />
chosen rhythm. Following Zumba format<br />
and allowing for gradual decrease in range<br />
of movement, heart rate and intensity of<br />
moves.<br />
Teaching Methods/ Activities Teaching Key Points &<br />
Adaptations / Modifications<br />
As above. As above.<br />
As above. As above.<br />
Remove impact for those requiring lower intensity<br />
movements – keep two feet on floor.<br />
As above. As above.<br />
As above. As above.<br />
Remove impact for those requiring lower intensity<br />
movements – keep two feet on floor.<br />
As Above As above.<br />
Encourage arm and leg moves separately if<br />
difficulties arise.<br />
Teaching of choreography to<br />
be done facing the class.<br />
Observe class to check all participants can follow<br />
choreography.<br />
Encourage a gradual return to<br />
pre-exercise condition.<br />
Use of advance visual cues.<br />
Ensure pace can be maintained by all; offer<br />
remaindered relating to reducing intensity<br />
throughout. Remind participants to limit<br />
complexity (remove arm variations).
Student Portfolio<br />
Phase/Song /<br />
Component<br />
Time/Reps<br />
/Music<br />
Main Section 29-33min<br />
Reggaeton<br />
Main Section 33-37min<br />
Merengue<br />
Main Section 37-41min<br />
Salsa<br />
Main Section 41-44min<br />
Cumbia<br />
Main Section 44-47min<br />
Reggaeton<br />
Cool Down 47-52min<br />
Cool Down<br />
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Exercises/Movements<br />
(specific details/ technical language)<br />
Choreography following Zumba Formula<br />
using 4 Basic Reggaeton steps:<br />
Stomp<br />
Knee Lift<br />
Destroza<br />
2 Step<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Merengue steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Salsa steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Cumbia steps<br />
Incorporating variations suitable for all<br />
participants.<br />
Choreography following Zumba Formula<br />
using 4 Basic Reggaeton steps<br />
Incorporating variations suitable for all<br />
participants.<br />
1 track to include basic choreography for<br />
chosen rhythm. Following Zumba format<br />
and allowing for gradual decrease in<br />
range of movement, heart rate and<br />
intensity of moves.<br />
Teaching Methods/ Activities Teaching Key Points &<br />
Adaptations / Modifications<br />
As above. As above.<br />
As above. As above.<br />
Remove impact for those requiring lower intensity<br />
movements – keep two feet on floor.<br />
As above. As above.<br />
As above. As above.<br />
Remove impact for those requiring lower intensity<br />
movements – keep two feet on floor.<br />
As Above As above.<br />
Encourage arm and leg moves separately if<br />
difficulties arise.<br />
Teaching of choreography to be<br />
done facing the class.<br />
Observe class to check all participants can follow<br />
choreography.<br />
Encourage a gradual return to preexercise<br />
condition.<br />
Use of advance visual cues.<br />
Ensure pace can be maintained by all; offer<br />
remaindered relating to reducing intensity<br />
throughout. Remind participants to limit<br />
complexity (remove arm variations).
Student Portfolio<br />
Phase/Song /<br />
Component<br />
Time/Reps<br />
/Music<br />
Exercises/Movements<br />
(specific details/ technical language)<br />
Cool Down 52-60 mins Cool down continued with stretches (main<br />
muscle groups utilised within the class)<br />
(hamstring, calf, adductor, quad, obliques<br />
and core, upper body).<br />
Gentle rhythmic progression with relevant<br />
transitions between stretches.<br />
Teaching Methods/ Activities Teaching Key Points &<br />
Adaptations / Modifications<br />
Conduct a cool down – tutor led and<br />
class participants follow.<br />
Observation with verbal cueing and<br />
correction as required.<br />
Feedback to participants. Ask for their<br />
feedback / Q&A as appropriate.<br />
Standing alternatives for all stretches<br />
need to be available to participants as<br />
required. Features:<br />
• Support for balance<br />
• Kneeling / seated options<br />
Post session:<br />
Additional alternatives<br />
required/given:<br />
(These notes form a record of<br />
alterations needed in future<br />
planning)<br />
Additional rhythm could be added for Cool Down tracks today to suggest future class music/ rhythms.<br />
Choreography variations for merengue could have been more complex, sooner today. Additional arm variations<br />
were given only; from Zumba choreography on DVD. Create my own, additional options for next class.<br />
Session evaluation: Fun, easy to follow class. Participants of all abilities were able to fully participate and feel successful in all routines<br />
and choreography. Even those who did not class themselves as dancers enjoyed all aspects of the class and felt<br />
successful. Those returning from previous classes felt an increased level of success and great workout. Great<br />
atmosphere throughout created from instructor’s energy and enthusiasm. Participants looking forward to next<br />
week. 1 x knee injury – leisure centre first aider called and appropriate action taken including incident log.<br />
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Choreography<br />
Travelling:<br />
Travelling is any movement that takes us from A to B. E.g. could be walking but there are many<br />
other possibilities.<br />
Turning:<br />
A turn is a rotating movement performed with the whole of the body resulting in a change of front. We<br />
are also able to rotate some body parts, but this action is known as twisting, as opposed to turning.<br />
Teaching Breakdown Skills:<br />
Methods used to breakdown a piece and gradually add the levels of complexity so that the<br />
full masterpiece can be appreciated and learned with minimal stress. Most common ways to<br />
achieve this:<br />
• add-on or linear teaching<br />
• Teach one move and then another without going back to the top. Could be used in a warm up<br />
and is great for introducing people into the street dance style or for dance drills<br />
• the link method<br />
• Here you add on separate sequences of moves<br />
• repetition reduction / reverse pyramid<br />
• Start with a high number of repetitions of a movement and then reduce them to achieve your<br />
final result<br />
• layering<br />
• Where you establish a base pattern, and then layer on another progression.<br />
• half time teaching<br />
• Combination/movement is performed at half tempo to allow the participants to get the move.<br />
Popular method when routines are learnt with music.<br />
• Staggered time<br />
• Where a movement, e.g. an arm pattern is performed at actual time but with pauses at certain<br />
points to allow participants to learn a bit at a time<br />
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Module 3:<br />
Music & Rhythm<br />
Contents:<br />
• The use of music<br />
• Music considerations<br />
• Musical Structure<br />
• Tempo and Beats per Minute<br />
• Music Phrases and Movement Phrases<br />
• Cueing – Teaching with Music<br />
• Music and choreography<br />
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• Awareness of different learning Styles<br />
• Teaching and learning styles<br />
• Teaching skills<br />
• Ways to Teach<br />
• Teaching choreography options<br />
• Teaching Instructions<br />
• Managing Disruption<br />
• Physical Contact<br />
• Correcting Technique<br />
• Motivation<br />
• Communication<br />
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Student Portfolio<br />
Motivation is a very important factor in the learning process. Motivation can be considered in<br />
several ways:<br />
• Intrinsic and Extrinsic Motivation<br />
• Initial and Continuing Motivation<br />
• Demotivators<br />
1) Intrinsic and extrinsic motivation<br />
Intrinsic<br />
This is motivation that comes from within, from a personal desire to learn more, from love of the<br />
subject, curiosity etc.<br />
Extrinsic<br />
This comes from outside the learner. This includes learning for a purpose, to pass an exam, to<br />
get good grades etc. Extrinsic motivation involves rewards (and punishments) and is sometimes<br />
thought of as the ‘stick or carrot’.<br />
2) Initial and continuing motivation<br />
Initial<br />
This means the reasons that students have for coming to class in the first place, for example, to<br />
lose weight, doctor’s advice, brought by a friend etc.<br />
Continuing<br />
Initial motivation will not usually be enough to sustain commitment to regular and continuing<br />
attendance. Continuing motivation requires:<br />
• Variety of Stimulation e.g. variety in teaching methods, music, pace, class organisation<br />
• Setting of Goals – setting purposeful objectives, which should be achievable, challenging<br />
and progressive<br />
3) Demotivators<br />
There are some factors that can de-motivate students. These can be personal (anxiety),<br />
environmental (too hot or cold surroundings), physiological (hunger). If these factors are eliminated<br />
that will not be enough to motivate learner, which is why they can be considered separately. A<br />
teacher’s role is to minimize these factors as far as possible.<br />
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Student Portfolio<br />
Non-verbal communication<br />
Eye contact<br />
An important channel of interpersonal communication which helps regulate the flow of<br />
communication. The visual sense is very dominant; using eye contact shows interest in others and<br />
can increase the teacher’s credibility. A teacher who makes and maintains eye contact establishes<br />
the flow of communication and exhibits interest concern, warmth and credibility.<br />
Facial expression<br />
Smiling is a powerful cue to transmit<br />
Happiness<br />
Friendliness<br />
Warmth<br />
Liking<br />
Affiliation<br />
If you smile frequently you will be seen as more likable, friendly, warm and approachable. Also<br />
more smiling is often contagious and class members will react favourably and learn more.<br />
Gestures<br />
Speaking without gesture may be seen as boring, still and unanimated. A lively and animated<br />
teaching style captures class member’s attention and makes material more interesting, facilitates<br />
learning and provides some entertainment. AND in the case of physical activity is a useful and quick<br />
way to prompt class member’s movement.<br />
Nodding the head, giving the thumbs up sign, giving the hold/stop palm forward etc, reinforces<br />
your communication and helps learning AND indicates that you want to listen or get a response.<br />
Posture and body orientation<br />
You are a role model for class members and have to demonstrate correct posture/body alignment<br />
at all times, however, facing the class and leaning slightly towards them will give the impression<br />
of friendliness, approachability and receptiveness. If you have to momentarily turn your back to<br />
demonstrate a movement, use of voice will maintain the rapport, which is re-established when<br />
facing them again.<br />
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Proximity<br />
Ensure interaction with class members can take place throughout class<br />
1. by moving your teaching spot, and<br />
2. moving through the group<br />
This allows you to keep eye contact and allows you to get feedback from all class members. You are<br />
in control of the group, the ‘front row’ is constantly changing and on-one can monopolise<br />
teacher’s attention.<br />
It’s not what you way, it’s the way that you say it! Going beyond the selected words.<br />
Includes vocal elements such as: Tone, Pitch, Rhythm, Timbre, Loudness, Inflection<br />
Using variety within these elements not only avoids class members being bored and inattentive,<br />
but can actively be used to focus on desired body movement and encourage accuracy in movement<br />
and dynamic. Does your voice convey warmth, confidence and delight? When they get it right –<br />
yes! Is like winning the gold medal. When speaking one-to-one or in a small group before class<br />
starts or when it ends, sounds like ahhh, ummm, ohhh, said with appropriate eye and facial<br />
gestures communication, understanding and empathy – they express interest, understanding and<br />
compassion and are more effective even than words.<br />
Humour<br />
Humour is often overlooked as a teaching tool. Laughter releases stress and tension for both<br />
teacher and class member; develop the ability to laugh at yourself and encourage class members<br />
to do the same – it helps to foster a friendly class environment and facilitates learning. E.g. if you go<br />
wrong in class, forget what movement comes next, laugh at yourself, say oops teacher error!<br />
Strategies for Effective Communication<br />
• Speak slowly and clearly<br />
• Vary your pace and tone<br />
• Check that the students have understood – use question & answer and other assessment method e.g.<br />
can they do a basic movement with minimal prompting from you before you add something new?<br />
• Be aware of your body language – try to reduce any distracting habits e.g. constantly hitching up<br />
trousers and watch out for verbal habits too e.g. constantly saying things like OK!<br />
• Be aware of class members body language – be prepared to change your approach if they looked<br />
bored or confused<br />
• Avoid jargon, abbreviations and technical terms, unless everyone knows what you mean<br />
• Be prepared to repeat or find another way to say something<br />
• Encourage students to ask if they haven’t understood something<br />
• Include all class members, especially quieter ones<br />
• Be conscious of where people stand in class. Make eye contact and use their name when<br />
addressing them<br />
• Talk to and not at the person<br />
• Offer additional support to people who may need it e.g. keep those with hearing impairment in<br />
your line of vision and then they will be able to lip read if necessary<br />
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Module 5:<br />
Alternatives<br />
Contents:<br />
• How to plan a range of moves<br />
• Creating alternatives<br />
• Why offer alternatives?<br />
• Practical options for adapting exercises<br />
• How to adapt movements<br />
• Alternatives & Teaching Methods<br />
• Reasons for Progression or Regression<br />
• How to Progress and Regress Activities<br />
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Contents:<br />
• Purpose of a Warm Up<br />
• Warm up considerations<br />
• Factors of a Good Warm Up<br />
• What to avoid during a Warm Up<br />
• Warm up mobility pulse raiser<br />
• Main workout pulse raiser<br />
• Purpose of a Cool down<br />
• Cool down considerations<br />
• Factors of a Cool Down<br />
• Main component build down<br />
• Flexibility<br />
• Types of Stretching<br />
• Exercise Technique – Flexibility<br />
• Relaxation<br />
• Final Mobiliser<br />
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Student Portfolio<br />
• Stretching muscles after they have been working (shortening) will prevent unnecessary<br />
adaptive shortening.<br />
• Stretching also helps dissipate lactic acid that accumulates during cardiovascular exercise,<br />
preventing muscle soreness and aiding recovery.<br />
• Stretching aids relaxation, helping your class members feeling of well-being.<br />
1) Ballistic<br />
A form of passive or dynamic stretching in a bouncing motion. Ballistic stretches force the limb into<br />
an extended range of motion when the muscle has not relaxed enough to enter it. It involves fast<br />
"bouncing" movements where a double bounce is performed at the end range of movement.<br />
2) Dynamic<br />
Moving into and out of a stretch where dynamic flexibility is a pre-requisite to the activity – e.g.<br />
golfer preparing his swing. It prepares the body for what is about to follow.<br />
3) Active<br />
Active stretching eliminates force and its adverse effects from stretching procedures<br />
4) Passive<br />
A form of static stretching in which an external force exerts upon the limb to move it into the new<br />
position. In contrast to active stretching. Passive stretching resistance is normally achieved through<br />
the force of gravity on the limb or on the body weighing down on it. It can also be achieved with the<br />
help of a partner, stretch bands, or mechanical devices<br />
5) Static<br />
Used to stretch muscles while the body is at rest. It is composed of various techniques that<br />
gradually lengthen a muscle to an elongated position (to the point of discomfort) and hold that<br />
position for 30 seconds to two minutes. 30 seconds is the minimum duration to get the benefits<br />
of stretching, whereas two minutes is the maximum (if a position can be held for more than two<br />
minutes, a farther stretch should be performed).<br />
6) PNF – Proprio-Neuromuscular Facilitation<br />
After first 15 seconds the client must activate the stretched muscle by contracting against a<br />
resistance. The client then relaxes and moves the leg into a greater stretch. During the contraction<br />
the golgi tendon organs send a message to the brain that maximal force and stretch cannot be<br />
occurring at the same time, the brain ignores the message and the muscle spindles stop sending a<br />
signal that the leg is in fact stretched. This enables a greater degree of manipulation.<br />
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Module 7:<br />
Evaluation<br />
Contents:<br />
• Reflecting on the session<br />
• Personal practice<br />
• Evaluation<br />
• When does evaluation take place?<br />
• Teacher to Learner Feedback<br />
• Learner to Teacher Feedback<br />
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Giving Feedback:<br />
We give feedback in order to help another person gain insight about themselves, and to<br />
understand the impact of what they say and do on others. Effective feedback focuses on specific<br />
aspects of a person’s behaviour that they can do something about, if they choose to; either to keep<br />
on doing it because it’s having a positive effect, or to change what they are doing because it is not.<br />
Frustration is only increased when a person is reminded of short-comings over which they have no<br />
control.<br />
Feedback should not focus on attitudes or qualities, without specific examples that help the person<br />
receiving the feedback to understand it. For example, giving someone feedback that they look very<br />
positive, or that they look nervous, tells them very little about what they are doing, or not doing.<br />
So think about specific things you have noticed they do that leave you with that impression about<br />
them. Remember that our behaviour comprises:<br />
• What we say (the words we use)<br />
• How we say it (our tone, volume, speed etc. of voice)<br />
• What we do (our actions) and<br />
• How we do it (our body language – the eye contact, facial expression, gesture and posture and the<br />
distance/proximity we use)<br />
Give specific feedback directly to the person concerned and look at them when you speak e.g.<br />
“I noticed that you were not moving in time to the music.” Avoid focusing on someone else in the<br />
group e.g. “I noticed that s/he wasn’t moving in time to the music”<br />
Own you thoughts, feelings and opinions by using “I” statements e.g. “I found it difficult to follow<br />
your instructions when you turned your back to the group”. Statements that start with “You” often<br />
sound judgemental to the receiver e.g. “You were difficult to follow when you turned your back to<br />
the group”<br />
Keep the feedback open and honest, short, clear and to the point e.g. “I really liked the music you<br />
chose and felt it fitted the movements well”.<br />
Say what effect/impact their behaviour had on you “I found it distracting when you didn’t move in<br />
time to the music, and I started to lose time too”.<br />
Suggest alternatives for improvement; if appropriate e.g. “When I have difficulty with that I find it<br />
helpful to ...”Don’t give advice, especially, “If I were you I’d ...”<br />
Avoid assumptions about what you have noticed e.g. “You probably did that because ...”It’s not<br />
helpful, and we’ll never know why someone did what they did.<br />
Think about your voice and your body language. Keep your voice and your own body language<br />
positive, open and relaxed and your language objective.<br />
Keep a balance of positive points you have observed, and points from improvement<br />
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Check to ensure that your feedback has been communicated clearly. One way to do this is to<br />
have the receiver try to rephrase what s/he has heard.<br />
Receiving Feedback:<br />
Few of us welcome criticism with open arms, and many of us can feel awkward and uncomfortable<br />
hearing praise, particularly in front of other people.<br />
If caught unawares by a critical comment, many of us can feel stung. If we know it’s coming in<br />
advance, such as in a feedback session, we can feel anxious and defensive. Our current response to<br />
criticism and praise is based on our experiences in the past – maybe a week ago, a year ago or even<br />
30 years ago. If we are not skilled at handling praise we manage to dismiss it in a number of ways<br />
such as:<br />
• Denying it or disagreeing with it “Oh, did I? I thought it was rubbish”<br />
• Making a joke of it “It was a one-off. I’ll probably trip over next time”<br />
• Minimising it “It was nothing special. Don’t make such a fuss about it”<br />
Remember that feedback is a gift. If we choose to open that gift and treasure it, we can learn so<br />
much about ourselves.<br />
• Appoint a note taker. Ask someone to jot down some notes about what is being said so that you<br />
can give your full attention, and listen to what is being said<br />
• Breathe! And Listen without interruption until the other person has finished speaking<br />
• Assume that the feedback is well intentioned<br />
• Notice your feelings and listen, letting in what is being said. Let the other person see that the<br />
feedback is ‘going in’. It’s OK to nod your head – it signals “I understand”, not necessarily “I agree”.<br />
• Don’t start explaining or justifying your actions. Becoming defensive only makes it harder for<br />
others to continue to give their feedback.<br />
• Clarify if you need to. If the feedback is unclear, vague or ambiguous then ask for specific<br />
examples, or for information about the effects on them e.g. “Thanks for saying my music was<br />
good. Can you say a bit more about what you thought was good”.<br />
• Discuss alternatives. Encourage them to tell you about anything they would have liked done<br />
differently e.g. “Do you think it would have been more effective if I had ...?” or, ask if they have any<br />
suggestions about making changes.<br />
• Accept the feedback and thank the people who gave it. Remember it takes courage to give<br />
feedback in a group setting. Never reject if publicly.<br />
• Look for consistency. If three people are all saying that your style of delivery is clear and easy to<br />
follow (and you are surprised by this) it may be time to accept the strength that they have noticed.<br />
• Take responsibility for acting on feedback. Remember that you have a choice about what you<br />
decide to change. If you hear many things that others would like you to do differently that will<br />
help you, for example to teach more effectively, then prioritise a couple of things that you will<br />
work on first.<br />
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Module 8: Legalities<br />
Contents:<br />
• PPL Licence<br />
• Downloading & Recording<br />
• Data Protection & Confidentiality<br />
• Insurance<br />
• Protecting Yourself<br />
• Venue Risk Assessment<br />
• Safety Check<br />
• Manual Handling<br />
• Accident Reporting<br />
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PPL Licence<br />
Phonographic Performance Ltd,<br />
1 Upper James Street,<br />
London,<br />
W1F 9DE<br />
Email:<br />
info@ppluk.co.com<br />
Web address: www.ppluk.com<br />
Telephone: 020 7534 1000<br />
PRS Licence<br />
Performing Rights Society Ltd,<br />
29-33 Berners Street,<br />
London<br />
W1T 3AB<br />
Web address: www.prs.co.uk<br />
Telephone: 0800 068 4828<br />
Frequently Ask Questions<br />
Q. Is it the building that is covered by my PPL licence or myself?<br />
A. It is yourself that is covered for specified places of work. You would, therefore, have to inform<br />
PPL if you transfer to other premises on a permanent basis.<br />
Even if the owner of the hall/leisure centre holds a PPL licence you, as an individual, would need<br />
a licence<br />
Q. What is PRS?<br />
A. Performing Rights Society. PRS protect the interests of the composer. PPL protect the sound<br />
recordings. Halls/venues require a PRS licence. Individuals require a PPL licence<br />
Q. What about the educational content of our classes. Can we argue exemption?<br />
A. Under the definition of the Copyright Designs and Patents Act 1988 keep fit/exercise classes<br />
are not deemed educational. Exemption only applies to curriculum based education i.e. schools.<br />
Therefore classes are not exempt.<br />
Q. What if I teach special needs classes? Would the licence fee be waived?<br />
A. The licence fee for some special needs classes would be waived proving you are not accepting a full<br />
fee. Special Needs are classed as mentally/physically disabled and the frail/elderly (in residential home<br />
or centre). 50+ classes are NOT classed as frail/elderly. Post/Pre-Natal classes would NOT be waived.<br />
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Q. What is meant by ‘performance’? I am not performing I am teaching.<br />
A. It is not your own performance that matters. It is the fact that you are causing the performance<br />
of the sound recording to be heard in public.<br />
Q. Am I covered if I teach for someone who is ill or on holiday?<br />
A. If the person you are relieving is employed i.e. by a college or adult education you would be<br />
covered. If the class is private and the teacher has a PPL licence you would be covered under<br />
his/her licence unless he/she only uses ‘dubbing operator music’. This is music purchased from<br />
specialist suppliers e.g. Pure Energy. The music is more expensive as it includes a specially<br />
negotiated PPL licence fee. However, this means you would only be able to play this music.<br />
If the class is private and the teacher does not have a licence but you do; you would be covered<br />
under your licence providing you do not exceed the amount of classes stated on your licence, to a<br />
great extent.<br />
Q. What is someone asks me to take a session for a charity fundraising event?<br />
A. Some charity events would be waived, whether organised by EMDP, its partner organisations or<br />
by any other organisations. It is up to the organisers to have checked with PPL first. Speak to the<br />
organisers to check. They may not be aware that licences are needed!<br />
Q. I have been asked to take a rally/one-off session. Am I covered?<br />
A. It is the responsibility of the organisers to have obtained the special one-off licence from PPL.<br />
Check with them first.<br />
Q. I am planning a demonstration item. Do I need a licence for rehearsals?<br />
A. Normally you do. EMDP partner organisations should hold a one-off licence for the event at<br />
which you are demonstrating, PPL are prepared to allow this licence to cover you for the rehearsals.<br />
Your own PPL licence should cover for non EMDP and or Partner Organisation events providing you<br />
do not exceed the amount of classes stated on your licence.<br />
Q. I am producing a demonstration item and I want to alter the original music i.e. it is too long<br />
and needs shortening – I want to splice two pieces together. Am I covered?<br />
A. No. A PPL licence only licenses you to play ORIGINAL MUSIC. The only people who can give<br />
you permission to alter or copy music are the record producers/companies themselves. You<br />
can approach them direct. They can be very slow. Some companies are helpful while others are<br />
against dubbing for whatever reason. If permission is granted you would then need a licence from<br />
The Mechanical Copyright Protection Society. MCPS grants the licences for you to change original<br />
recordings, for one-off events. Their details are as follows: Elgar House, 41 Streatham High Road,<br />
London SW16 1ER. Tel: 0181 769 4400<br />
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Q. What if I have to move halls for a week because of circumstances beyond my control i.e. roof<br />
fell in, hall used for exams?<br />
A. You will still be covered on your licence as it is an emergency<br />
Q. What if I teach abroad?<br />
A. PPL only covers you for public performances in the UK. If you teach abroad you will need to find<br />
out whether there are any rules and licences needed in that country.<br />
Q. What if I teach for a business/company/private club?<br />
A. A licence is needed and would have to be negotiated between yourself and your employer<br />
Q. What if my employer refuses to get a licence?<br />
A. If your employer is a local authority then PPL would approach them for the fees not yourself.<br />
Generally PPL would approach the employer not the teacher.<br />
Q. What if I am employed by an agent such as Educational Lecturing Services?<br />
A. You are responsible for obtaining your own licence<br />
Q. My employer states that they have a licence yet they have never been able to show me a<br />
copy? Am I responsible?<br />
A. No. Why not check with PPL direct. PPL would hold your employer responsible.<br />
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FORMATIVE ASSESSMENT: Preparation for Summative Assessment<br />
Tutor Assessor Name: Candidate Name: Date:<br />
Please see comments below:<br />
• Planning & Preparation<br />
SESSION PLAN:<br />
RESOURCES: STUDIO/ MUSIC<br />
WELCOME / SCREENING:<br />
• Communication<br />
RAPPORT / ATMOSPHERE:<br />
MOTIVATION / USE OF VOICE / VOLUME:<br />
CUEING:<br />
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• Delivery<br />
WARM-UP:<br />
TEACHING METHODS / OBSERVATION:<br />
ALTERNATIVES / MODIFICATIONS:<br />
• Ending the session<br />
COOL DOWN:<br />
GIVING FEEDBACK:<br />
ASKING FOR QUESTIONS:<br />
Additional Comments:<br />
Signed:<br />
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IA<br />
Independent Assessor Documentation<br />
Candidate Name<br />
Venue<br />
Independent Assessor<br />
Internal Quality Assurer<br />
Date<br />
Student Assessment start and finish time<br />
Total number in the group<br />
C = Competent; Q = Question required on criteria; NC = Not competent (N.B: Any criteria indicated as NC must be addressed as part of action plan)<br />
Did the candidate: C Q NC Comments<br />
1.0 Planning<br />
1.1 Have a plan available for the session that is a format that will<br />
help to implement the session<br />
1.2 Plan the session as appropriate to the participants, to include<br />
realistic intensities, session goals, relevant choreography and the<br />
different components and timings<br />
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Did the candidate: C Q NC Comments<br />
1.2a Identify objectives that are appropriate to the likely needs and<br />
potential of the participants; accepted good practice in the industry;<br />
own level of competence<br />
1.3 Identify the equipment/resources/music to be used in the session<br />
making best use of the facilities in which participants will exercise<br />
1.4 Plan a range of activities and movements appropriate to the<br />
session goals and the participants to develop CV fitness / muscular<br />
fitness/ flexibility/ motor skills<br />
1.4a Plan activities to develop safe and effective alignment<br />
throughout the session<br />
1.4b Select a range of exercises that are safe and appropriate for<br />
participants and include possible alternatives<br />
1.5 Indicate any modifications which may be required to the planned<br />
activities/movements based on the needs of the participants and any<br />
identified barriers to participation<br />
2.0 Preparation<br />
2.1 Arrive in time to prepare the session and to prepare personally<br />
2.2 Obtain and prepare the resources needed for the planned<br />
exercises<br />
2.2a Provide safe and appropriate equipment/ props sufficient for<br />
the participants<br />
2.3 Organise sufficient space for safe exercise performance and<br />
check the working environment is safe and appropriate for the<br />
activities to be taught<br />
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Did the candidate: C Q NC Comments<br />
2.4 Present a positive image to participants of self (and organisation)<br />
2.5 Check the participants level of experience, ability and physical /<br />
medical condition<br />
2.5a Check the participants are wearing clothing and footwear<br />
suitable for the session<br />
2.5b Encourage participants to find appropriate solutions to<br />
identified barriers to participation<br />
2.6 Meet participants punctually and make them feel at ease in the<br />
exercise environment<br />
2.7 Collect and record participant information using appropriate<br />
methods in a way that will help to analyse it<br />
2.7a Analyse information about the participants using appropriate<br />
methods and identify any participants who need referral to another<br />
professional<br />
2.8 Outline the planned exercises and movements to the participants<br />
including physical and technical demands<br />
2.8a Explain the purpose and value of the session, including warmup<br />
and cool-down<br />
2.9 Explain the Health Safety and Emergency procedures to<br />
participants<br />
2.9a Confirm or revise plans as appropriate and record any<br />
necessary changes maintaining participant confidentiality in line<br />
with good practice procedures<br />
3.0 Record any necessary changes to the planned session (Following<br />
pre-screening of participants)<br />
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Did the candidate: C Q NC Comments<br />
3.0 Communication<br />
3.1 Welcome the participants and establish a positive rapport and an<br />
effective working relationship<br />
3.2 Communicate with the participants in a way that makes them feel<br />
valued<br />
3.2a Use motivational styles appropriate to the participants and<br />
relevant to the Zumba delivery<br />
3.3 Use volume and pitch and projection of the voice effectively<br />
3.4 Use communication methods that are appropriate to participants<br />
and accepted good practice<br />
3.5 Maintain participant confidentiality in line with good practice<br />
procedures<br />
4.0 Delivery<br />
4.1 Deliver a safe and effective warm up that is appropriate to the<br />
Zumba session<br />
4.2 Ensure there is an effective balance of activity and discussion<br />
in the Zumba session<br />
4.3 Use teaching styles that are appropriate to participants and<br />
accepted good practice<br />
4.4 Provide instructions, explanations and demonstrations that<br />
are technically correct, safe and effective alignment of exercise /<br />
movement positions<br />
4.5 Ensure participants exercise safely<br />
4.5a Vary the pace and speed of movements to ensure safety and<br />
effectiveness<br />
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Did the candidate: C Q NC Comments<br />
4.6 Offer alternatives to allow for different fitness levels and to<br />
accommodate participants with additional needs<br />
4.7 Progress or regress activities according to participants<br />
performance<br />
4.8 Provide appropriate praise and feedback and instructing points<br />
which are timely, clear and motivational to participants throughout<br />
the session<br />
4.9 Adopt appropriate positions to observe participants and respond<br />
to their needs/ check performance accuracy as required<br />
4.10 Check the participants can perform the exercises/ movements<br />
as instructed<br />
4.11 Use appropriate methods to correct and reinforce technique<br />
(change teaching position/ ask questions/ visual & verbal<br />
communication/ mirroring)<br />
5.0 Use of Music<br />
5.1 Ensure music is clear and audible and at an appropriate volume<br />
5.2 Use music appropriate to the style and pace/ speed of the<br />
session<br />
5.3 Work to the beat and phrase of the music<br />
5.4 Provided cueing to enable the participants to work to the<br />
structure and phrase of the music<br />
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Did the candidate: C Q NC Comments<br />
6.0 Management<br />
6.1 Manage the time available to ensure each part of the plan is<br />
delivered effectively<br />
7.0 Ending the session<br />
7.1 Bring the session to an appropriate conclusion<br />
7.2. Deliver a safe and effective cool down that is appropriate to the<br />
session<br />
7.3 Encourage the participants to reflect on the session and ask<br />
questions, identify further needs and give feedback about the<br />
session<br />
7.4 Follow the correct procedure for checking any resources used<br />
and leave the environment in an acceptable condition<br />
7.4a Follow the correct procedure for dealing with any resources<br />
used and leave the environment in an acceptable condition<br />
7.5 Allow sufficient time for the closing phase of the session<br />
according to participants needs<br />
7.6 Give participants an accurate summary of feedback on the<br />
session<br />
8.0 Evaluation<br />
8.1 Review the outcomes of working with participants and their<br />
feedback<br />
8.2 Identify how well the exercises met the participants needs, how<br />
effective and motivational the relationship with the participants was,<br />
how well the instructing style matched the participant needs<br />
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Did the candidate: C Q NC Comments<br />
8.3 Identify how to improve personal practice<br />
9.1 Identify the safe and effective technique for a range of Zumba<br />
movements to develop cardio-vascular fitness; muscular fitness/<br />
motor skills<br />
9.2 Demonstrate the teaching of a Zumba style session<br />
9.3 Demonstrate the effective teaching of a pre-choreographed<br />
routine of at least 32 counts, in an appropriate Zumba style<br />
Assessor Questions Candidate Response<br />
General Comments<br />
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Did the candidate: C Q NC Comments<br />
Action Plan<br />
Pass Referral<br />
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Worksheet – Health, safety and<br />
welfare in a fitness environment<br />
Please use the text overflow pages at the end of this document if you reach the end of the text boxes below<br />
Learner’s name:<br />
Health and safety<br />
1. Identify three types of emergency that may occur in a fitness environment<br />
1<br />
2<br />
3<br />
2. Describe the responsibilities of the following individuals during an emergency<br />
Role<br />
1. General manager<br />
Responsibility<br />
2. Duty first-aider<br />
3. Emergency services<br />
3. Explain the importance of following emergency procedures calmly and effectively<br />
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4. Describe how to maintain the safety of people involved in typical emergencies, including children,<br />
older people and disabled people<br />
Children<br />
Older people<br />
Disabled people<br />
5. Outline why health and safety is important in a fitness environment<br />
6. Identify the legal and regulatory requirements for health and safety relevant to working<br />
in a fitness environment<br />
•<br />
•<br />
•<br />
7. Describe duty of care and professional role boundaries in relation to special population groups<br />
Children<br />
Older people<br />
Disabled people<br />
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8. Identify the typical roles of individuals responsible for health and safety in a fitness organisation<br />
Individual<br />
Health and safety role<br />
9. Describe three types of security procedure that you may need to follow when working<br />
in a fitness environment<br />
1<br />
2<br />
3<br />
10. Describe two key health and safety documents that are relevant in a fitness environment<br />
1<br />
2<br />
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11. Identify one possible hazard for each of the following aspects of working in a fitness environment<br />
Facilities<br />
Hazard<br />
Equipment<br />
Working practices (including<br />
lifting and handling of<br />
equipment)<br />
Client behaviour<br />
Security<br />
Hygiene<br />
12. Describe how to risk assess the types of hazard highlighted in question 11 above<br />
13. Describe how to control risks associated with the types of hazard highlighted in<br />
question 11 above<br />
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14. Identify the appropriate person/position to contact within the fitness organisation when hazards<br />
and risks cannot be controlled personally<br />
15. Describe what is meant by safeguarding the welfare of children and vulnerable adults<br />
16. Describe the responsibilities and limitations of a fitness instructor with regards to safeguarding<br />
children and vulnerable adults<br />
17. List four types of abuse and their associated signs that an instructor may encounter<br />
Types of abuse<br />
1<br />
Signs of abuse<br />
2<br />
3<br />
4<br />
14<br />
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18. Describe a fitness organisation’s policies and procedures in relation to safeguarding children<br />
and vulnerable adults, including typical reporting procedures<br />
Policies<br />
1<br />
Reporting procedures<br />
2<br />
19. Describe the procedures to follow to protect yourself from accusations of abuse<br />
20. Identify two statutory agencies responsible for safeguarding children and vulnerable adults<br />
and state when it may be necessary to contact them (contact scenario)<br />
Statutory agency<br />
Contact scenario<br />
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21. Describe how to maintain the confidentiality of information relating to possible abuse<br />
Final result: Pass Pass Refer<br />
I confirm that the information within this worksheet is entirely my own work.<br />
Learner’s signature:<br />
Date:<br />
Assessor’s signature:<br />
Date:<br />
IQA’s signature:<br />
Date:<br />
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Text Overflow (please use if your text has reached the end of the visible boundaries of any text boxes<br />
on the previous pages)<br />
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Tutor Feedback<br />
Tutor:<br />
Date:<br />
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Worksheet – Know how to<br />
support clients who take part in<br />
exercise and physical activity<br />
Please use the text overflow pages at the end of this document if you reach the end of the text boxes below<br />
Learner’s name:<br />
1. Give two reasons why it is important to form effective working relationships with clients<br />
1<br />
2<br />
2. Give two reasons why it is important to present yourself and the organisation positively to clients<br />
1<br />
2<br />
3. Describe how the communication skills below can assist in client motivation<br />
Open questions<br />
Eye contact<br />
Active listening<br />
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4. Explain the importance of valuing equality and diversity when working with clients<br />
5. List three typical barriers to exercise/physical activity that clients may experience<br />
1<br />
2<br />
3<br />
6. Explain how incorporating clients’ exercise/physical activity preferences into their programme<br />
can strengthen motivation and adherence<br />
7. List two incentives and two rewards that can strengthen clients’ motivation and adherence<br />
Incentives<br />
Rewards<br />
18<br />
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8. List three strategies and describe how they can help clients overcome typical barriers to<br />
exercise/physical activity<br />
1<br />
Strategies<br />
How does the strategy help the client overcome the barrier?<br />
2<br />
3<br />
9. Explain why it is important for a clients to take personal responsibility for their own fitness<br />
and motivation<br />
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10. Explain how each of the following can assist clients to develop their own strategy for motivation<br />
and adherence<br />
• Information gathering<br />
• Goal setting<br />
11. Identify two behaviour change approaches/strategies to encourage adherence to<br />
exercise/physical activity<br />
1<br />
2<br />
12. What does SMART stand for?<br />
S<br />
M<br />
A<br />
R<br />
T<br />
13. Describe the process for setting short, medium and long-term goals following initial goal-setting<br />
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14. Describe the process for revising short, medium and long-term goals<br />
15. Explain the importance of client care:<br />
a. From the point of view of the client<br />
b. From the point of view of an organisation or company<br />
16 Explain why it is important to deal with clients’ needs to their satisfaction<br />
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17. List two ways to identify clients’ needs<br />
1<br />
2<br />
18. Give two reasons for the importance of dealing with clients’ needs timely, effectively<br />
and positively<br />
1<br />
2<br />
19. State two ways in which you could exceed clients’ expectations<br />
1<br />
2<br />
Final result: Pass Pass Refer<br />
I confirm that the information within this worksheet is entirely my own work.<br />
Learner’s signature:<br />
Date:<br />
Assessor’s signature:<br />
Date:<br />
IQA’s signature:<br />
Date:<br />
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Text Overflow (please use if your text has reached the end of the visible boundaries of any text boxes<br />
on the previous pages)<br />
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Tutor Feedback<br />
Tutor:<br />
Date:<br />
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Planning Group Exercise to Music Session (F/600/9021)<br />
Worksheet<br />
Learner’s name:<br />
Assessor’s name:<br />
You are required to complete this worksheet, which is externally set by CYQ. This worksheet should<br />
be completed prior to planning your group exercise to music session, as the knowledge required<br />
here will assist you with your session planning.<br />
1. Explain the process of informed consent<br />
2. Describe the type/s of information that can be obtained from the client when using the<br />
following methods and explain when they are appropriate to be used<br />
PAR-Q<br />
Interview<br />
Observation<br />
3. Describe 1 factor based on client screening, that may affect safe exercise participation<br />
4. Give 1 example of how information obtained from a client might affect the planning of<br />
group exercise to music sessions<br />
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5. List 1 reason for temporary deferral of exercise<br />
6. Explain when you might refer a client to another professional<br />
7. Use the following table to describe how to plan group exercise to music sessions to meet<br />
the needs of clients with the following different objectives:<br />
Client objective Frequency Intensity Time Type<br />
Weight loss<br />
Increased<br />
cardiovascular<br />
fitness<br />
8. Describe the legal requirements covering the use of music<br />
9. Use the following table to describe how to select speed and type of music appropriate to the<br />
participant and phase of the class<br />
Participant skill<br />
level<br />
Beginner<br />
Phase of the<br />
class<br />
Aerobic curve<br />
Type of music/speed of music<br />
MSE<br />
Advanced<br />
Aerobic curve<br />
MSE<br />
10. Describe how the following methods can be used to help develop choreography in group<br />
exercise to music sessions<br />
Layering<br />
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Verse and chorus<br />
11. Describe how you would plan group exercise to music using a circuit format<br />
12. List 2 types of equipment and their uses in a group exercise to music class<br />
Equipment<br />
Use<br />
13. List 1 adaptation you would make to your plan to cater for each of the following:<br />
Young people aged 14-16<br />
Antenatal and postnatal<br />
women<br />
Older people (50+)<br />
Learner’s signature:<br />
Date:<br />
Assessor’s signature:<br />
Date:<br />
IQA’s signature:<br />
Date:<br />
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Instructing Group Exercise to Music (J/600/9022)<br />
Worksheet<br />
Learner’s name:<br />
Assessor’s name:<br />
You are required to complete the worksheet, which is externally set by CYQ. This should be<br />
completed prior to delivering your group exercise to music session, as the knowledge required here<br />
will assist you with your session delivery.<br />
1. Give an example of how a layering technique can be used to build participants’ coordination<br />
Initial group of moves<br />
Layers<br />
How do the layers improve coordination?<br />
2. Describe 2 methods to achieve effective movement combination<br />
Method:<br />
How it works to combine moves effectively:<br />
Method:<br />
How it works to combine moves effectively:<br />
3. Describe 2 ideas you can use whilst teaching your group exercise to music session that will<br />
help with group behaviour management<br />
a)<br />
b)<br />
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4. Briefly explain below how your instructing skills would be improved by self-evaluation and<br />
reflective practice<br />
Final Result:<br />
Learner’s signature:<br />
Date:<br />
Assessor’s signature:<br />
Date:<br />
IQA’s signature:<br />
Date:<br />
Planning Worksheet - Assessor Feedback:<br />
Comments:<br />
Please detail any resubmission responses below:<br />
Instructing Worksheet - Assessor Feedback:<br />
Comments:<br />
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Please detail any resubmission responses below:<br />
Signed-Candidate:<br />
Date:<br />
Signed-Trainer:<br />
Date:<br />
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Exercise, Movement and Dance (EMD) Worksheet:<br />
Candidate Name:<br />
1. Give four pieces of information that you would need to know about your participants to plan<br />
an effective lesson<br />
1.<br />
2.<br />
3.<br />
4.<br />
2. Explain how you would collect and record this information<br />
3. Immediately prior to a session, information about participants needs to be collected. What is<br />
this process called? Give two examples of questions that could to be asked at this time.<br />
1.<br />
2.<br />
4. Explain why it is important to try to ensure you are collecting accurate and up-to-date<br />
information about participants prior to starting our session<br />
5.Explain why there may be necessary changes to the session<br />
6. Explain why necessary changes need to be recorded<br />
7. Explain why you should always try to begin your class and meet your participants on time?<br />
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8. Outline how to make participants feel at ease<br />
9 Give 3 examples of barriers to participation in a Zumba class and identify possible solutions<br />
1.<br />
2.<br />
3.<br />
10. Outline legal and organizational requirements for data protection and confidentiality<br />
11. Explain the procedure that should be followed for referral of participants to another<br />
12. Explain how to select and prepare the resources and facilities needed for a successful class<br />
(consider participant needs; venue issues; lesson content and equipment).<br />
13. Explain the importance of careful and thorough planning and preparation before<br />
physical activity<br />
14. Explain how you would balance activity with discussion within a session<br />
15. Explain how and why you may adapt Zumba basic steps and variations to ensure<br />
appropriate progression or regression within a session<br />
16. Explain how to design a Zumba session according to accepted good practice<br />
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17. Explain how to apply the Zumba format when designing a session<br />
18. Explain how to decide on the order of exercises and activities in a Zumba session<br />
19. Explain why alternatives may be needed<br />
20. Describe how to provide alternatives to planned exercises/activities<br />
21. Describe two different approaches to correcting a participant’s technique in a group<br />
class environment?<br />
1.<br />
2.<br />
22. Describe how holding patterns can be useful when building up movements gradually to<br />
develop participants co-ordination<br />
23. Describe two different teaching styles and why they may be appropriate to different participants<br />
1.<br />
2.<br />
24. Explain how to warm participants up safely and effectively prior to exercise<br />
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25. Explain how to cool down participants safely and effectively<br />
26. Describe the procedure for leaving the dance studio following the end of your class. Please<br />
consider any equipment/ music systems/ props your class may have used.<br />
27. Why is it important to always leave the studio in a condition suitable for future use?<br />
28. Explain how and why to give feedback on a session<br />
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Assessor Comments<br />
Please detail any resubmission responses below:<br />
Signed-Candidate:<br />
Date:<br />
Signed-Trainer:<br />
Date:<br />
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Instructing Group Exercise to Music (J/600/9022)<br />
Welcome to your class. Before you participate in any activity please complete the following<br />
short questionnaire:<br />
Details<br />
Has a doctor ever diagnosed you with a<br />
heart condition?<br />
Have you recently had chest pains<br />
during or after exercise?<br />
Do you ever feel faint or have spells of<br />
severe dizziness?<br />
Are you currently receiving treatment<br />
or medication for high blood pressure?<br />
Are you pregnant or have you given<br />
birth within the last six weeks?<br />
Are you currently receiving treatment<br />
or medication for any other condition?<br />
Have you broken any bones in the past<br />
six months?<br />
Do you suffer from any bone or<br />
joint problems which exercise may<br />
aggravate?<br />
Do you suffer from epilepsy or chronic<br />
asthma?<br />
Are you diabetic? If yes, is the diabetes<br />
type 1 or Type 2?<br />
Have you undergone any recent<br />
surgery?<br />
Is there any other reason which has not<br />
been mentioned that may affect you if<br />
you took part in physical activities?<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
Yes<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
No<br />
While it might be helpful for teachers to have this information, they are not medical<br />
practitioners and cannot advise whether any condition could be adversely affected by attending<br />
a class. The responsibility lies with each participant to decide whether they wish to join or<br />
continue with a class, assisted by any medical advice they may wish to obtain.<br />
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Please note that no liability is accepted for any loss of or damage to any articles, which you may bring<br />
with you to classes. Equally, liability is not accepted for loss of or damage to motor vehicles or their<br />
contents and these are left at the owner’s risk.<br />
“I confirm that where any medical condition, discomfort or injury which may be affected by<br />
physical activity applies or becomes applicable at any time when I am participating in a class, I am<br />
responsible for checking with my doctor to ensure I am able to participate in this activity.”<br />
Signed:<br />
Print Name:<br />
Address:<br />
Post Code:<br />
Date:<br />
Email:<br />
Phone:<br />
Emergency Contact Name (please print):<br />
Emergency Contact Telephone Number:<br />
EMDP – 14 Graylands Estate, Langhurstwood Road, Horsham, West Sussex, RH12 4QD<br />
01403 266000<br />
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Risk Assessment Checklist<br />
Premises & Activity Risk Assessment Form 1 (RA01)<br />
Your duty of care to those who attend your classes includes providing them with a safe and suitable<br />
venue and procedures. All Teachers are required to complete this form (RA01) every term and the<br />
Risk Assessment Checklist (RA02) every class. All forms must be kept on file by the Teacher and can<br />
be requested by EMDP at any time. Forms do not need to be sent to EMDP unless requested.<br />
Teacher’s name:<br />
Venue address:<br />
Day and time of class:<br />
1. Are premises in a satisfactory state of repair? YES/NO<br />
2. Are accesses, exits, passages and stairways, safe and unobstructed? YES/NO<br />
3. Are you aware of emergency exits in the event of an emergency? YES/NO<br />
• ensure exits are clearly marked<br />
YES/NO<br />
• that there is clear access to doors and that they are not locked<br />
YES/NO<br />
4. You should have put in place the following procedures in the event of a fire:<br />
• have you planned an escape route from the venue?<br />
YES/NO<br />
• have you got a meeting point organised?<br />
YES/NO<br />
• have you informed the class of any hall fire procedures including escape<br />
routes & meeting points?<br />
YES/NO<br />
• do you have a register or list of those attending the class?<br />
YES/NO<br />
• if you are using a public building e.g. a school, leisure centre etc., do you<br />
know where the nearest fire bell is sited so you can alert others?<br />
YES/NO<br />
• are fire extinguishers accessible, of the correct type & maintained and<br />
are you trained to use them?<br />
YES/NO<br />
• do your attendees know they must not try to extinguish a fire themselves,<br />
unless they are an appointed person, and that you must be informed immediately? YES/NO<br />
5. Are the premises accessible to the emergency services? YES/NO<br />
6. Do you have your own, or access to:<br />
• a First Aid Kit<br />
• Incident Report Book<br />
YES/NO<br />
YES/NO<br />
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7. Do you have access to a phone or mobile in case of emergencies? YES/NO<br />
8. Do the premises give access and facilities for disabled persons? YES/NO<br />
9. Do the premises have adequate toilet facilities including those for the disabled? YES/NO<br />
10. Are there changing facilities for both male & females attendees? YES/NO<br />
11. If the use of a Kitchen is required, have you agreed access? YES/NO<br />
• check kitchen hygiene<br />
YES/NO<br />
• check that equipment provided is satisfactory.<br />
YES/NO<br />
12. Heating<br />
• are the premises heated adequately?<br />
• are the heaters safe (caged if required)?<br />
• is the room well ventilated?<br />
YES/NO<br />
YES/NO<br />
YES/NO<br />
13. Is the room of a suitable size and shape? YES/NO<br />
• for the number of persons who attend the class<br />
• to carry out exercises/movements without causing bodily injury to others<br />
• enables you to have the ability to observe each participant, and they you<br />
14. Is the room clean & tidy, with no obstructions or obstacles? YES/NO<br />
• check all furniture and equipment is neatly stored<br />
• if participants assist in the stacking of chairs, brushing of floors etc, attention should be given<br />
to their safety and ability<br />
15. Is the floor safe to work on? YES/NO<br />
• clear of dirt, drawing pins, glass, spills, splinters, trailing cables, etc<br />
16. Electrical & other equipment<br />
• are you aware of the light switches, including emergency lights?<br />
• are plugs and sockets in working order?<br />
• is your own music equipment and extension lead in order?<br />
• are mats, balls, clubs, hoops etc. in good repair & stored safely when not in use?<br />
17. Personal belongings of participants<br />
• are personal belongings stored safely away from the activity area so as not<br />
to cause an obstruction or obstacle to the class when working?<br />
YES/NO<br />
YES/NO<br />
YES/NO<br />
YES/NO<br />
YES/NO<br />
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18. Is Equipment checked regularly if used in class work? YES/NO<br />
• is it in good repair<br />
YES/NO<br />
• is it suitable for its intended use?<br />
YES/NO<br />
• Are you aware of the hazards that different types of apparatus can cause,<br />
and able to take appropriate action<br />
YES/NO<br />
18. Suitability of attendees clothing, footwear & jewellery checked? YES/NO<br />
19. Attendees are aware of & adhere to relevant warm up & cool down exercises? YES/NO<br />
20. Do you observe parking facilities and keep class informed? YES/NO<br />
Signed:<br />
Date:<br />
NOTE: Displaying a sign advising you are not responsible for accidents / injuries has no legal effect<br />
whatsoever.<br />
Further information on Risk Assessment is available from www.hse.gov.uk<br />
To be retained in a file by the class Teacher. Please do not send to EMDP unless<br />
specifically requested.<br />
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1. Premises<br />
2. Exits & passageways<br />
3. Emergency exits<br />
4. Fire<br />
5. Emergency services<br />
6. First Aid<br />
7. Phone<br />
8. Disabled Access<br />
9. Toilets<br />
10. Changing Facilities<br />
11. Kitchen<br />
12. Heating<br />
13. Room size<br />
14. Cleanliness<br />
15. Floor<br />
16. Electrics<br />
17. Personal belongings<br />
18. Class equipment<br />
19. Attendees<br />
20. Warm up / cool down<br />
21. Parking<br />
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Date Date Date Date Date Date Date Date Date Date Date
Student Portfolio<br />
Session Plan<br />
Teacher: Date: No. of participants: Age range: Venue (including space/size):<br />
Theme/Style: Session Aim:<br />
Learning Outcomes: By the end of the session the participants will be able to:<br />
*<br />
*<br />
*<br />
Resource requirements:<br />
Special considerations/ Differentiation requirements:<br />
Phase/Song/<br />
Component<br />
Time/Reps<br />
/Music<br />
Exercises/Movements<br />
(specific details/technical language)<br />
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Teaching Methods/<br />
Activities<br />
Teaching Key Points &<br />
Adaptations / Modifications
Student Portfolio<br />
Phase/Song/<br />
Component<br />
Time/Reps<br />
/Music<br />
POST SESSION:<br />
Additional alternatives required/given: (These notes<br />
form a record of alternations needed in future planning)<br />
Session evaluation:<br />
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Exercises/Movements<br />
(specific details/technical language)<br />
Teaching Methods/<br />
Activities<br />
Teaching Key Points &<br />
Adaptations / Modifications
Student Portfolio<br />
Session evaluation<br />
Instructing group exercise to music (J/600/9022)<br />
Learner’s name:<br />
Assessor’s name:<br />
After my session, I received the following feedback from the participants:<br />
My session met the needs of the participants in the following ways:<br />
Instructing style<br />
Individual needs<br />
My relationship with the participants, including motivation, was effective in the following ways:<br />
I will improve my personal practice in the following ways:<br />
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